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Tutored Life Drawing Blog 02: Contour
🕑 Added 2020-09-21 08:25:23 +0000 UTCWe briefly explored contour drawing in our lesson Introduction to Life Drawing and this week we'll be going into a little more depth. Contour plays an important role by translating a number of different things that we can see as edges into an understandable line drawing. It is often mistaken for the idea of outline, but it does more than just confine the limits of our subject. Contour helps us draw what we see, rather than make assumptions.
In this blog we'll be looking at the different roles contour plays in drawing, following this up with a selection of exercises to help us observe more effectively as we draw.
Main image: 'Priss'
Outline: Contour as a Container
Lines that contain the figure – outlines – are one of the first things we think of regarding contour. An outline will go all the way around the figure, separating it from the surrounding space. It is a property we tend to be aware of as we draw. However, outline is only one specific kind of contour.
The outline is similar for these two drawings. However, the back view is an invention, created by changing the overlapping and internal contours. A major clue is seeing the sole of the foot, due to the change in eye level.
If you took an outline of a subject, if there was no significant foreshortening, it might be hard to tell whether that outline was of the front or back view, as it would be similar either side. Internal contour lines - contours that are within the outline - start to describe the structure of the subject.
Contours and Overlap
Overlapping behaviour by contour lines indicates structure, and a sense of space. At its most simple, this is where one line overlaps the path of another, terminating it with a T-junction. This is where we start to encounter internal contour lines, as our outlines turn inwards on the figure.
If one line overlaps another, it visually implies that the other is somewhere behind it in space. Progressive series of overlapping lines help to develop a sense of volume in a drawing, even if it otherwise has very little to indicate perspective. Try incorporating overlapping lines into your drawings; small details like skin creases or interlocking surfaces of the body add up to help your figures appear more dimensional.
The contour lines overlap each other in this quick drawing, creating depth.
One approach to drawing foreshortened figures is to draw 'into' the page. We start with the nearest part of the figure, then move on to somewhere further back, allowing our first set of overlapping lines. Step by step we move to more distant parts of the figure, until we finish on the furthest body part.
This contour drawing was created by working 'into the page' – going from the nearest thing to the most distant. Whilst you don't have to draw this way, it is a useful tactic for managing complex situations of proportion and space.
Drawing with Contours
Contour lines help us translate a three dimensional subject into lines on a flat sheet of paper. The forms of our subject may lack definitive edges, for instance, through being round, or very soft (such as fluff or hair), and we have to convert this into line. Often this is through observation, and tactile sense of the subject.
This drawing contains a variety of contours and cross contours.
Contour lines differ from cross contours, which are used to describe volumes by sculpting around them. A contour line is there to record a perceived edge or undulation of some kind, by following its direction, rather than its volume.
Contour lines (red) are drawn for edges. More subtle ones follow the direction of tendons, or more prominent skin creases. The small scar on the thumb is created by raised skin of a lighter colour. Cross contours (blue) are different, as they sculpt form.
There are different ways we perceive edges. For instance, outlines and overlaps help us clearly differentiate between objects or parts of objects. However, there are other things we can look for to add more contour information.
Occlusion shadows are thin shadows that appear line-like. There are created when two volumes are pressed together and the gap between their edges hosts a tiny shadow, as light cannot easily get in. They may also be formed by creases and folds.
Here overlaps are indicated in purple, and occlusion shadows are in green. The hand is pressed against a table, creating an undulating line of an occlusion shadow.
As we reach more subtle details to draw as internal contours, our knowledge of the subject pairs with our observation. A lot of the details we see don't have defined edges, but we can observe small changes in colour and light that tell us where they are. For instance, you may instinctively have a feel for where to draw the tendons on the back of your hand because they catch the light just a little, and you know where they are. It is important however, to really focus on what you see, or you will end up drawing a symbol of that subject. How does your observation connect with the tactile sense you have for what you are drawing?
Contour in Drawings
This drawing by Ingres shows how outlines contain the figures. The line weight is heavier on the outside of the figure thanks to multiple passes, whilst lines used for internal contours, created by overlapping and interlocking forms, are lighter. Note that he drew a couple of early versions of the hands below the current ones; this lighter initial drawing shows a simple initial contour.
Jean-Auguste-Dominique Ingres - 'Studies of a Man and a Woman for "The Golden Age"' (Source: The Harvard Art Museums)
The contours in this drawing by Schiele show a number of layers of successive overlap as the figure recedes into the page, pushing the idea of foreshortening. In places, such as the sock on the top leg, the lines cross over, but as we travel up the figure, we can see one leg pass over the other, the bloomers and skirt overlap the upper body, leaving the head sitting behind everything. Overlap even helps to inform the tilt of the head as the nose sits in front of the hairline.
Egon Schiele – 'Reclining Woman with Raised Skirt' (Source: New York MET Open Access)
This drawing by Delacroix shows a diverse use of contour. Around the figure, but especially the arm, we can see outlines, which interlock and overlap as they define more of the anatomy. Internal contour lines show more anatomical indications such as the inside of the shoulder blade, and bones of the elbow and forearm, as well as the creases of the fabric around the legs. These differ from the sculptural 'wrapping' of cross contours around form, such as the short lines below the shoulder blade or on the top of the neck. As loose as this drawing is, each line records a piece of information.
Eugène Delacroix – 'Crouching Woman' (Source: Art Institute Chicago)
Key Points to remember about contour:
- Outlines are a specific type of contour that contains as subject.
- Overlaps are created by one line passing in front of another.
- Contours describe edges or undulations, and their direction, whereas cross contours sculpt these features out.
Over to You – Observing Contour
Recommended Materials: Anything you like to use for line drawing. Pencils or pens are especially good.
Exercise 0 – Continuous Line Warm Up
A continuous line warm up is a good way to loosen up, and try to create different qualities with your lines. Take a pen or pencil and some scrap paper, and draw one long line that fills up the page, using as many different forms to the line as possible. Avoid doing the same thing twice, and invent as much variety as possible.
Continuous line warm up
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Exercise 1 – Blind Contour Drawing
This exercise is an excellent way of warming up and tuning your sense of observation. When doing this exercise, follow the contours of the figure very slowly with your eye, drawing along as you go, whilst not looking at your drawing. Only glance down briefly if you hit a dead end and need to reposition your pencil. Resist the urge to look as much as possible – this will likely result in a wonky drawing, but try to compare the line work to something you would ordinarily draw – what feels different?
Blind contour drawings often fall out of proportion, or get a bit wonky. Don't worry about this, just focus on looking.
Variation: For extra challenge, perform this exercise with your non-dominant hand. This slows you down significantly, and can yield interesting results.
This drawing was done with my non-dominant hand – usually I'm left handed, so I used my right.
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Exercise 2 – Contour Drawing into the Page
This exercise is best done with a foreshortened figure. Identify the closest part of the figure to you, and start drawing the contour. Slowly work your way through from the nearest point to the most distant. The last thing you draw should be the furthest away. You can look at your page this time, but try to keep it to a minimum. Each line you draw should be a single, continuous action, so take it slow.
This drawing some done using a similar process to the step-by-step of drawing into the page above.
Variation: If you want to try a more challenging version of this exercise, try drawing an interior or outdoor space this way, starting with objects nearest you, and slowly working into the background.
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Exercise 3 – Internal Contour Drawing
In this exercise, you are to focus on drawing contour lines internal to the figure, and avoid touching the outline of the figure. If your line does meander to the outer limits of the figure, try to make yourself venture back in. This is good practise for becoming less reliant on outlines.
Outlines are excluded in this drawing. I've only drawn different kinds of internal contour.
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>> Watch the Week 02: Contour main lesson HERE (Student & Life Tiers)
>> Watch the Week 02: Contour demo videos HERE (Student & Life Tiers)
>> Read the Contour & Negative Space inspiration blog HERE (All Tiers)
Find links to the whole Tutored Life Drawing Course HERE
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