ART YEAR 8 TERM 1: STILL LIFE 9. Texture means how something feels.

There are two types of texture: actual texture and visual texture.

In all art and design, the appearance of texture is an important visual element.

10. A real or ACTUAL TEXTURE is one you can actually feel with your hand, such as a

piece of sandpaper, a wet glass, or animal

fur. All surfaces have texture.

11. VISUAL TEXTURE refers to an implied

sense of texture that the artist creates

through the using various art elements

such as line, shading and colour. In visual

arts TEXTURE is the surface quality of a

work of art. A texture is usually described

as smooth or rough, soft or hard, coarse of

fine, matt or glossy, and etc.

Texture can be created using a variety of

drawing techniques such as linear shading,

cross-hatching and stip-

TEXTURE

All of these rough surfaces are created by placing many light and dark marks close together. It is the character of the marks, however, that accounts for the many different textures. By using a variety of light/dark, nar-row/broad, hard/soft marks, any texture is drawable.

SHAPES and adding DETAIL

FORM versus TEXTURE

FORM

1. As an element of art, FORM is a shape in 3 dimensions having length, width and

height versus shape which is 2 dimensional and flat. Like shapes, FORMS can be regu-

lar or irregular.

... A circle becomes a sphere in three dimensions, a square becomes a cube, a triangle

becomes a pyramid or cone . Sphere, cube, pyramid/cone and cylinder are all

examples of 3D FORMS

2. We can create the illusion of form by understanding how

light reacts on the object. Adjusting these surfaces with tonal

values will result in the illusion of form in a drawing .

ILLUSION OF FORM:

TONAL VALUES - HIGHLIGHT and SHADOW

The combination of light and shadow creates a range

of tonal values, which then creates the illusion of form.

GRADUATED TONE

SHADOWS HIGHLIGHTS

3. GRADUATED SHADING means skilfully blending from dark to light by gradually alter-

ing the pressure on the pencil. Creating tonal values is an important skill when adding

shading to create 3D FORMS.

STILL LIFE

5. STILL LIFE is simply a drawing or a painting of objects. It is different from other

forms of figurative work in that it cannot move (unlike a figure or a portrait) and is

close to you (unlike a landscape).

6. Sometimes STILL LIFES are groups of natural objects (e.g. food, flowers, fruit, vegeta-

bles) and sometimes man-made objects (e.g. cooking pots, bottles, clothing, house-

hold items) or a combination of both.

7. COMPOSITION — every artist has to set up the group before they draw it to make it

look interesting. They will group objects rather than spread them out and they may

arrange them on a table or chair which they may include in the drawing. Sometimes

they may put a cloth or wall behind them to connect them together. They may choose

objects with different textures to make it more interesting.

STEP 1: construct the drawing with a fine outline concentrating on basic FORMS

STEP 2: add details and erase construction lines not required

STEP 3: sketch in any shadows and refections/highlights

STEP 4: add TONE from light to dark to each object to build up its 3 dimensional

FORM

STEP 5: focus on building up the TONES in the spaces between the objects and the

MARK MAKING TECHNIQUES TO CREATE TEXTURE There are lots of drawing techniques to create surface textures. Here are some

examples-

Blending: gradual-

ly changing the

tonal value

Stippling: a pattern

of dots. Darker when

closer together

Linear shading:

thin parallel lines.

Darker when close

together

Cross-hatching:

lines that cross each

other. Darker when

close together

8.

STIPPLING

LINEAR SHADING

CROSS-HATCHING

AUDREY FLACK PAUL CEZANNE

GIORGIO MORANDI

DRAWING FROM OBSERVATION

Primary source observation: drawing

something real in front of you.

Secondary source observation: drawing

something from a picture or photograph

4. VOCABULARY:

sketch, outline, wireframe, variety, overlap,

foreground, middleground, background,

inanimate, technique, media, space—negative

and positive, develop, review, modify, refine,

analyse, evaluate

12.

It is easier to keep the 3D FORM when the texture is smooth but more challenging

to obtain when the texture is rough as you have to consider the texture as well as

highlights and shadows.