Y ou'll want a hair brush, or something close to it. If you're doing this on paper, though, all that muscle is a great time to use a brush with black India ink. You can use a drawing tablet on the computer. I did this digitally, based on a pencil sketch I scanned. If it needs a little extra detail, go ahead and add it. If you're unsure, take a break and come back to the drawing in an hour and see how it looks. You can always take this step too far, so try to exercise some restraint. Go over the drawing and add details where necessary to balance things out so that you don't have any "empty" parts of the drawing. Thus, lines of the muscle strands will be thicker as they get closer to us, and the open white spaces will also be a bit larger. The shoulder is closer to us than the rest of the body, and the upper arm is even closer to us in this picture. Go over t he drawing and add details where necessary to balance things out so that you don't have any "empty" parts of the drawing. So just HINT at the texture, rather than drawing all of it. By only really drawing the ends of the muscles as they come together and form shadows, the viewer's brain automatically fills in the texture. Plus, a couple of wobbly lines would ruin any effect you were trying to achieve. It would be flat and you'd lose all the separate shapes. What do I mean by that? If you were to go in and try to draw the long line for each strand of muscle, the drawing would turn into a mess. This is sort of an example of how it's more about what you DON'T draw than what you DO. The open areas with thinner lines are receiving more light than those recessed parts on the ends of the muscles. Use the thick shadow areas to indicate the overall shape of each section of muscle. This is sort of an example of how it's more about wha t you DON'T draw than what you DO.
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