Composition in Neurographica® Part 3
Composition in Neurographica®. Part 3
Neurographica® is a completely abstract form of art. It omits the obvious shapes. Neither does it lend a sense of volume. It is, at its core, a flat form of art. So, how do we make our illustrations realistic?
A concept is a way of looking at an object from three different angles. In comparison to a one-sided view, this provides a more complete picture. When it comes to getting one's health checked out, it's common to see several doctors instead of just one. When we speak of a person, we are referring to the three components that comprise him or her: body, emotions, and consciousness. You could also say sensory, memory, and imagination, or memory, experience, and imagination. We perceive the world in three dimensions, which means that the image we see in our heads is 3D. It gives the impression of realism. If you look at mediaeval paintings, you'll notice that they flatly portray reality. They are devoid of volume. The illusion of volume was not introduced into art until the 16th century, thanks to Leonardo da Vinci. Paintings and wall carvings were then made to look as real as possible.
How is volume, or reality, expressed in a flat image? Height, width, and depth are all important factors to consider. The use of light and shadow, perspective, and three image planes: foreground, far, and middle. Closer objects, for example, appear larger, with more contrast and clarity. What is further away loses clarity, contrast, and appears smaller. Nuances are dominant in the background. Contrasts are evident on the front.
In a neurographic drawing, how can we express perspective and different plans? The basic Neurographica® algorithm is designed in such a way that it provides us with three scales of shapes by default. I'm the tiniest. Society, myself, and someone else is in the middle. We connect with the highest, the Self, and the Absolute when we draw field lines. Shapes of the largest scale can appear here. Different line thicknesses are also possible. As previously stated, the front objects appear to be larger than the back objects. The same is true for the line thickness.
The neurographic drawing's various element sizes and thicknesses allow us to see how they are interdependent with each other. This gives the image a sense of realism. Inexperienced neurographers may find it difficult to convey this volume in their drawings. It all comes down to total rounding, which is required by the Algorithm for Removing Limitations, which is the first step in the Neurographica® method's study. However, if you draw just one or two lines of varying thickness, the work starts to come alive. Because of this, experienced supervisors are always present during training. They can provide objective guidance on how to enliven a flat drawing.
With a bevelled marker, you can create some very interesting drawings. It enables the construction of a single line with varying thicknesses in different places. It depends on how the marker is directed. This naturally produces the illusion of a three-dimensional image. Here, realism manifests itself.
The fear that thick black lines will make your drawing look bad is unfounded, so don't be afraid to use them. Black is the fundamental colour. Space is also black, but there is so much divine beauty in it. If you find your drawing tedious and dislike it, drawing a few thick lines and blending them into the rest of the drawing elements is a good idea. It's a good idea to practise drawing different thicknesses of neurographic lines on the same drawing to learn how to draw realistic volumetric neurographic drawings. Just try it out. This is quite intriguing.
The unique feature of Neurographica® is that even a single neurographic line, when executed correctly, begins to work in our minds. During an Instructor course, even if you make rough or draught drawings, they will always be themed.
Why do our drawings require perspective and multiple plans? The shapes' dimensions and the line thickness have already been mentioned. Neurographic drawings enable us to establish a link between our subconscious and our external reality. We are surrounded by diverse individuals. Some of them are the closest to us. Others are simply friends. Strangers, too, and a lot of them. Neurographic works, particularly those in the Algorithm for Removing Limitations, always make it crystal clear to whom, which plan, and which environment a person is most connected. You can even make a diagnosis of an individual's inner turmoil. For instance, a sheet with a single shape in the centre. The individual is self-absorbed, believes themselves to be insignificant, and has no connection to their surroundings. How is this to be rectified? In a variety of ways. For instance, enlarge the central shape and connect it to the background, or incorporate additional shapes. You can learn more about this and how to correct an image by enrolling in the Neurographica® Instructor course, which details nine algorithms for a variety of real-world situations. Within each algorithm, several distinct techniques exist. This opens up numerous avenues for overcoming life's obstacles.
What can two distinct images convey: a flat image and a conceptual image? When one sees a flat picture, one thinks flat and does not see all possible solutions. However, his gaze is limited to what he can see clearly at the moment. When a person has a conceptual picture of their situation, they can see and capture different approaches to dealing with it. Such a person thinks conceptually, which means that he or she is capable of viewing a situation from a variety of angles and perspectives.
When first beginning to learn Neurographica®, images can be quite flat. This is perfectly normal. However, as one adds details, for example, to a single theme as part of a case, the eye gradually becomes more alert and begins to notice different plans in the drawing and different possibilities in life. Gradually, the drawings take on a three-dimensional, alive, and naturalistic quality.
A master of life is someone who understands how to construct complex but harmonious compositions. He has a talent for bringing together disparate elements into a cohesive whole.
To practise the concept, try drawing shapes of varying sizes. For instance, three circles of varying sizes. Once completed, connect them with round lines. Take note of how you feel. Join them together using neurographic lines. Again, keep an eye on how you feel. Continue drawing circles and tying everything together. Consider how you feel when the shapes are disconnected from one another and when they are connected.
What if the drawings come out very dark because there are so many thick lines?
This occurs when a person's perception is "short-sighted." In other words, he's focused solely on what is right in front of him, the things that are most readily apparent. But if you want to see other options, different perspectives on a subject, you need to be able to look at the small things. It's worth working on being more alert. It's easier to do this if you draw thin lines. Assume you've drawn everything in broad strokes. Now draw thin lines with a thin marker. For thin tools, the only thing that matters is making sure the joints and lines are as smooth as silk, with no burrs.
Don't worry if your drawings are too dark. Continue drawing. Gradually, you will begin to notice things that previously escaped your notice. The drawings will reflect this. From start to finish, the NeuroComposition course teaches students how to arrange harmonious compositions. Additionally, experienced supervisors contribute to drawing improvement through personal recommendations during study groups and group supervision sessions.
Many new Neurographica® users are fearful of thick lines because they are associated with affixing and draw the viewer's attention. Light, transparent work with almost invisible lines is what these people want. Again, the number of lines dictates the quality of the result in Neurographica®. The line represents the progress of resolving your issue. Do you want to approve a decision, or do you want it to pass unnoticed? Fear of affixing and thick lines is associated with fear of making decisions: "Perhaps it will occur without my intervention. Perhaps I'll avoid it in some way." Confidence is bolstered by the affixing, thick foreground lines. The thin lines, on the other hand, remind us that there is still a vast and diverse world around us.