Guercino
Variations of the contour can create a sense of movement and light in a drawing
In this Guercino pen and wash drawing contours, created with a range of lines and marks, are moving across and around the figure.
The variety of surfaces, tactile sensations and ‘tracks’ of fast movement they conjure up make the angel a plausible form
Strong cast shadow on upper part of head moves head back and links to tone ( cloud) behind The torso and a passage of dark behind are linked.
Passages of tone and dynamic movements of edges are linked across the image. Foreground and background, ‘figure’ and ‘ground ‘ are linked up.
Edge of the wing on left formed by a line then a brushed tone.
Edges are treated with variety. The silhouette edge is sometimes defined by line and sometimes tone.
The cast shadow of arm on left creates a contour on the arm. This shape is a small version of the large sweeping shape of the wing
Dark and light are carefully managed against the contours of the volumes they envelope. A rhythm of a shallow ‘s‘ form is used throughout the drawing.
A passage of tone is carefully rendered and linked down the arm, along the pectoral muscle and in to the torso.
A shadow continues along the length of the form and does not fragment and so lose the illusion of a volume .
Rapid pen marks around the drapery create a sense of volume and a feeling of swirling movement.
The drawing is full of fast marks , some are linked to volumes and some create depth but also record energy and imply movement. The ‘sweeping ‘ marks upward and around the figure are meaningful because other marks convey information about surfaces and forms
Firmer pen marks for firmer textures ( edge of wing, shadow under jaw)
How surfaces may feel is responded to by the pressure and speed of the mark used.
Variations of the contour can create a sense of movement and light in a drawing
In this Guercino pen and wash drawing contours, created with a range of lines and marks, are moving across and around the figure.
The variety of surfaces, tactile sensations and ‘tracks’ of fast movement they conjure up make the angel a plausible form
Strong cast shadow on upper part of head moves head back and links to tone ( cloud) behind The torso and a passage of dark behind are linked.
Passages of tone and dynamic movements of edges are linked across the image. Foreground and background, ‘figure’ and ‘ground ‘ are linked up.
Edge of the wing on left formed by a line then a brushed tone.
Edges are treated with variety. The silhouette edge is sometimes defined by line and sometimes tone.
The cast shadow of arm on left creates a contour on the arm. This shape is a small version of the large sweeping shape of the wing
Dark and light are carefully managed against the contours of the volumes they envelope. A rhythm of a shallow ‘s‘ form is used throughout the drawing.
A passage of tone is carefully rendered and linked down the arm, along the pectoral muscle and in to the torso.
A shadow continues along the length of the form and does not fragment and so lose the illusion of a volume .
Rapid pen marks around the drapery create a sense of volume and a feeling of swirling movement.
The drawing is full of fast marks , some are linked to volumes and some create depth but also record energy and imply movement. The ‘sweeping ‘ marks upward and around the figure are meaningful because other marks convey information about surfaces and forms
Firmer pen marks for firmer textures ( edge of wing, shadow under jaw)
How surfaces may feel is responded to by the pressure and speed of the mark used.
