This book is about drawing; about the experience of drawing and seeing drawings; and about the possibilities of extending our traditional concepts concerning the parameters of drawing Robert Kaupelis This is also a book which has been written by somebody who has knowledge and skills which come from being both a very experienced teacher and Professor of Art and an acclaimed artist - see the note about his background at the bottom of this post. This book was first published in just prior to his retirement as Professor of Art at New York University with a paperback edition published in Since publication, it has been used as a standard text in colleges and universities across the USA. Indeed one of the people commenting on Amazon says there are few books about drawing available which are suitable for use with university level students but that she recognised some of the exercises in this book as ones she herself did in college. While most art teachers have continued to teach drawing according to precepts of the 19th century, the very nature of the discipline has changed and expanded. To ignore this fact is to exist with your head in the sand.

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Experimental Drawing exercises Blind contour drawings I had been feeling my work had been literal and not expressive enough. I had not been feeling confident for a while, since starting Exercise 2.

I read online a post by another student that she received feedback about how we should be using the book Experimental Drawing by Robert Kaupelis. I had not touched any of the books from the reading list yet, and decided it was a good time to start. I started reading, and was only partway through the first chapter and I was already really impressed.

I had been saving backs of envelopes received in the post. I always liked the texture of them and now have a mini collection, so now I know what to use them for. One of the best lessons I learnt from the book when doing blind contour drawings, is imagine the pen on the paper is actually tracing the image you are looking at.

It would really well with the drawing of the easel. One exercise I found handy was tracing an image, which thought you be more thoughtful of the marks you make. Doing the tracing, I realised how much there was in the image. There was a lot of short marks, confident in their approach.

You then appreciate the thought that had gone in to that. It was easy to tell me and the artist was in two different stages. He is confident and you can tell the marks are second nature to him. I am however at the beginning. I enjoyed the detail that was put in to it, and it appealed to my own style.

I found this a lot more useful that what I was expecting, I may repeat this in the future if I ever lose confidence. I moved on to blind contour drawings of myself.

I make a point of avoiding drawing self-portraits, no idea why. So, I decided it was time to take this on and do a series of blind contour drawings of myself.

The first drawing of me looks nothing like me. I could not see myself at all. The second drawing was a hundred times better, it actually looks like me, and beyond that, you can see my character. The third one was not as strong, I used brush and ink instead of pen and I think that reflected in the drawing.

I decided to do a couple more, but keeping in mind tracing the contours of my face with the pen. I decided to change paper to see if that was causing any issues. One thing I did not contemplate which seems so obvious now is how I was feeling in myself when working, and how that affected the work. The first two drawings were when I was feeling hot and needed a shower to freshen up.

My persona seemed dark or defeated in the drawings. The first drawing was a singular blind contour drawing while I had my glasses on, which felt uncomfortable and I think the emotion translated well.

The second drawing is a combination of three drawings, inspired by the ghost drawings section in the experimental drawing book. The first drawing was in orange marker pen, then I used biro, and then gel pen. My pose changed slightly in each version, it looked messy, I believe this because the poses was so similar.

This drawing looked dark and freaky to me. It was this point I decided to shower and freshen up, and did more drawings. You can see a stark difference. You can tell I am happier! The lines are softer and not as aggressive, but I would like to try continuous line blind contour drawing next and see how they differ.

I found these a lot more fun, and freeing! I ended up studying areas of my face as well, I found that easier than my whole face. It was at this point I decided to do the 25 drawings of hands exercise in the Experimental Drawing book. Link below:.


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Experimental Drawing: Creative Exercises Illustrated by Old and New Masters


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