Though a grueling process, I actually somewhat enjoyed this project. I wanted the finished product to be something I was happy with, so I spent much time completing every step. I penciled very detailed lines and marks into their correct places on the grid, then used the model as a heavily relied upon example for when I went over it and shaded with the ink. I quickly got used to using lines to shade different areas, and developed more skills in the areas of hatching and crosshatching. My only dislike about the project was working with the quills and ink. The quills were hard to use and didn’t glide over the paper smoothly, and occasionally caught and sent a few tiny ink droplets flying. Also, a large puddle of ink dropped out of the quill and onto my drawing at one point, so there is now a smudge on one of the branches of the tree on the far right of the picture. Overall, I wouldn’t mind, and would actually enjoy, doing a similar project in the future.
Creating this still life has been my favorite, yet also most challenging, assignment in art so far this year. I took great detail in accurately expressing the shapes and shading of each object, and never sacrificed quality for quickness. Some of the subjects were easy to recreate, such as the bowl, box, and bottle, whereas some had more complex figures and required a greater amount of effort and re-dos in order to create a pleasing final product, like the candelabra and coffee grinder. The most difficult challenge, however, was unquestionably the task of drawing the folds and shadows in the background/white sheet. I spent much time working towards these results, had fun along the way, and am proud of the outcome.
936 × 700 Pixels
Pencil on Paper
I like this drawing because it comes off as simple and not to complex. The subjects don’t look elegant; they are just random objects strewn about in a random order. The shadowing isn’t too dark or dramatic, as is in many other still lives, which makes it look more casual and realistic.
I plan on including the almost cartoon-ish element of this drawing in my own. In my opinion, art that extends past what we can already see in everyday life and show us altered objects or “what ifs” is far more intriguing than art that exactly portrays every line and every shadow exactly as is in real life. Thus, I plan on not being too specific with each detail in my still life.
Melissa Anne Clifton currently resides in New Zealand. She is very intrigued with the artistic world, and enjoys viewing and learning from the works of previous artists. Her hobbies include studying and creating art, traveling, being lazy, and eating.
640 × 394 Pixels
Pencil on Paper
I chose this drawing because I am fascinated by the fact that she was able to so accurately portray the shadows and lights and darks despite having chosen an odd angle to view the subjects of the still life. Even though the items were viewed upon from a downwards viewing angle, she still executed the complex and overlapping shadows flawlessly.
I plan on trying, no matter how many times or how hard, to accurately demonstrate the shadows that the light source casted on my subjects of drawing. When shadows overlap, I now know to make the shared shadows darker in order to make them still seem realistic.
Jill Harrington is 28 years old and lives in Boston, MA. She attended the Nova Scotia College of Art and Design, and holds a Bachelor’s Degree in fine arts, with a major in Ceramics. She loves her job as a technical artist for a computer game company, and loves to play computer games and read or draw in her spare time.
1024 × 939 Pixels
Pencil on Paper
I chose this picture because i liked the shadowing method. The author must have spent a lot of time plotting out exactly where each line would go and what the value of each would be, which shows in how unique and detailed the various shadows streaked across the objects are.
I plan on shadowing like the artist did. He effectively portrayed the light and dark areas on the items, and even showed where light reflected. For instance, their is a light spot on the pitcher that depicts light shining upon that specific area. He didn’t shadow by using the typical smudging method; he used line value as his tool, and each shadow consisted of several tiny lines.
Karl Zipser was born in 1969 in New York City. He studied biology for the majority of his life, and got his Ph.D. in 1995. His parents had always encouraged his artistic side, and during post-doctoral in Amsterdam, he rekindled this passion by deciding to become a painter. He has participated in several international exhibitions since then, and continues to show his work to others by frequently posting new entries on his blog.
I feel my leaf drawing went better than expected. I haven’t ever been able to say that I am good at drawing, but I think this project helped show myself that I’m improving. This turned out better than a lot of my previous art. I personally like the shadowing on the outside of the leaf, the outline (which wasn’t traced!), and the depiction of the veins. I also particularly liked the value of the various lines to show which ones were more prominent in real life. However, there are a couple things I will make sure to look out for next time. For instance, the leaf had bumps and dips, whereas i showed it as being flatter. I would somehow need to find a way to make the veins and outline show the leaf in three dimensions. Also, I would stop with the shading inside the leaf sooner, as it made the drawing seem a little too dramatic and unrealistic. Too much of a good thing can sometimes turn into a bad one!