INTERPRETIVE DRAWING: THE ART OF ESTHETIC CHOICES

  The essence of this final stage of Sequential Drawing 2 is "interpretive" rendering. The positive/negative axis-cut design is the preparation for what follows. This background is of course, an entity in itself, but now it serves as a tool for integrating its purpose with another and making a new reality from both.

  With the completion of part 1, the axis cut shapes, a tracing of all the shape contours are made in ink--so it will not be erased during the next procedure, and it is temporarily set aside. The student then turns to an entirely new thought by creating a simple contour drawing about a subject of his own choosing.

  This drawing plus the tracing of the axis cuts will be melded together in whatever fashion and degree of complexity desired. Some or all of the shapes can be used; some can be enlarged, reduced or sectionally removed should they interfere too much with aspects of the drawing; selected parts or sections like bottom-left and top right quarters can be considered; a large circular section can be placed anywhere in the background and whatever else a clever mind might choose to employ for its useage.

  Now, at last, we're at the "nitty gritty". This final process is the amalgamation of 2 very different contours and was not easy. It appealed to adventurous realists, those who had excellent spatial orientation, who did not mind getting "lost in a maze" and enjoyed manipulating areas in unusual ways.

  The left image is the completed "axis cut" design, Part 1. Above it is a simple contour drawing of a boy. The right image shows how the axis-cut tracing from the left image above, was turned to the left. The contour sketch was placed under it. A new tracing paper was then used to redraw the new contours with as much of the axis shapes as desired. Now all was on 1 plane. (Note that less than half of the axis shapes were involved.)

  Using a light table or a window, the combined new contour was sketched on a final format for rendering. Whew! Yep! It's a lot of drawing and redrawing before the final expression occurs, but it is so worth it! A small part of the head is completed with the corner insert an example of a "broken line" linear texture appearing on the top.