Daksha’s drawing workshop

27/1/14 I have signed up for Daksha’s drawing workshop.

Daksha Patel has a collection of different types of objects, including natural objects and manmade objects, she explained that the idea is to use imagination to make connections between these objects, unlike museum displays, that create exhibits and group objects together in categories.

I was interested in natural objects, how their value changes over history based on opinions, for example, a rock of crystal, its value is based on size, colours, etc.  If the crystals were common, they wouldn’t be so valuable anymore.

Rockhounding Arkansas is a website that explains how the value of crystals is judged.

RockhoundingAR.com Copyright © 2011.

http://www.rockhoundingar.com/worth.php       

  The display of the collection by Daksha.

I made the connection between a crab shell, a goat’s teeth and manmade wax and feathers, I like the idea of bones and shells that were once a living creature, but their remains could last for thousands of years if kept in good conditions. 

The idea that people would kill in order to collect is like a desire to own an object, simply because it is rare. 

Daksha suggested that maybe it is natural to collect for us, because I told her I collect objects to remember things by.

 

I think this workshop was very helpful in inspiring me to think of ways to relate to my project, I, myself have a collection of different things, and I am planning to put that in my project, because most of my collection are natural objects and these are related to data. It inspired me to think of ways of composing and representing my collections.

Motif Designs

It was difficult for me to select six final motif designs to put onto acetate, because I wanted to put everything that I have ever drawn onto screen. However, I have to be selective. Therefore, I thought of continuing to use Pigeon diagrams as my theme.

I linked my research sources by using The Secret Code by Priya Hemenway (2008) to adopt golden rules to apply to my drawings and as an overlapping idea. Also, for my pigeon drawings I have used Complete British Birds by Paul Sterry (2008). 

I have used artist research to help me understand positive and negative space, particularly Mark Hearld, who is  a printer artist. His works show exactly where the positive and negative space is. 

 

For example, in the picture above there is too much positive space, after seeing Mark Hearld’s work and adopting the way he see things, I have a fuller understanding of where my drawings need to have more ‘blocks’.

 

After using line drawings as a guideline, I filled in the spaces by ‘colouring’ and that’s where the colours would be transferred to the fabric.

This is the final arrangement for screen printing.

Drawing, Distort and Warp

On Friday (17/1/14)  ‘drawing, distort and warp’ really helped me to understand the process of print making, because the task was to develop an awareness of colour and composition by observing with no tonal drawing. I brought my seashell for still life drawing, because it related to data, the way a seashell grows in a spiral. I drew it from different perspectives. 

Then I used gouache paint to fill in the drawing. If I looked at my drawing from a printer point of view, black and white, I would be able to see where the colours transferred onto the fabric. I have been trying to do this.

Although at first it seems that I am still using paint to draw lines, as I go on, it becomes clearer where the negatives and where the positives are, the balance between black and white. Then I used photocopying to help create collages. 

I used this new process to help me to look back on my drawings that I have done for my motif designs, then I used sharpies to fill in any areas where colour would be. It is a bit like colouring, because I used a pencil as a guide line, then used a fine-liner to draw continuous line drawing on top. Overlapping these two I get the positive, then I use a sharpie to fill in any areas that I want to be negative. I think, in print, you have to be able to see where the balance is. On my first attempt there was too much positive and not enough negative. Also, I need to think ahead, to be able to transfer positive and negative space the other way round, because I think in print, everything is backward.

 

 

I had another go at the flat colours (the bottom image above), but I was having difficulty in getting the flat colours, using flat colours is a bit like pop art, no blending. I thought of using the photocopier to photocopy my painting then using a pen knife to cut out the flat colour bits and representing these in a collage way. I thought this would be another way of working around it, in a way that I am most comfortable with.   

Adobe Illustrator Motifs Design

I have been using Adobe Illustrator to create at least one motif design, I was resisting using any Photoshop to design, because I am rather a handmade person, but it is unavoidable, because nowadays it is an advantage to know how to use Photoshop or Adobe Illustrator. When I was at the digital workshop session, I was losing my temper over the learning process, but I have decided to book a one to one support session and continue to work on my technology skills.

My Adobe Illustrator motif design’s inspiration came from a book called The Secret Code by Priya Hemenway (2008).  This talks about ‘the mysterious formula that rules art, nature and science’, which in other words means the proportion of measurements. I thought it would be a good idea to use Adobe Illustrator to create some of the motif designs, because they are difficult to draw by hand, because precise measurement is needed. 

I have experimented with different shapes and positions on the Adobe Illustrator, the more I use it, the more I explore what I can do using this software, for example, changing the line design from thick to thin to create  movement, like a brushstroke effect.

With motif designs it is not about making a picture, but to have different combinations in order to create designs in the future. Therefore, I am using these shapes that I have created through the computer to link my hand made design together, because my handmade designs were more drawing based, where I think these computer designs would fit nicely in the background or maybe overlapping.

Motifs Designs - Drawings

I have always been interested in animals, but I have started to look at them from another perspective. For example, I started looking at the dead pigeons, because this subject was overlooked and I thought of how I can transfer the image into print design.

Sketchbook Drawing - Dead Pigeon

I like to work with fine-liner pens; because it creates a sketching effect, I do not enjoy drawing with pencils, because I hate the idea that it can be corrected by rubbing it off the paper. With a pen, once the mark is made, it cannot be undone. I start off by using continuous line drawing to roughly mark down the proportion with a pencil or a graphite stick, but I never use a rubber.

One issue that I have found with the 0.5mm fine-liner pen is that the line it creates is too fine, which makes it hard or even impossible for the print to be produced. I discovered that the safest way is to use 2.0mm or a bigger number.

I then started to look into pigeons’ skeletons and be experimental with my drawings.

 

Sketchbook Drawing - Pigeon Skeletons

Also, being experimental I have used straight lines only to draw a skeleton of a pigeon.

 

I have used the feathers that I have collected to create mark making on the paper and tea stains and Indian ink to draw them. I thought of developing this kind of work by looking into mark making and combining it with found objects.

Things I might explore: I have liked Jackson Pollock’s work, because it is full of energy.  I have also started to develop an interest in working with hair. Therefore, I plan to experiment with this direction. 

Sampling

This is a sample of couching that I have done on the machine, I was experimenting with what types of 'stuffs' that I can couch with and I found some left over threads on the floor from other people and used them to couch down onto fabric.

Combining drawings and hand stitch

I was inspired by Alice Kettle. Her work involves combining drawings, prints, hand stitch into contemporary textiles.

In the Guise of an Angel

I have found this piece very inspiring, the use of colours, the textures and the energy within have bought movements in to this piece. I was trying to create the sketchy feel in my work by using mainly drawing and use little hand stitch just to bring out the details.  

French knots sample

On the chose of fabric, I have chosen to use already dyed, because I do not enjoy working with white background, I have started to develop my own colour palette. However, I still sometimes photoshop my work into black and white, just to give it a dramatic effect.
On the fabic, it already has machine stitch as the background and I have worked onto it with french knots to bring out the textures, I have focused on the foldes of the fabric and used french knots to hold the folds together.

Overall, I like the worn out textures.  

Open blanket stitch/ button holes

This is my sampling of open blanket stitch/ button holes. I have used double thread as well as single thread to make it look more interesting, from the left hand side the stitches are more in control and on starting on the right hand side the stitches are more loosening, this is because I have not tie the knot on to each hoop to tighten it up. However, I thought of this is a nice piece of sample of seeing the transfroment of in control to loosen up.

French Knots Sample

This is a task of using French Knots only. I have decided not to work on fabric but to work on a plastic wallet. Therefore, it shows the back of my needle work as well as the front.
I was trying to transfer a henna design my friend have done on my upper arm into textile.

This was a birthday present that was given to me by my friend. I was inspired by the complicated lines, I have tried to use different types of threads to repersent the line quality, such as using machine threads as well as hand-stitch threads.

However, I thought continue to work on this piece.

Cornely Manchine Sample 3

I have used the Cornely Machine as a drawing tool in order to draw a continuous line drawing, after I have gained more control and experience over it. Again, this is from one of my still drawing in my sketchbook and I have transfered it into textiles.

This is a still life drawing that I have done, I have overlapped different types of drawing styles together, such as continuous line drawing, using straight lines only, both hands drawing together, left handed drawing and standing up and looking over my drawing gives me an over view and better movement of the way I draw, for I have not only used my hands but my arms.

Cornely Machine Sample 2

After I have gained more experience at the Cornely Machine, I have more control over it. I have used my drawings as a starting point and transfered that into textiles.

This is the drawing that I have worked from, this drawing was done in using non-drawing tools. I have studied at a red leaf that I have found, I was looking at the way it folding it self after it has been dried out and how the colours changes. Then I have used different types of Cornely machine to repersent that, I have used moss stitch and chain stitch to address the vains on the leaf.

Cornely Machine Stitch, Sample

This is just a sample of using the Cornely Machine.
At first I have found it hard to control, for the Cornely Machine design is really different from a sewing machine, on a sewing machine I would have my hands on the fabic, foot on the paddle, in order to control the directions. Where on a Cornely Machine I have my foot on the paddle, but there is a handle under the table, even though I have step on the paddle, but the needle won't move unless I pull down the handle. Also the handle is where I have the control over the directions, like driving a car.