I think that I approached this task with more confidence having completed assignment one of ACA. I looked at my mark making exercises for ideas of how to represent the different materials, as well as trying to think of words to describe the texture of the objects.
I made some very simple outline drawings of some of my chosen objects as a warm up. I captured the shapes well, but this drawing doesnt tell me much about the textures.
Using a Gelli plate as a means of getting ink on the sole of my boot and to get a resultant print from, wasn’t particularly interesting until I made a foam stamp to copy the tread pattern at a larger scale.
I saw a shoe box with a de-constructed drawing of the shoes inside so played around with composition a little and de-constructed my boot in my mind.
This was lots of fun – how many ways could I draw felt beads? Firm and soft, light and solid. I tried to just focus on texture so I ignored trying to capture the tones of the coloured stripes. I think that the most successful were bottom left where I used grey oil pastel and a blending stump.
Charcoal and oil pastel on black paper. The big button is very metalic, the white pencil for metalic flecks in the yarn works really well and although difficult to see in the photo not a bad representation of knitted fabric.
It’s a very calm drawing, not very dynamic.
I really like this drawing, charcoal and ink on news paper( an article about the Ramones), the wool texture is really effective and the images on the paper really emphasise the holes, it exaggerates that you can see through them, it possibly took less time to do than the other scarf pictures, or maybe I was just having more fun!
Stone and bone , having carved these , I feel very attached to every mark on the surface, both hard and rigid, one cool, one warm, both as smooth as I could make them yet different to the touch. As a first drawing I captured the form well, oil pastels were perfect for the shiny surface. To me they are freedom and independent spirit, designed with care to represent that travelling time, they have more to tell, I will delve into the micro surface and work large.
I was a bit overwhelmed in a gallery in Ceret, France on seeing a painting , Femme Oiseau by Joan Miro, (photos in research) on crumpled paper I shouted out loud in surprise! having seen the image in books it was altogether different seeing that it was painted on crumpled paper.
It very much reminded me of cave paintings as the paper looks very like the stone caverns in the local area that are home to ancient art.
I really really wanted to unravel it.
Nice cup of tea, playing with roller printing a background to draw on added some interest to a simple line drawing of one of my earthen ware mug collection. Drawing onto a piece of plastic bag, that had been inked and laid face down onto my paper gave whole extra qualities of texture with essentially the same marks. I really like this back drawing monoprintish technique, especially the crudely added shadows and dots of glaze.the bottom image shows lots of reflections, it is the plastic that I drew on and was too interesting to throw away.
I will continue to revisit my chosen objects, it will be interesting to see how my observations change as I become more confident with my mark making.