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.
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.
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.