De­vel­op­ing the sketch

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I be­lieve that the first line is per­fect. How­ever, the sec­ond line that’s added to an im­age can be flawed, be­cause now you have po­ten­tial ac­cu­racy prob­lems. The more you add to your draw­ing, the harder it be­comes to stay true to that vivid ini­tial ex­pres­sion. So I try to be as ac­cu­rate and con­sid­er­ate of th­ese early marks, although ex­pres­sive enough that it won’t be a con­stric­tive base to build the pic­ture on.

Es­tab­lish­ing early con­trast

I stop draw­ing lines and use a brush tool to es­tab­lish masses. I find this more ef­fi­cient for sketch­ing out and see­ing if things that work in my head will work on the can­vas. I es­tab­lish con­trasts that will be nec­es­sary for the fi­nal com­po­si­tion, know­ing that my end re­sult needs to fo­cus on the chess board. Faces don’t re­quire spot­light­ing to draw the viewer’s at­ten­tion.

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