Part 2 Project 4 Still life Exercise 1 Still life using line

I am amazed at how long it takes me to brood over composition ideas and to come up with a plan to work with. To get some inspiration, I browsed through Expressive Drawing by Steven Aimone (Aimone, 2009). One work which particularly influenced me was Inside of Devious Tree 1, 1992 by Magdalena Abakanowicz (Aimone, 2009, p.159) This artwork consists of two vertical bars centrally placed with a white rift down the middle. On either side of the rift fibrous assertive lines vigorously twist and entwine to create a dynamic form which appears in flux. On studying this artwork, I fancied creating textural surfaces which also appeared dynamic as if moving out from a central fissure. I then went on to study the work of Kocot and Hatton, 21 September - 29 September 2005, 2005. (Aimone, 2009, p. 129) This entire artwork is made up of two horizontal strips of closely drawn vertically situated lines - some are energetic and undulating, whereas others are more-or-less straight. This creates a restful and yet highly energized matting of two horizontal bands. I read extracts from the chapter on creating equilibrium through using asymmetry and symmetry. From reading these sections, I thought of playing with a design that had elements of symmetry to it in the placement of the subjects, but had other asymmetrical elements to create a slight tension.

Because I absolutely love the drawing, Driftwood, by OCA student, Carol Smith, I found myself looking for similar items to include in my still life. A few weeks ago, I found a section of interwoven fibers of bark from a palm tree. Its linear quality really inspired me and I kept it in a zip-lock bag for future use in a drawing. This morning the Beninoise lady I buy my groceries from gave me a gift of four chilli peppers. When contemplating this composition, I thought of seeing what the internal structure of these peppers looked like. I was delighted with the outcome as the seeds and contrasting chilli pod edge had a decidedly linear quality to it. I then decided to juxtapose the two together; the fibrous palm mat and the cut open chilli pepper.

While playing with composition with my husband’s camera, I noticed that the shape of the fiber had a similar curve to the peppers. I thought that the palm mat would create a highly detailed linear background to the sweeping curves of the pepper. The difference between the intricate circular seeds and plain central strip of the pith of the pepper, would contrast well with the hairy fibrous lines of the matting. I completed a few sketches to see what layout would suite the subject best.

Preliminary Sketches

I tried using differing marker pens and dip pens to see which would create the type of line necessary for the subject. The marker created a line which was too predictable for my liking. The Mombay ink in my fountain pen created a more sinuous line, but could be erratic at times. When washed with water this line gave a more blue hue than the marker or the Energel pen I tried. I found that the Energel pen worked really well for the palm fibers, whereas the fountain pen created a smoother line for the chilli seedpods. The Energel pen also created a more grey wash when I applied a brush of water to it. I decided that it would suite my composition well to use two tones of ink to differentiate the difference in tonal and line quality of the two chosen subjects.

Ink Qualities Explored

Unfortunately, the photographs I have included don’t give full justice to the composition as I was only using them to help me come up with a successful composition, so they are horribly out of focus. By the time I had finished my drawing, my pepper was drying out, and the lighting altered, as I had to photograph it under artificial lighting. However, I think they give an idea of what I was working with.
This exercise had me immersed in the task of trying to use line and slight washes to depict the subtleties and complexities of the lines before me. I so enjoyed this exercise as it challenged me to look and yet to use lines expressively. I would study a line and then try to emulate it with free sweeping gestures. Hard lines I softened by the odd sweep of a watery thin brush.
 
One area where I had to pay particular attention was the region between the two peppers where the shadows cause the lines to become implied, by the negative shapes becoming a darker tone to the actual fibers. I found this area and the areas of matted fibers the areas that I had the most fun drawing.

Final Study

On completing the drawing, my husband and I decided that I needed to work the seeds a little more to help to draw them out. I played with a few black thin lines, but found them too heavy. I then tried to use a thin grey aqua marker marker. This seemed to do the trick. I also added a few more wispy lines I had missed in the bottom section of the matting. Overall, I am satisfied that I have accomplished what I desired to create – a drawing that celebrates the similarities and differences between the palm matting and the inner details of the chilli pods.

Works Cited

Aimone, S., 2009. Expressive Drawing. New York: Lark Crafts, An Imprint of Sterling Publishing Co..