Sketchbook pages shown in chronological order 2 March 2012 – 27 April 2012.

Other sketchbooks:
Click here to go to sketchbook 01 (23 August 2011 – 3 November 2011).
Click here to go to sketchbook 02 (4 November 2011 – 1 March 2012).

Click here to go to sketchbook 04 (7 May 2012 – ).

 

2 Mar 2012
Continuing to playing with bird image to make versions for stencils or stamps. This started in Peter Griffen’s class here (scroll down to find the right bit), and later developed here.

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.

5 Mar 2012

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.

9 Mar 2012
Collecting design ideas for Project 5 Stage 2.

10 Mar 2012
Still looking through past work, noticing repeats (eg jugs, birds), trying to get variety in a common style that could be used in stamping or stencils.

11 Mar 2012
Trying to record some colours I’ve seen recently, plus thinking about what I want to do in the OCA printing exercise.

Spent some time in gimp, trying ideas for using a shell stamp or stencil. A couple of examples:

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.

16 Mar 2012
An updated version of the page above. I made two stamps – positive and negative images – using ezi carve printing block.

17 Mar 2012
Using 4B pencil and a mirror. Very odd and disproportionate, but recognizable.

18 Mar 2012
Wandering around my workroom, looking at shapes and images – a painted saucer, a jug, a stitched sampler… Pencil on A3 cartridge paper.

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.

I was also trying out using inktense pencils with textile medium on fabric and liked the “record” that turned up on the paper underneath.

20 Mar 2012
A mixed bag of bits this day. First I tried to capture a print pattern seen on a dress on the bus.

This is a tracing of some of the paper snowflake patterns from the previous day.

Finally, I was having trouble sleeping so sketched the dressing gowns hanging on the door.

21 Mar 2012
As a drawing this is just so wrong! On the other hand, practice is good, plus who knows when a part of it could feed into a different idea – for example, the green “writing” is fun.

22 Mar 2012
A celebratory evening. Pen and ink on A4 paper.

23 Mar 2012

24 Mar 2012

25 – 26 Mar 2012
One of a few pages, beginning to think about ageing, the contraction of one’s space and life, the loss of choice…

27 Mar 2012

29 Mar 2012
I think 28 March was the first day of doing absolutely no sketchbook work since (I think) 14 December. I’ve missed a few more but now (10 April) am hopefully back on the program.

These sketches were mum resting after the drive to Canberra.


30 Mar 2012
Inktense pencils are very easy to take when holidaying, but I have a lot to learn about using them effectively.

31 Mar 2012

1 Apr 2012
A difficult drive back from Canberra, but my vein-y hands kept us on the road.

6 – 7 Apr 2012
Not a great sketchbook page, but a restart is still good – even if just a random scribble and notes jotted while doing some dyeing.

8 Apr 2012
Sketch from a photo. More thinking about ageing, about war and what they fought for…

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.

10 Apr 2012
Geoff watching TV. I enjoy attempting to sketch, and faces are really interesting (I keep finding more shapes), but I have no real expectation of ever being able to get a good likeness.

11 Apr 2012
More fun, but something went particularly wrong with the nose. I need to learn a way to handle an edge that is light, not dark.

12 Apr 2012
A4 in conte crayons., trying to see the colour of my eyes after reading Bernat Klein’s Eye for Colour”.

13-14 Apr 2012
Nothing much to show. I was trying to think through possibilities for the final piece for assignment 2, but nothing really caught my interest.

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”.


20 Apr 2012
Lots of preparation for the jug piece – making a smooth printing paste; preparing jug paper stencils and a full size outline with grid. Began to be worried that my design was too literal.

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.

Steamed and rinsed the sample on Sunday – pleased with the results.

A detail:

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.

23 – 24 Apr 2012
Long work days and nothing to show for myself.

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.

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Fabulous figure sculpting workshop with Kassandra Bossell!

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