When I got the idea of filling the flowers in with hashes, I was probably thinking of Michelangelo’s Study of a Mourning Woman. I’d made a copy of it in 2017, and one of the most important lessons I learned, while making copies in general, is that you have to know what you’re looking at.
When I tried doing the line-work for my flowers, I realized I didn’t have a clear idea of what they looked like if they had volume. It’s tricky because they’re imaginary. I have the freedom to make them look however I want to but it also has to make sense. I mean it can be easy to miss when my mind cheats and makes the contours move a certain way because the lines that represent them look prettier that way. When adding hashes, it became more obvious that the flowers in my had couldn’t actually work that way… or something interesting must be happening to explain the shape of the outlines.
Maybe it’s the weather… but my head turned to pudding… or as the cliche goes, the work wasn’t “speaking” to me… For some guidance (and maybe some ideas), I took another look at how Michelangelo represented the Mourning Woman.
There are some moves that are very familiar because we see them everywhere in illustrations and cartoons. I imagine many of us used these moves as children when drawing rudimentary representations of household objects, clothes or even people.
Above, I’m looking at the edge of the sleeve, where there’s more light and no shadow between the threads. In real life, we don’t see the total absence of shadows but we do see a contrast, and that’s what this move creates for us. To apply this move ourselves, we need to know where the lines are between light and shadow, while remembering that each line follows a given contour which coincides with some perspective.
Same goes for the depiction of the edge of a fold. The lines, above, follow the contours of the lines or threads which follow the curve of the fabric, and where the lines end creates the path of another line, the path on which the light follows.
Below, the move is a little more sophisticated, and it’s something I hadn’t noticed before. As with the other moves, there are multiple contour lines which individually move in a curve, while the place of each curve varies along a path of a second curve moving in another direction, but the second curve isn’t represented by the lines ending. The lines continue, so the flow of contours continue in both directions.
And finally, below, I’m looking at the straight lines which are more for effect than posterity. It underscores the direction of the hand, which counters the downward direction of the bottom of the dress. It also adds a stiffness or a stillness to the area, which contrasts with the folds and fluidity of other areas. I borrowed this move for some of my flowers.
My flowers are represented in three stages of maturity: before they open, their being newly opened and their wilting. I borrowed the straight lines for the flowers which are not yet opened.
First, I made a carbon copy of just those flowers and then experimented on them. I began with the bottom right flower and tried using straight lines, just as it’s done in Study of a Mourning Woman. This didn’t work, because having lines calls attention to where you don’t have lines, especially where the lines end. It makes it look like there’s a lot of light in the middle of each pedal. It also makes it more childlike and playful and too much like it’s an abstraction. In a Study of a Woman in Mourning, it was for effect, and I realized that’s not what I’m doing here. So I extended the lines in the flower at the bottom left. The lines follow the contours of the flower so they curve in places but they also maintain the freshness of new flowers as their curves are minimal and there are no signs of aging (or softening and eventually wilting).
Looking at the whole picture, I noticed I may have a problem with how this flower overlaps with an opened flower. Would it be too many lines?
I added to the carbon copy and experimented with those two flowers, and yay, there aren’t too many lines. But in the original, the colors of one object change when overlapping with another, I thought maybe I could make every other line blue where the flowers overlap with the vase, so I tried it… and no, it just doesn’t seem necessary, and if it’s not necessary, it’s too much. Also, using the same move on the opened flower made it look a little too stiff.
Here’s Flowers II again.
And here’s a close-up of where I made changes.
To be continued…