These two concepts were first talked about by Kimon Nicolaides and then by Betty Edwards in their own respective books.īlind contour drawing is as mentioned before, for Nicolaides, its feeling the form, its about the experience of it, the end results will likely not be something you will show your family or friends, its about the experience of touching the figure/object for natural drawing. Or, talk about it in terms of linework like building up from light to heavy, where the light hits the line should be lighter, etc.įirstly, there’s blind contour drawing (not looking at the paper as you draw the form, and cross contour (feeling your pen across the surface of the form). Hand-eye coordination exercises and hand technique drill exercises. Others have also published/talked about their own ways of improving lineart/contour in general as well, their concept is more in line of technical cleanliness and efficiency. Interestingly enough, Betty Edwards in her own book “Drawing on the Right Side of the Brain” also adopted the same concept/exercise but says its about switching on the artistic right side of the brain (this works in its own way, although the left-brain-right-brain theory has already been disproved I believe). Contour is also further used to define also (because lineart can just be the silhouette of the object) the inner workings on the object, not just the pure outline.Ĭontour has been described by Kimon Nicolaides as the line produced by the point of your medium touching the figure and truly, through the natural way of drawing by “touch” you feel the figure/object as you draw it. Line was created to more easily define/draw concepts for the self and and everyone else to understand without having to resort to paints/colour.Ĭontour is essentially a way to define lineart as its own art concept, as something to practice and use in art. What you would perceive as a line or what you would draw as a line is actually two values next to each other and the line itself is the separation. There’s a general consensus that usually most of the time in nature, lines as a concept do not exist, lines are technically a man-made concept. All of my posts on art so far has been in favour of that. Or also incorrectly state some information that is not true or wrongly attributed, that I have to correct in updates.įor simplification sake, the intended projected end-goal is to get good at basically representational drawing, not abstract drawing or modern art, but drawing something that exists in its own space in a believable manner. This will likely be an analysis that needs to be updated with future chapters as I likely miss out on or find out about new information. Messy doesn’t necessarily mean bad, clean doesn’t necessarily mean good, in that way.
#Blind contour drawing exercises how to#
One thing a lot of people would say though is learning how to draw it clean and nicely first and then breaking that rule would be the best way to have a messy style. It doesn’t have to be precision lineart for a drawing to be good.
I say possibly because with every art theory I put out (or anyone puts out for that matter) there’s definitely going to be someone that disproves that theory, I definitely don’t think that everybody who paints or draws well, has very “clean” precise contour/lineart, there are those have a very messy lineart style but they make it work. This post will be an analysis using the Contour chapter/concept from Kimon Nicolades’ book “The Natural Way to Draw” as a springboard to talk about ‘Contour’/lineart in art and in general, how it possibly applies to art and how you can possibly improve from knowing about it.
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