Because I had enjoyed my initial mark-making session so much, I decided to progress with more colour and medium. I don’t know if anyone else had found the incredibly insightful word document detailing Drawing & Mark Making Techniques, but I did and it excited me to the endless possibility of marks made from line, point, tone, texture, relief, wax, etchings etc.
I wanted to showcase many of the ideas that had been suggested from this word document on Moodle. Using my sketchbook, I began a further journey into mark-making, which in turn will influence and kick start my creativity within Stitch.
Super quick and easy. (Left) Quink Ink onto wet paper and plastic dropper to add bleach. (Middle) Masking tape added in strips, Quink Ink painted over and drops of bleach added. (Right) Light waxing of paper with candle, free brushstrokes of Quink Ink and square of polystyrene brushed with bleach, applied to surface. (Influence from rainy weather and grey skies )
Taking Ink and Bleach to another level. (Left) Paper brushed generously with Quink, rectangular sponge dampened with bleach and applied gently to surface. (Right) Dark blue Quink applied to cartridge paper, bottom of a 14ml Windsor & Newton ink bottle placed in light coating of bleach and applied to surface. (Brickwork influence)
Looking at my inceptive studies using ink and bleach, the aesthetic resembles previous print and dye studies incorporating elements of Shibori and Japanese blue & white ceramics.
(Left) Torn piece of paper from previous mark-making session, stuck down onto paper. Cyan Quink ink dropped onto wet surface, bleach dropped on via pipette. Finished off with charcoal pencil and finaliser to interpret possible stitch inclusion. (Right) Collage, incorporating previous mark-making photocopy. Masking fluid used as base and Quink Ink applied roughly over the surface. (Slate walls/patterns within stone influenced these particular samples)
All of these mark-making experiments are all based from my ideas within my Sketchbook. Shapes, patterns, textures are all interpreted from photos, observational drawings and print and stitch.
(Left) PVA glue to attach some newspaper. Masking fluid dribbled on and left to dry. When dry, black Quink dry brushed over paper. Bleach dropped over sparingly and paper lifted up at angle to allow bleach to to run down. Oil pastel applied to certain areas to add splash of colour. (Right) Black Quink Ink dribbled over paper and bleach sprayed over with pipette and allowed to run. 2B graphite stick used to add linear qualities within bleach and ink marks.
(Left) Masking tape applied to black sugar paper. White/brown chalk applied using a range of different marks. Masking tape removed. (Middle) Masking tape applied to black sugar paper. White chalk used to make simplistic and basic marks upon surface. (Right) Masking fluid dribbled sporadically over surface of white cartridge paper and left to dry. Brown wax crayon applied specifically to show each mark. Black indian ink applied for full coverage of paper and masking fluid removed.
These samples demonstrate interpretations of pattern found within the bark of trees @ St Fagans. Carefully selecting colour is important when trying to convey design taken from a specific object/item/source. I want the viewer to have some semblance of what the design communicates.
(Above) Masking tape/fluid applied to paper. Quick used on one surface and the remnant moisture printed onto another piece of paper. Whitewashed and left to dry. Charcoal and graphite pencil to add points of interest/surface texture. (Lichen on walls influenced these particular samples).
(Above) Constructed from other far less successful samples. Inks used in conjunction with collage, bleach, charcoal pencil, oil pastel and biro. Interpretation from architecture, grass and windows.
I have made a conscious decision never to throw away anything I create, some of the best work comes from an amalgamation of failed ideas, which brings me onto my next project.
I had many photocopies of a previous mark-making exercise left, so decided to use a guillotine to cut them all up into strips. Remembering a week or so back, Keireine had given a tutorial detailing her background into Textiles, specifically weave and knit. This gave me the idea to re-cycle photocopies that may have gone unused, by weaving the strips together. I had no idea that by re-cycling these unwanted images, I was unwittingly opening a new confluence, full of further exploratory ideas and studies.
Just a random mess of strips? Not at all. Success from failure is both rewarding and fulfilling.
What was stagnant and unwanted is now visually striking, kinetic and highly textural. The marriage of angular and rounded shapes creates this wonderfully fluid motion, like ripples on the surface of a pond. As a result of this I will explore further patterns, shapes and colour.