Part 2 Project 2 Physical and Visual Texture Exercise 1 Experimenting

Experimenting

For this exercise, I completed a few studies in my sketchbook of objects of varying textures, using varying media to try to emulate the surface nature of the objects. The object which I think could create an interesting extended study is the perlemoen shell seen in the top left-hand box on this sketchbook page. The trickiest surface to draw was the curtain tassel. I chose to use ink pen to describe this texture, but I had to abbreviate the texture, as it was so intricate. Each thread was made up of intricately linked loops. For the sponge, I found that using soft chalk pastels as a base upon which to use fine markers for the impressions seemed to work quite well.

Sketchbook study of textures

While researching the depiction of textures, I was also intrigued by the exercises found in Drawing Projects on pages 66 to 75 in which they describe doing tactile studies using two drawing media taped together to make a "single unit"- such as two pencils - for about 15 - 20 minutes. This preliminary sketch is then honed and adjusted by placing darker marks in strategic areas to clarify the line of the surface. "This clarification may be tighter, [more focused] but the tightness will rest on top of, and integrate into the earlier and looser drawing process". (Maslen & Southern, 2014) I started with a pencil drawing of varying objects seen below. The teabag was the textural surface I enjoyed drawing the most for its folds and puckers. I then went on to do two studies of a bitten guava. I used two different green fine markers for the initial sketch. I then clarified some shadows and lines using a dark green marker. In order to help to pull the pen marks together, I used soft pastels to add a swath of color. I really loved the details of the grooves created by the teeth marks in the guava.

For the frottage exercise, I took a walk along the Port Elizabeth foreshore. I was fascinated by the variety of textures available on the palm trees that lined the beach. Large sections of the textures originate from differing palms. The rubbings I most enjoyed doing were of the palm fronds and the barks of the base of various palm trees. According to ArtSlant when discussing the work of Max Ernst, “Unexpected characteristics would manifest, revealing narratives that he then embellished.” (Levy, 2009) I did find that the marks I created often surprised me and I found the whole experience quite energizing. It was interesting that sometimes what I thought would make a great rubbing, turned out to be a disappointment. The pebbled pathway was one such example: it looked very textural, but most of that was created by the appearance of shadows and lights on the stones. In reality, the frottage it created was very non-descript. I found the rubbings of names written into concrete quite interesting. Their impression created a subtle area void of texture. The writing on the Jewish memorial plaque transferred really well onto paper as the marble letters had crisp cut edges.

 

Works Cited

Levy, M., 2009. Contemplating the Act of Rubbing. [Online]
Available at: http://www.artslant.com/ny/articles/show/11750
[Accessed 11 August 2015].

Maslen, M. & Southern, J., 2014. Drawing Projects. London: Black Dog Publishing.