![]() It helped already knowing this object well, and I really like the final drawing. On the second try, I've gone back to the outlines again. I refrained from big outlines and concentrated curves and the shadows. I used loose movements again with the soft, tilted pencil. I've observed the object for two minutes and drew for five minutes. This may be a good exercise to simplify a subject down to its simplest parts. I've memorised the handles' curvature and started drawing loosely, with no sharp edges. I've counted the holes and memorised them as a clock shape (outer 12), and a flower (middle 7). When observing the object, I've concentrated on the two bowl shapes and how they interrupt each other. I've taken the recommended colander so I'd have more negative spaces. I've used a mechanical pencil with a 2B graphite for the last two exercises. Perhaps drawing itself would give my ideas on how to show movement, memory or some kind of distortion. ![]() Perhaps it could help getting to know one's subject. I've done a similar drawing as a warm-up in a life drawing class earlier this year. This whole exercise reminded how my sister and used to play this as kids: drawing each other 'blind', for the sole purpose of laughing at it later, "you put my eye on the forehead!". The first blind drawing resembles a blurry-eyed vision, a drunken iteration almost. I prefer this blind drawing as well because the final result is exciting, like a memory of an object coming into your mind's eye. In the second try i let the shapes overlap and didn't worry about the outcome. My hands trusted my eyes more that their own sense of the paper. I intended to fill out the paper so I used my tactile senses alongside visual one, and it felt all a little futile. This one was a little disorienting on the first try. It helps simplify, and bring me closer to the true shape of the object, instead of one I "think" I am seeing. ![]() Comparing the first sheet to the last one shows that improvement.Īnother helpful thing was drawing the object in different sizes. The more I drew, the better I understood the degrees of the curvature and the relations different shapes had to each other. The top and side curves, bottom continuing almost uninterrupted into the sides, and the handle with 2 separate outlines (outer and negative space), an oval in itself but with a straight finish. But thinking like this helped me to make continuous movements while working on separate sections. I've found myself thinking like a designer again: how do I make an "icon" of this mug, how do I show this shape in the simplest vector-like outlines, and how do I fill out my A4 paper best? At first I thought, this will be my learning detriment. I've used my trusty Stabilo felt tips for this. I've chosen my simplest white mug to concentrate on the contours, but one that had an interesting curve. ![]() For this project, I had to do mostly contour drawing but the conditions around it were changing drastically. ![]()
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