![]() ![]() Work up your underdrawing, until you feel like you have a good framework to lay your linework down on. Be sure to really look at your subject, and adjust your drawing based on your observations. Remember what we covered in our lesson on proportion! Draw from the inside out, and focus more to start with getting the shapes down in the right places than detail. Now, with a pencil (preferably a harder lead - H or higher on the HB scale), lightly, roughly sketch it out. It can be a reference image, or an object from real life ideally, practice drawing both. Our tracing exercise allowed you to focus on contour by itself, without worrying too much to proportion, etc. Ask yourself questions: what’s working? What isn’t? Should some lines be thicker/darker? Are there important lines that are missing, or present lines that are superfluous? You might not see a clear answer, but it’s good to be in the habit of thinking about it.ĮXERCISE THREE: OBSERVATIONAL DRAWING & CONTOUR And while you draw, pay attention to your line weight!įrom time to time, you can turn off your image layer or pull your drawing away from your window/light-table, and look at your lines. But think, as you draw, what contours are best to include – for instance, does every crease in a person’s face need to be included? Note all the potential contours, and decide which ones are important to your drawing. If you’re working digitally, put the image you’re drawing from in one layer, turn down the opacity to 60%, lock that layer, and make a new one. Lay your paper over the printed image and place it on your makeshift light table or window so you can see the underlying image. Is that slight indentation enough to warrant a line? How many of those folds need to be recorded?įor this exercise, you’re going to need either a digital drawing program with layers, or, if you’re working traditionally, a printed out image that you want to draw from, and either a light table (if you have a glass table and a desk lamp, this is easy enough to rig up) or a window with outside light. Avoid “hairy lines.”Īn important part of contour drawing is deciding what contours to draw. Feel out your range, and let it be fluid, without overthinking it. Push down harder and darker, or thin and barely there draw lines that go from dark to light and light to dark try to draw as many kinds of lines as possible. And as you draw, try varying your line weight. Give yourself a big page to work on let your lines be long and loose, not short, cramped things. ![]() Just loosen up, and start drawing lines - go abstract with it. To start, don’t draw anything in particular. Recommended media: Well-sharpened but soft-leaded pencil (something on the B side of the HB scale), pen & ink, digital stylus with pressure sensitivity enabled. Consider what information you can tell from the image on the right that isn’t presented in the image on the left, though both are of the same subject, and have lines in the same places. The image to the right, however, has varied line weight. The image to the left has uniform line weight throughout the entire drawing. You can communicate a lot of information just by changing up the weight of your lines. Thicker, heavier lines have weight to them, and can suggest a more pronounced area of depth, or an area of shadow.A thin, delicate, even disappearing line might indicate a very shallow edge, like a small wrinkle in a figure’s clothing. It can also indicate that the area it is contouring is an area of highlight.You can also convey depth and form, however, as well as light and shadow, with line weight: ![]() ![]() This is a way to render 3d form without the use of shading. Continuous contour can be done while looking at one’s work, or without, in the case of blind contour.Ĭross-contour uses lines in an almost mesh-like fashion to show depth and form – like a topographical map. One is continuous contour, where a drawing is made with a single continuous line, never lifting from the page. There are a few different styles of contour drawing. All the information in the drawings is conveyed with line. The outline doesn’t refer solely to the exterior outline, such as we’d see framing a silhouette, but also to outlines of interior details, such as folds of cloth or curls of hair. The following are all contour, or linework drawings: But in this lesson, I promise, we’ll actually be able to look at what we’re doing (though if you want to go back and give the blind contour exercise another go, it’s never bad practice). In drawing, a contour refers to “an outline, especially one representing or bounding the shape or form of something.” We got a little bit of practice with this when we did the blind contour exercise in lesson two. Chesterton puts it, “drawing the line somewhere.” More specifically – drawing in contour. In this week’s lesson, we are going to talk about, as G. “Art, like morality, consists of drawing the line somewhere.” ![]()
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