The key to this drawing, for Richard Bolton, was the shapes of the windows The car was beaten and bent, so the artist could have arranged them to suit himself, but he chose not to. He concentrated on nothing but the outline drawing of the car and once that was right, he began to establish some values to give the correct planes to all the pieces of metal. The windows in this drawing are an example of when it is necessary to draw very precisely around objects rather than roughly suggesting them. Where the weeds covered the car, the artist left some areas undrawn: so long as the focal point of the drawing—the windows—was established. everything else was less important and needed less detail.
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