the ears. After the initial linear layin, I’m going to introduce a concept called

shadow mapping. Basically during shadow mapping you focus on defining the shapes and edges

of the light and dark pattern. But first, let’s start with the very important, linear

layin.

I’ll start with the angle of the connection to the head. and find the biggest shape of

the ear, focusing on getting the width to height relationship and the correct angles

of the plane changes.

Now I’ll focus on the complex shapes inside the ear. Make sure to constently compare shapes

to the shapes around it. Keep checking angles and the size relationships of the shapes.

Breaking up the curves into segments of straights makes it easier to design and draw accurately.

also, It’s ok to exaggerate shapes if you think it will make for a better design.

Ok, so here’s the shadow mapping stage. The linear laying I have so far, doesn't change,

no matter where the lights source is. It simply indicated the forms. During the shadow mapping

stage I’ll focus on the specific shapes cause by the light. So, I always start by

evaluating what angle the light source is coming from. In this case, looks like its

at the top left.

As I map the shadow pattern, I will be indicating either a core shadow or a cast shadow. The

core shadows will usually have a soft or firm edge, whereas cast shadows will usually have

a very sharp edge. So, simultaneously I’m indicating the shape of the shadow as well

as the edge of the shadow.

Separate the lights from the shadows. Stay simple and don’t lose control of your values.

Try to ignore all the dark halftones and only fill in the shadows. Remember, reflected lights

are part of the shadow family. So fill them in as a shadow. The way to make them look

like reflected lights is to darken the areas around them, not by lightening them. If you

lighten them, they will become part of the light family and that will hurt the form.

A very good guideline to follow is “The darkest light, is lighter than the lightest

dark.” Let me repeat that. The darkest light, is lighter than the lightest dark. In other

words, never make your reflected light lighter than your halftones. Of course with the exception

of very reflective surfaces like metal and water.

In the deep crevices of all these forms, I'll add the dark accents of the occlusion shadows.

In the final stage, I’ll add some smaller planes in the lights with halftones and defining

highlights. Most of the volumes in the ear should be shaded like organic cylinders. Make

sure these volumes feel round.

Ok, so as with the other feature demos, I’m doing to give this drawing away and this time

I’ll give it to someone that buys the new dvd that I announced a few days ago. If you’d

like to purchase it go to proko.com/dvd1. Watch my previous video to get a quick overview

of the DVD.

I’ll announce the winner of the give-away on December 7th.