Journal/Reflection #6 Interior (Surface) Contour Still life

 Please make an entry for the Journal/Reflection on the Interior (Surface) Contour assignment that we did in class. Explain the 3 different types of LINE and then how you used some of them in your drawing, if you did, also discuss how you used line and created the different values in your drawing, what technique (explain). 

It really works best if you write your reflection first in a word processor and then cut and paste it into the entry space.

This assignment again required us to draw ATLEAST 4 objects: the obects here are a bird, a vase, a roll of paper, and a torso. For the purposes of this exercise, we were taught about the three different lines. The first one is the actual line, a straight or curved line that can vary by thickening or darkening the line itself. An implied line, the second example, are perceived and created by the mind itself when it sees points in a composition that can be connected to form said line. Lastly, the psychic line is presented as an object pointing, or directing, our attention to another object, making our mind create a line without actually seeing a line.

The assignment was done on a neutral ground, and we were to draw first with our eraser--to carve into the neutral ground. This assignment is composed MAINLY of actual lines so as to give shape and form to the objects in the composition. However, various areas, mainly on the cloth, are composed of implied lines to give texture to the object—so that the viewer may see that the cloth is not rigid, rather, it bends and folds, it has creases! Additionally, the light cast upon the still life also creates an implied line in the shadows: when one follows the shadow from the bottom right of the vase and go towards the bottom right of the torso, they see the limit of the light exposure. As for the psychic line, there are a couple, mainly created by the bird facing a certain direction and one of the arms going off the paper. Part of the roll of paper is hidden inside the vase, but the way its drawn lets the viewer know it is still there, and they envision the rest of the roll, completing the image with those psychic lines.

We can also see that maximum exposure to light, the brightest value, is on the left side of the torso, so we know what direction the light is coming from. This brightening was done through the use of chalk so as to increase the light value from the neutral. Crosshatching techniques were done to create a darker value necessary to show shadows and create many of the implied lines on the toga on the torso.