The brief for this exercise was to observe, analyse and record the textile items from Exercise 1.1 using drawing and mark-making onto paper.
I used a variety of paper types (newsprint, cartridge, acrylic and watercolour) and sizes (A4 to A2). I used a range of media (ink, acrylic, charcoal, pencil, marker pen, pastel) and tools (stick, sponge, fur fabric, crepe fabric, roller, large brush, toothbrush) to create marks and drawings.
To begin with, I made mind-maps of qualities and properties related to my items, which I would later use to inspire my mark-making.
Next, I experimented in my sketchbook and on larger sheets to produce a range of marks representing the qualities from my mind-maps.
The Drawings
The first piece was produced using a large stencil brush and ink, flicking the brush to show the pile. The second piece is done in acrylic paint with a sponged background. The pile was ‘printed’ using fur fabric. My intention was to show the alternating bands of hair length within the coat. The third piece is in pencil of a mixture of softness. I created a background by using the flat of the lead to represent the denser undercoat, then laid short marks over the top to represent the longer guard hairs. The main properties I wanted to portray were ‘thick’, ‘soft’ and fluffy. The first piece shows ‘thick’ and ‘fluffy’ through the weight of the brush strokes, but perhaps less of the ‘soft’ quality as there is little difference in tone. The second piece gives a sense of softness with the diffuse marks from the sponge and fur fabric, but lacks weight. This might have been built on by using more paint, but I think the softness would have been lost in this case. I think the third piece best represents the qualities mentioned above. I like the level of control that pencils give and this is the medium I am most confident with, so this probably contributes to its success.
The first study of the satin jacket was intended to represent the lustre of the silk fabric. I used charcoal to show the contrast between the shadows and highlights in an attempt to represent this. Although the fabric appears smooth at first glance, there is a hint of the weave when you look closer, so I used the charcoal on its side to pick up texture from a piece of textured material. It was hard to show the age of the jacket on a large jacket, so I decided to look inside at the damaged lining. My first idea was to use pastel to represent the weave of the lining against the jacket. I attempted to remove layers of pastel with an eraser to show how the holes in the lining revealed the underside of the jacket, but it wasn’t very successful. The idea of ‘lifting’ out is something I plan to explore further in the future. I had another go at drawing the lining, this time simply drawing the lines as if they were the frayed threads. This works better than the previous attempt, but needs further development to really convey the effect I had in mind.
The two drawings of the chenille coat are least successful at portraying the qualities in the mind map. I found the lines between drawing and mark-making were really blurring here, and although I think this was part of the exercise, it didn’t work for me. I’m least happy with the first drawing. Again, I was attempting to ‘lift out’ the woven motifs of the coat, this time using an old toothbrush dipped in household bleach over acrylic paint. I’m not sure if the bleach wasn’t strong enough or the paint was too dry, but it doesn’t work at this point. Again, this is something to explore in the future. The second piece is much more successful. This is in conté pastel and charcoal. I was attempting to portray the structure and drape of the outer fabric contrasting with the soft, shiny lining. Again, I believe that this this comes down to my own confidence with the particular mediums – charcoal and pastel can be used in a similar way to pencils and allow for more control.
It’s clear to me that I need to develop more confidence in experimenting with different media and techniques. I found it quite liberating just to make marks with certain qualities in mind on my experimental sheets, but as soon as I started to draw the textiles in question, I seemed to shrink back to this idea of having to ‘render’ the objects instead of the qualities. I do think there is some improvement from the very first assignment, so perhaps there’s hope yet.