I have modified my Spherical approach to continuous line from the method I described in my Continuous Line Blog post of 9 July 2014, which did not quite reflect the reality I was seeking.
I have kept the idea that when you draw out of one SIDE of the paper you need to return at the opposite SIDE at the corresponding point, so that the pattern matches vertically and after colour sequence the colours also match if you pull the paper round into a tube shape. This is similar to the equator on a globe of the world matching.
Previously I had said that when going out of the top of the drawing you also need to return at the corresponding place at the bottom. I was correct to say that the colours would not match, which would be equivalent to the poles on the globe of the world not meeting, but the treatment of the lines needed to be modified.
I realised that the bunching effect of the top being pulled together totally separately to the bottom being pulled together was fine regarding separate sets of colours but matching the line patterns from top to bottom was the wrong approach.
So, when I go out at the TOP now I need to come BACK IN AT THE TOP at the corresponding distance from the other end of the top. Similarly if I go out at the bottom I come back in at the bottom. You could then imagine that folding the picture vertically down the middle would mean that both pattern and colour sequence would now match at the top and bottom respectively (don’t actual fold it and spoil the picture ! ).
I recently drew the following for a demonstration/workshop at Stainbeck Arts Club in Leeds. I started drawing the line a couple of inches in from the top left side and did a few rolling curves diagonally down from left to right, followed by several exits and returns to the picture – initially out at the lower right side and back in at the lower left side, then down and out at the bottom left and back in at the bottom right.
I later tried some “shark fin” curves and a couple of large jagged sequences.
All the time I tried to draw the line cleanly through existing shapes (avoiding going near previous junctions) and being aware of areas I had not visited much. Finally I needed to work out how to get back to my start point without spoiling the composition too much (here going out and back in can be handy).
I hope you can check the route of the line through the whole picture fairly easily. I then applied my Colour Sequence to produce the picture at the top of this post.
The first stage is my usual alternate overdraw of the line (if you are overdrawing a section as you go out of the picture you need to continue to overdraw as you re-enter, or if not overdrawing going out it’s not overdrawing when you re-enter). See my post of 10 September 2014 for the full ALTERNATE OVERDRAW process and my post of 27 September 2014 for the COLOUR SEQUENCE process.
I have used a series of 6 colours from Pale Yellow through greens to Prussian Blue which I have tried to work out in steps of tone. This is partly to highlight the overlap effect of continuous lines and the natural depth of the abstract. As always, there is choice of direction of colours – light to dark or dark to light. Here it seemed best to have the single lightest area at the top and several darker areas across the lower part of the picture. The picture also has an Optical Art look about it.
Printing the picture in Monotone is usually a good way of checking the steps of colour and light to dark. So here it is.
I also produced another similar abstract for the Demonstration at Stainbeck Arts Club to show the Spherical approach with a different flow of lines and colours. I had coloured the drawing with a sequence from Yellow through Reds to dark Brown.
Here is the Monotone of this picture.