An essential starting point in the expression of a direct thought or feeling: the hand
duplicates the motion of the eyes, making a movement that quickly defines the
general characteristics of the subject: placement, shape, proportion, relationship
between the parts, a definition of planes and volumes, as well as their arrangement
in the space. Gesture involves large arm movements, without the slightest bit of
tightness, and a conscious effort must be made to keep the drawing tool in contact
with the paper for the entire drawing, making continuous marks.
Types:
Mass- Using broad marks to create mass, not lines. Avoid the stick-figure approach,
and begin in the center of the form, working out toward the edges to build mass.
(30 s to 3m.)
Line- Description of the form using lines that are tangled and overlapped, with
forms often overlapping. Lines may change from thick to thin to stress the edges of
forms. (30s to 3m.)
Scribbled Line- A tighter network of lines in which volume is built or layered
with repeated passes of the drawing tool. Density of form is arrived at, moving
from the interior to the outer edge of the object. (30s. to 3m.)
Sustained- An attempt to not only record the basic structure of the form, but to
flesh out a more detailed identity for it. It begins with a quick notation, and then
moves toward analysis and examination. Corrections establishing scale and
proportion should be made, as well as defining edges more precisely. Begin lightly
and darken only as you arrive at a more corrected shape.(5m. to 15m.)
Continuous Line
An unbroken line from beginning to end. The drawing tool stays in uninterrupted
contact with the surface of the paper during the entire length of the drawing. By
keeping the line flowing, the effect is created of something being unwound or
unraveled. Rather than using multiple lines, you use a single line, drawing through
forms as if they were transparent
Organizational Line
Lines that take measure and create a framework for properly constructing a
drawing. They are lines that extend into space, away from a form, relate one object
to another; to take measurement of height, width, and depth of the objects and
the space they occupy. It is a tool to assist in the correcting of your image.
Blind Contour
Contour lines drawn without looking at the paper; that is, lines drawn as a direct
response to seeing, without being edited and changed by the insecurities of your
mind. Develops hand-eye coordination and sensitivity to perception.
Contour
Flowing lines without extensive interruption, backtracking, hesitation or sketching.
These lines move slowly and carefully, recording the character of surfaces, forms,
materials, distances and relationships.
Steps in Contour Drawing
1. Use a sharp-pointed implement (such as a 2B pencil or pen and ink).
2. Keep your eyes on the subject you are drawing.
3. Imagine that the point of your drawing tool is in actual contact with the
subject.
4. Do not let your eyes move more quickly than you can draw.
5. Keep your implement in constant contact with the paper until you come to
the end of a form.
6. Keep your eye and hand coordinated.
7. You may begin at the outside edge of your subject, but when you see that line
turn inward, follow it to its end.
8. Draw only where there is an actual, structural plane shift or where there is a
change in value, texture, or color.
9. Do not enter the interior form and draw non-existent planes or make
meaningless lines.
10. Do not worry about distorted or inaccurate proportions; they will improve
after a number of sessions dedicated to contour.
11. use a single, incisive line.
12. Do not retrace already stated lines and do not erase for correction.
13. Keep in mind variation in weight, width, and contrast.
