COAXING OUT THE LINES

A drawn line is a symbol or an artistic convention that defines one shape from another, creates an illusion of space or directs the eye of the viewer.  It also expresses a variety of emotions.

When I first took serious drawing courses at university, I had to endure teacher critiques. They weren't particularly useful at the time because I didn't possess a fundamental understanding of the power of line nor did I have technical and poetic terminology at my fingertips. Instructors would mutter that certain lines were beautiful or successful but could rarely clearly explain why. Over the years, I learned through trial and error and a great deal of practice what  lines can do, which is probably how most people learn anything.

Hairy lines mentioned in a previous post are "fun" to draw and often generate smiles in an upbeat context, but there are so many more types of line. Linear thinking and feeling is like learning another language.  A line operates on the subjective and objective level but I doubt that an purely objective line really exists unless it is executed by a machine or computer.

An objective line refers to simple observation,  measurement and surface characteristics. A subjective line reflects or expresses emotional states and responses. I think the human hand always adds a smidgen of the subjective in any depiction. Would we want otherwise?  













The act of drawing a slow contour line is a sensuous activity akin to touching. It's a voyage of discovery!  Drawing without looking at the paper (blind drawing) brings out nuances, subtleties, beauty, and three dimensionality. Blind contour drawings often lead to other ideas because they gently unveil the character of an object.

Imagine a pencil or pen touching the hand. Apply pressure in the crevasses and lighten your touch as you work your way up to the surface. Blind contour involves relinquishing control.

 
I love to let the senses work through me.  The experience is somewhat like possession but without the need of an exorcist.  My head doesn't whiz around on its neck but I definitely feel different when I use this process.  It allows me to achieve interesting variations within the line itself.

Unusual combinations often occur when drawing the human head using a slow contour line because the pen or pencil never leaves the paper. Some find the results grotesque but in my view, they're a springboard for play....soooooooooooo

let us play!