4. Space - Still life

The purpose of this exercise is a focus on man made objects within a still life composition. I chose a stone chalice, ceramic vase, a metal milk jug and a small metal shot measuring jigger. Their shapes were simple, yet together they created an interesting silhouette. I also liked at there was a contrast of materials which would add to the intrigue of the shadows and reflections I could capture. To keep things cohesive, I picked objects that were similar in form. Once I had my objects, I used a black background against the wall for the backdrop and placed them on a white page of my sketchbook.

Arranging the objects was like solving a small puzzle. Some were grouped closer together, while others had a little more space to breathe. To make things more dynamic, I closed the curtains and added a light source from one side, which cast dramatic shadows. This part really got me thinking about how light and shadow work together to create depth and atmosphere.

I redrew the scene three times, each with a different medium.

First, I used a fine liner pen, which felt precise and sharp, though not very forgiving.

Then I switched to a soft graphite pencil, which allowed me to play with tone and texture in a much subtler way.

Finally, I tried charcoal, which was the most expressive and bold.

Each medium brought out something different, and I found that changing tools forced me to think about the scene in new ways.

To get started with each drawing, I mapped out the composition by lightly sketching the objects and working out how they fit within the picture plane. I focused a lot on the negative shapes between and around the objects because they were just as important as the objects themselves. I also zoomed in to avoid too much empty space. For the pen sketch I began filling the surface with hatching lines, letting the forms and shapes develop. It was a really satisfying process, layering long and short marks to create texture and tone, and seeing the objects come to life through the contrast between light and shadow.

As I added details, I became more aware of how the lighter areas of the paper could be left untouched to show where the light was hitting the objects. This subtle contrast made the forms feel more three-dimensional. By the time I finished, each drawing was full of overlapping lines and rich tones, and each one had its own distinct personality.

Looking back at the three studies, I noticed some clear differences. The fine liner drawing was controlled and crisp, with a strong emphasis on line, but it didn’t allow much room for softness. The graphite pencil study felt gentler and more refined, with smooth tonal transitions. Charcoal, on the other hand, was the most dramatic and expressive. I loved how bold it felt, though my favourite was the graphite as the tonal shifts really made each shape almost pop off the page.

This whole exercise gave me a much deeper appreciation for the balance between positive and negative space. I also started to notice how objects relate to each other in a composition and how light and shadow interact to give them depth. What really stuck with me was the idea of revisiting the same subject multiple times.

Overall, this process taught me to slow down and observe more closely, not just the objects themselves but the spaces around them. It’s a simple concept, but I now have the appreciation for it’s importance.