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I believe that art enriches and informs our lives everyday in many positive ways. Sharing those experiences, whether as an artist or as an appreciator, is part of the pleasure. I welcome your comments and hope you find something of value: a laugh, an insight, a new idea or just a happy moment. Enjoy art!

Friday, February 21, 2014

Continuous Line Drawing

I still cannot hold a paint brush up higher than my waist so I have been experimenting with art exercises.  Continuous line is a  bit like contour line with the exception that you do not lift your pen from the paper until you decide it is complete.  You may do more than the outside contour line, but it must be all done from one unbroken line.  I remember doing this eye/hand exercise in lessons with Barbara Bassett, Orlando, FL, back when I was in junior high!



Here is the first one I attempted from a magazine adv,
 I added the decoration in background with a separate line after finishing- it needed something!

Next I did some "glamorous" faces from the magazine, trying to plan out how to get from one side of the face to the other with only one line...



And finally I did a face where I was able to start and stop at the exact same point:

Feeling that I was getting (a little) better I bravely pulled out a Gauguin book and attempted to copy one of his paintings titled "The Noble Woman."  Shrinking it to a 5 x 7 size was only one of the problems a full painting presented.

The book copy of "The Noble Woman"


I made two attempts at this, the first is the lower one.
 Trust me, the second one (with the paint) was not any easier to plan out or to execute, but at least her chin does not come to a point.

I think I will be doing some more of these continuous line drawings; I like the way the figures end up looking rather Picasso-esque and a bit distorted.  If one chose, one could intentionally draw important things in bigger proportion (which is what I think our subconscious does anyway).  However, I think the point of the exercise is not to distort but to continuously check back and forth from the model to the paper to see if you are lining things up correctly in proportion to one another. If the artist can draw imaginary plumb lines from what he has drawn to what is next he can learn intuitively how to compose the subject properly.  

Since I rather liked my 'modern version' of a noble woman I added some paint to her along with a mat which makes her look important.  Now back to my physical therapy so I can soon be at the easel!


ARTfully yours,
Cindy
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