![]() ![]() ![]() If the sausages run parallel to one another, we can assume that in the next instant, the top one will roll away, giving the impression that we've been caught in a frozen moment of time. Part of what contributes to the believability of an arrangement of forms is the sense of stability that is presented. When doing this exercise, it helps a great deal to lay the sausages out cross-wise - that is, in opposite orientations, so they lay perpendicular to one another, instead of parallel. If you hold it from its middle, it will sag on both sides.ĭon't move ahead until you can feel it in your mind, that this form has real weight to it. ![]() If you pick it up from one end, it will dangle. It's no longer just a 2D shape, but a 3D object that can be lifted, moved, thrown and dropped. You're imbuing a flat shape with volume, with weight, with solid form. In the previous exercise, we focused on contour lines that run perpendicular to the flow of our sausage form, but we can run them in whatever direction we like - though some are more effective than others.Īs you complete this step, think about what it is you're doing - you're not just drawing lines on a page. Contour lines run along the surface of a given form, and in doing so, they describe how that form turns in space. Note: You may notice that these contour lines are a little different from what we used in the previous contour line exercise - but in fact, they're essentially the same. Next, just like in our organic forms with contour curves, and even in our dissections, we add contour lines to give the flat shape a sense of volume and form. ![]()
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