Diploma Module 1 Chapter 4 - Shape and Pattern Study...contd

Image 98 - diagonal linear pattern in black and white.  Lost some of the impact of Image 94 due lack of counterchange in colouring. For my theme though, it does look a little bit shadowy.

Image 99 - four shapes with same part of shape turned under, arranged in rotating pattern.

Image 100 - Image 99 reduced and traced.  Border and counterchange with Inktense colour added. Pretty contrived. Not sure symmetry works for me. By losing shape of gull, have lost beauty of shape of design and its feel altogether.  Don't think this will be pursued further.

Image 101 - page subdivided into overlapping rectangles.  Coloured with Koh-i-noor dyes.

Image 102 - window, including part of collaged shape, cut from page and replaced on same page.

Image 103 - extension - section of shape added behind the window.

Image 104 - gelli printed brown paper inserted behind to build up layers.

This design is getting a little busy but the tones of colour are good and the layering successful. On a larger scale, I think multiple windows of different size and transparency would enable my shadow theme to be achieved.

Image 105 - shape cut from edge of page.  Extension - gelli negative shape outlines added and painted with Koh-i-noor dyes inside. (photo taken on black background)

Image 106 - (reverse of page in Image 105) - shape cut from edge of page, gelli printed paper parts of negative shape outlines added and marks made to give sense of movement. Part of design from Image 105 peeks through on left hand side. (photo taken on black background)

Image 107 - ripped strip gelli printed paper.  Shape coloured with dry Payne's Grey Inktense pencil and overpainted with matt vinyl emulsion. For something as simple as this its all in the placement and the bird should be lower and the strip less thick.  Think it was getting late and I didn't stand back and look at this design...it's only when displayed on the screen I really looked.

Image 108 - large G and shape.  Coloured with Koh-i-noor dyes.

Image 109 - line of writing with Koh-i-Noor Hardtmuth Triograph 4B.  Words taken from Joni Mitchell (my hero) Song to a Seagull.

Image 110 - biro figure.  Mmmm...you get the idea, though figure questionable.  Extended line of green on newspaper to keep your eyes from other things! Looking back to Image 95, the random figure that appeared by happy accident has better integration into the design.

Image 111 - eye in biro.  Coloured with Koh-i-noor dyes.

Images 110 and 111 might work better for me if the biro figure and eye were related to any of my design ideas, i.e. perhaps fish and chips (always ready for them!) - which would also, in past times, link with the newspaper - or maybe random items from landfill.

Image 112 - I had trouble with Exercise 13 as when you draw over the new surface, part of it is on the reverse of the page - or maybe this was the idea - so this is my interpretation.  The page originally had an elongated gull cut from gelli printed paper. Only part of the shape was on the page from Exercise 13 and then I merged this with Exercise 14 by pleating the page and drew additional shapes and painted.

Image 113 - outline cut shapes over original shape.  Coloured with Koh-i-noor dyes.

Image 114 - strips of gelli printed brown paper in vertical lines.

Image 115 - rough rectangles in gelli printed brown paper.

Image 116 - cut shapes in linear pattern.  Wash of matt vinyl emulsion coloured with dyes.

Image 117 - cut shapes densely placed with original shape produced by mark making in kantha pattern.

Image 118 - drawn shape and drawn cut shapes with selected dot filling.  Coloured with tea.

Image 119 - drawn shape, drawn cut shape and random shape plus colour and mark making. (Note, this is the reverse of the page in Image 104.)

Diploma Module 1 Chapter 4 - Shape and Pattern Study

Linear Outline - Referring to my sketchbooks and 'heap' I drew different shapes in outline (Images 90, 91 and 92).

These I drew on top of one another as it made me really concentrate on the outside edge of each one as I worked on it.  One shape in particular appealed to me, which I traced, and from this made a cardboard template and both a cardboard and polystyrene print block (Co-op still use this as a base for their pizzas, luckily).

Initially, I made a simple outline drawing of the shape which I filled with textured coatings of acrylic wax. This I gave a wash of blue-black Quink Ink (Image 93).

Using shapes cut from newspaper I started the design exploration.  The newspaper would absorb the colouring mediums used in a different manner to the sketchbook paper and give additional interest to my design, both from this characteristic and the random print/illustrations on the page.

Image 94 - diagonal linear pattern plus Koh-i-noor dyes.

Image 95 - diamond plus Koh-i-noor dyes.  This used the negative shape from the newspaper and I thought the figure that randomly appeared added to the design...in a good way.

Image 96 - circles and Inktense pencils.  Shape lost.  Could try again with better counterchange.  I lost it round the tail.

Image 97 - wavy lines, Koh-i-noor dyes and white vinyl acrylic.  Well, we all have mistakes!, though the acrylic markings on acrylic base on the shape were effective.

Diploma Module 1 Chapter 3 - Texture and Surface Relief Study...continued

Continuing with feathers, I took an image of a gull taken at Exeter Quay and enlarged a small area. After converting this to black and white, I posterised the enlargement to highlight the feather structure. Using cut raffia painted white with acrylic, I replicated the layered structure of the feathers (Image 87).

Observing feathers, as they overlay, they have a woven texture.  To obtain this effect, using wrapping ribbon as the warp and
firstly, the white paper handle (separated and split) from a paper carrier bag, and
secondly, the same ribbon
for the weft, I wove the two materials (Image 88).

One last sample, in my haste to open a parcel containing Art Textiles of the World: Great Britain, the outer brown paper, from the corrugated paper wrapping it, peeled off. After some selective peeling, scoring with a scalpel and a coat of vinyl emulsion I obtained Image 89, which seemed rather wing-like.  I was taken by its naivety.

Diploma Module 1 Chapter 3 - Texture and Surface Relief Study...continued

I transferred the design from Image 54 onto heavy weight (100g) Lutradur, outlined it in black permanent ink and enhanced with cross-hatching to give the impression of feathers.  Using acrylic wax I went over the outlines with a view to heating the Lutradur and hoping where there was acrylic wax it would resist the heat.  I also did some internal mark making with wax (Image 73).

This was attached to metal with masking tape and carefully heated with a heat gun. The result is displayed on a white background - Image 74,

and a black background - Image 75.

I had previously used this technique for a snowflake design, based on Kepler's snowflakes, but rather than outlining the design in pen and wax, I machine stitched the design and coated this in wax.  This gave a more successful outcome.  Though the above technique has provided texture, I feel the strength of the design has suffered.  (To show what I mean, Image 76 is the snowflakes, paper design on the left, Lutradur on the right.)

ToDo - machine stitch design in white, wax and then heat.

Referring to a photo of a gull feather I tried to replicate the texture using different media.

Poundland Ready-Mixed Instant Filler (white) - spread on plastic covered cardboard with an oil scraper.  Marks were made in the filler with both ends of a wooden kebab stick.  When dry this was coated with acrylic wax (Images 77 and 78).

 Rubbings were taken of the resulting moulds (Images 79 and 80).

Mod Podge - spread on glossy cardboard with an oil scraper.  Marks were made with both ends of a wooden kebab stick.  A rubbing was taken when it dried.
Images 81 and 82.

Note this dried transparent.  I'm not sure if this is a recognised use for this product, but the rubbing from it was very positive and effective.

Muslin strips - machine zigzagged down the centre, distressed either side of the stitching, laid on waxed paper and covered in Mod Podge.  When dry, painted with gesso and acrylic wax (Image 83).  Rubbing taken -  Image 84.

Florists's natural Deco Web ribbon - machine zigzagged down the centre, distressed either side of the stitching, laid on waxed paper and covered in Mod Podge.  When dry painted with gesso and acrylic wax (Image 85).  Rubbing taken  - Image 86.