When you begin to draw, your eyes-or rather, eye-will move slowly along the contour and your pencil will record your perceptions at the same slow speed that your eye is moving. This will start the mental shift to R-mode and help to quiet any mutterings from L-mode.ġ1. Then, gaze again at this point on your hand in preparation to draw. Place your pencil point on this same point in the drawing. Then, closing one eye, focus on a point on some edge in your posing hand. Then, set aside your drawing-on-plastic, but place it where you can still refer to it.ġ0. Reposition your "posing" hand, using the drawing-on-plastic to guide the positioning. Once this rough, light sketch is on your paper, you are ready to start drawing.ĩ. Erase, then just rub the erased area with your finger or a paper napkin and the erasure disappears.Ĩ. Don't worry about erasing the ground if you have to change a line. For this drawing, you will take this actual step, to get used to the process. Recall that drawing is copying what you see on the picture plane.
This is just a light sketch to help you place the hand within the format. Then, begin to connect the edges of your hand, fingers, thumb, palm, wrinkles, and so on with the points you have established. Using the crosshairs, place the point where an edge of your hand contacts the format. The formats are the same size, so it is a one-to-one scale transfer. An important step: Now, you will transfer the main points and edges of your drawing on plastic to your drawing paper (Figure 6-20).
I've found, however, that students do well just plunging in and they often enjoy it very much.ħ. I realize you haven't yet had any instruction of the fourth drawing skill, the perception of lights and shadows. Try to observe the shapes of the lights and shadows. Transfer the main points from your drawing or plastic to your toned drawing paper. Draw the edges as you see them on the Picture Plane. This image will act as a guide for you when you next draw your hand without the actual plane. Place the plane down on a light surface, perhaps a sheet of paper, so that you can clearly see the drawing on the plastic. Retrieve your Picture Plane with the felt-tip drawing that you did at the start of this chapter, or, if you wish, you can do a new drawing (Figure 6-18). They are only guidelines and later you may want to eliminate them. A caution: Don't draw the lines too dark. Use the crosshairs on the plastic plane to mark the position of the crosshairs on the format of your toned paper. The lines will cross in the center just as they do on your plastic Picture Plane. Next, lightly draw horizontal and vertical crosshairs on your toned paper. You want to achieve a very smooth, silvery tone. Rub with a circular motion, applying even pressure right up to the edge of the format. Once you have covered the paper with a light application of graphite, begin to rub the graphite into the paper with your You can clean up the edges at a later time. You want to achieve a pale, even tone-don't worry too much about staying within the lines.
Begin to tone your paper by rubbing the edge of the graphite stick very lightly over the paper, staying inside the format. Make sure you have a stack of several sheets of paper to pad your drawing. Draw a format on your drawing paper, using the inside edge of your Viewfinder.ģ. If the paper shifts under your hand while you are drawing or erasing, it is very distracting.Ģ. The other will be drawing and perhaps erasing. One of your hands will be "posing" and must remain still. Tape all four corners securely, so that the paper will not shift around. Tape a stack of several sheets of paper to your drawing board. A possible reason is that, having marked the paper and made it their own, so to speak, they escape the intimidation of that blank sheet of white paper staring at them.ġ. Most of my students greatly enjoy this process of toning their paper, and the physical action of "working up" the tone seems to help them get started with a drawing. The position for Modified Countour Drawing is the usual drawing position. Nevertheless, I hope you will use the same focused concentration that you used in Pure Contour Drawing.įig. You will sit in a normal position and therefore be able to glance at your drawing to monitor its progress (see Figure 6-14). In this drawing, we are modifying the instructions for Pure Contour Drawing.
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