Reviewing my folio of drawings and looking back over my work I can see that I have made a progression forward from the harsh black and grey lines and marks that i first laid down onto paper into a softer approach.
There is a need within me to achieve the delicacy and transparency of layers and this begins to show in my softer, warmer style and approach. I feel that I begin to add strength and depth but without heaviness.
I started in my sketchbook to experiment with different media, textures and colours onto soft and transparent papers and found the outcomes , mainly the ones achieved by accident, to be the most exciting. Looking now over my folio of work brings out mixed emotions that show through in the marks that I made. Perhaps the essentially heavy and strong marks using black pen and gouache are an expression of my lack of use of colour. I can see that I relax into project three and burst out into colour at last, my marks become softer and I experiment more with layers. This soft delicate layered approach is one that I would like to push forward and develop further.
Exercise 2.1 Selecting
Having laid out all of my artwork from Part one I have now chosen the six pieces which I feel to be the most exciting and which I would like to broaden their development at this time. Each has interesting visual qualities of depth, layer and texture whilst they still retain a delicacy, even though some of the marks are quite strong. These six pieces which I have chosen have a good variety of marks giving me plenty of scope to push forward their development potential.
EXERCISE 2.2 PAPER MANIPULATION LIBRARY
Thinking about the qualities of substrates and base materials and surfaces I want to use to translate the qualities and elements of my drawings, I have listed a few below.
Tracing paper. Watercolor paper. Tissue paper. Kitchen paper. Polythene. Recycled papers.
All papers used will have a quality of softness, event though they may start out quite ridged and harsh, other papers I am using will start out crisp and be manipulated to be more playable and soft.
I am finding that by referring back regularly to key words keeps me focused on the over all feel I am wishing to portray through my paper manipulation. Sharp, Frailness, Delicate, Translucent, Fragile, Soft, Pliable, Light, Layered. To also keep my thought process I have pinned all six chosen pieces of art up onto my pin board along with some experiments with paper that I tried out in part one, which I feel are worth pushing forward into this project ‘creating surfaces’.
Below is a list of the techniques I have chosen to manipulate my paper samples. The brief asks me to chose three…..I’ve chosen 19 ! Not because I find it difficult to select but because I truly feel many of these process will blend into one-another to achieve the outcome I am looking for.
MY LIBRARY OF MANIPULATED PAPERS
In order to recall the process of manipulation used on each paper I have begun to keep a 10 x 10 cm swatch of each in a sketchbook listing all the processes. The outcome is wonderfully not only is it necessary technically but it allows me to connect, feel and identify with each of the substrates.
Laying out 10cm x 10cm square tiles to see how each paper sits with the next and to refresh my mind on the overall feel I want to project. I have kept to white only to begin with.
Moving on to colour I have found so much more scope in portraying the feel of delicate and translucent, colour adds and highlights fragility. I intend to use these coloured papers and textures as layers to be stitched onto my white ground to add further texture and depth. Swatches and notes of each processes have been added to my wonderful library of substrates.