108
TEXTURED STILL LIFE
Next we look in detail at a very fine example
of a textured still life drawing. You can see
that there are many objects that have defi-
nite textural qualities to them, and they lie
juxtaposed to each other to give a tex-
tural diversity to the group, which in turn
makes the group composition visually very
exciting. To make a drawing like this you
need to select a number of textural objects,
put them together in an interesting com-
position, and place the textures in such a way
that they complement each other. For
instance, put rough against smooth, furry
against shiny, hard next to soft, and so on.
Use a window mount to frame the composi-
tion, selecting the most interesting array of
textures. Start by drawing the outline of your
objects through the window mount. When
you have completed this task, you can fill in
the textured areas.
You can construct the drawing and
establish the composition by using as your
example the Van Gogh copy of sunflowers
on page 40. Having successfully drawn the
outline of your objects in the composition,
you can now start to make the drawing. Use
mark making that expresses the idea of
texture and surface. The best way to
approach this is to experiment with marks
that might imply the textures that are pre-
sent in the still life. When you are happy with
your results, apply them to the appropri-
ate part of the drawing. In the series of
drawings shown over the next couple of
pages, we can analyse how we have achieved
this.
1a/The straw hat has many textures that
make it a visually dynamic object to draw.
The basic construction of the hat is made of
a series of lines that follow the form.
Between these lines is a series of marks,
which forms the implied pattern of the
woven texture of the hat.Part Two – CHARCOAL