Part 5 Project 3 Experimenting and Taking Risks

In this Project I am focusing on experimentation with methods and materials.

I have decided to focus on the materials and base for my future work. I worked through my approach using my sketchbook.  This is my first page where I am documenting my initial thoughts and linkages.


I am drawn to the bougainvillea which is in my Part 1 Tropical Tourist living collage. I found the delicate flowers and then the very sharp thorns a contradiction.  I drew a pencil sketch of the plant as I was considering my options for experimentation.IMG_8753

In my sketchbook I then made a list of options for the background materials I could consider which were experimental see my photograph of the sketchbook page below.  I also used the design elements framework to brainstorm ideas.  I considered some of my source materials such as my drawings, mark making, photographs, rubbings and my yarns.IMG_8754

In my sketchbook I made a colour collage to encourage me to think about what colours I might use in the Project. This is shown below.  I also questioned myself about what threads I might use and embellishments and most importantly what I thought the emphasis might be.  As I have indicated earlier in ATV I tend to think and think and think about a piece of textile work but do not document I consider the types of issues I have documented in my sketchbook but have not written down.  Encouraged by my Tutor I am training myself to approach my work this new way documenting in my sketchbook.IMG_8755

I next considered my possible design tools and approaches and these are documented below.IMG_8757Having undertaken this documented approach and due consideration to my experimental work I next decided to make the samples based on my experimentation being the materials and mark making for the background work for Assignment 5 with the restricted colour palette informed by my colour collage work in my sketchbook.


I have put my samples into my sketchbook some are bigger than the sketchbook but that is alright.

Experiment 1  Rubbing on my procion dyed fabric using the skin of the pineapple used in the Photograph Collage of the revised Tropical Tourist (photographs in Part 5)IMG_8702

Experiments 2 a, 2b, 2c – are made on canvas which I have painted with gesso

2a – mono printing – gelliplate printing with bougainvillea petals  using textile inks using a second layer of printing

2b – is back printing using textile inks on the gelliplate of bougainvillea thorns

2c – is black and white texture using direct printing with textile ink with a rack from the dishwasher underneath


I like the roughness of the gessoed canvas and the texture it creates on the prints.

For Experiments 3 I used kona cotton to which I applied white gesso.

Experiment 3.1 – the same type of experiment as Experiment 2.1 with the mono printing using a gelliplate and textile ink with two layers.  The result was much denser and smoother with more solid colour


Experiment 3.2 uses the direct printing method with textile ink using roller brush and wire dishwasher rack to make marks.


Experiment 3.3 I used cut out paper petals larger than the real bougainvillea petals and did a light print over with textile ink on the gelliplate.


Experiment 3.4 I depicted the bougainvillea thorns using back printing using a skewer and textile ink on the gelliplate the same as for the canvas piece 2.b  I particularly like back printing as a technique because it leaves background noise on the surface which gives it a painterly effect.



Experiment 4 Next I printed directly onto COTTON fabric.

Experiment 4.1 shows the back printing using a skewer done directly onto the cotton fabric (i.e. NO gesso) it comes up really well too.  Still using the gelliplate and the textile ink as in Experiment 2b and 3.4.  Similar results so it depends how much say hand stitching one might want to do or it it was to go into a textile piece with other dyed cotton fabric for example.




Experiment 4.2 once again the real bougainvillaea petals mono printed using the gelliplate with textile ink.  Has lots of potential for hand stitch, art quilts or just quilts.IMG_8710


Experiment 5 – cotton fabric with direct free printing and mark making using cardboard edges.  I drew the bougainvillea petals and the stalk using intense block colour and then added water.  I don’t like this effect it looks basic and I much prefer the layering of textile ink or appliqué fabric.IMG_8711

Experiment 6 – Inktense blocks on cotton with water added.  I gave the inktense blocks another go using mark making and liked this better as a background fabric which could be cut up and repositioned to create more interest.E

Experiment 7 –

7.1 – Canvas with white gesso applied.  I then painted textile ink in a grid onto the surface.  This makes a bold statement.

7.2 – I took pellon (or what we call pellon in Australia) and dyed it with procion dye. It is soft and would be particularly good using needle felting or an embellisher machine

Experiment 8 – cotton fabric with back printing using a gelliplate and the back of a paintbrush. Was really just looking at how a lighter colour would look with the back printing.  It is subtle but may be good for a background fabric.IMG_8750I think that my Experimental textile samples will be very helpful for my approach to Assignment Five.

Research: Dorothy Caldwell Textile Artist

I have long been drawn to the work of Canadian textile artist Dorothy Caldwell whom I met in New Zealand some years ago.  I like the ruggedness of the work the detail of the mark making and the addition of stitch and appliqué in many of her works.  I appreciate the story behind the works. The photograph taken of the cover of a recent Studio Art Quilters Associates Inc Journal shows to some degree the scope of her work. This work A Red Hill/A Green Hill is 9 feet 3 inches x 9 feet 6 inches.

SAQA COVERDorothy recently did a series of work based on using earth to dye her fabric.  She undertook residencies in the Australian Outback and the Canadian Arctic.  Her process was to fill many small journals with images, drawings and paper dyed from natural sources thus recording fragments of the places she was studying.  Many of Dorothy’s art pieces are large as evidenced in the Cover photograph above. She references objects she finds on her walks in these remote areas and indigenous art.  Dorothy sees the stitch as very important to the mark making seeing it as a dot, a line and a texture.  The stitches are like running stitch, kantha stitch, darning and mending stitches  and she is quoted as being inspired by this Louise Bourgeois quote:

“I have always had a fascination with the needle, the magic power of the needle.  The needle is used to repair the damage.  It’s a claim to forgiveness.”  Louise Bourgeois

Her technique outlined in the SAQA Magazine (2016, No4) journal article is to first create the base cloth using printing, wax resist, and discharge and dyeing.  With the base complete she hangs the piece on the wall and continues by adding appliqué, stitching, and drawing with thread.  The work created is powerful and connected to place.

Dorothy’s work inspires me to want to travel to Outback Australia (I have never been) and see for myself the red ochres of the earth and try dyeing fabric with the earth.


SAQA Journal 2016/Volume 26, No4

Part 5 Project 2, 2.4 Develop yarn and linear concepts

I enjoyed exploring yarn development and design in Part four and in Part Five I have to employ these approaches to develop yarns and linear concepts also working on my textile concepts.  I need to develop at least six to eight yarn concepts.

I first drew some ideas in my Sketchbook influenced by the colour and nature of my hibiscus and frangipani flowers in my Tropical Tourist composition.  I was looking to use approaches that were different or built on my yarn work in Part 4.

yarn sketchbook pageI decided to paint paper with watercolour paint to form part of my paper yarn collection.    Next red acrylic paint was used on decovil and also on bondaweb this reflects the colour of my frangipani and some hibiscus and also my Georgia O’Keefe theme of red as discussed earlier.

Paint and bondawebI cut the copy paper I had painted with orange and red watercolour paint into sizes around one quarter inch wide.

Yarn 1I then finger twisted the paper using my index finger and my thumb to make uneven type twists.

These paper twists were plaited.  I like the organic nature of the twisting and the possibilities for development into three dimensional and two dimensional work.

Yarn 2I also used the twisted paper yarn to make round flower like shapes on a background of two strips of the painted paper.

Yarn 3Here is a photograph of the pieces and my colour inspiration a hibiscus flower which has finished flowering.  I love the texture of the hibiscus flower petals it is crepe like.  I was happy with the way my coloured paper yarns reflect the colour and texture to some degree of the spent hibiscus flower.

Yarn 5The next piece uses the bondaweb which I painted with the red acrylic paint and then using an iron adhered to white cotton.  I then created a frangipani stamp quickly using adhesive foam and stamped several petals onto of the adhered bondaweb.  I sewed the piece together using a machine embroidery stitch for extra texture.  This technique has endless possibilities but maybe not so much as a yarn.

Bondaweb 1My next piece uses the painted decovil which is a synthetic cardboard like adhesive on one side fabric.  I stamped the frangipani using yellow acrylic paint and then placed eyelets in the middle of each frangipani.  I was encouraged by my Tutor in Part 4 to take the eyelet designs further.  This worked alright but the frangipani was a little pale. Using the decovil means that the edges will not unravel and this could be used as a trim or bookmark.

yarn 6

My last piece was made of wire and this was inspired by the green base of the hibiscus flower shown above.

yarn7 wireI used gardeners wire to make this one and think this could be useful as a yarn.

Research: Bobby Britnell Textile Artist

I have really been drawn to the work of Bobby Britnell for quite a long time.  I was lucky to go to a lecture Bobby gave at the Ally Pally Knitting and Stitching Show in 2015.  I love her drawing works and the way she uses negative and positive space in her textile work. Her use of mixed media is also interesting(e.g.gesso) and her machine stitching (free form zigzag) approach in some pieces.

Bobby is a member of the Textile Study Group and the exhibiting group Through our Hands.  I noted that in an interview with the Textile Artist ( she indicated that she uses sketchbooks and finds them invaluable as a means of sorting out thought processes, investigating technique and testing ideas.  She also comments that she does not mind if the pages are messy or unfinished.  Her latest work seems more centred on bark cloth from Uganda and she has made some beautiful works with the rather thickish textured cloth.  (I bought a small piece after her Lecture).

Bobby listed her major influences in the interview with Textile Artist as Cecily Sash a South Africa, David Tress’ expressive landscapes and I found a reference to the inspiration she gains from the work of artist Ben Nicholson.  She maintains that as textile artists we should be looking at other forms of art.  I agree we should look widely at other art and have been attending art galleries and using the internet to find painters, sculptors and basket makers.  I find this broadens my horizon and encourages me to look  closely at colour, textures, lines and shapes in these other art forms.

As an aside Barkcloth is called different names in the Pacific and SE Asia including Tapa Cloth in the Pacific and there are some wonderful art pieces made by various Pacific peoples.  I have seen tapa cloth used to make fantastic dresses with machine embroidery on display in Wellington NZ some years ago.

I have not tried to reproduce photographs of Bobby Britnell’s work but have a Pinterest page.

Pinterest:  Bobby Britnell

References:  Bobby Britnell, 2013, Stitched Textiles: Flowers, Search Press Ltd, Kent


Project 2 Building A Response 2.3 Develop textile concepts

Using my new drawings from Project 1 as a source of inspiration, develop a series of textile concepts, using papers and other surfaces to develop material ideas, textures and structures and begin to explore ideas of material manipulation in conjunction with the possibilities of stitch. Look back at Part 2.  Develop 10 to 15 textile concepts.

To tackle this Project I have undertaken a series of paper pieces based on my Project 1 drawings and my chosen Artist Georgia O’Keeffe.

My first series of work I started in a sketchbook but made a discovery that the 110gsm paper was too thin so I cut the pages I had completed out and sewed them in by machine to a new sketchbook which is 185 gsm arches hot pressed paper.

The first pieces are based on my chosen artist Georgia O’Keeffe.  I have placed some prints of Georgia’s work in my sketchbook but will not reproduce the actual photo here for copyright reasons.

My first piece is based on Georgia’s “Sunflower” 1935.


I hand carved my stamp using easy cut rubber and printed on a vintage New Zealand  newspaper and this was then given a wash of diluted procion red dye.

I liked Georgia O’Keeffe’s drawings in her book “Some Memories of Drawings” and decided to do a drawing on tracing paper of her No12 Special Drawing (1916) a copy of which is in my Sketchbook.

IMG_8690As noted I certainly did not achieve the same movement as Georgia but undertaking the study improved my observation skills.  Georgia used charcoal I used graphite pencil.  Taking my drawing further I decided to make a foam stamp of the main outlines and to print the positive and negative using one of Georgia’s favourite colours ‘red’.

I then used the stamp again using acrylic paint and then did a wash of bright red procion dye over the top.  My learning was that of course the stamp is reversed something to remember next time!

IMG_8693I kept going and sprayed the paper backing from the foam stencil with Tumble Dye and again used positive and negative.

The second series of pieces is based on my work on Project One (Part 5) the theme being Tropical Tourist.

My first piece is based on the hibiscus flower.  I painted tissutex paper with orange/red watercolour paint and scrunched up.  After this paper dried I unwrapped and stamped with another hand carved ezy carve stamp I made based on the hibiscus flower. I was basically looking at a monochromatic colour approach.  I chose the scrunched paper because hibiscus flowers get crinkly as they age.


I took a tracing of the top of my drawing of the pineapple and made a stencil.  I used light moulding paste through the stencil.  When dried I painted with watercolour and some dye.  I was trying to achieve the thick strong lines of the pineapple leaf.  I think I achieved this texture.

IMG_8698I was a little over all the colour so I created a small simple piece using washi tape and a pen outline of leaves similar to tropical leaves.  I think this would work for wallpaper.

IMG_8699I returned to the colour for the next piece which was my attempt to recreate the texture of the pineapple skin (Project 1 Part 5 drawing) which is really rough.  I used light molding paste again which is not heavy on the sketchbook page and a colour wash.  I am not so happy with this it has texture and shape but I am not sure it conveys much meaning.

IMG_8700The last piece I did was to capture the actual bougainvillea flower petals within florist cellophane.  I put a piece of linen thread in too to see how it went.  I used a hot iron with the cellophane between two pieces of baking paper.  I was happy with the result it achieved my aim of depicting the flower petals as light and floaty.


Research: Sally Blake Australian Artist –

Sally Blake, an Australian Artist,  likes to explore the relationship between the human and natural worlds and in particular rain and dyes from plants.  Sally uses a number of textile techniques – dyeing, basketry, weaving, stitching, piecing – as well as paper based media.

Sally Blakke basket

Her website is  on her website are her very interesting Gallery of Work and a fabulous resource “Eucalyptus Dyes”.  The Eucalyptus dye database is a project Sally undertook with the assistance of the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.  She studies the Eucalypts in the Australian National Botanical Garden for their dyes between June-November 2016. On her website Sally shares the links to the dye colours from both the leaves and the bark and also information about the recipes, fabrics and mordants that she used in the project.  I only found her website today and was so excited by the information provided that I thought I should share on this blog.


Exhibition Queensland Art Gallery O’Keeffe, Preston and Cossington Smith: Making Modernism

I visited the Queensland Art Gallery last week and also the week before to attend the Exhibition: O’Keeffe, Preston and Cossington Smith:  Making Modernism.  The Exhibition had also been held in Victoria and the Art Gallery of NSW.

The Exhibition explores the theme through 90 works .  Thirty work portfolios of three artists Georgia O’Keeffe (1887-1986) and the well known artists of Australian modernism Margaret Preston (1875-1963) and Grace Cossington Smith (1892-1984).   It was great to see a number of O’Keeffe’s works here but it was also interesting for me to see a large number of Preston and Cossington Smith works.

Although defined as modernists their work is different.  O’Keeffe has a clean, bold, simplified approach to extract and abstract with many works depicting the New Mexico landscape.  Preston has fabulous woodcuts and bright coloured flowers in her still lives and recognition of the centrality of Aboriginal culture. Cossington Smith who lived most of her life in the north shore of Sydney has chosen everyday life as a focus.  The Exhibition was divided into basically a room space for each Artist.  As American curator Cody Hartley writes in the catalogue, each woman, in her irreducible individuality, “found new ways to communicate, new things to say, and new ways to make art significant to their national cultures”.  Modernism may be seen as an attitude to life and lived location.

Exhibition O'Keeffe

I liked the strongness of each artists work like O’Keeffe’s Canna Leaves and Blue A and Blue Black and Grey works, Preston’s bold woodcuts and her oil Australian Coral Flowers and Cossington Smith’s The Sock Knitter.  I came away appreciating the work of Australian Margaret Preston’s work it had far more colour than I had thought from a brief glimpse of a painting a long while ago.  Her colours depict the Australian bush so well in a number of her still life.

I have a Pinterest Board for Margaret Preston

and one for Grace Cossington Smith

I own a number of Georgia O’Keefe books.

Reference:  L. Harding and D mimmocchi, Heide Museum of Modern Art and Art Gallery of NSW, 2016, O’Keeffe, Preston, Cossington Smith:  Making Modernism

Part 5 Project 2 Inspired by artist

Part 5 Project 2.2 Inspired by an artist /designer

For this part of Project 2 I need to find at least one artist or designer whose work, way of working, application of techniques, handling of materials or use of colour I find particularly inspiring. I need to carry out some research to learn more about the aspects of their work that I find interesting and use this to build a small research file, to include visual and written information and reflection.  I need to reflect on what I can learn from this artist/designer to influence my approach to my own work or way of working.

The first artist I have selected is Georgia O’Keeffe who can be regarded as the first woman modernist painter in USA.  She was born in 1887 in a somewhat affluent family.  Georgia grew up in the midwest of USA and studied art and music as a young girl.  The study of art at that time was to copy work from books.  She was very bright and gifted at Art.  Georgia studies at the Art Institute of Chicago and then the Art Students League School in New York.  Georgia pays her first visit to the ‘291’ Gallery run by Alfred Stieglitz in 1908 to see a still life drawings by Rodin. She later takes classes in 1914-16 with Arthur Dow(a foremost advocate of art and art education) in New York.  Dow was about encouraging his students to go by elements of composition (including looking at line, texture and colour).  This exposure to composition painting was pursued by Georgia and was a huge shift for her.

A friend sends a collection of painting abstracts in charcoal to Alfred Stieglitz in 1916 and he goes on to organise her first solo show which was held in Chicago. She corresponds with Stieglitz extensively.  Georgia decided she needed to listen to what she wanted to say in her work and to let it come out.  She realised she may see ‘differently’ to someone else.  As an artist she wanted to convey what she saw.

She began painting flowers.  These paintings attracted criticism for being sexually orientated.  Georgia denied this and said she liked flowers and saw them as beautiful. She wanted people to see and feel the beauty.  Her paintings were large and closeup of a flower e.g. roses, snapdragons.  Her interest in oil painting grew and she created abstract works especially landscapes and still lifes.

Georgia O'K petunas

Blue Morning Glories, New Mexico 1935

She married Alfred Stieglitz in 1924 and he works assiduously to promote her work organising exhibitions and acting in a type of mentor role to her.  During her life though she is probably more of a mentor to others.  At one point she gives up colour and had to test herself to earn back colour.  At one time during her career she worked with charcoals and pencils only and then she added blue and then another colour this enabled her to change up her practice and how she did things.

She lost her sight later in life but she still paints assisted by an Assistant who loads her brush and directs her to the canvas.  She paints from what she sees in her head.  She dies in 1986.

Her techniques included a simple but saturated colour palette.  Sweeping lines with interesting curves and unusual angles e.g. looking down on a single flower.  She sometimes painted the same subject many times (other Masters also did this) and comments on “Abstraction IX” that ‘she first made(it) with charcoal, then in was painted many times with red, and I finally went back to charcoal.  I even now have another way in my head that I might have done it.’ There is a 60 year gap between the first drawing and this comment. (‘Some Memories of Drawing”, Georgia O’Keefe, 1974, Uni of New Mexico Press).  Interestingly, Georgia used a single media type in each painting e.g. oil only, charcoal, watercolour only.  Another take away from Georgia is to remember that you may see things in a way other people do not.

PLEASE NOTE:  I have continued my study in my Sketchbook

Abstraction Georgia

Abstraction IX 1916 Charcoal 24 5/8 in by 18 7/8 inches

Reference: Georgia O’Keeffe, 1974, ‘Some Memories of Drawings’, University of New Mexico, Albuquerque


Georgia O’Keeffe 2005, Grange Books, Rochester Kent UK

P Jennings and M Ausherman, 2011,’Georgia O’Keeffe’s Hawaii’, Koa Books, Kihei Hawaii

Lynes, Poling-Kempes and Turner, 2004, ‘Georgia O’Keeffe and New Mexico’, Princeton University Press and Georgia O’Keeffe Museum

Harding and Mimmocchi, ‘2016,O’Keeffe, Preston and Cossington Smith Making Moderism’, Art Gallery of NSW, Sydney NSW and Heide Museum of Modern Art, Victoria

B Benke, 2003, ‘Georgia O’Keefe 1887-1986’ Taschen, Germany


Queensland Art Gallery 11 March -11 June 2017 – O’Keeffe, Preston and Cossington Smith – Making Modernism – attended twice April 20 and April 26 2017 – loved it!!


Part 5. Project 2 5.2 Building a Colour Response

5.2 Identify and Present your colour palette

Working with my new drawings I have chosen to take my colours from my Tropical Tourist work.  I love the softer, darker, murkier colours of the  UK  but that is not the world I live in.  Our sub tropical vegetation and our bright sunlight produce to me a more colourful and bright colour palette.

I drew my colours with Faber Castel Gelatos crayons and added water.  I was interested in how the Gelatos worked I thought they were a bit streaky but my subjects have fine marks and variations in colour too.  My palette looks decidedly warm temperature.


I have identified the complementary colours of red and green predominately with the addition of yellow orange and pink(tint).  Looking out at my garden as I type this blogpost I can see all these colours in the flowers and shrubs in the garden.  We have a very bright yellow green displayed on some leaves with the morning sun filtering through. Red, orange and pink Hibiscus flowers,  red arrowroot flowers, orange marigolds and orange geisha girl are all flowering together with red and pink frangipani.

Looking at my hand dyed fabrics I identified cotton fabrics  that matched my colour palette. Reflecting on these colours I can see, for example, that a modified triad colour scheme of red, orange and yellow would make a strong and bold work.  I need to be aware of the distribution of the design elements in my work too to produce equilibrium in my composition.  Think about the amount of colour or size of the colour area e.g. mass colour(large area) or broken colour.  I can also think of one colour like red from the pure hue to light to dark – the value the degree of lightness or darkness(see Fabric Postcard below by B McQuarie). A surface or fabric which is rich in line, value, pattern and movement can be made with  a limited or single colour.


In summary, I need to be aware of the contrasts of colour like hue(e.g.pure hue shows up well against neutral gray black and white), value(e.g. can use strong value to capture attention), intensity(my colour palette as presented has a high intensity and I need to be aware of that and think about and maybe add some neutrals to tone it down), complements(my red and green which are visually exciting side by side), quantity(think about large areas of colour(with just a hint of another colour) or small and powerful e.g. neutrals with a touch of red), temperature(art of a red desert you can feel the heat almost.  Need to think about too much heat and use a pale green/blue say to relieve the intensity).



Color is one of the great things

in the world that makes life

worth living to me, and, as I

have come to think of painting,

it is my efforts to create an

equivalent with paint color for 

the world – life as I see it.

Georgia O’Keefe


Postcard size “Red” fabric – Barbara McQuarie, New Zealand – shades of red.


J Itten, The Elements of Color, 1970, Van Nostrand Reinhold, New York

N Leland, Confident Color, 2008, F & W Publications, Ohio


Part 5 Project 1 – Drawings

Further to my blogpost Assign5 Project 1 Developing Visual Research – Introduction I have undertaken a series of drawings using a variety of media and any size I wished based on my Introductory Assignment topic – Tropical Tourist.  I have selected those below to present as Project 1.

First I worked in pencil and drew items in my new Tropical Tourist arrangements.

IMG_86265.1.1 Line drawing of pineapples using wax crayon, made without looking at the page while drawing on A2 size watercolour paper

This method creates movement and excitement and has potential for design.

IMG_86285.1.2 Derwent Graphic pencils HB, 2B and 4B on Bockingford A3 paper 150grms of passionfruit leaf and passionfruit flower

These drawings form part of a collection of useful drawings for development into design, tone and colour.

IMG_86435.1.3 Faber Castel Graphite Pencils HB, 2B and 4B 185gsm cold pressed Arches Aquarelle of Pineapple. A4 size

Drawing this pineapple made me really look intently at the texture and leaves of the fruit and this has raised my awareness of the shape of the skin of the pineapple and the roughness of this skin.  I became more aware of the shape of the components of the pineapple and the leaves.

IMG_86295.1.4 Derwent Graphite stick on Bank paper(thin weight) using a template I drew and cut out of card of a pineapple I put the template underneath the paper and did several rubbings.  About A4 size

This type of mixed media approach creates great images for design and further work on paper and fabric.  Different types of paper can be used and different media to do the actual rubbings for further study.

IMG_86315.1.5 I made a wire outline of the pineapple and placed underneath Bank Paper I then did a rubbing using wax pastel moving the template. A little larger than A5.

I liked the effect of the wire rubbings and the ‘noise’ around the outline I think this has lots of potential on both paper and fabric using a variety of objects as inspiration.

IMG_86365.1.6 Acrylic paint mono printing using an A4 mono printing plate made of a laminated sheet with my own handout freezer paper stencil

I did a whole lot of these mono prints but selected these four as part of the blog. Each print is different and working with two colours on the printing plate was different for me.  The effect is to creates interest.  This would go well on fabric too.

IMG_86385.1.7 I painted black gesso on the Bockingford 150gsm paper and back drew a frangipani using white wax pastel drawn behind a frangipani photo and a biro to do the outline and shading.  Smaller than A4.

I liked the texture of the wax pastel on the chalky black gesso and the white on black effect.

IMG_86415.1.8 I used some more of the paper I had painted with black gesso and back drew the outline roughly of the hibiscus flower using coloured wax pastel I then drew in the wax pastel and smudged with my finger. Smaller than A4.

These ‘pop’ on the black gesso background.  I have never used wax pastel before so thought this was a good way to commence my discovery of this media.  I liked the oily type surface created by the pastel and the boldness of the lines.

There is so much scope for developing a wealth of drawings but I am mindful that I have to hurry along on the other parts of Part 5.  In the future I would like to explore ink and wash, pastel and pen, charcoal, watercolour, a large variety of paper surfaces and scratching back into gesso.