Because I had enjoyed my initial mark-making session so much, I decided to progress by using colour and other media.

I wanted to explore many of the words that I had discovered from my Mindmap. Using loose sheets of cartridge paper, I began to journey further into mark-making, which in turn will influence and kick start my concept development.

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 a candle, free brushstrokes of Quink Ink and square of polystyrene brushed with bleach, applied to surface. (Influence from the hard cold surfaces of metal)

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, the bottom of a 14ml Windsor & Newton ink bottle placed in a light coating of bleach and applied to surface. (Repetition influence)

(Left) A torn piece of paper from a previous mark-making session stuck down onto paper. Cyan Quink ink dropped onto a 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 a 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 on my ideas within my Sketchbook. Shapes, patterns, textures are all interpreted from photos, observational drawings and print and stitch.

(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 the surface. (Right) Masking fluid dribbled sporadically over the 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 explorative studies demonstrate a pattern found on the surface of a range of metals and wood.  Selecting colour is important when linking visual research through to concept.  I want the viewer to have a 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. 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 avenue to explore.


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.

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