Three successive tracings of the still:
- For the first tracing: trace from the print. Tape the tracing paper and print together at the top, like a hinge, so that the registration will be kept but you can lift the tracing paper to see better underneath.
If you like, tape the print to a window for backlight - you will see details more clearly.
Work with with the 0.5 technical pen. The interpretation should be very detailed.
First trace the rectangular frame of the photo - using a straight edge. Then begin to trace within the image. The lines you are drawing are called contour lines. They can represent any visual aspect of the photo: the edges of objects, contours, tonal transitions. Draw the visual elements of the print as you see them, not as you may think you know them. Contour lines only - no shading or hatching!
- For the second tracing, trace the from the first tracing, again using the 0.5 pen. Again, draw the frame first, with a dtraight edge. Eliminate the less necessary lines. Simplify lines. Get the total number of lines down to about half the lines of the first tracing. Try to get closer to the basics of the composition.
- For the third tracing, trace from the second tracing. This time, use the fine point of the black marker, which makes a much heavier line than the 0.5 pen. (Also for the frame.) Cut the total number of lines in half again - keeping only the most important, most defining ones, including the frame. What remains should be the essence of the composition.
Write your name in the lower left of each tracing with the fine-line pen.
Bring the original photo print and the three tracings to class on Thursday 4/12.
- three tracings
- first two done with 0.5 pen (fine line); third done with fine point of marker (heavier line)
- fewer lines and less detail in each successive tracing; getting to essence
- each tracing should have ruler-drawn frame
- name at lower left of each tracing