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This delicate cross contour drawing helps to communicate the bumpy surface of the shell. Note how the shell pieces that are furthest away from the viewer are thin and light, whereas those that are closest are darker and thicker. Note also how the direction of the contour lines relates to the shape of object that is drawn, with lines projecting outwards from the centre of the shell.
A contour drawing shows the outlines, shapes and edges of a scene, but omits fine detail, surface texture, colour and tone (‘contour’ is French for ‘outline’). According to Wikipedia: The purpose of contour drawing is to emphasize the mass and volume of the subject rather than the detail; the focus is on the outlined shape of the subject and not the minor details.
A cross contour drawing contains parallel lines that run across the surface of an object (or radiate from a central point), such as those that appear on a topographical map or a digital wireframe. The lines can run at any appropriate angle (sometimes at multiple angles) and may continue across objects and into the background. Cross contour drawings typically follow the rules of perspective, with lines drawn closer together in the distance and further apart in the foreground. In this type of drawing, the illusion of three-dimensional volume is created entirely with line.
When we first picked up a pen or pencil and started making marks on paper, we began with line. Whether self-taught, through trial and error, or guided by others, we learned how line defines form, creates structure, divides a frame, traces contour, creates tonal variation (cross-hatching, for example) and leads the eye from one part of a work to another. Initially a mechanism for getting outlines onto paper – identifying edges – we begin to applaud lines for their own merit: celebrate their presence…whether a quiet flick of charcoal on paper or a streak of graphite.