WHAT IS VISUAL HANDWRITING?

Hand-writing is your own personal style. It’s the bit that sets you are apart. That’s the mark-making you employ, or the medium you use. It can also be affected by the style/ genre you are working within.

It is vitally important to have your own Visual Handwriting, what are you without it?

What is Identity? The characteristics determining who or what a person or thing is.

Synonyms of Identity: INDIVIDUALITY, SELFHOOD, EGO, PERSONALITY, CHARACTER, ORIGINALITY, DISTINCTIVENESS,  DISTINCTION, SINGULARITY, UNIQUENESS

What is Identity important? Well, it differentiates between me and the next person. Imagine a world in which we all dress the same, look the same, come up the same ideas and create the same designs; not a world in which I want to belong in. But why is it so important to have my own unique visual handwriting? It defines who I am as an artist and is a direct result of how I interpret the world around me.

I decided to conduct a little experiment of my own today. If I copied the work, specifically floral designs of other artists, would the work look identical or would my visual handwriting create a new story?

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Is my identity the marks I make in my art? Is it how I interpret the subject matter through my own two eyes? I thoroughly enjoyed drawing this Tulip/Floral arrangement; it allowed me to expand my mark-making repertoire, which in turn will allow me to become a more experienced and creative artist.  Cabinet (Oak, veneered with marquetry of various woods, copper, pewter, tortoiseshell, horn and lapis lazuli), 1680 – Andre-Charles Boulle. 

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I was instantly drawn to this design; having spent nearly all of my childhood spring/summer in my garden,orchards or woodlands abroad, the imagery of apple blossom is synonymous with warmth and magical nature adventures with my Dad. Drawing this allowed me to pour some of my happiness into the drawing in the form of adding a little pink and purple, which strangely in the past I would not consider. Apple/Pirus malus en Peer/Pirus communist, 1905, Lithograph – Theo Nieuwenhuis

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I did not want to incorporate the colour from this design, but rather tried to encapsulate the essence of the corolla and large petal size (looking at the WGSN Trend forecast from BUSY BLOOMS). For me, the most important aspect of this exercise was learning which of my own preferred techniques could offer the most dress, unique and new take on a traditional process. For example, I would love to see how COLLAGE could transform this linear drawing into a fully rounded and highly textural design.

What medium would I use for the collage? Could I spend a day creating a varied amount of different exploratory mark-making studies? Could these studies serve as the medium I use to deconstruct and then reconstruct this design?

Spending time utilising the visual handwriting of others has been invaluable; not only have I a new found respect for the creative processes of others, but I have also improved upon my own way of working.

Author: vmhtdesign

First Year Student @ Cardiff Met University, Lllandaff. BA Textile Design.

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