After the attempts on observing and drawing various sketches of cohabitants, performances unique to community and vegetation, the next step was to identify the profiles of those studied objects. My idea of a profile was to define an outline of an object that gave a basic idea of its proportionate shape, yet it should be distinguishable. Even without detailing the accessories/features, a profile should be able to relate to the original sketch and be recognizable.

I attempted the profiles by tracing the original sketches from the previous visual and spatial representations. I started with the representation of cohabitants and performers unique to a community. Somehow, when talking about a profile, human figures are the first that came to my mind, and so, I started with the same.

I started with the basic outlines of the sketches of the performers to get a hold of the proportions before entirely filling them in like silhouettes. Also, it helped me understand the various details that were to be necessary to be shown to make the sketch recognizable. While creating profiles of the performers, I realized that the position they were in, made them far more recognizable than the cohabitants, as the latter did not have very extreme variations in their positions.

I tried the same method in the case of vegetation as well. I outlined the details of certain plants that I had sketched for the previous representations. Each of the representations was differing drastically from the other. The leaves turned out to be the recognizing feature. If I was able to incorporate it within the profile, it will be more identifiable.

What I felt while making the profiles was, that the fewer the breaks in lines were, the more difficult it was to detail the sketch; and also, the more overlaps that were observed in a person’s posture, the more it became necessary to provide details within the sketch. To overcome this difficulty, I started by providing certain gaps in between the sketch. By doing this, I felt I could figure out what I was looking at. This is observed in the sketches of the lady with the folded arms facing in a different direction. The gaps that I provided were also able to provide an idea about the attire a person was wearing.

Whether it was cohabitants or performers, I was already familiar with what I was trying to detail, but to make sure that someone else was able to understand it, I felt the need to provide more details based on the accessories an individual in the sketch was wearing, which further enhanced the understanding of a sketch. It specifically helped in the case of the sketches of the performers, since they had to have had a sense of uniqueness to them; It was one of the major reasons why they were sketched in the first place.

When it came to the profiles of the vegetation, I didn’t feel the need to provide these white gaps in all of the sketches. The sketches with enough intricacies in the leaves were self-sufficient even in the profile sketches. The leaves were interesting to draw and quite easier to make a hint of, unlike the human figures I started with.

While attempting the profiles, there were a lot of choices to be made. It was up to me to decide the details I want to hold on to, and the details I could let go of, but the sketch should be identifiable. It was easier in the case of performers because they were sketched in a particular posture, holding certain props/accessories. When it came to the profiles of the cohabitants, the gaps were able to maintain the essence of the human figures. The same technique of providing gaps also helped in some of the profiles of vegetation, where the leaves were unclear. Creating the profiles helped me understand the identifying features of a drawing.