Authentic

In these figure studies the line searches its way through the body and along its contours.  Sometimes it gets lost or disoriented and in some passages it appears to be celebrating some assurance.  This is a sensitive, inspiring page because it reflects how the mind works: in and out of certainty.  In art-making the claim that you know what you’re doing is suspect. Images that come only out of know-how are always lifeless and feel unauthentic.  What we mean by “authentic” is hard to analyze, but the recognition is unmistakable.

Drawing by Gaby Edgerton, Aquarellabe on gloss paper, 11” x 17”

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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Vary the Contour

In whatever drawing you’re working on, try darkening the outline (=contour) of the shapes arbitrarily. If it’s a figure, darken the outline of the forearm. See how that affects your perception of depth. Or press your pencil down harder when you’re outlining one side of the face. Immerse yourself in how this feels.
In the drawing shown above, the artist indicates the upper arm with a heavy line, while the forearm is drawn faintly. We immediately get the sense that the upper arm is in shadow and the forearm catches the light. She achieves this effect without classical anatomical drawing, using gradations of shadow and reflected light. But you can see that her coarse use of lines is actually based on an understanding of anatomy.
Drawing by Gaby Edgerton, aquarellable pencil on gloss paper, 17”x11”
All contents copyright (C) 2010 Katherine Hilden. All rights reserved.
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Through the Xerox Lens

To get a fresh view of your drawing, you can enlarge or reduce it on the Xerox machine. It’s best if you make a drastic change in size. For example, here are some drawings by Gaby Edgerton. She made very small studies, only about 1½ inches high. Then she took them to a duplicating machine and blew them up to about 12” high. I’m showing the enlargements here. Where before, in the tiny drawing, you could only see the general form of the drawing, now in the enlargement you can see the drama of her markmaking. Where the small drawings looked rather delicate, now you can see that the lines are bold and energetic.
Working small can be quite easy. If you see your drawing suddenly large and impressive, you may be encouraged to work with greater daring the next time, whatever size you work in.————-

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.
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