Blind vs Slow Contour: A Side-by-Side Comparison Exercise

Object Drawing Lessons

Contour drawing trains observation by tracing an object's visible edges without shading. This exercise compares two modes side by side: blind contour, where you draw without looking at the paper, and slow contour, where you look mostly at the object but may glance at the page. You will use one shared object reference, two drawing areas, and a reflection box to record differences in line continuity and accuracy. The goal is not a polished artwork but a clear comparison of how each mode affects your line and your looking habits. Work at a comfortable pace and keep your tool consistent across both drawings.

Practice materials: Printable downloads are not available for this lesson yet. Use the instructions and four exercises below.

Set up the comparison plate

Choose one object with clear, simple edges, such as a mug, a shoe, or a folded towel. Place it at eye level so you can see its contour without moving your head much. Prepare a single sheet divided into two equal drawing areas and a reflection box at the bottom. Label the left area blind contour and the right area slow contour. Use the same pencil or pen for both drawings so line quality differences come from your looking behavior, not from the tool.

Define a convention for line placement before you start. For this exercise, treat the object's outer boundary and any clear internal edges as contour lines. Draw one continuous line where possible, and do not lift the tool unless an edge truly ends. X-height is not relevant here because you are not writing letters; instead, judge line continuity by whether the line breaks only at real edge endings. Letter styles and handwriting vary, so do not compare your line to a font or a model line.

1. Place the object at eye level and divide the paper into two drawing areas plus a reflection box.
2. Label the left area blind contour and the right area slow contour.
3. Choose one drawing tool and use it for both areas.
4. Write the object name and the date in the reflection box header.

Draw the blind contour first

For the blind contour, fix your eyes on a starting point on the object's edge. Place your tool on the paper and begin drawing without looking at the page. Move your tool at the same pace as your eyes travel along the edge. If your eyes slow down at a corner, slow your hand too. Do not lift the tool unless the edge ends. If you lose track, pause, re-find the edge with your eyes, and continue from where your tool stopped. The drawing may look distorted; that is expected and useful for comparison.

Keep the blind drawing in the left area only. Do not correct it afterward. The purpose is to record what your hand did while your eyes were on the object. When you finish, note in the reflection box whether the line stayed continuous and where it broke.

1. Fix your eyes on a starting edge point and place the tool on the paper.
2. Draw without looking at the page, matching hand speed to eye speed.
3. Keep one continuous line and lift only when an edge ends.
4. Stop when you have traced the main contour, then note line breaks in the reflection box.

Draw the slow contour second

For the slow contour, use the same object and the same tool. This time, look mostly at the object but allow brief glances at the page to check placement. Move slowly and deliberately. Trace the same edges you traced in the blind drawing. You may adjust the line if it drifts, but keep adjustments small and visible so the comparison stays honest. The slow contour should show more accurate placement and fewer unintended breaks, though it may still differ from the object because contour drawing simplifies edges.

Keep the slow drawing in the right area only. When you finish, compare the two drawings side by side. In the reflection box, record differences in line continuity, accuracy of proportions, and how often you looked at the page. Use simple checkable observations, such as the number of unintended line breaks or whether the object's width looks wider or narrower than the blind version.

1. Use the same object and tool as the blind drawing.
2. Look mostly at the object and glance at the page only to check placement.
3. Trace the same edges slowly and keep adjustments small and visible.
4. Record differences in continuity and accuracy in the reflection box.

Compare and reflect

Place the two drawings side by side and use the reflection box to answer three questions. First, count unintended line breaks in each drawing. A break is unintended if it does not correspond to a real edge ending. Second, compare the overall width and height of each drawing to the object using a simple ratio. For example, if the object is about 10 cm wide and the blind drawing is about 7 cm wide, the ratio is 0.7. Third, note how often you looked at the page in each mode. These observations are checkable and do not require judging artistic quality.

Remember that contour drawings are studies, not finished artwork. The comparison is valid even if both drawings look rough. The reflection box should contain specific notes, not general impressions. For instance, write blind drawing had four unintended breaks and was narrower than the object rather than blind drawing was bad. This keeps the exercise focused on observation and line behavior.

1. Count unintended line breaks in each drawing and write the counts in the reflection box.
2. Measure the width and height of each drawing and the object, then compute simple ratios.
3. Note how often you looked at the page in each mode.
4. Write specific, checkable observations rather than general judgments.

Worked example

A student draws a mug twice. The blind drawing has five unintended line breaks and measures 6 cm wide. The slow drawing has one unintended line break and measures 9 cm wide. The actual mug is 10 cm wide. Compute the width ratios and state one comparison observation.

Four practice exercises

Common mistakes

• Looking at the paper during the blind contour. Keep your eyes on the object and accept a distorted drawing. The blind drawing is a record of eye-hand coordination, not a correct copy.
• Using different tools or paper areas for the two drawings. Use the same tool and equal drawing areas so differences come from looking behavior, not materials.
• Correcting the blind drawing afterward. Leave the blind drawing as drawn. Corrections erase the evidence you need for comparison.
• Writing vague reflections such as good or bad. Record counts, ratios, and specific observations, such as three unintended breaks or width ratio 0.8.

Self-check rubric

• Both drawing areas are labeled and used for the correct mode.
• The same object and tool are used for both drawings.
• The blind drawing was made without looking at the paper.
• The reflection box includes a count of unintended line breaks for each drawing.
• The reflection box includes width or height ratios computed from simple measurements.
• Observations are specific and checkable rather than general judgments.
• Valid alternative line styles are accepted; the rubric judges continuity and accuracy, not a single universal line appearance.

Questions and answers