Famous Artists Course Famous Ants Schools, Inc., Westport, Connecticut Creating variety in forms, textures and surfaces Lesson Albert Dorne Fred Ludekens Norman Rockwell AlParker Ben Stahl Stevan Dohonos. Jon Whitcomb, Robert Fawcett Potor Holck George Giusti ‘Austin Briggs Harold Von SchmidtCreating variety in forms, textures and surfaces We lve tn work! filed with a fscinaing varity of for (eee el eebees Tis geet ee eklen cea ‘erper ner contain, the te, nrete patter of ease ‘ances agin noth expanse of sno, the cone ted of 2 man's at next the ing sk of 9 woman's dros the Seek wet bodies of len sampeing ore the rough, rocky trallof acing ole there ean exccracn2 Hl Posty tte senza thee and lie lov a eta IC we hate {he pe foe ey they ie cole sil chat oar le “Ty will dos ch for ow ses Ao plo ike aetag experince, the art ed ae pereptona made ral forthe viewer, Few thing do more than dscpive frm a See peste cee eee ee ee ete tiny be finely conceived well eomposed and oly conic Brie isons filed tur nl the detail of form at ex ture have heen aed, Even the sips utinedsteng hate textures They ue exprewed inthe owline—in Ue sole stoke cof varied weigh that sggeas cloth the Ginn, ig ne that eats 2 Td sac, Feel it and paint i “The real arise experences his subject intely. Our goa suo recreate in ovr plete the ranaparency of gas the sft of arden of metal the flmines of & clu. To scceed, fel” the special quaiis ofthese materials and what tnskes one diferent from the other. When we pat the pave tent of a sret,« sandy beat, or a grasy lawn, we should {hink how each ofthese would fe it we were walking aeromit Fiy imagining the physical session of actual conta. We Cn leer expen the real chaser af ovr sje. We mest "el™ Sta form ana nota I we ate to paint i with conviction. “The act of applying the varios textures tothe forms iw a peuvent soutce of ich pleaire tothe artis. Now is The time tobe abuoed in eestive play with the brush, te pen, fr pencil tn bd up »eochy textute with sumbled tones of {Bice opaque, to chose wash speedily aos the paper sutface and suger ay, to pce cating stroke beside coring roe ul ace delicate, lovely hesd of hai come nto being. For ‘ony aris this sone of da happiest pats of picture ashing Texture can suggest mood Although textures are exiting to dave and paint and help eeate the appearance of things, they Rave & deeper rue Senstvelyintenpreed, they can support or suggests m0od. By playing dosen oe textures and making que. smooth suplaces predominate in a picture, we can give Ute viewer a leling of fexlm and psec, picture fill with busy, accve vextures is 2 picture filled with excitement and drama, TE we use thew te tures thowghifully we cat inluence the viewers seions 2+ ‘fective as ise do with the other tools of pictorial composition Forms and textures make the picture unique Mus of the interest that viewer finds in a pfecure is de to the individuality offs form and textares, Actually. ts this indviduatiny thor ofte cree the artist to the subjects the fit place. How monotonous our pictures would be fin them there ere only ane kind of weather, axe hind of wee, one Np ‘of doth one spe of man and woman. But fercinately there are Ailferences~ big eliferences and we should be eager to dicover tnd take advantage of them, ‘Obsereation i the key here—careful observation and selec sion, Jone a the reporter sits tough many faes and decals 0 fina the realy significant ones, the arte studies his subject to learn the really ispartant things about ft form, weet, and other details Though this knowledge he can create fn hs pie foe the iluson of what he hae sen ‘Norman Rockwell is good example of an artist who knows hove to make the most of what he obverse. We recognize every peron in his pleures as a-divince and veal human being. The Sharacters cloding, tie sctng in which we find him aid object around him are appropriate dene to the lest deta Beaune Rockivell as shed all theve elements sith care, he fs able to paint picuner wo lifelike and human that they have turned him the tie of “Ameries’s most beloved laser” The artist interprets Drawing ot painting dillrent forms or textures ells for dir tt approaches. There i no set formula for exploring the special {quality of flesh, ce bark, rock, brick, or any other sohstanee. Exch ace will ale the nubject ss oun way It 4S Your feeling fr dhe oubject that counts You do aot copy Farms and Gextres you interpret them. Sometimer the plete calls for ‘xaggeration, sometimes great simplicity. Never become 4 i ers in rendering a particule eexeure o frm char yous forget the overall elect ~the eft ofthe whale pits People hase a definite personality, and things do, too. Study your subject for the special features and qualities that are aig nifeane in expresing this pemoualit. The ate deve, often, in fhe fine that contains the form, ot in some of the details of the texte. Look for them aed draw them. Used ehoughtlly, dey ‘a help give your pictotes originality an eonvicton, snd make them more vnterening and meaninglal to your audienceewan Femous Aris Coune 4 ‘Creating variety in forms, textures and surfaces Bre abies fatiewa aly of ewe Weaterem ee eT ‘shel obec." trey b thes pec on cbf tere kere Saal a vac ing eal poser meet Gad maker I inp tl chlngs spar nde them hee hey ar peop Hee cee entie naa eee de Variety of form is everywhere “tren siniier objec ate diferent Teo article may come from i cae bhine od cach na vary ea toe oh bck ac arc ccs dierent pte, stack deen bythe Meher basa diferent bch. Tic say rery emo ne ‘estas ingetan, Te tal spe cheese oer thes and be deonld tae tea tn hs trwciion ofthe eee Sree ie pec coacpie ott to lek forts ewe of ork The serge porn ys esas ect «peal orm wih ren trarcha, snd pen We, beet st faow our es Beto Gran points wal Thee a maed iference a sructoe ic eaten ieieeap lesa feectuernea oaas ery oes rcs ee pander suvudng An cet ig aay alee el dps cama ea mate every loon wiges Ow tn shuld ales be to hms aed fe eae regen orate Rod hase ming 6 pce seatng + tall Ge val Ger bol mee eras toc pos rd throw. The ar must dveehimvel hole te ober ing the Uaacte penonaly of inngs and rece etm i eric scr sas Sod feling what ar did, a teen eo pee wh eh Papeete tonal Wieadinay. are eay gor bere Sor Feornnd tants Ak dre so IB heutn Sigiy ned onar nase ip sgh ‘Sooria ti scan fat as wits ese ‘etng at pce rb ely ee pe Soin ose an en ‘Aeson Fomous Artists Course Creating variety in forms, textures and surfaces Variety in textures We recognize an object not only by its particular form but lo bythe texte ote mnie, Things ate smooth, r00gh, ‘oft or hand In the elutes me wear, tweed fe rough and Sik i smooth —and thew diferences in textune help 0s to tell them apare by sight aswell ss by touch Tn our piccures we must crete the illusion of the surface texeures of things. The fist step in doing thks co find out the ue diaracter of the surface, Te it soft and yield Hise and resisting? Coarse or smoot? Glony oA Look ‘4 the object and ask younell auch questions as you ud fee sorace: Know i a thoroughly se sou powibly can and Aecide which characteristics ently it bes ‘When you krove the character of the texture, the next step isto decide how to show icin your plture. Here again tue? Shed they belong or thor, straight or ured, rongh ‘or smooth? ou eto tr dp ee dad, fy cloak Hoe re! tds co You'l do a beter job if yow shink hove a tescure feels» SS Sa ci Sr ar ee tay you dave i Remember tat ulthougs dhe artis relics most fon + wellarined, observing eye, he mist also take advan tage of what his other senses conuibute ‘un oh pref a ei Peo ey dons pert ome te sw he ny scr the a ing ht on atund Japon mop bath gh) wry thexon 9 omen Ais Cours Creating variety in forms, textures and surfaces perro aioe She bom eh omy od aoa “4 ayagest you experiment with texture. A way Isto pees in Fe ‘Sudy coafully the things int i every ilotration you do” AhAeon Fens ti Cou Creating variety in forms, textures and surfaces Repeated forms make an over-all texture When a single form is epeated often enough — whether it isa blade of gata leaea brick, or anyeing ee = new texture is erated. This few texture isnot simply the result of muluplbing the original form riring 2 gricy Bel for cxanaple, we da at Saran eh SE th mony individual biades of gras that are uniform in size and Shape. In some parts of the real eld the growth may be spars, in ‘oxhers very thick Inliviisl blades il vary theese and rection fof growth Aad, at a distance of more than a few fet ve could not poibly dieingaish the separate blades anyhow. They blend to fra 4 pserall ne aid testute that we recognize and draw as afl The variations we Bd fil gram are ust miki il age, where the lens grow in every direction ad are struck Uy sualght ‘oF sas in diferent degrees. tn the dense parts of the flisge the leswes form an almoaf wad texture, while i oer puts they merge in thinner, mone delicate pattern against the sky A brick wal, to, ie something diferent from the sue total of it fndividaat bricks Looking at aval, especially i bright sunlight oF deep she, we are often more aare of i overall texture than the individ bricks. 1 is this qverall extute, vather than the separate brid, he we paint wo create a consicing illusion of the wallenon Fomoet Artis Cour Creating variety in forms, textures and surfaces Texture and mood ‘Repeated forms create texture snd often the artis an use this eneure 10 em Dphasire aed surngthen his picone idea, In this flustation by Albert Donne xn Ufgtated young man f arguing with a rather indiferent gil. The feeling of con- fit beencen the two is clearly reflec in the choppy, agared texture formed by the chickens The figures are the main actor, but the sea of busy excited chickens ontrittes rently #0 the moa and interest ofthe pine ‘Novice the way Doane bas organi the chickens. ‘They form an ates of tenure that fils the lower half of dh pltvte I the ebickene had been isolate {no small groupe or formed sporty designs agains ce dark earth, the fgores ‘would not stand ont nearly so well. Dama hae tue the chickens wo suengthen the Compovcion and ie messing a the ame ime10 Aewen ero Ais Cou Creating variety in forms, textures and surfaces How distance affects texture and details Distance, we have wen, hw marked cilec on textures I an jer clo ty we cam obuere ite teeta detaie clearly tnd sharply. But the farther of the ubject i from us che less Wwe can ace of these devils. Tro drive this point home, ve might look down a street and ampare the details of the nearest building with the details of Similar ones further away. On the neaest house the rough sur {ace of the singles, or example, feu to ae but a few hones seny this textural sorlaee lost and we notice only the overall ppaten formed by the shingles, Far down the succt even ths ‘Siappeare all that i left 9 imple texttles tone, AC lose quarters asin yoom. we can observe the sie pri iple at work although dhe contrast wil not be wo great because ft the shorter disance: In a pierre, the mec of depth eam be See — Observe — Remember teatly strengthened by apping this fhe maby rece covering at ach ‘be emphanied to help Keep the cals well forward. A snatching chair on the fr side of the room might be held there by paint fing only the tone ofthe chair sve would not see ie texture ata dixance “There isan allimportantdiference between knowing & tex tue or detail is dere and secually seeing i there Weis mistake to show the texture of objects in a picture when they ate wo far of for that teat to be wen in rel Creating @ convincing illusion of anything depends just much on emiting whet you cannot v20 os i doer on drawing het you con woe,Vvomou Asis Cause Creating vor Aeon 9 ry in forms, textures and surfaces Pattern - another form of texture Reside wrlace texture there ie another kind of texte none 2s patter. This i simply the Mat. twosimensional design on a surface sich as fabric, wallpaper, ar the Tike In some pictres we may wish to emphasie pattern and sub ‘onlinste surface vere. Tn others we may concentrate wore on Srlice tentore. Sometimes ee wll emphaize both. The ex Bin iti den fo amplee below show hon these lleren clement may be sree Remember before you diaw any objet thatthe form of chat ‘ject comes rt Withow ts form, tails of textineo pattern ‘vally mean very litle. No matter what the object t,t fren tut aleays be apparent ~ eventhough yon need not give tthe ‘me eniphans unter every coniion otc ay oo {pnt ig potrsta ene dy sponte oasesHow to gain confidence in handling textures Experiment is the hey to leaaing about textures — experiment ima spirit of play. So, im your tnt adventures with textures, Jelax and lave fun. Gee out paper and illusion board and Spread out before you some familia tools and medivans— pene ad pes, brush, palette knife, opaque gray, a Hele Tarpblack fu coe poanciame va gon on ca ae ees al el aoe lores aesanl aa ee Dror ecu sass mses ecweat ee eet Sas Dieter crete coor diecast create with thick and thin pint, shore and tong ines ht eases and dark one, anid other made and eehaiques alter you have applied a vexcure, alt Back and po om leraing about. And the way t get off to poo start = forget the fel of textures sto experiment freelyass 9 Fonase Ares Cou 5 Creating variety in forms, textures and surfaces 1toaon 9 Fames At Cone 16 Creating variety in forms, textures and surfaces: Applying the principles 1 we have learned 9 fa eam be wei scene, Well take the photograph on se sour subjort. At the start, we snus study is textures ‘hacastt. The tree bark, wee, fs rough sid smooth, We observe the sooth, uniform Now les se how th Conttasts with the textural surfaces next to it. With thee points Clery im mind, se can begin to pa teatanes ow paperoe 9 tens ois Cou Creating variety informs, textures and surfaces és the ovcall tues Alvaye hoxp you textures under miroContrast in textures 920 ¥ The interest and variety of drawn texturesa Dorin Jeoy Pattern and texture make an attractive design22: Textures help make a pictureTextures handled freely and suggestivelyA contrast in approaches Aldhough the ari’ inspiration for the textutes fis pete springs fron ‘what he observes in lif, he fi no tay limited to coping what he ses, o even intexpreting it ealstcaly. The contrasting wie of texture pictures demonstrates the point In the fst pieture, done entirely in opag, the artist has interpre dhe fora atid textures much the way he Alvhough aot psinted with photographie accuracy, the sold forms of the boy and piano, aswell asthe room around them, ae consincingy real. $0 are the textures The boys curly bait the sot woo of his clathes, and his Shiny trumpet ate all ey realinie interpretations ofthe subject. ‘The seamd pice shots an entirely illerent approach. Here che ele ments are almost the same, but the artit has interpreted hear fn veryyr)re 9 temows Ai Come 26 Creating variety in forms, textures and surfacesFive artists draw an eagle In these pictures we ate very much stare ofthe highly per 7Aasen eros Ais Coun 28 Creating variety in forms, textures and surfaces Keep your textures under control In your pictures there should be pleating bal ance herween areas of texture that ate active and feds that are quiet Mall te forms ina picture fave heavily ventured ~if thete ate no ateas of ‘elie, no resting points —cvery texture competes Tor attention and the pictre looks overworked Iie clear to any viewer thatthe artist fied to keep the overall eee in mind as he worked. “The opposite error—a porery of textures creaes a weak, ushedout monotowous elle In addition to this, the forms or the materials they are made of may be hard to identify. 1 your pice subject haya great number of forme aml you feel thet sondern all their tox tren would be confusing, emember that You can simplify and sogget texture without drawing or painting every detail, Show enough texture to produce an inieresing ware i the plccre, but Hons over it. "To avoid a weak or overworked elect, plan ‘te Yarns textines ral Goeide bere hey wll 4, belore you sart drawing. Make sire each texture rlstee appropriately to the others Hie forethought and planning Hike this cam help you he sare your plesure wil have jase the fmvount of texture it eds‘sion Frou it Cou [Assignment photograph: Plote |tenor QO) Fonee Aros coun Assignment photosraph: Plote 4‘RAMOUS ARTISTS COURSE Student work Tesson 9) Creating variety in formas, textures, and curtaces HOW [0 PRACTICE AND PREPARE FOR TIS LESSON Lesson 9 showe ov you can use textures, pat tems and variety of form to enrich your pic- tures -- make then more interesting and con- vineing. “Reaeaber, though, that these things are essentially refinenexts. They can aad auch to sound araving and compoeition, SHE can never be truly effective vithout these two ba- sie ingredients of good picture making. Before you begin your arotgments for thie 1es- son, you should spend as mich tine as you can doing the FoLieving practice york: 2, White stutying this lesson, carefully ob- serve the rich variety of fos and textures that surround you in your hone or that you en- counter in your daily life. Observe the char acter of everything -- cloth, metal, stone, ‘wood, grass, earth, trees. Ae you study then, Visualize what sort of Lines or strokes of the pencil, pen, or bruch you would use co create ‘the ‘liuston of these foms and textures. IA effect, inagine yourself draving or painting ‘hese things as you study then, 2. ilext, to gain confidence in handling the various textures, 40 some expertuents ike those on pages Th and 15- Play around with eneil, ink, vash and opaque end discover the many ditferent textural effects you can create with each one. Then put your observations and. experinents together by making dravings of tex- tures thet sre close et hand, such as thoze of ‘he pail and rocks on page 7. Do other drav- inge that chow the effect of atstance on tex ‘tures (peges 8, 10 and 11). 3. You vil] also find ¢ worthwhile to make ravings like those on pages 12 ant 13, where both pattern ant surface texture contribute interest. Select your om subjects, but fol- lov the points unde in the exazples on these pages. 4. Don't Limit yourself to vorking vith real- Antic textures. "Round out your practice for thie ieceon by draving some pictures in vhich interesting textures and patterns are treated. freely ond creatively og in the exauples cn pages 25 and 26 5. The subject of this lesson is ideally Suited to the use of your sketchbook. Carry it vith you and £112 It with sketches that Te- veel how carefully you observe che forms, sur Paces, and textures of the things around you. RUE ASSIGNS YOU ARE 10 SEND IN FOR CRITICISH ASSIGNMENT 1. Using the photo on Plate 1 as Fererence, make a picture that vill shov us your abiiity to handle texture effectively, You may use a realistic approach in vhieh the ‘various surfaces or materials provide the tex- [ural interest -- or you may empnasize the ae- sign or decorative possibitities as shown on pages 12, 13, 25 end 26. Whichever way you choose 40 work, try te interpret euch materiele fs cloth, hair, flesh, vod, etc., in distine= ‘tive and interesting ways. ‘Remeaber, you may oat, rearrange, or add tS vaat you ea im the reference photo: Your picture nay be either vertical or hori- zontal. Don't make it larger than 9 x 12 inches Do st on an 11 x ak-snek SLiuseration ‘orrd, sing any medium covered in the lesacns ‘enue far. Mark this drawing -- ASSIGNMENT 2 ASSIOMENE 2. Using the photo on Flate 2 ee reference, make an opaque or wash drawing not more than 9x 12 inches on an LL x -dnch 11- lustration board. To this scene, ade Pigure wherever you wieh, Be eure it ie in correct Seale and composes vell within the picture. ‘the reference photo contains many obvious tex- Gisee ~~ don't neetcave co eubalie come oF Ae~ tentuate others to ervate variety and interest, in the over-all composition. Mark this draving -- ASSIGNENT 2. Your vork will be judged chiefly on the fol- loving points: --How veil you handle and interpret in- Aividuel textures: sallow skitwhiy you conbine various tex- ‘tures -- caphacise come and subdue others to create interest without con- fusion. ~-How veil you preserve the feeling of solid form and sound draving beneath the surface of the textures and pat- ‘terns in your picture.Student vork -- lesson 9 c-to9 IMPORDANT: 30 cure to letter your nase, address, ‘iad studout numer neatly at the lover left-hand comer Of each assignsent. Tn the lover =i comer, place the lesson number and agai gmont number. ‘Your lesson carton should contain: Asoigment 1 ‘Anoiguacnt 2 Return shipping label r11Le4 cut completely Mati thie carton to: ‘FAMOUS ARTISIS COURSE, WESTPORT, com.