Plane and Contour in Figure Drawing
Plane and Contour in Figure Drawing
When setting out to draw the figure, thinking about form, and the planes that wrap around to shape that form, can help to develop a strong, three-dimensional quality in the drawing. Contour lines are used to initially “map” out the topography (or planes) of the figure. And it is important to remember that each of these planes has a distinct value, because each is hit by light at a different angle. It can take some practice to learn to identify these planes. Once you’ve trained your eye to recognize and differentiate between planes on the figure, one of the best ways to start defining figurative form is through the use of directional hatching. Most people refer to this as “cross-hatching,“ but I like to make a distinction here. The two are related, but slightly different.
When I refer to directional hatching, I am talking about lines that follow the relative direction of the contour (fat, skin, muscles, bone, etc.). Your hatched lines can follow these directions with intent. Imagine an ant crawling across the abdomen of the model. The ant would not travel in a straight line; nor would he be free of any bumps or pot holes while strolling across this tundra. In fact, it would be as though he was traveling over a vast, unique landscape, carved out by years of erosion.
He would encounter a long axis around the pelvis, only to be met by the pelvic bone or a fold of skin, which would stop him and suddenly change his direction. The abdominal muscles would be like a series of rolling and undulating hills he would have to traverse. Your lines (and hatches) can follow these same paths, these same changes in direction, and give a better sense of the fullness of the form you are trying to represent. Cross-hatching comes into play when you go back and try to see where there are “breaks” or other shapes within the contour shapes you’ve just defined. Lay the lines over the initial lines as you discover new shadows and new smaller planes within planes. This will make your drawings feel more sculptural and heavy.
Notice on the figure shown here how the lines change direction as I find a new plane.
If you are having trouble with the idea of planes, it can help to note how there are directional changes across the planes of the objects in the room. Identifying the planes in simple objects, such as chairs and walls, is easy because they are flat and the edges are sharply defined. Using directional shading and cross contour in drawing these is good practice, and is also important when included in your figure composition.
Try doing some drawings of simple objects and pay attention to the changes of plane around their surfaces. With more complicated objects, it can be useful to imagine carving them out like a sculptor, cutting away one surface at a time.
Also remember that just as you can vary the line weight of a defining contour line, you can vary the weight of your hatches as well. Experiment with a lighter touch for more subtle areas of value and put more pressure on your lines where you might have a deeper shadow. Mix it up, but always remain keenly aware about which direction the skin is wrapping, or how that muscle is bulging, or how that hard edged elbow bone is changing the direction of the planes as it pushes out. By developing this awareness, you will be able to create beautifully modeled forms that leap off the page.
When setting out to draw the figure, thinking about form, and the planes that wrap around to shape that form, can help to develop a strong, three-dimensional quality in the drawing. Contour lines are used to initially “map” out the topography (or planes) of the figure. And it is important to remember that each of these planes has a distinct value, because each is hit by light at a different angle. It can take some practice to learn to identify these planes. Once you’ve trained your eye to recognize and differentiate between planes on the figure, one of the best ways to start defining figurative form is through the use of directional hatching. Most people refer to this as “cross-hatching,“ but I like to make a distinction here. The two are related, but slightly different.
When I refer to directional hatching, I am talking about lines that follow the relative direction of the contour (fat, skin, muscles, bone, etc.). Your hatched lines can follow these directions with intent. Imagine an ant crawling across the abdomen of the model. The ant would not travel in a straight line; nor would he be free of any bumps or pot holes while strolling across this tundra. In fact, it would be as though he was traveling over a vast, unique landscape, carved out by years of erosion.
He would encounter a long axis around the pelvis, only to be met by the pelvic bone or a fold of skin, which would stop him and suddenly change his direction. The abdominal muscles would be like a series of rolling and undulating hills he would have to traverse. Your lines (and hatches) can follow these same paths, these same changes in direction, and give a better sense of the fullness of the form you are trying to represent. Cross-hatching comes into play when you go back and try to see where there are “breaks” or other shapes within the contour shapes you’ve just defined. Lay the lines over the initial lines as you discover new shadows and new smaller planes within planes. This will make your drawings feel more sculptural and heavy.
Notice on the figure shown here how the lines change direction as I find a new plane.
If you are having trouble with the idea of planes, it can help to note how there are directional changes across the planes of the objects in the room. Identifying the planes in simple objects, such as chairs and walls, is easy because they are flat and the edges are sharply defined. Using directional shading and cross contour in drawing these is good practice, and is also important when included in your figure composition.
Try doing some drawings of simple objects and pay attention to the changes of plane around their surfaces. With more complicated objects, it can be useful to imagine carving them out like a sculptor, cutting away one surface at a time.
Also remember that just as you can vary the line weight of a defining contour line, you can vary the weight of your hatches as well. Experiment with a lighter touch for more subtle areas of value and put more pressure on your lines where you might have a deeper shadow. Mix it up, but always remain keenly aware about which direction the skin is wrapping, or how that muscle is bulging, or how that hard edged elbow bone is changing the direction of the planes as it pushes out. By developing this awareness, you will be able to create beautifully modeled forms that leap off the page.
Keep Developing Figure Drawing Skills
If you found this lesson from Ed Hall useful, you might also like to take a look at his lesson Figure Drawing Proportions. Also be sure to check out the lesson on Line and Contour in Figure Drawing.
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