D R AW I N G P R O G R A M

Fundamentals Phase II:

Contour Lines

OVERVIEW
In this lesson we will focus on the lines around a shape, in this case a male nude, and see how they
function. We will take a look at varying the line weight around a form as well as wrap some topographic
lines around the arm.

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 D R AW I N G P R O G R A M
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1
 D R AW I N G P R O G R A M
Fundamentals Phase II:
Contour Lines

ASSIGNMENT: CONTOUR LINES

The object of this assignment will be to introduce you to the idea of containing forms–arms, legs,
torso–properly with the right line weight.

Part 1: Watch videos of Jeff demonstrating these concepts.

Part 2: Utilize provided handouts to do exercise.

1) Advanced students: You can actually try laying-in the figure and bringing it up to the
level I am at.

2) Intermediate students: If you fit into this category, maybe simply lay-in the arm, and
utilize the topographic look.

3) Beginner students: Focus on putting tracing paper over the drawing and simply
wrapping the lines. Later come back to this drawing, and give it a try.

Part 3: After you have completed this exercise, grab some nude reference photos, and put tracing
paper over them to do topographic lay-ins. You can then execute freehand lay-ins from
these. Just a thought.

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1
 D R AW I N G P R O G R A M
Fundamentals Phase II:
Contour Lines

- TIP -
Here we have an initial lay-in
of a male back view. Notice
around the contour form of the
arms, legs, and other areas, I
am always fluctuating the line
as it contains the forms. You
will not see this as much as you
will invent it. A heavy, dark
uniform line around the form is
clumsy and has a tendency to
dumb down the form.

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 D R AW I N G P R O G R A M
Fundamentals Phase II:
Contour Lines

- TIP -
When you study this contour
drawing, take special note of
the subtlety involved. Con-
tour specifically means the
line containing the form.
That form could be an arm,
leg, head, torso, or any other
form for that matter. The only
artist/teacher I remember
emphasizing this principle
concept was Harold Speed in
his book, “The Practice and
Science of Drawing.” It is a
dry read but well worth it.
Take note, also, of the variety
in value as I pass around the
forms. Remember, you will
not see this on the model or
photo but will most likely
pick it up from observing
great drawings or a a very
knowledgeable instructor. I
had to stumble over this one
by observing drawings of the
instructors and advanced
students at the school I
attended.

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 D R AW I N G P R O G R A M
Fundamentals Phase II:
Contour Lines

The above illustrates the idea of wrapping topographic lines, similar to those found on maps, as a way of
helping you understand the complexity of a form. Here we are focusing only on the arm. I have also shown
a planed version of the arm. We will get further into planes in Phase II. Don’t worry too much if some
of these concepts don’t fully make sense. We will be approaching all of them from many different angles
and analogies. They are bound to “click” at some point. As I always say, just continue to “push play.” That
is the most important thing. If you quit, God forbid, all bets are off. Just stick in there. I know some of
these concepts will be a bit dry, but not everything can be ice cream with chocolate syrup and sprinkles.
Sometimes, you’ve got to eat your veggies first.

Preserving the Traditions of the Masters

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 D R AW I N G P R O G R A M
Fundamentals Phase II:
Contour Lines

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 7
 D R AW I N G P R O G R A M
Fundamentals Phase II:
Contour Lines

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 8
 D R AW I N G P R O G R A M
Fundamentals Phase II:
Contour Lines

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 9