The contours of the head are definitive, enclosing the features of the face within a nearly perfect oval.
Perhaps this was a reference study for a painting, and Ingres was simplifying the shape of the portrait for maximum effectiveness in the final image. Their shapes are so nearly symmetrical that one surmises the likeness is less naturalistic than it is an idealization of the model. His darkest lines encircle the head, hair, and neck. The variety of pressure he exerted with the pencil is worth noting. In Portrait of Madame Paul Meurice, née Palmyre Granger, he drew with characteristic precision. With respect to line quality, as with all aspects of drawing, Jean-Auguste-Dominique Ingres was one of the most sensitive artists who ever lived. Portrait of Madame Paul Meurice, née Palmyre Granger (ca 1845– 50 graphite on paper, 22 x 17 5⁄8) by Jean-Auguste-Dominique Ingres Finely Modulated Contour Indeed, Schiele rarely supplemented his drawings or paintings by modeling with light and shadow. If a draftsman has this understanding of the elliptical design that forms take when rotating in space, there’s little need to embellish a drawing with value.
#Examples of contour lines in art skin
Anything darker would have appeared obtrusive and compromised the impression of youthful skin tone. (It may not even register in reproduction). Notice how delicately he drew the contour of the foremost girl’s jawline as it curls toward her ear. When Schiele adjusted the force of a line, it was for good reason. Second, with the same economy of effort, he was able to expertly imply the fore-shortened shapes and features of each figure’s head. This resulted in long, unbroken, and assured contour lines. First, while drawing, Schiele kept his hand on the paper with minimal interruption. The girl’s extended lower arm is just a touch broader than her upper arm this aids the illusion that it’s projecting toward us. The impression of overlapping forms is crucial to the drawing’s three-dimensional suggestion.
#Examples of contour lines in art series
Nonetheless, he charted a convincing series of interwoven shapes that define and connect the two figures. Schiele didn’t noticeably vary the wiry line quality. Two Women Embracing (1918 charcoal on paper, 18 1⁄4 x11 3⁄4) by Egon Schiele Uninterrupted ContourĪ purer example of a contour drawing is Egon Schiele’s Two Women Embracing. Also, accenting the contours of the knee and lower leg appears to bring those forms forward. In addition to the use of overlapping lines, this is another effective way to suggest form without adding values. The light source was from our right, so generally, the contours facing that direction were drawn more delicately. Contour lines are used to note placement and position of other prominent landmarks - pectorals (muscles covering the front of the ribcage), ribcage, rectus abdominis (abdominal muscles “abs”), pubes (pelvic bones), knees, tibias (shin-bones) and ankles are all indicated. None of these landmarks is more important than the center line of the torso, for a light notation of its contour informs the viewer of the abdomen’s direction. Sometimes students focus on the exterior shape of the figure and are hesitant to go inside. Overcuts in the lines suggest transitions where forms connect and overlap, as at the hip or the insertion of the upper arm into the torso.Ī number of interior contours are noted as well. Contours are drawn more lightly toward the arms, and more forcefully in the legs this distinction helps to establish a sense of weight in the lower body and gives the lyrical pose its gravity. The line changes direction and pressure as it follows the undulation of the model’s gesture. The first thing you may notice about Large Standing Figure with Raised Arms is that the figure’s outer contours describe rhythmical movement. Large Standing Figure with Raised Arms (charcoal pencil on paper, 72×24) by Jerry Weiss Outer Boundaries, Inner Landmarks