T1-MMT-P1 Sketchbook

With little in my sketchbook so far this course, I thought it would be interesting to revisit some samples and use them as drawing tools. What more would I discover about them?
Sample p1-15 (30-March-2015). Can I capture the shapes formed when crumpling by using it to print on paper?
First a general crumple, and blue.
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Recrumpled and some ribs added. Tore the paper slightly where it was damp. Need to be careful.
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Rolled on some red.
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Actually it was two lots of red – the first was rather dark, being mixed with the blue.
Wanting the crumpled paper to last for a few more prints, I spread it out to dry for a while.
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I like it more in real life, where it’s easier to see the dimensionality of the page, which lets the paint distribution make more sense somehow.
The next was meant to be lots of little sub-peaks. It gets harder and harder to see the form as more chaotic colour is applied.
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Golden yellow applied, again in two lots with the second a clearer colour.
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I don’t feel this is getting anywhere. It’s all a bit muddled and formless. The blue looks out place. It could be used as a background element, adding a bit of texture and interest without fighting for attention.
Wanting to push a bit further, rather than just moving on to the next thing. How to add something coherent? I thought of the linear accordion folds. Wandered on to Blue Poles (see 26-December-2013).
Try for lines, not entirely parallel, in a dark blue-black.
Page folded
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After rolling on the paint I pulled the folds out, to get positive and negative areas in the printing.
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Dreary. The page was underneath the crumpled paper as I was rolling the paint, and the edge parts are stronger than the print itself (of course!), destroying any sense of order. Overall I got some OK textures, but not the history of a sequence of events that I wanted.
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The crumped paper is more interesting, at least in areas. The colour is stronger, and the slightly more formal patterning in the final dark layer.
Almost all the colour is on one side. I noted this as I was working, but didn’t try to control it one way or another. Looking at areas within the page there are a few with attractive colour mixing and/or patterning.
I ironed the crumpled paper, with the ideas of clarifying the patterning produced and that there was potential to use the paper elsewhere – for example suitably strengthened with medium of some kind it could be used on book covers.
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There is still physical texture. The paper feels more stable and usable. I don’t think it could stand up to stitching, plus at the moment can’t think of anything it could enhance or to enhance it.
Next I wanted to try the old classic of the rolling ball, but using my filigree ball of plastic (see 16-April-2015). Considered using a different background, but wanted to get a general idea of the effect first, so continued to work on A3 cartridge paper.
Black paint applied with a brush, and ball rolled over paper.
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O dear. More paint on my hands than the paper.
I added some red paint to the tray, and applied it by rolling the ball in it.
I have a photo of the result (of course!), but there’s so little change it’s not worth including.
Some scarlet paint added, then dipped ball into paint and directly dabbed onto paper, rolling slightly but with hand pressure ongoing.
No improvement, so no photo.
Added golden yellow. Left it in a thick blob on the tray and dipped the ball in, pressing down and rotating in place. Then did the same press and rotate on the page, concentrating on spot areas.
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Not thrilled, and couldn’t see a way of taking it forward. Might try some computer work on it later.
Annoyingly, the next idea came as I was cleaning up. So back out with some paint, this time using some random bits of leftover plastic as stamps.
Again, disappointing at first. I tried a few more bits.
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I’ve arrowed the most interesting bit, plus the plastic fragment that made it.
Overall a disappointing session, but important in that at least I’m back to it.
Later I played around on the computer. The result I liked best:
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T1-MMT-P1 Sketchbook
Textiles 1 – Mixed Media for Textiles
Part 1: Surface Distortion
Sketchbook

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