Contours and Effects -146

This is a continuation of the discussion about drawing from the previous two videos. The question focuses more closely on our thinking regarding drawing contours as distinct from drawing effects and the reasons why and when a Boston School impressionist might do memory drawings of outlines.

In Response to Kofi

QUESTION: At 15:04 you talk about drawing objects vs drawing effects. What do "objects" and "effects" mean to you? What you call subject is what I mean by object. I'm assuming you're alluding to a type of drawing where marks are used to circumnavigate an imagined conception of the subject's volumes/planes, vs drawing where marks are used to replicate shapes of value seen with the eye. Michelangelo vs Seurat. If that's the case, where would you place your drawings from memory? Lines hardly ever appear in nature, so using lines in those drawings, were you relationally measuring the contours of your imagined forms? And at 10:45 was Degas referring to lines around an imagined object, or was he referring to the flat placement of lines on the paper, derived from 2D shapes observed on the retina? What about your Holbein and Ingres studies? If you agree that Holbein and Ingres both fall into the object camp, what would copying them according to your tradition be like? You often describe the "visual order" and at 14:15 an "order of appearance". This you will have to clarify.How does drawing contours fall into that?

Kofi