Sketchbook pages shown in chronological order 2 March 2012 – 27 April 2012.
Click here to go to sketchbook 04 (7 May 2012 – ).
3 Mar 2012
I made a stamp from this version – see the blog post here, about preparation for Project 5.
4 Mar 2012
Sorting through old work folders, looking for past stamp exercises, I came across a collection of source images selected for a class (can’t remember what). I spent a couple of nights working from some of the images.
6 Mar 2012
I bought a pack of craft foam sheets at lunchtime. The foam is flexible and thin enough to cut easily with scissors. I glued some cut shapes to old stamps salvaged from a business clearout, and this is the result on paper using a standard office-type stamp ink pad. I hope the result is as good with textile paints on fabric. I like the blocks of patterning that built up, especially the combination bottom right – the vertical stripe effect looks good and I find the uneven, obviously hand-done look attractive. I’d like to try this on handwoven stripes in accent areas.
7 Mar 2012
Looking ahead, I think the design I played with here during Project 4 Stage 2 could be interpreted effectively using stamps (in fact I did use stamping in one of the iterations). It was developed from some images in a book on Tutankhamen (Ford, J. (1978) Tutankhamen’s Treasures, (Albany Books, London), blogged here and here. I noticed a couple of Egyptian-based elements in photos in Jerstorp, K. and Köhlmark, E. (1988) The fabric design book: understanding and creating patterns using texture, shape, and color, Asheville: Lark Books – maybe they can be added to the mix somewhere.
8 Mar 2012
Planning printing samples (see project 5 stage 1 post here, and ideas for a potential printing project – fabric for a bag.
I went back into John Ford’s Tutankhamen’s Treasures, to look for additional images that could work with the main design (say in co-ordinating fabric for the back of the bag, or to surround/extend the main design to get sizing and add interest.
12 Mar 2012
I found some old photos of silk paintings I did with bird images. I’d like to build a set that look related in style. Thinking of stamping in a regular pattern, say a checker-board, but variations in the detail.
13 Mar 2012
While dinner was cooking I grabbed some broccoli. First I attempted a sketch, then used a couple of pieces as stamps (something I did in a class with Dijanne Cevaal in Wagga in 2005 – my first week-long textile holiday).
14 – 16 Mar 2012
Some long and challenging work days, so limited sketchbook efforts in the evenings. I was thinking about a repeating pattern that could be used with the Tutankhamen design panel. Just repeating the background stripes seems a bit obvious and repetitive, so I played with stamp possibilities for the spray on the columns.
19 Mar 2012
A “snowflake” paper cutout, based on a jug outline from the previous day. I like the various positive and negative shapes. I was intending to mount the result on paper, but am still playing with combinations.
9 Apr 2012
I’m continuing to build a collection of jug and teapot shapes – not with anything in particular in mind, but sometime in might be good input to something simple and cheerful, a contrast to more deeply felt and thought themes.
15 Apr 2012
I loved this spoon with a pixie on the handle when I was a child, and was very pleased when my mother polished it up and gave it to me a year or two ago. My drawings, however, are very bad.
16 Apr 2012
I gave up on Tutenkhamen ideas for my next class piece. The printing exercise on the rough woven silk fabric I liked just didn’t excite, and I’ve used the contrasting diagonal lines design enough. Thinking about the orange and black scribble printing and how to extend this I got out some tissue paper to play around with collage. It didn’t provide the transparent layering I wanted, but thoughts started running smoothly, I got out the conte crayons and played with some ideas on A3 paper. The not-entirely-legible comments on the second version are: “Yuck. but – suggest motifs by white space. So – white space decoration; blocks of blues very roughly shading vase; suggestive black line for vase; + companion piece of ‘ghost images'”.
17 – 19 Apr 2012
I took some photos of the vase, playing around to get an outline and help myself to focus on the imagery. I also went back through my sketchbook pages – the very first had the jug.
In my day-book for Tuesday: “positive and negative motifs. Was feeling super tired but energy returns while working. Doing the grind, even when tired, gives opportunity for now and material for next. Realise confidence and ability in drawing has advanced”.
21 – 22 Apr 2012
From the day book for Saturday: “A sudden thunderbolt – I’ve totally ignored the design process. Instead was thinking about dye technique and what was possible. Came up with one idea and basically have been working through technical issues and prep. But now I feel committed and curious – will this work?” This post by Lucie really made me think and question.
However the focus of the day remained on dye techniques – a new sample with much better print paste, trying different ways of applying the paste to stamps plus relying on acid in paste to provide right conditions for fixing rather than preparing the cloth in an acidic bath.
Still concerned about the design and my process, I played with the idea of turning it into a more complete still life. I also did some reading on analytical cubism. The painting by Picasso I’ve been thinking off is very centered – but (to be ever so slightly obvious!) I’m not Picasso.
25 – 26 Apr 2012
On Wednesday I started work on the jug piece. It went better than I expected. I felt my preparation paid off plus I was able to be spontaneous.
Thursday’s day-book entry: “Went out this morning to finish the jug and very odd – I couldn’t find anything that would improve it. I had more ideas (eg a small spot of orange on jug itself, more definition to sides, more coverage…) but after a look I raced in for blank paper to put behind it – and it looks interesting and enough.”
27 Apr 2012
Wanting to get restarted on sketchbook work, I returned to an earlier exercise of drawing fruit on a shiny surface. Like the shells long ago, I forgot to focus on an area of interest and so produced an uninteresting blob in the middle of the page.
I worked on one of the photos I took of my arrangement – a much more interesting result.
The next night I took out acrylic paints and started work based on the texture of the photos – then realised I was working with paint and water at one end of the table, while Assignment 2 work was being collated at the other end. I wonder now why I didn’t just pack up the acrylics and work in pencil or something somewhere else. Instead, I put everything sketchbook on hold until the Assignment was safely posted.