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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.
Contour Drawing Exercises: Using line alone eliminates the challenge of applying tone, colour and mediums; and instead focuses attention solely upon shape and proportion. After completing warm-up activities such as blind and gesture drawings, slower, more formal contour drawings can be an excellent way to begin more realistic representations of your subject matter. Used intermittently throughout projects, contour drawings can also be helpful for the student who needs to work faster.
The angle that these techniques are applied may remain constant within a drawing, or it may change in response to the angle and direction of the forms. For example, cross-hatching may flow around the surface of an object in a similar direction as cross contour lines. These techniques are also a great way to create the illusion of texture (see our article about observational drawings).
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.