Sketchbook notes

Aide Memoir

I am reading Gwen Hedley’s book ‘Draw to Stitch'(2010) and noted Gwen’s comments on sketchbooks. Gwen says (p9) that drawing from close observation enables us to get to know the design reference thoroughly, to appreciate its characteristics and to understand every little detail of the qualities of its line, texture and form.

I also noted that Gwen uses several sketchbooks at the one time:

1. a small one for the bag
2. a hard backed square format
3. larger spiral bound A3 book (to stick things into, draw, write descriptions or ideas.

I liked the idea too that she opens out and writes on old envelopes which she then sticks into the A3 book.  She may take an idea from the small notebook and develop further in the A3 book with more drawings from photographs.  She also says to look really well at the colours and takes notes in the small book in terms of the actual yellow, is it lime/yellow, buttercup etc and to think about making small patches of colour to accompany the notes.

The comment Gwen says that it is important to remember that the aim of drawing is not to  reproduce line exactly (like a camera) but to interpret it, to find its essence, sometimes exaggerating its characteristics I found really helpful to remember.

Reference

Gwen Hedley, 2010, “Drawn to Stitch”, Interweave, Loveland, CO

Assign 2, Project 2 Drawing with Stitch Ex.2.4

Project 2, Exercise 2.4 Developed and composed Samples

This exercise is designed to help me explore the role of evaluation, selection, development and refinement in my design and mark making process by developing two larger stitched paper pieces approximately A4 to A3 size.  I need to use two different drawings from the six I used to work the earlier work.

I need to think about the scale composition and layout of the samples and make sure use my sketchbook to plan out some ideas using my drawings.

Sample 1

I have been drawing in my sketchbook and sampling substrates I wanted to think about the shadows and folds in the kantha purse but I am trying but find it hard to replicate the shadows I think I will just keep trying with folds in general until I feel that I can draw them well – that may be a long term assignment!  From this experimenting I have the idea to use scrunched brown paper and use a grid like I sketched in one of my earlier drawings to represent an area of the kantha throw rug but within the grid to do markings in stitch that represent various marks I have drawn in my work. So this will be bigger sample one.

I worked in my sketchbook to try to work out my ideas further see pictures below:

From this work I developed my sample.  I found the scrunched brown paper amazing it felt just like fabric.  I was happy with some of the grid areas the ones with the thicker or darker thread.  I thought the mid town brown in grid 4 and  grid 6 got lost on the paper.

I found the bright tropical light here in my room in Jakarta hard to not get extra type shadows in the photograph but if I removed from the light the photo did not show any of the folds and scrunches!  So I went with the photo with the shadows.

I have worked in my sketchbook on Sample 2 and will discuss that and the sample in the next post – still working on the sample!

Assign 2 Part 2 Project2 Ex 2.3

Part 2, Project 2 Exercise 2.3 Drawing with Stitch on Paper

I have examined my drawings, my manipulated papers and my threads that I have with me here in Jakarta.

1. I looked at the lines in the folded drawings and using crumpled brown paper I followed the lines of the crumpled folds and stitched using large running stitch. I decided the line stitched needed to be solid so threaded the thread through the running stitch to make a solid line but a more organic line.  I used a weaving thread for the stitch  work.

2.  I also worked on another piece of crumbed brown paper with a seeding type stitch see below.  But I then challenged myself did this really represent the drawing and I decided that it did not. I used a paper thread in two sizes for this stitching.

3. Next I took a sample of the pierced paper and looking at my gelliprint of the eucalyptus leaves which have printed with straight lines I started to stitch with a thick thread but the paper rebelled and I could not pull the chenille needle through.  I switched to a finer thread and this worked fine.  I wanted to give a hint of the shape of the leaf with texture added by the piercing.

4. I looked at my drawing of the seed pods and I decided to take one of the rubbed fragile Japanese silk type paper that I had dyed with coffee to draw more attention to the rubbed holes.  I use the holes to depict the hollows in a section of my drawing of the long seed pod and then stitched in between to represent the top part or bridge between the hollows. I took two photos one taken on the surface and the other I held up so you could see the light behind the paper. Because the paper was so fragile I had to use a fine thread so as not to break the paper.

 

5. My next sample I looked at the small pods drawing and the way the light was reflected in my drawing on them and tried to recreate with the holes and stitch.  The paper I chose was a more robust paper which I had also coffee dyed.  I chose two shades of thread with the dark one to reflect the dark shading in my drawing.

6. Next sample I looked at my drawing of the folds in the Christening robe and decided to use one of the folded paper manipulations because it represented the folds.  I doubled the thickness of my available thread and stitched in the depth of the folds on the paper. I chose to do a curved stitch and long to give more interest.

7. I looked at my drawing of the large closed seed pod and thought of the crumbled folded paper I had made using the local newspaper I decided it might lend itself with the curved folds I had made to this seed pod. I decided to combine a paper thread and a rayon thread together and see what happened.  I was surprised that the newspaper was so robust and dealt with the two threads and the chenille needle perfectly – no tearing.

8. I looked at the collage I did of mending and holes and seam lines.  I decided to use the brown paper i had rubbed and inspired by my collage stitch the seam line and some mending.  I used crinkled hemp paper thread and I did a backstitch but I turned it over and much preferred the back of the stitching so used that and attached some yellow handmade paper to cover the holes in places.

9.  I chose the pierced handmade paper and decided to reflect drawing with a more loose circular type stitch using the Indian silk viscose thread which is quite stiff so the stitch sits high on the paper –  I knotted from the front.  I liked the way the thread casts a shadow onto the paper due to its height.

10. I had a piece of white handmade textured paper from an Indonesian shop which I decided to fold and then dye in coffee to give it some more interest and to play on the swirly texture indented into the paper so I decided to use it to feature on small section of the swirly curvy indian ink drawing I had done with a stick depicting the flower on the christening dress.  I chose the white thick paper thread and decided to couch it down with thin cotton thread.  I chose shiny rayon thread doubled to do a secondary thinner line of curves. After I had finished I turned the piece over and thought the back looked interesting so I have photographed both the front and the back.

I found making the samples a challenge at the beginning how could I marry the drawing, paper and stitch but as I set about doing I found it really interesting.  The qualities of the paper as manipulated was good to set off stitching and really thinking about how drawing so informs the sample work overall.  So the more interesting and formed the drawing the better.

Assign2, Part 2 Project 1.Creating Surfaces

Part 2, Project 1 Exercise 2.2 Paper Manipulation Library

I thought about how I wanted the paper to feel the tactileness of the various papers and the surfaces. I reviewed my drawings and analysed what sort of manipulation would reflect  these.  What tools would depict the qualities the best?  My drawings are mostly chunky although I have been practicing folds, creases and wrinkles in fabric in the last few days so these too were taken into account.

I am currently in Indonesia and am limited to what I can obtain or find here for this exercise.  I have some handmade paper, some Japanese rice type paper, some other fibrous type paper, newspaper and tissue paper.

A. Rubbing with plastic textured dishwashing cloth

My first choice of ways to manipulate the paper was to rub it with a plastic textured dishwashing cloth. I then combined this with coffee staining the paper which I thought softened the paper and showed up the holes that had resulted from rubbing the paper.

 

Brown paper

Thin Japanese rice type paper

Thicker paper – handmade

I found that folding the paper in half and then rubbing with the wiry dishcloth worked best as this provided more stability for the rubbing.  This method reflected collage I selected of the worn and holey kantha rug.  The charcoal drawing of the seedpods also had holes between the struts of the pods so this manipulation method seemed to suit depicting this drawing.

2. Piercing with large knife

My next go was to look around in the kitchenette in our Hotel room and I found a large knife with a sharp point so I decided to slash papers to try to emulate a line which feature a lot in my drawing.

Handmade paper and I found the back of the paper worked best with the texture showing like drawn lines.

This is a type of abaca warna paper from Indonesia – it made good fine straight lines.

This is a really floaty type Indonesian paper but stronger than tissue paper – the marks made with the knife are wider and less uniform like some of my drawings.  My piercing  was inspired by examining my gelliprinting of the grevillia leaves which are very thin and spiky.  The second drawing I selected was a close up stitching on the kantha purse which is also based on straight sort of lines.

C. Folding

I chose folding as a third technique because it can reflect light floaty drawings and also stronger type of drawings.

The first piece I folded was a soft but firm piece of handmade paper and I used the basic pleat for this piece.

The next paper I used was tissue paper which was very soft and facile.  I pleated with an emphasis on putting pressure at one end of the folding to attempt to get the folds to flow.

For the third piece I decided to crumple and fold and found a reference in Inger’s work to Paul Jackson and his book Folding Techniques for Designers.  I followed technique but Jackson suggested using a 50gsm paper I did not have that weight in my collection so I decided to use a piece of newspaper which proved really satisfactory.

The folding manipulation technique to me reflected the folding drawings of the garments I included in my six drawings and also the pod flower drawing I included.

As a note to myself I realise in doing this work how much of a visual person I am.  I am so inspired by seeing as opposed to writing about what I am feeling something for me to think about with further work.

 

 

 

Assign 2, Part 2 Project 1 Ex2.1

Part 2 Project 1 Ex 2.1

I have looked through my drawings and chosen six that I think will be enhanced by paper manipulation. In choosing these six drawings I was attracted to the opportunities they gave for manipulation.

These are:

Assign2,Part 2 Project 1

After my spending several days working on better understanding drawing and spending hours practicing my drawing I resolved to draw every day for up to an hour to improve.

So in choosing my drawings for this Project I may need to redraw and or add to my drawings from Part 1 to obtain a better quality of drawing for this Project.

I am particularly drawn to my work thus far on the Christening Dress and seed pods.  I like that the Christening dress has a variety of layers and textures and patterning and very interesting detail items.

Part 1 Feedback Sketchbook – practice

Some pages from my sketchbook as I practice everyday on my drawing!

I am enjoying the practice there is so much to learn.

Further Reflection – Feedback Part 1

Following on from my looking at the UTube references provided by my tutor and others I have been reading Maslen and Southern’s book “Drawing Projects: an exploration of the language of drawing” and doing a simple course on techniques for better drawing. In the course I have learnt more about hatching and crosshatching, composition line, blocking, contour line, structural drawing, value and form.   I have spent lots of time practicing (I am in Indonesia and my partner is working sometimes in another part of Java)drawing trying to come to terms particularly with shading and types of mark making.  I have looked at drawings by different artists in the Maslen and Southern book and online resources and drawing magazines and tried to practice these different approaches to understand better the drawing techniques used.

I then read further the first ‘Text’ section of the Maslen and Southern’s book concerning Drawing, Drawings, Concepts and Precepts, Making Drawings, Marks and mark making, Lines and edges, Tone and light, Negative space, being selective, Sketchbooks and Doodles.  I have selected those parts of the book that resonated with me and for me to review as I am working through the rest of the course.

The authors comment (p.11) that most adults drawing skills have not developed beyond those of adolescents who gave up drawing!  They talk about our whole personality being involved in the making of analytic and aesthetic decisions and our personal preferences that form the basis for work that should always be an expression of our individuality. The authors go on to stress that following one’s feelings and the use of intuitive judgement are essential in the organic development of drawing.  Information is taken in by the eyes and other senses, considered and restructured in the language and materials of the activity of drawing.  We are given the opportunity to examine the forms structure, spaces and surfaces in our world and gain a greater understanding to them.  We can then express our own personal point of view.

“This examination of appearances, through the drawing process, forms the backbone to all the traditionally valued activities of the artist, and is the essential base upon which all visual art is formed”(Maslen and Southern, p14).  You draw with feeling or spontaneous thoughts.  A drawing can be viewed as an act of theatre.  So it is essential to drawing that one learns to see and that continues with each drawing.  I like the thought that drawing can be viewed as the process of seeing made visible.

Maslen and Southern comment that our drawing language skills increase with arctic as we extend our vocabulary of marks, materials and approaches.

‘I merely draw what I see.

I draw what, I feel in my body’  Barbara Hepworth

I found it interesting in the book when the authors say that “the drawing is as much about the artist as it is about what is being drawn, and it may on occasions tell you more about the artists’ state of mind, level of understand, etc than it does about the subject matter”(p.20).  The comment made me really think much more deeply about what is drawing.

The section in the book on ‘Marks and mark-making’ resonated with me too:

‘Drawing is the simplest way of establishing a picture vocabulary because it is an instant, personal declaration of what is important and what is not’ Betty Goodwin quoted on p.28

Marks can be viewed as the form of words, the elements and how the drawing is made. Everyone makes their own unique set of marks and every medium has its own particular quality of mark.  Similar to handwriting.  For good mark making one needs to think about:

• is the mark the right one for the job
• ‘alive and express the ‘life energy’ of the artist
• communicate the qualities of light and the form, volume and surface of the subject of the drawing
• show changes in pace and rhythm that add interest and variety
• think about medium as different medium helps to determine the sort of marks to make
• size of mark to be made e.g. for a smaller drawing, or a larger drawing

For me to think about is the rigidity of my drawing or too little control. To change the way I hold the drawing instrument has provided a new and interesting choice in the language of drawing.  To know what are the right marks to make is fundamental to learning how to draw. This relates to ‘feeling the mark’ as it is made on the paper e.g. lighter, darker, bold, curved.  So practice, practice, practice drawing so that the skills of looking, feeling, discerning and responding in marks can be made in one action – my drawing instrument is an extension of my brain, heart, eyes, arm and hand.  This makes me feel challenged, excited and vulnerable!!

I really feel that I want to keep drawing and try to improve greatly.  I have also started the Projects in Maslen and Southern and find them really helpful.

However, I have to return to my coursework and Part 2 of the Assignment but will continue to do Maslen and Southern projects and any other opportunities to undertake drawing classes.

 

 

 

 

Reflection – Feedback on Part 1 – Projects 1, 2 and 3

My tutor has commented to me that I need to develop my drawing skills to a higher standard.  She has suggested some on-line links and the book  by Maslen and Southern “Drawing Projects: an exploration of the language of drawing”.  I felt disheartened at first because in some ways I did not understand what that really meant and what I should be aiming for in terms of good drawing.  I struggle in my head with the process of developing classic drawing skills as opposed to innovative contemporary drawing.

But I have now looked at the online videos and can see a mixture (in my eyes) of both that I need to improve on.  I have a copy of the book referenced by the tutor and am taking it with me to Indonesia and will go through it. As well as practice, practice and more practice of my drawing.  I really appreciate that drawing is an integral part of art and design. I may be able to find some appropriate drawing classes too.

Written REFLECTION – Part ONE

Written Reflection Part ONE

What have I learned over the course of the projects in Part ONE?

Reflecting on my work in Part One I have gained firstly, a much greater appreciation of the significance for future work of archival textiles.  I have not previously given much thought to really examining pieces of old textiles and using aspects e.g. press studs, mending, stitches to inform design elements.  Also reflecting in samples the tactile nature  of these old pieces has been interesting too.  It has opened up a whole new world for me.

Second, I have a much greater appreciation of mark making.  I now get the significance and the massive possibilities for design and to now use my eyes and look for opportunities to record all sorts of marks e.g nature, and man made.  I have started a sketchbook just to record marks I come across with the idea of using them in my textile work.

Third, I loved doing the collage work and this has heightened my awareness of using this type of approach to a range of work generally in the textile arena.  I now have a big range of books on collage and have been doing small fabric samples as 30 minute exercises to get my creativity flowing.

Fourth, I enjoyed the work on leaves and seed pods and the challenge I set myself to depict these in a variety of drawing and media.  I think my drawing is getting more ‘freer’ and I like the results and the way these can provide inspiration for future work.

I found using the mind maps I created at the beginning of the work on Part One so helpful to ensuring I was ‘on track’.  I also developed more recently a Project Plan for Assignment Two work with estimated times to undertake Project tasks and estimated dates.  This has been very valuable in finding out where I have underestimated time for photographing and blogging all my work as well as stopping me going ‘off track’ to follow an idea or Painter that I was inspired by but to remind myself to get on with my Assignment!