11
DARK SHADOW TEXTURES
There are some areas on the drawing that I want
to add dark shadows to, without making them completely
black. Underneath the statue, the shadow area could have
been done with a black fill, although I decide to add a cross-
hatching texture to give it a rougher look.10
FOG AND WIND TEXTURE
I decide to have the assassin’s body fade into a fog-like effect. This both adds
a creepy atmosphere and helps the foreground elements to pop out more. I do this
with lines, close to horizontal, that start thick and become thinner as they go down
to his feet. Some wavy lines imply the sense of wind. The idea is to have the black
shadows fade to grey and white to the viewer’s eye.
8
DETAILS AND VALUES
I move on to finishing the angel statue. Keeping in
mind the lighting and the fact that I want a full range of
contrast, I use lines to create the shadows. My lines curve
around the surface and toward the light source most of the
time, to give the statue form. I also add numerous cracks
and marks to give the statue a weathered surface.9
HAND DETAILS
Next to the statue are the hands of a victim, which
are dripping blood. I decide that the blood will look best as
a solid black, and ink this first. I continue to render the hands
with line work. This type of detail work, like the statue, is
done with the smallest size Micron, 005.7
DEPICTING THE BLADE FIST
Now I decide to tackle one of the more important
elements in the drawing, which is Ezio’s clenched fist and
blade weapon. I ink the solid black first, then build the
values with line work, paying close attention to line
thickness, spacing and the light source.ARTIST INSIGHT
WHITE IS RIGHT
Sometimes I use an
opaque white ink with
a brush to make small
corrections, break up
lines, or add splatters
and stars. My ink of
choice at the moment
is Winsor & Newton’s
White Ink.Workshops