Roger Conlon
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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.