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Creator: Robert Heinecken

United States, 1931 - 2006

Publisher: Apeiron Workshops Inc.

Title: Poloroid Drawing Triptych/ 2. In deference to the practitioners: Krims, Locks, Samaras and Sicilia
Date: 1978
Medium: Polaroid with text, middle piece of triptych
Credit Line: Gift of Robert Heinecken
Accession Number: 1981.0063.0014
Inscriptions:grey areas, and only along existing lines. You will quickly see how your strokes “draw” and “color” that particular photo. Check all the effects. Use them-or avoid them; you are now in control. Since the drawing process alters the color development in the areas touched, it is best, for most effects, to wait until the developing process is underway. The lightness or darkness of the subject matter must be considered in deciding when to start the drawing process since lighter colors are more fluid than darker ones. One very effective technique for fooling the eye very subtly and achieving a very strong drawn effect is to distort the colors and sizes of easily related objects. This effect is seen most dramatically in the eye balls, headlights, trees etc. Pushing the colors against each other creates a darker sharper image edge. An individual, aesthetic judgment will be required for the decision to move color from light to dark or vice versa. Sometimes a mediocre piece can be greatly improved by creating a totally drawn effect. Your artistic instincts are needed in this are and they will develop as you become more familiar with the medium. Fig. B. Poloroid Drawing in progress
The primery [sic] visual/mental key to the photographic image versus the drawn image is the exactness of color or realism of the photographic object. If it is exact, your brain says, “Its a photograph.” In Poloroid drawing, you disturb its exact physical color. Your brain then sees the object as non-photographic, or “drawing”. Usually a slight alteration, mearly [sic] breaking up the sharp clear color of an object, will take it from “photograph” to “drawing”. When these two are mixed, your mind receives both messages and clicks back and forth translating and interpreting this information. The conscious confusion of this can be ignored but the subconscious or subliminal confusion continues to exist. This can create a strange fascination for the picture. heavy drawing also blends colors together, creating streaking and effects that are totally drawn and belie the other photographic aspects of the picture. With a little luck and/ or skill, you can shift a certain colors from one area to another. the photo is then interpreted by your brain as a “drawing”. It is usually preferable to work with existing colors in order to give your drawing a more natural look. Portrait Poloroid drawing requires a full understanding of instant drawing principles and lots of practice. Follow natural lines always. Hair is the easiest part to draw well. Darkly shadowed hair is the best left photographic since it lends depth. Skin can be treacherous. it is usually wiser not to risk a great photo by over-working it. If you wish to try, work

Description: Polaroid of woman’s inner thighs with colored pencils and text