Set up a still life group and select objects that either seem to connect naturally (i.e. are similar in one way or another – shape, height, pattern, texture, function, story, etc.) or deliberately contrast or clash.
Once you’ve decided on an interesting placement or composition, think about how you’ll tackle this exercise practically as well as conceptually. How will you treat the objects? How will you make their connections apparent? How will you capture the differences between the objects? How do the objects relate to the background? What is your viewpoint? Will you look straight ahead, to the side, from below? Think about and test all these elements before you commit yourself to a ‘finished’ piece
With these questions in mind, use an A3 sheet of paper and a medium suitable for drawing line (a dipping pen and ink, an oriental brush pen or a fine black pen) to make a drawn study that shows your understanding of the forms, and the connections and spaces between the forms. Concentrate on patterns, textures and shapes. You can indicate tone but this is principally an exercise about line.
I was agonising over what and how to draw for this exercise for a while. I did a number of thumbnails and preliminary drawings to warm up.
The is my first attempt of line drawing using dip pen and black Indian ink on a A3 cartridge paper.
I am happy with this drawing but I don’t think it matches the brief.
The following are thumbnails and final drawing. The drawing is also done with a dip pen with Indian ink on a A3 cartridge paper.
I am happier with the second drawing. I like the space at the bottom balancing the blind. I decided not to draw the heavy shadow under the window sill and other shadows because I want the drawing light and clean. I do make an exception of the hold inside the tape to help showing the depth. I also thicken the bottom lines of all the objects to give them a solid feel. I think the composition works too.