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How to form an impression in a neurographic drawing. Part 2

How to form an impression in a neurographic drawing. Part 2


Our impressions are managed and a picture of the future we want to live is created with Neurographica®. When we look at a completed drawing that we like, we excite the neurons triggered by the topic to line up as though it is not the drawing that we are enjoying, but the objective that has already been achieved.


Organising a perspective. Concept

Neurographica® is a type of abstract art. It does not necessitate the use of apparent shapes in the composition. It isn't, however, flat art. Although we do not create illusions in our work, there must be a common perspective: some items appear in the foreground, others in the background, and some in the middle. Indeed, Neurographica® produces images that are 'transparent,' with the back shapes visible through the front. However, by grasping the concept, we enable our images and themes to enter the world of reality.

Consider two images. The first one depicts items of nearly the same size and brightness. The other incorporates a variety of items of varying sizes and a play of light and shadow. Which image would you prefer to spend more time looking at? Which one do you want to leave right away, and which do you want to go over the details in?

The concept incorporates three distinct perspectives on the same subject. In neurographic drawing, this refers to the size and thickness of lines, the brightness and number of colours, and the brightness and number of shapes.

Except for the consequence of being able to comprehend them, why do I need to draw conceptual images? A person's brain is made up of a diverse network of neural connections. Do you think they are flat or three-dimensional? This is a voluminous structure. Another thing to note: The more neural connections are made, the more complicated the whole system gets. And there is no longer any way to arrange it on the plane. Except by applying concepts, the way we do it in Neurographica® to show a complex system on a plane.

Remember the joke about having one wrinkle and it being caused by simply wearing a hat? We produce high-quality conceptual images in Neurographica® in order to stimulate the brain into more and more gyrations, allowing us to see more and more possibilities and put them into action in a timely manner. They are fundamental to our view of reality, and they are in fact a full-fledged statement to the universe.

The NeuroComposition module of the Neurographica® Instructor course teaches how to create a high-quality conceptual neurographic image that 'works'. Alternatively, if you already have a Neurographica® User Certificate, you can enrol in this course separately, if you wish.


The composition's colour scheme

Colour is a form of energy. The colours one chooses, for example, in clothes, the interior of one's home, and accessories, are often determined by one's mood. At any given moment, a person's inner state dictates whether a colour pleases or even irritates them.

Colour is important in Neurographica® both from a basic algorithm standpoint and from a psychological standpoint, i.e. how the drawing is perceived. You may persist in your urge to pick a specific colour, but when the drawing is completed, and you look at it, your first instinct may be to crumple it up and toss it away. It irritates you a great deal.

What causes this to occur? Because when we unconsciously pick a colour, our subconscious programs influence us. Occasionally, colour is picked deliberately, as in the NeuroColour module, which teaches the properties of colours and how to use them purposefully in Neurographica® to fix life problems. Or sometimes, even carefully chosen colours and their arrangement in a particular order may fail to impart a sense of joy to the drawing. This demonstrates that there are still unresolved issues in the subject. This is where the case comes in handy. With each subsequent drawing on the same subject, the colour pattern becomes more harmonious, and you grow to appreciate and enjoy the drawing. The following articles discuss the case in greater detail.


Shape-background connection

Do you believe that the presence of other people affects your ability to complete a task in your life? Should your topic be related to other people in your immediate vicinity? If we accept the fact that we live in a society, then the answer is yes. If you lived on a desert island, there would still be something and someone to keep you company, no matter how isolated you were. This, too, is an environment with which you must interact.

We connect the shape and the main composition to the background in neurographic drawings. This is how we demonstrate our connection to the environment and how we interact with it in harmony, penetrating each other. This is the point at which a great deal of resistance can arise as you draw it. It reveals your reluctance to build relationships and connections.


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