Project Title: Negative and Positive Shapes of a Plant Sprig

Project Description: This project explores the fundamental drawing concept of negative and positive space by focusing on the silhouette of a plant sprig. Rather than starting with the object itself, students are encouraged to shift their attention to the spaces around and within the subject—the negative shapes. By drawing the plant through the lens of these surrounding voids, participants develop greater accuracy, awareness, and abstraction in their observation skills.

Through close looking, proportion plotting, and the use of sight-size techniques, students begin with the negative spaces and work their way into defining the positive form of a selected plant, such as an oak leaf, thistle, or similar specimen with an interesting outline. Emphasis is placed on identifying “trapped” and “open” negative spaces and using them as compositional building blocks.

This method helps break away from symbolic or preconceived drawing habits, allowing the subject to emerge through a mindful, shape-by-shape process. The result is a striking A3 or A2 composition that celebrates the natural rhythms of plant structure and the power of spatial awareness in drawing.

Whether you're a beginner or an experienced artist, this project serves as a foundation for seeing and drawing more clearly.

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Task 1: Write five words that describe the character of your plant:

Five Words to Describe the Shape of My Plant
(Subject: Thistle sprig)

• Spiky

• Jagged

• Angular

• Bold

• Irregular

(Subject: Fern sprig – you can substitute your plant of choice)

• Wispy

• Serrated

• Curved

• Delicate

• Tapered

Task 2: Create a Negative and Positive Shape Drawing capturing the character of Form of your plant sprig:

Negative and Positive Shape Drawing

For this drawing, I selected a thistle sprig because of its striking and sculptural silhouette. I began by carefully observing the plant, focusing not on the spiny leaves themselves but on the shapes of space between them. Using an A2 sheet, I plotted the size and orientation of the overall shape with light sight-size measurements using a long-handled brush.

I then directed my attention to the negative shapes—the “trapped” spaces between the thistle’s spines and the broader open spaces around the form. These shapes reminded me of jagged shards, stretched triangles, and odd polygonal forms. Drawing these abstract voids helped guide the contours of the plant itself, which gradually took shape on the page as I continued.

Drawing Process Summary:

• Planning & Plotting: I started with visual measurements and rough marks to place the thistle correctly on the page.

• Start with the Negative: Focused first on the shapes around and within the plant before drawing the plant itself.

• Venture from a Starting Point: Worked out from the central stalk and moved outward, shape by shape.

• Use of Alignments: Frequently used vertical and diagonal alignments to ensure accurate spacing and scale.

This process helped me see the plant as a series of abstract forms rather than a known object. The act of observing space as shape was both challenging and rewarding, allowing a deeper understanding of how form is defined by its surroundings