In the development and shape of the object, landscape or human, the artist must be aware of and observe these topics about 80-90 percent of the time and only a small percentage of your drawing. Why? His eye movement must be along the first line or you lose contact and “feel” the shape with the result drawing. It is an excellent exercise for students to observe an object with emotion, then draw from memory. This should be followed by pulling back, closing his eyes. I’ll be surprised by the results! By doing this exercise regularly, your comments will improve and your drawings will be accurate.
If you make no change in line width, or the pressure of your pencil to get a darker line to your drawing seem dull and lifeless. With variable lines, his drawings appear as if they are in a more profound or far from anything that gives more volume to the 3D design. With variations of line you can describe the roundness of form, softness, weight, volume, movement and excitement. If your design is a bit static with little variation in your line, try deleting some of them in some places, especially where the shapes overlap now take a look and see the difference.
This brings us to bleed and found. Sometimes the lighting can be a factor in how you perceive the edges. One way to escape the veil of light can smooth curved surfaces the practice with a pencil through the press lay across your document begins with an almost black, gradually reducing the pressure to achieve a line very thin. These exercises will soon be training your eyes to the feel of the surface by varying the pressure to make a distinction that makes a difference in the overall effect.