Project 2: Recording and Capturing
Exercise 1.4 Lines and Edges
As suggested in the course notes, I bought some larger, A1 sheets of paper to either use whole or cut into A2 sheets for this exercise.
1 Rag Rug
A drawing made with finger and brush painting. The dotted line that makes up the border is finger painted with diluted acrylic paint, drawn out in places to represent the fraying edge. The pattern of the hooking is painted with a large brush. A 1 size.
An enjoyable drawing to make, with quite a bold, graphic look to it. Some possibilities for decorating fabric, I might use these techniques again. The dotted line is quite like the hooking on the rug, however the brush strokes were too smooth and fluid to look like a rag rug.
I was aiming for a more realistic representation of the rag rug lines of hooking in this drawing. It is A2 size and was made using chunky blocks of charcoal and graphite, varying the marks by using both the sides and edges of the blocks. I tried to use a continuous line in places such as the border and by following each colour of fabric used in the making of the piece. The dark and medium fabrics were represented with fuzzy lines; the pale fabrics suggested with dotted and dashed lines. I think this was the most representative version of the rag rug and captured the hooking lines of the rug maker well. The cat in the centre was probably the least successful area.
Suggested by my list of words associated with the rug and inspired by land artist, Richard Long, I rescued one of a pair of ruined boots from my bin and used that to draw with a mixture of earth from the garden, water and PVA glue. The boot seemed appropriate since it was a rug for wiping shoes on. First I tried one of my improvised tools: a notched piece of card.
A1 sized mud drawing. Quite an interesting effect, but reminded me too much of an Artexed ceiling.
A1 sized mud drawing made with boot sole. I liked this drawing, especially the dragged border and the random drips and dribbles. The literal connection between the original object and the drawing made it seem an appropriate representation.
2 Log Cabin Quilt
A2 size drawing. Three felt pens with different nib sizes bound together. The drawing looks at the folds and outline of the quilt. I liked the quality of the lines, but would not have been able to guess what this was if I didn’t know.
A1 size paper with ink lines made with a dropper, then softer lines added with a brush to add some form. As a drawing of the quilt, I thought the flowing brush lines were more representative of the feel of the quilt, however, I didn’t think this drawing was very successful. I did like the quality of the ink marks – the hard, dark lines made by the dropper contrasted with the watery, spreading lines of the paint brush.
A blind contour drawing on A1 paper with a Sharpie pen. I find this an interesting technique to use, because you can just concentrate on looking closely at the object without worrying about how well you are placing your lines. I think it has captured the pattern and silhouette of the quilt quite well, even if it does look a little bit crazy.
41.5 x 29.5 cm. This drawing was made on the back of a piece of packaging paper – shiny and quite thin. I wet the surface first to give it wrinkles (somewhat like those of the quilt) then picked out the light and shade of the pattern in ink brush strokes. I added felt pen lines over the top, highlighting the folds. I think it shows the Courthouse Steps block pattern quite well, and I like the random spreading of the ink in places.
A1 size drawing in watercolour marker pen, drawn with the left (non-dominant) hand. The first time I have tried this exercise. I tried to follow the block patterns and binding at the edge. I had to fight to keep from swapping the pen into my right hand. The lines are shaky and wobbly, but I think I could guess what this is from the drawing, so quite successful.
I was surprised to find that I liked working on the larger paper. I enjoyed using ink, thick marker pen and mud! Tomorrow, onto the pullover…