|Categoria:||Libros Técnicas Dibujo|
|Descripción:||Completo Libro de Técnicas de Dibujo - 2 Parte - P. Stanyer - "The Complete Book of Drawing Techniques" - (Puede utilizarse un traductor para comprender el texto plenamente)|
|Resumen (Extraido del documento):||
106 7. 8. 6. 5.
Part Two CHARCOAL
11. 12. 10.
Part Two CHARCOAL
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 definite textural qualities to them, and they lie juxtaposed to each other to give a textural 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 composition, 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 composition, 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 present in the still life. When you are happy with your results, apply them to the appropriate 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