When an object is lit by direct sunlight, the texture is not equally prominent throughout the form. The texture in the shadow should not just be a darker version of the texture in the light, because that’s not how the eye sees it.
This concrete moon-face is a good example. The texture is very difficult to see at all in the shadow region. It’s also not terribly prominent in the fully lit areas of lighter halftone, such as the forehead and the left hand edge of the form.
What you tend to see in those light halftones are variations in local color--in other words, freckles rather than pores.
The place where you really see the texture is in the darker halftone, just before the terminator divides the light side from the shadow side. In this moon man it appears in the cheeks, the tip of the nose, the lower lip, and the chin. This region is sometimes called the halflight, an area of raking light where any bumps in the surface stand out dramatically.
This example amplifies the discussion on page 46 of the Color and Light: A Guide for the Realist Painter.
Previous GJ Posts: Texture in the Halflight and Light and Form (The Form Principle)
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