Learn To Draw XV: Texture

Linda Goin

Learn How to Draw: Variety in Form & Texture

In this article, Linda shows how variety in form and in texture provides your drawings with more interest. She
also emphasizes how little texture you really need to draw when you incorporate depth into your pieces.
Finally, youll learn how to incorporate some style into your drawings, or learn how your perception of
objects is individual and yours alone.

Observation and Interpretation

During this entire series of articles, you have been learning how to re-create three-dimensional forms on a
two-dimensional space (your paper). When you begin to reproduce texture on that two-dimensional space,
youre creating the illusion of texture rather than the actual feel of texture. And, the variety of form and
texture in your pictures will make your work successful.
Much of the interest that a viewer finds in a picture is the way the artist draws or paints the form and textures.
This individuality often draws the artist to the subject in the first place. Just think if there were only one kind
of weather, one kind of tree, and only one way of perceiving these forms how boring life would be without
variety!
But, like with composition, observation is the key. Just as a student sifts through tons of facts to write a paper,
an artist must select the really significant items that will form his picture. And, drawing or painting different
forms and textures calls for different approaches. The artist must interpret subjects in his own way, because
there are no rules for capturing the special qualities inherent in flesh, bark, wood, brick, or any other
substance.
The artist above all else interprets forms. You as the artist are not a copy machine that can spit out
replicas. You leave that to the printer. Its your job to observe, interpret, and present. Fortunately, how you
see something will be vastly different than how I see it, or how anyone else sees it. The only thing that stands
between you and professionalism is how well you handle the elements and principles of design, the way to
handle your art supplies, and the ability to know when a drawing is complete (that latter skill comes with
experience).

How Artists See Variety in Form and Texture

Youve probably looked at many paintings and drawings by this point, and you know that artists interpret the
same subject in many different ways. For example, when I discovered the following painting online, I thought
at first that it was a photograph:

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Learn To Draw XV: Texture

Linda Goin

The image above, created by William H. Hays, is oil on canvas. As you look closer at the image, you can see
that it isnt a photograph; yet, the artist is a realist and his work shows it. There is nothing wrong with realism,
as long as the artist is skilled enough to actually replicate the world around him accurately. This is the type of
art that is least interpretive, as the artist draws his subject with a keen eye to recording it as the artist sees it.
The image below, on the other hand, is a watercolour created by Giragos Garabedian. Compare the two
fishing shacks in the two different images and compare how the artists interpreted them. The oil on canvas
allows for precision, whereas the watercolour allows the artist to be more free with his colour and
interpretative whims. While you cant possibly be at the scene that the second artist painted at the time he
painted it, you have to trust that this artist drew what he saw; whereas, you almost can bet your first-born
that the first artist actually saw a blue sky and a single white cloud.

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Learn To Draw XV: Texture

Linda Goin

Both artists created moods with their tools, although the moods are entirely different. One is not wrong and
the other is not right. They merely represent how the artist perceived the variety of forms and textures in each
painting.

Variety of Form
Variety of form is everywhere, and each object has its own variety of form. This variety is what helps
marketers sell their wares and services to us, as each one is different and therefore appeals to different
people. For instance, the following pair of shoes tells the viewer something about those shoes, and in turn
may tell that viewer something about the type of person who would wear these shoes:

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Learn To Draw XV: Texture

Linda Goin

Few punk rockers or Goths would wear the shoes shown above. You would most likely see these shoes on a
businessman, and an older business man at that. Theyre somewhat conventional, yet they seem
comfortable. You probably can come up with other words to describe those shoes such as smooth, or
shiny, or some other adjective. This act of describing this pair of shoes is all part of the artists observation of
these shoes. Years from now, when you draw a picture of a middle-aged salesman and you see similar shoes
on his feet, you might remember this exercise!

The shoes above, on the other hand, might be worn by a woman who was dressed up for a formal event. I
chose these shoes to emphasize the fact that even similar objects can be different these shoes are quite
different than those shown previously, and these heels are quite different than those that a woman might
wear to work each day.

The shoes above were painted by Vincent Van Gogh. These shoes are somewhat similar to the first pair that I
showed you in that they have laces and that they appear to belong to a man. Otherwise, the colour, angle,
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Learn To Draw XV: Texture

Linda Goin

texture, and age of the shoes above are totally different than the first pair. These shoes have obviously been
worn, and despite the fact that Van Gogh interpreted the shoes with some feeling, you can still get the
feeling that the shoes were made from leather possibly hand made as well.
Van Gogh had a thing for shoes. If you Google Van Gogh shoes under images, youll discover a whole
page of shoes drawn and painted by this master. At least to this one painter, shoes provided a subject filled
with variety of form and texture!
But, many artists choose to draw human faces, and perhaps the reason behind this choice is the wide, wide
variety of forms and textures found in the face.

Compare this womans face to the face below, and you see differences in gender, colour, skin texture, and
more. Perhaps the only thing these two faces have in common is age both individuals seem to be in their
early thirties, but thats just my perception (!).

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Learn To Draw XV: Texture

Linda Goin

Each face, each shoe, each tree and every cloud has variety in form and texture and, its this variety that
gives each item its character. Its up to you, as the artist, to determine that character and to replicate the
character with feeling.

Variety in Texture
Objects are recognized not only by their particular form, but also by the texture of their surface. Objects can
be smooth, rough, soft, or hard. While you could choose to be a collage artist and actually attach textures
to your paintings, most artists choose to create the illusion of texture in their drawings. Once again, you must
determine a surface texture before you begin to draw.
Is that texture hard and resistant? Is it soft and yielding? Is it Course or smooth, or glossy or dull? Look back
over the previous images to give names to the surface texture of the fishing shacks, the shoes, and the faces.
Once you determine the surface texture of an object, the next step is to determine how to draw the texture.
For example, since youre using pencil and paper, how would you create certain textures? Would your
strokes be long and smooth or short and curved? Before you pick up a pencil, think about these problems
first. Once youve determined how you might interpret a texture, youll do an even better job of drawing it if
you think about a texture feels as youre drawing.
To think about the texture while youre drawing it doesnt mean that you need to draw every single blade of
grass or every leaf on a tree. In fact, those objects are among the many that some artists tend to overdraw.
Texture: Up Close and at a Distance
Here are some examples of objects that some artists spend far too much time with in their drawings:

You might use long, smooth strokes and blending when you go to draw blades of grass up close and
personal

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Learn To Draw XV: Texture

Linda Goin

And, you might use short, choppy strokes to indicate the same blades of grass at a distance. Notice how the
grass toward the mowers foot begins to lose its individuality. This is because distance tends to rob items of
their distinction.

Even when confronted with millions of blades of grass, the distance robs each blade of its power. In this
image of a field of grass, the only texture, really, is the lines that seemed to be created by a mower. Yet, the
texture isnt smooth what words would you use to describe this field of grass, and how would you render
that image? Would you use rough paper? If so, then how would you manage to render such a smooth sky?

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Learn To Draw XV: Texture

Linda Goin

When drawing a field of grass such as the one above, look at the tonal values rather than thinking about
each blade of grass. Look at the shadows created by clouds as well. Once you have the tonal values down,
you can then add a bit of texture by picking up some pencil with your kneaded eraser, or by adding some
stippling for darker areas in the foreground.
Another object than can be overdrawn is a leaf or leaves:

Up close, you can see the veins in the leaves as well as any imperfections. But, as you walk away from the
leaves and branches, the leaves become less distinct:

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Learn To Draw XV: Texture

Linda Goin

While individual leaves seem apparent, especially on the ground, the tree has become more of an object
with values rather than one with individual leaves. Once again, look at the tree to determine the forms you
would use to draw that tree if you squint, can you see circles, cylinders, and other forms? Use those forms to
draw the outline of the tree, and then block in your values. Commit to details at the end, and use both your
pencil and your eraser to develop those details.
John Lovett has a short and very simplified course online on how to draw trees. Basically, he says the same
thing I told you in the previous paragraph, but his final tree drawing is what I want you to see:

While the image is in watercolour, and therefore in colour the gist of the message is clear. From a distance,
you wont see individual leaves, so why draw them? The texture shown here is light and wispy almost a
barren image. Between that feeling and the colours involved, the viewer could hardly call this a spring or
summer painting of trees. This image is a fall, or autumn, image, and you can determine this from the colours
and from the ephemeral feel created by the medium. But, you still dont see a leaf anywhere, do you?

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Learn To Draw XV: Texture

Linda Goin

The brick is another often overdrawn object. Up close, the brick is full of texture, and no one brick is ever like
another.

When you back away from that single brick and begin to take in the entire brick wall, that brick then loses it
up close and personal characteristics as it works with the other bricks to form that wall. Now, the entire wall
becomes an object with its own texture.

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Learn To Draw XV: Texture

Linda Goin

The wall above is a perfect example for one-point perspective (a topic covered in the previous article).
Notice how the bricks that are furthest away from the camera lens lose their properties altogether. Even the
ones closest to the lens arent as detailed as the first brick shown previously.
Bricks are details. You draw details into a picture at the end, after you have all the forms and values down.
So, while bricks may be important to the overall scheme of your picture, the way you represent them isnt the
total picture itself.
The following image was created by Frank Fitzgerald, and its entitled, Red Brick House:

Even without the title, you would be able to tell that the house was made from red brick. But, the only way
you can come to this conclusion is through the colour and through the small white lines used to indicate
mortar. Notice that the artist did not include each and every mortar line. He merely suggests the mortar in
dashes here and there, strategically placed as though the mortar in that part of the house had caught the
sunlight.

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Learn To Draw XV: Texture

Linda Goin

The painting of the red brick house is interesting, because the artist tweaked the form of the house and other
objects within the painting to give a very individualistic impression of a country scene. You can see a variety
of form and a variety of texture throughout the painting. Additionally, the artist used pattern as a form of
texture. You can see that pattern in the red bricks, in the flow of the path through the painting, in the grass,
trees, and in the sky.

Variety of Texture and Form in Landscapes

If you were to draw a landscape, you and hundreds of other artists would now follow the path where you
find a scene that provides solid form and perspective (in other words, the end result wont confuse a viewer),
you would find forms, draw them, shade in the values, and then add the details.
For instance, say that you came across a scene like the one in the photograph below:

While the image above might seem to be filled with a confusing array of textures and forms, if you break
them down into forms simple forms you can begin to see how the image can produce an interesting
picture. The trick is to begin to see textures as they contrast with the textures that are next to them.
For instance, you can begin to see the rough bark of the tree against the smooth sky to begin to understand
the trees character. The fuzzy clumps of bush are in contrast to the angular siding of the house and shed.
Once you begin to see these characteristics and forms, you can begin to sketch out this scene on paper

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Learn To Draw XV: Texture

Linda Goin

Keep the forms simple so that you can determine the light and then add your values.

The assignment above was carried out with a brush and oil paint, but you can replicate this texture with a
pencil. Note the broad and rough strokes and dots of the shrubs compared with the smooth brush strokes of
the panelling on the house.

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Learn To Draw XV: Texture

Linda Goin

The roof above seems more detailed because its a very intricate roof that sits against a very calm and
smooth sky. If the sky had more turbulence and if it were darker, the roof would carry less detail and it would
appear less conspicuous.

As an artist, you must not only be aware of the form and texture, you must pay attention to the patterns that
you create when you draw. Note above the vertical railing on the balcony and how it contrasts with the
horizontal panels in the house. Repetition also creates patterns, and you can see repetition in the railing, the
panelling, and in the windows.

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Learn To Draw XV: Texture

Linda Goin

Many artists have problems with tree textures, so dont feel alone in your frustration. Before you add detail to
a tree trunk, make sure that you have worked all the forms and values around that tree. The tree can often
reveal its texture once you realize how that tree looks in comparison to the textures around it.
Also remember that you will spend less time on detail when an object is further away from you. Leave the
trees in the distance until you begin to feel confident about your abilities.

Assignment
You can begin to draw a landscape if youd like this week, although dont kick yourself if you can quite get
the composition right. If you want, you can carry your mat with you so that you can frame a landscape
before you begin to draw. Or, carry a digital camera if youre shy and draw at home. However, if youve
followed me to date, you know how I feel about drawing two-dimensional images from two-dimensional
photographs. Please draw from life as much as you possibly can.
The real emphasis I want to place on this weeks study is how your perception can be so different from
someone elses perception. Your perception is neither right nor wrong its simply how you see things. For
instance, take a look at the images of the eagle shown below all drawn by five different artists

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Learn To Draw XV: Texture

Linda Goin

One eagle is realistic, another uses stripes for texture and pattern interest, another is a line drawing and so
on. None of the images is wrong, and none are right. Theyre all great images that show one object in
five different ways.
What Id like you to do this week is to pick an object that has plenty of texture and try to draw it five different
ways. You can use something like a metal bucket, or a stuffed animal, or even a newspaper thats been
crumpled. Draw that one object realistically, make a line drawing, and get graphic with it with pattern.
After you complete the five different drawings, spread them out and take a hard look at them. Which one
do you like best and why? Which one was the most pleasant to draw? Which drawing frustrated you the
most? Which one feels most like you?
This exercise is one that helps you to begin to find your style. Your style will evolve as you continue to draw,
and that style is how you perceive your surroundings coupled with the style in which you draw. Once you
gain more courage about your drawings, show them to friends and relatives and ask them which one they
like the most and why. You might be surprised at their answers.
In the next lesson Ill show you how to incorporate emotions into your drawings. Until then, have fun!

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