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So what I'm going to do now that I have the base established is de-selected so that we lose the marquee

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line around it because that can be a bit distracting.

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I'm going to go for the higher values now as we sort of have our mid to low range as you can see we

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get pretty dark in the clues and spaces.

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So I'm going to parse that is by doing a layer above our lines and taking them down a little bit in

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terms of opacity.

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So now we're painting opaquely above the lines.

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Still striving

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to ensure that we're taking our time and keeping this clock looking convincing.

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Going to make the inner cloth a lighter value than the outer jacket.

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Not only will this help us defeat them as materials but it will help us practice an even higher range

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of values for different types of folds.

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Like I said I'm just using the normal round brush sometimes switching to the softer brush for some of

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those softer edges.

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No one painting folds.

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They come in so many varieties that it can seem overwhelming at first but really if you look for the

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patterns all folds really just adhere to certain standards really certain ways of falling and that is

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either some of them are very sharp others are very soft.

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They usually have the high point or the apex of the cloth where it's the absolute brightest in the fold

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and the rest falls off.

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So for example this is the apex right here where it is the brightest and then the rest comes just falls

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downward and that's how we're creating the illusion of real cloth and the illusion of dimension.

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By understanding that regardless of the shape or the softness usually we have it apex in the curve of

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the cloth.

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Meaning that when we disrupt it the part that catches the most light is going to be at the top or the

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peak.

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Those planes are going to be the ones that we want to really pop out.

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And sometimes it transitions a little faster.

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Other times a little slower

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but ultimately we just want to be looking for the patterns.

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Looking for areas that we can already just figure out and understand as we move forward.

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Always maintaining our perception and looking to learn new things about clothing in the folds as we

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move on.

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And if to bring it down to here

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which is pretty easy.

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Well do it opaquely then I'll start to kind of paint out some of these lines.

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Because unless I'm using them for the folds themselves they become more distracting than helpful.

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The lines are meant to guide points and then we just integrate them into the painting.

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I recommend that you look for some drapery like bed sheets or something and set up some still lives

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where you just light them and fold them over a chair or something like just throw them and let them

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make random folds and patterns.

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And that way you can actually begin to learn about folds from life which is one of the quickest ways

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to learn because it's right in front of your eyes.

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So these folds are looking really nice.

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We're just going to keep on refining and defining them pushing the values higher in the middle in this

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middle sort of dystopian garbage

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kind of getting rid of the lines were necessary.

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In other words were there distracting and not adding to our final vision or goal.

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Go hadn't flattened this one.

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That's the nice thing about working in greyscale is you can choose to flatten areas out.

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It's almost like sculpting which is another modality that we can begin to understand things from.

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And here is a little deep.

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So I'm going to kind of flatten the area upwards

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and go for some more believable folds.

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Right.

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Now we're going to start working on that jacket a little bit.

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It's kind of getting rid of those lines.

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And concerning ourselves chiefly with representing the forms accurately

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I want you to pay attention to how I go in and refine these various areas either flattening or implementing

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or re-integrating all the various movements are meant to sculpt the form.

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And really when you get down to it without all the designs or ornate patterns drapery is really something

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that needs to kind of be sculpted

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whether the folds are small or large

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or.

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There we go.

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So we can darken the pants just so we have a third element of value contrast.

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You see how easy it is to just go in and drop the values.

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Now this is looking pretty nice.

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Let's get back to working on the jacket a little bit and knocking out a couple more of those erroneous

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lines that we started with.