Texture drawings

Within our drawing week, the last workshop was with Chetna from Print/CAD, looking at mark-making to explore our objects from our boxes. The task was to analyse and interpret the objects within the constraints of different sized boxes, using media to convey compelling aspects of surface quality. Looking at my objects I immediately began thinking about how I could zoom in on the lines within a tiny crevasse or scale out and look at the relationship between form and dense texture from a larger area.

Chetna commented on not dismissing the miniature scale of the 2.5×2.5cm squares as a reason to rush and move on quickly. Due to the compacted space it grew more important to take time, looking at the objects with a sensitive eye and translating this with an equally considered mark. Moving from the the smaller blocks I enjoyed scaling up marks to create more expressive bolder impact in the larger boxes. With my boxes I was particularly focused on variety and being able to render controlled as well as looser, more energetic records from my visual research.

Although my objects were extremely textured, many of the rough surfaces  also had very similar aesthetics. . As I carried on, it grew more difficult to make different marks however this is why I think this style of drawing was important, it pushed me to look at my objects in more depth and explore marks I wouldn’t have ordinary thought to use. It also became about using the media I had in more unexpected unusual ways. Using the transparent quality of the pritt stick I looked to create ridges and gestural marks. By pushing the glue around in different directions, when I worked back over by rubbing the charcoal, I was able to create a more 3d texture that picked up the areas of relief I was transfixed by with one of my rocks. Simplifying down to more graphic lines and shapes in some of my boxes was refreshing as it is not the style that i usually go for. However it was throughout-provoking using a symbol like a dot or chevron-like line to convey cleanly the levels and areas of depth within my highly 3dimensional objects.

When working with the white media onto the black card I had a concentrate on extracting the negative areas and shapes. I was most fascinated by the translucency given by the oil pastel. It also gave a granular mark in areas where more pressure was applied that helped to emulate the broken edges to the fragmented pieces. This negative style of drawing also encouraged me to look beyond just where the colour influenced texture but to see and understand the form beneath. I found this workshop extremely inspiring and am fascinated to consider taking these textures and incorporating them into more drawings outside of the boxes. It will be interesting to see how they will feed into and inspire my technical work. Time will tell but I feel, due to my immense interest in texture, this might become a way of working that will influence how I approach drawing and projects going forward.

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