After working on the texture exercise in Project 1, I wanted to look at how different artists portray texture in their 2D works. In the past I have experimented a lot with physical texture in my paintings, how layering paint an applying paint can create a texture you can touch on the finished painting. However, until this exercise I hadn’t thought in great detail about how to create visual texture, or the illusion of texture in a 2D piece of art.
Artists like Ralph Goings take texure to an an extreme hypertexture with the concepts of photorealism in their work:
In Ralph’s diner, great detail has been used to produce a photo qulaity representation of the different textures. As I struggled with shiny objects in my own exercise it is particularly interesting to see so many different objects with shine in this painting. The way he uses very definite highlights on objects like the diner stools makes me realise I have tried to blend too hard and so my highlights are not clear enough.
Painters like Van Gogh use texture in a very different way:
(Vincent Van Gogh Olive Trees 1889
Oil on canvas 29 x 36 1/2 in. (73.66 x 92.71 cm) (canvas)
Minneapolis Institute of Arts The William Hood Dunwoody Fund )
Van Gogh not only uses texture to help show the actual texture of the trees with his brushstrokes but also the texture and strokes of the paint give the painting its energy. This painting with a very flat texture would not show the emotion behind the painting in the same way. I feel like this example of creating texture is something I am more likely to incorporate than the photorealism style of texture. For me texture adds an emotional value to a painting and Van Gogh is one of the best examples around for this type of emotional product.
Sources of Information:
This exercise was all about experimenting with texture, I did so using a variety of different materials in my sketchbook. Details of which can be seen here.
Overall, I am fairly satisfied with the results but I also feel I have a lot more experimenting to do in this area. The frottage was an interesting experiment with mixed results, some of the textures didn’t show well at all with the graphite and paper I used. The sketches themselves again are mixed. Some of the textures I feel I captured well like the softness of the wool but others I feel I was concentrating too much on making a sketch that looked like the object instead of just focusing on the texture itself.
I learned that sometimes you get better results by narrowing in on one small aspect of an object rather than trying to look at the object as a whole. I feel I got better results with the orange skin when I did this and took time to look really closely and feel the texture rather than looking at the whole fruit. I also tried some new mediums like a new ink and new water soluble pastels.
I don’t think I really took enough time to feel the objects and their textures before drawing them. I concentrated on too much what the texture looked like rather than using a mix of senses to get a feel of the texture before trying to draw it. If I were to repeat this I would try to draw what I felt alongside what I saw. In fact this is something I think I will try very soon.
I stepped out of my comfort zone slightly as I do usually portray texture with layers of paint and so this made me concentrate on the 2D representation of texture. It has also made me research more about texture in paintings and drawings and how different artists show this. I do need to put into practice and experiment with techniques I have read about more.
I think this exercise is helping to improve my drawing and alongside the first exercise on emotions my drawings are becoming more expressive rather than just flat copies of what I see. This is something I plan to use more of in the future. I now need to focus my research on textures and apply some of these techniques in my sketch book. I would also like to repeat some of the drawings focusing more on how an object feels rather than just looks.
When I started this exercise I was a little unsure of the direction to go in but now I feel like I understand more of the importance of texture and how to show it in drawings and paintings but also feel I have a long way to go!
We were asked to collect a selection of objects with different surface textures and experiment with depicting the textures in our sketchbooks.
The first object was actually a wool hat but I concentrated on the texture of just a section of the knitted part. Using pencil I wanted to try and get the repetitive pattern of the knit but also show the irregularities in the texture as parts had been stretched and twisted slightly. I then concentrated on just one strand of the wool to try and capture the softness and cable like qualities. Again zooming in further the final two wool sketches are using different types of graphite sticks to concentrate on just the softness of the texture.
In contrast, my next object was a hard plastic button, as I had struggled with the hard plastic nature of the lego brick I wanted to try different ways to get this quality in 2D. Again I tired to use different materials to capture the hard texture, pencil was first and again I struggled with this. I then drew around the button to get the exact shape and used charcoal sticks to focus on the hard outline created by the button. The third drawing was using a black ink pen and simple cross hatching and the fourth section were experimental drawings using a mix of pencil and pastel, this time focusing on the shine element.
The third texture was a soft piece of cloth. Again starting with pencil I tried to show the soft pillowy texture with a very quick outline drawing. Using some acrylic paint I then focused on the detailed texture the cloth made when itself was used to apply the paint. I like the effect this produced so tried to copy it using some soft grey ink and a mixture of firm and soft brushes. The final drawing in this section was experimenting with some new water soluble pastels to see if I could portray this soft texture.
The final item was a metal key. Again I wanted to try and concentrate on the shine as I didn’t think I had done this well earlier. The top left drawing is using watercolours and I found this difficult to get the shiny texture and so switched below to pencils and ust concentrating on the cylinder of the key tried to get this shine to come through. The final two images are focusing on the end part of the key which when you touch you can feel the squares pressing into your skin. To show this I used ink and the actual key as a stamp and then I used these shapes underneath to do a ‘walk the line’ type drawing just using a black pen.
My final experiment (for now) with texture was using a frottage technique:
I used a thinner piece of paper than my sketchbook paper and a soft graphite stick to create an impression of different surfaces. The surfaces were: a key, wooden floor, terracotta tiles, lemon zester, plastic clothes peg, wool rug, metal cupboard handle and a brick.