I was surveying the goings on of Flatland below, and encountered these lines. It could have been one line folded in on itself or, more likely, two lines cooperating with each other. Whatever it was, it must have been hungry. I knew it could sense my presence, through gravitation or other invisible forces. It seemed to be concentrating on me, totally ignoring the thin, wild line that was scurrying across its maw.
The double outline of the woman’s face gives the viewer the opportunity to see the face turned slightly toward the viewer (three quarters profile – see yesterday’s post) or looking across the page (full profile).
Blind drawing (i.e., drawing without looking at the paper) works very well for ‘outside’ contours. That is, with practice, one can get very good at rendering skylines, landscape horizons and outlines of people’s faces. However in the case below, I tried drawing a face in three-quarters profile. This means contours inside the outline must be made visible. It is very difficult to reposition the pen point without seeing where it goes.