Start to expand the drawing, so that you begin to go on a journey through the painting. You can travel in any direction, you don’t have to follow the example, but make sure you draw each form and space (no matter how small) which you come across along your chosen route.
If you feel overwhelmed by the complicated detail of the forms, relax and slow down your looking further. The closer you look, the more you will see and the density of shapes in complex areas will actually help you to compare forms more easily.
Try to forget what each form is (a hand, a face, a foot). Instead, look for curved, horizontal, vertical and diagonal lines within the forms you see. Thinking in that way will help you to see the relationship between forms clearly.
Pause and Reflect
After about 15 minutes stop drawing and take a moment to reflect on what you have been doing. What have you noticed whilst drawing that you had not seen during your first glance at the painting? A tiny space under a wrist, crisp folds of cloth almost meeting? Or perhaps you have noticed the ear peeping out from the intricately folded turban?
How has becoming aware of the precision with which Robert Campin placed details within the painting changed your relationship to the space in the image? Do you feel closer to it or further away? Do you feel as if you are outside of the painting looking into it? Or, do you feel as though you are wandering through the space, focussing on different areas as you do so?
You could discuss this with someone; have they noticed something you missed, or vice versa?