Do you think it is easier to suggest three dimensions on man-made or natural objects? Try to explain your answer.
I found it easier for the man-made objects, because they tended to have more regular shapes. Maybe my crude hatching technique was less disturbing when the objects’ shape was clearly defined – I’m comparing the shades I made on the maraca balls, and those I made on the round champignons. It worked much better on the simple ball-like shape of the maracas. But it is possible that it also worked better with pencil (maracas) than with fineliner (champignons), which produces marks with much more contrast to the paper surface.
How did you create a sense of solidity in your composition?
I’m not sure what is meant by ‘sense of solidity’. If it refers to the way that objects are massive and stick to the ground, I think I have created solidity through the objects’ cast shade on the underground. This worked well for the onions and the champignons, but less well for the cutting board, which seems to be somehow flying in the air. Maybe it’s a problem of background – there are no visual clues as to the surface on which the board was placed.
Do you think changing the arrangement of your composition makes a difference to your approach and the way you create a sense of form?
Yes, definitely. It was very difficult to make the champignons recognizable because only one stem was visible. I think with at least two it would have been much easier, even if the other shapes were just round and a bit underdefined, due to the similarity between the forms.
How did you decide how to position yourself in relation to the objects?
I chose a position with my eye level close to the horizon, because I found this more natural for the final drawing. Looking right from above would have resulted in a drawing where the objects would be perceived as being glued to the wall, rather artificial.