The fundamental act of drawing is the use of the lines in motion, whether they are straight or curved. The four basic lines of “straightness,” “curvyness,” and “inverseness” are the foundation of the art and are the basis of every drawing. By using these lines with precision and the correct spacing between them the artist is able to create a believable and natural impression. In the art school the “standard” position of these lines is the right hand side, and since that is what a student most easily practices, the use of straight lines is the most crucial to learn. The use of the lines of “curve” for the sake of an art is only necessary in cases when the art of the artist is not very good, or when the artist is looking at the viewer without any intentions to convey the image that the lines express, such as during a painting. The “inverseness” of the lines expresses the contrast of light and dark, giving the impression that something is dark and something is light. By doing this the artist is able to convey an unusual image with its colors. Finally, one must be clear about when to draw lines. A good student should be able to draw the lines of “curve” when they are looking at the side, or side-on, or when they are facing away from the viewer.
How is it made? How can an artist make their work look natural?
The first step in the drawing process is to draw the line, then start to sketch. The first line should have a smooth and well defined curve of light and dark. It can be drawn only when this curve has been identified as a light line and a dark line. With that in mind the artist should find a subject of the drawing, and start to sketch. The sketch should look interesting to the viewer, and there should be some form of contrast of light and dark that the artist should use to show the relationship between light and dark.
Since each sketch should be based on the first drawing the artist will have less time to think and concentrate on the drawing. If the sketch looks like a good fit for the subject then the pencil may be left unused, and the sketch made in the same manner as the first drawing. If it does not look like a good fit the artist will continue sketching until a good fit is identified. If that good fit is identified then the sketch is made of a different subject than the one previously drawn.
The idea of a good fit