Here are a few examples from each of the three artists I asked you guys to look at. Don't depend purely on what I'm providing you here, though. Go out and find images from these guys on your own and study what they're doing with their use of line variation.
Egon Schiele
Schiele was a master of line and using it to define form. In each of these examples, you will notice that he's used washes of color in places, but no shading. He didn't seem to be interested in that. Look at how he is using line variations to define the form of what he is drawing, as well as pushing and pulling parts of the figures backward and forward in space. In the top example, notice that hard, dark line that separates the two figures? Contrast that with the thin, wispy lines that define the dress worn by the lower figure.
Jean-Auguste Dominique Ingres
What do you notice about the way Ingres uses line in these portraits to place emphasis in the areas where he wants us to look or to define the form of the figure as existing in three-dimensional space? Is he using a different quality of line on the faces than on clothing? Look at his handling of arms. Notice how with the simple use of a darker, heavier line on one side of the arm and a thin, crisp line on the other side gives the illusion of form and weight. Study these drawings yourself and see what else you discover.
Zak Smith
Smith is an extreme case. It is stating the obvious to point out that all of these drawings make IMMENSE use of line variation. Your job is to study them and observe the ways that line variation creates a push-and-pull. Do certain marks or objects seem stand out to you than others? Do others recede? How was that achieved?
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