Textile Archive – Making Marks

It wasn’t easy trying to make some observational drawing in a short space of time with 3 items from a historical archive. I was restricted to using a pencil and my sketchbook, I also had my cameras so I was able to take plenty of photographs. 

I found this article in the Craft magazine, I like the advice and the lines and marks that Nik has made but all of the drawing items look expensive to me!


So then I found another article in Cloth Paper Scissors which really caught my eye. I love the way Yukimi uses unusual items from nature as drawing tools.  The environment in the archives meant I was not able to be this experimental but I have stored this ideas for the next exercise: Line & Edges.

Drawing on the Go

With this quick sketch I was aiming to quickly draw the complicated darning. To create a feel of the general shape and the lumpy quality of the stitch over laying the linen fabric.

In Helen Birch’s book freehand she says you can use ‘the drawn line to show what is in front of us, or to depict an idea that is in our mind’. I would highly recommend this tactile little book. It is very contemporary and full of great photos and guidance.  The artists are are very accessable and most can be found on Pinterest


It can be very daunting looking at a large object, like a smock coat and it can be so much easier to handle in bite sized pieces as described by Gwen Hedley’s book Drawn to Stitch.  In Chapter 3 she tells us ‘ It is the nature of the line that you are trying to capture, and not the entire object. If, for example, you are observing a complex linear marking on a shell, isolate an area and study the lines out of context. We are looking simply at a line. 

I took Gwen’s advice and started drawing stitches, folds and textures on the bodies of the garments.



I find it incredibly difficult to draw with complete accuracy, it left me feeling very inadequate when I was at school. Drawing a portrait or a landscape would bring me out in a cold sweat. So after 2 years of being demoralised and just scrapping through with a C in my O’level Art exam I accepted my art teachers prediction that I would just not be good enough for art school and left my art aspirations behind. 

Over the last 20 years views on art and creativity have changed considerably and thank goodness they have. Mick Maslen and Jack Southern’s book Drawing Projects explaining this very eloquently. 

When completing the observational drawings I found these old insecurities resurfacing and I almost found myself limiting myself to drawing some elements of the garments. But then I remembered that is not just about reality; a drawing is ‘an approximate attempt at depicting a perceived truth’ (Maslen & Southern)

This drawing gave me a little panic, it shows the gentle flow of the fabric but without the label you would have no idea what it was a drawing of.

So I loosen up, dropped my sholders and reverted back into a doodle style that I am more comfortable with.



For me the bible of observational drawing is Helen Parrott’s book Mark-making in Textile Art, she explains in very clear and simple terms how to gather visual information to be developed and used later in considered designs. 

I used her methods for a sketchbook I prepared after my first trip to the desert in Morocco. I particularly like Gwen’s advice about keeping enough information to enable you to recall what you have observed and to add written notes alongside your observational drawings. 


I am fascinated by the construction of the sleeves on the 2 smocks so put my best foot forward and made a more accurate drawing of the sleeve of the smock shirt.


The next exercise will enable me to explore and experiment further with these drawings and my photographs. Maybe I will use my new handmade/altered notebook from Manchester.



Planning Exercise – A Textile Vocabulary – Part 1 – Observing & Capturing

Suddenly I have realised I have a load more work to do on this part of A Textile Vocabulary! Time for a planning exercise (procrastination or sensible idea, I’ll let you decide!!)

I’m looking forward to all of these exercises, it’s all about drawing, mark making and collaging. My favourites so although I’m running behind on my deadlines I’m not going to let it get on top of me and let the deadlines suck all the fun and excitement out of what I’m doing.

Project 1 and 2 revolve around the pieces I selected and viewed at the Shropshire Museum Archives and I’m going to focus on these during this planning exercise.

Project 1 – Selecting and Identifying

Exercise 1.1 – The Archive.

After some hiccups at the beginning this exercise is now all done. 

Exercise 1.2 – Substance & Story

After the visit to the archive I have written 3 blogs using 3 different styles. I have chosen this route because the brief asks for you to review the items in terms of their substance and stories.

Duster Coat – This blog I wrote in a simple report style, with lots of photographs and information about what I observed during the visit. There is a small paragraph about the story I could envisage for this garment.
Linen Smock Coat – I took a risk with this blog and decided to write it as a story, weaving the ‘substance’ information into the narrative. 
Linen Smock Shirt – I found an application called Adobe Slate and used this to write this blog. It’s very visual and makes a capsule of photographs and information that slides upwards with information and photographs on ‘slates’ moving across base photographs. Perfect for displaying a lot of information is a smaller space than a normal blog layout. The only issue that I really had was that it doesn’t currently link seamlessly to my blog. 

Project 2 – Recording and Capturing

All of the 4 exercises in this project are a progression of mark making and different methods to capture the substance and qualities of the 3 textile items. My plan to work through these but not necessarily in a linear fashion. I’m not going to seperate the items but look at them as one collection of images and work from there.  

The danger with this is that I lose the value of the ‘story’ information and depersonalise the garments. This will need some more thought.


Exercise 1.3 – Making Marks

I actually think I might have enough information to complete the exercise, I made a number of drawings at the archive visit and I’ve done some research on simple mark making in my sketchbook. I have already included the drawings in the previous so I’ll need another angle that keeps them interesting and not just a simple repeat!

Exercise 1.4 – Lines & Edges

This is going to be an interesting foray into using simple methods to take some observational drawings. The brief asks for 8 to 12 drawings.

My planned process is:

Select some photographs with some interesting lines — Select some drawing tools, have a walk and gather some unusual items and create some personalised tools — take a line for a walk; drawing with my left hand, drawing with my eyes closed, lots of free form — chose different types of lines to express the different qualities of the items.

Exercise 1.5 – Collage & Creases

I have aleady started this project and it only asks for 2 to 3 collages, so I’m well ahead here, there is more likely to be a problem with me actually stopping!

Exercise 1.6 – Detail & Definition

The 3 textile items are full of interesting details so this shouldn’t be too difficult at all. 



A Little Break – research and contemplation.

After finally finishing the 3 garment study blogs for the Textile Archive exercise I felt I needed a day of Pritt and scissors. I’m always ripping articles and interviews out of magazines, some because I just like them and some because there is a link, sometimes very tenuous to what ever project I am working on at the time. 

My three textile items were selected because of the textures created by the use of embroidery and smocking and the clear signs of wear & tear and examples of repair work. 

When I saw this article with a project to create a shirt decorated with rufffles and lettering I was immediately drawn to it. The colours are perfect and the rough edged ruffles reminded me strongly of the fraying around the holes and rips on the 3 pieces.

I made these 2 collages using extracts and pictures from Ruth Roe’s article and photographs of the fraying on the dustercoat and the back of the smocking on the smock coat. 

It is very frustrating that my workroom is so packed I can’t even fight a path through to my sewing machine to have a go at making some ruffles and to write some text using Ruth’s instructions for free-motion stitching.


No repair work had been done on the dustercoat but both the smocks had small darning patches and this bought to mind an article I read by Celia Pym and Richard Wingate about a project they were involved in called Parallel Practices. 

They had come up with the crazy idea of Celia setting up a sewing station in a Dissecting Room being used by medical students where she would sit and repair clothes bought in by the students. The article talks about how this highlighted previously unacknowledged similarities between the too seemingly different practises of repairing and dissecting. My favourite quote was from one of the students who told Celia that she pieces together the signs of wear on the body she is dissecting, like clues and evidence; she puts the story of the person together. This resinated with the purpose of my visit to view old textiles and how from the signs of wear and tear I was also seeking clues as to the life and the story of the garment.

Celia’s darning is wonderfully artistic and I have collaged her pictures with ones of the darning I had photographed whilst in Ludlow.


Techniques and Guidance

Learning to Make & Take Time

Making time and taking time are two halves of the equation that builds creative stamina and allows artists to engage authentically with issues of size, obsessiveness and process

Jane Dunnewold, Quilting Arts Jun/Jul 2015


Antique Linen Smock Coat

I began my life in the hands of a farmer’s wife; rectangles of linen cloth spun in front of a fire and woven in the damp hills of Wales. Smiling the wife smooths the cloth on her knee, pleased with my gentle weight and the evenness of my thread.

I am to be a gift for her son; her grown up golden boy, off to work for a master on an English estate, to be an apprentice shepherd, tending sheep for their wool, to only rest on the Sabbath and he will need a sunday best and that will be me.

The wife sits for a while and reminisces; remember’s her boy’s baby years and her husband; the farmer and how shy she had been when he had worn her first smock, she had been barely more than a child herself and her stitching had been loose and her smocking uneven. He had looked so proud to be wearing his wife’s work, ignoring the imperfections.

Slowly I am created with slender gentle stitches, with cream cotton thread, my edges turned in and my hem sewn securely.

I am stout and square, too big, too rigid; so the smocking begins, front and back my fabric is drawn tight with strong stitches and held with a strong knot; my pattern handed down from mother to daughter, all kept in my farmer’s wife’s mind.

With love, stitches are added to decorate my sleeves and my collar, the wife must pull hard on the needle with hands marked by years of washing and working. These hand’s so solid and rough moving deftly across my fabric to decorate my body with her favourite stitches to remind the boy of the hills and the trees of his homeland.


Reaching down she pull’s from her bag a small box of buttons and choses a metal hook and eye to keep my collar tight to keep the chill from the neck of her son.

She rolls the metal between her fingers and an idea comes into her mind. She thinks of the market and the travelling carters who come from the South, their smocks all dirty from the journey with the horses and the mud, the stitching was different and buttons so pretty. Made by hand on small metal rings, perfect small cartwheels

Again she reaches down and finds the small rings and using the thick thread she makes some buttons to add to the smock to make special, to make it perfect. Two small ones for the cuffs and three bigger ones for the front.


Through true labour and love I come into being and I’m given to a son as he’s wished on his way, to start an adventure across the border into England. On my arrival I’m given a mark, a bright red fourteen, to make sure I am cared for; I’m washed to be kept clean, to be returned to safe hands for wearing on Sundays for sermons and hymns.

But, god fearing this lad of mine is not, the stories I could tell of his exploits, stolen apples and kisses would make his mother blush. One day I am waiting folded away when he goes to far and is caught redhanded, to be taken before the law and offered a choice. He’s going to prison or to make his amends by defending his country along side his comrades up against  Napolean on the battlefields of France and beyond.

Now the mother sits with her head in her hands, weeping for the boy she once held on her knee, whist the father keeps working, hiding his grieve in the fields and the barns. I’m gathered together with all the boy had and left in a box, in a basement forgotten for now.

The Sunday’s came and went never was I worn, only remembered by a maid, now a cook who thought of the boy fondly, too fondly to see his things cast out or given away.

Then one day, the lord of the manor he had a special guest, an artist of great repute who wished to capture the beauty of the countryside; the labourer of the peasants and the romance he saw in their lives.
He need a smock and there could only be one. So I came out of the darkness, found and displayed, forever immortalised by Dante Gabriel Rossetti. With this painting he struggled, no matter how hard he tried it was never completed and then simply he died.

The lady rescued me,  Fanny kept me and would wear me whilst she lived with Rossetti, I left his home with her when his family cast us out. I was there, beside her as the sad story of her life played out only to be packed away and forgotten whilst she ended her life in a lunatic asylum; alone and abandoned.

Even in her dark day’s my lady took great care of me and like the farmer’s wife before her she stitched using cotton and with great love darned the damage on my seams and repaired my hook and eye, until no longer could the hook be not held tight and so we became parted.

So years later when I came to be found in a museum in Sussex, very far from home there were only two signs of darning to be recorded, though more than that about me I kept woven in my weave. No one else knew all about me and the exciting life I’d lead. So I was shipped back to the Midlands and a home in Shropshire buried deep in an archive in an ancient town.

Now I find myself in a room; warm and bright, being looked at by a lady. She pokes and prods and pulls at me. Her thoughts want to know my story and she searches for the clues and makes up this story with no base in fact.

She lays me out on a table and takes so many pictures of my farmer’s wife’s stitches, my artist’s mistress’s simple darning and the ink and rust and rips that I have picked up along the way.


Her fascination lies in my movement and my drape, in the abstraction of the stitches and the folds when seen from behind, and below.


To compliment her photographs and because her search requires it she takes a pencil in her hand and with fear and trepidation begins to draw. Using random meanderings she copies Fanny’s darning, as complex as her mind.


She then records the lines and circles made behind the stitches put there by the farmer’s wife, I wonder, smiling wryly what this stoic lady would have though of all this fuss and fancy over the inside of a garment not usually on display.   


Then nothing like the delicate brush in Dante’s hand she draws the shapes and motifs created by the stitches and the creases of my tightly folded fabric.


It’s now many minutes later and I’m gently returned, folded lovingly again, to wait until I’m needed on another study day.


Duster Coat Study 

So the first thing I have learnt about doing a research study is – make sure you keep a note of which photographs relate to which pieces. At the time it felt like it would be very obvious but now I’m home looking at at least 153 photographs of 3 very similar garments I’m pulling my hair out trying to work out what relates to what. Silly me! Luckily I did keep my notes very seperate and I’m hoping that as I work through this blog, it will all become clear.

The first garment that I viewed at the Shropshire Museum Resource Centre in Ludlow was an early twentieth century cream linen driver’s duster coat. It was recorded as a men’s garment, which it is very likely to have been. By modern day standards it looks far more like a women’s coat but we have to take into account the changes in the size and stature of humans over the last 100 years or so. This coat would look quite strange on a man now with it’s narrow sholders and tapered design.


The linen fabric felt quite rough, it gave the impression of having been boil washed without any softening agents, it was scratchy and very light weight. This garment has seen plenty of wear over the years, it’s covered in all types of paint and oil stains. 

As I worked with the coat, looking in detail at the markings and damage, images came into my mind of Agatha Christie style dramas; of dashing young men, throwing up gravel, pulling up in front of manor houses. Having a jolly good jape, running grumpy old villagers off the road into dirty ditches and scaring the ladies with their dizzying driving speeds of up to 20 miles an hour. The coat, then shoved into the hands of a straight faced butler or a shy, coy housemaid to be left on a hook down in the depths of below stairs. To sit and wait whilst the men grow up, the cars change and the servants leave, not to be replaced as the families money slowly dwindles away and the costs of maintaining the manor rises. Much later, to be rescued by a young lady, to be worn to cover her clothes as she gamely slaps some paint on old damp walls to brighten up the rooms that after years of neglect are still worth living in. 

There is no evidence that the coat came from anywhere but Britain, it looks very English but there were no labels or information in the museum notes to give any more clues as to it’s actual origins. 

In truth I’m not really interested in the facts or the actual providence of the coat. It just felt wonderfully nostalgic and inspiring to enjoy the garment as it is now. As a complete object its no great beauty, it’s appeal lies in the results of the years of wear, it was a veritable smorgersboard of texture, gentle detail and delightful whisps of fluffy frayed fabric. 

And, one of the advantages of chosing a functional item, that’s already seen better days is that you have more leeway when it comes to handling the fabric. Whilst still being respectful and gentle I was able to examine the coat inside and out. I was able to manipulate the fabric so I could examine and photograph specific areas of interest.

As is typical of linen, it was very clearly woven, probably with a flax/cotton mix which gives a light worsened thread that varies in thickness.  The stitching was done by machine and was very neat and finished well. The stitching was very ordinary but had a delicate beauty bought about by the similarity in colour between the linen and the sewing thread.

In a few places there were small frayed holes where the fabric looked like it had been eaten away by the liquid that had dropped onto it, the liquid was a deep russet colour which enhanced the beauty of the holes by adding a sharp contrast to the cream of the linen. 

A stain on the front of the coat, which was almost a stamp makes an interesting composition of shapes created using negative space and just to add a contrasting element there’s a small circular buttonhole. 


The collar was very frayed, indicating plenty of wear. Very surprisingly no one appears to have made any attempts to repair the damage, which was lucky for me because the rips and the fraying provides me with lots of subject matter for drawings with texture and tone. I was particularly intrigued by the fact that the material inside the collar that can be seen through the rips and holes looks thicker and denser. I could find no evidence of difference fabrics being used so is this simply just an optical illusion? 


The main buttons on the front of the coat have been removed but the tough bone buttons on the cuffs remain.  I was delighted to find a small metal ‘eye’ below the collar on the neckline though there was no coordinating hook on the other side. Just an unrepaired retched hole, maybe the hook had been resewn and ripped off so many times that in the end it just wasn’t worth replacing.


In addition to the photographs I also did some quick on the spot drawings, I was limited to using a pencil by the sensible museum rules but it was relaxing being able to focus on the subject matter as time was limited and I’m glad I didn’t have to put lots of thought into selecting the right medium’s and papers to use. 

This was my only attempt to draw a large area of the structure and folds in the fabric but it soon became evident that there would not be enough time to do the subject matter justice. Looking at the sketch I decided that it didn’t provide me with any additional information than that provided by the photographs. In fact I was forced to write down what I had drawn because it wasn’t immediately obvious from my scrawl.


These little sketches were better and I felt that I was starting to learn more about the fabric and was beginning to gather better information and inspirations. I was improving at effectively expressing the shapes and motifs that I would need to use during the process of formulating ideas, looking at options and then considering how I could express what I have seen and learnt into interesting compositions and designs. 

This quick stetch is of the russet stamp like stain on the front of the coat. I tried to get a feel for the flow of the lines of the ink/paint that created the impression of cream squares in the negative spaces between the brown squares. I used notes where I didn’t have the time to fill in the detail and used words that would help me remember what the image looked like. 

Please excuse the spelling, that really should say parallel. 

I was fascinated by the little rips in the delicate fabric, looking at then make me feel vaguely uncomfortable, I experienced a strange type of anxiety, worryed that at any minute the hole could catch on something and be ripped right open or that gravity would start a domino effect of unravelling. 

I wonder if this is a mild form of PTSD  peculiar to knitters and specifically to my own fear of dropping a stitch or getting a rip in a sweater and having to frantically  try to re-hook the loose stitch and re-loop it back in to patch the steadily widening hole. 

As I looked closer I could see that the fabric was more robust than I had at first thought. The weave was doing it’s best to stay together. Over time I am sure the hole will slowly widen even if left alone and not significantly manipulated, just the gentle movement of the limited handling of a museum item will cause small changes that will eventually be clearly visable.

My initial ideas for progressing into the next stage of Recording and Capturing are to focus on the fraying on the collar, the stamp like mark on the front of the coat and the oil/rust stained fray on the back. I have also taken a number of photographs of the coat when it was hung up to enable me to make a photo montage in a similar style to the ones by David Hockney



Ptolemy Mann

Ptolemy Mann is a London weaver now living in the beautiful countryside in East Sussex. I found an article about her in Craft magazine and was immendiately drawn by the juxtapositions of the colours; light by dark and the gentle blending, the clean lines and the geometric shapes. 

Like Charlotte Adams who wrote the article I didn’t see the weave in the work instead I could see beautiful abstract paintings.

So it was no surprise to learn that Ptolemy had started her journey as an artist but found it too full of options, too confusing so was drawn to textiles. In particular weaving which is technically challenging, it provides restrictions and dictates focus.

The pieces are stretched to keep the tension, to remove any creases or potential for deviation from the design. 

This fascinates me because I love to pull cloth in my embroidery hoops tight but apart from that I openly embrace the happy mistakes and deviations from my original designs. Mentally I find it very difficult to be such a perfectionalist about design but I appreciate Ptolemy’s approach and think it would not do me any harm to be more focused and dedicated to my original vision and design.

Whilst looking through the Shropshire Museums catalogue of textiles I was drawn to a 1920’s black georgette evening dress and as I looked at Ptolemy’s colourfield pieces I could see similarities between the embroidery and the blocks of colour on these beautiful weavings.  

The gradulations are beautiful in all of Ptolemy’s work and they give a dream like quality that is in direct contrast to the straight lines and geometric shapes. They soften the image adding to the energy created by the use of dramatic changes in tone and colour.   

Whilst in Cornwall I took some photographs of an outdoor stage at night with a camera that hates to focus at the best of times. The results were abstract blendings, the original image can hardly be seen. The structure of the stage and flags combined with the flags provide downward lines of colour that melt into each other. 

They have a strong resemblance to Ptolemy’s work, particularly once they have been manipulated and tweeked using digital manipulation apps. They are not as ‘clean’ because they have a huge dose of my messy, more organic approach to design!


Tidied up a little and made more defined they look like this.

  Usually I would consider these as bases or backgrounds and would use them as an element in a design not as the design. Ptolemy has opened my mind to the potential of weaving and the use of a more focused, defined design approach.

In the article Ptolemy provides a wonderful quote to add to the debate about textiles as art:

‘My work is highly skilled and in it I am saying something about colour and its complexity. I am absolutely making paintings and I am so pissed off that the art world can’t see that’


Action Plans, Journals, Blogs and Actually doing the Work

How do I get the balance right? That question is one that bothers me all the time. How many notebooks and sketchbooks  should I keep? What is a learning log? How much or how little should go into my blog? At this point my head feels like it’s going to explode. I keep thinking I’ve solved it but then I doubt myself and worry that I am not demonstrating all of the requirements of the course.

I’m worried that I will spend more time typing up blogs rather than doing the real stuff; drawing, stitching, reflecting and planning. 

Should my blog include everything? If I don’t will my tutor think I’m not working enough? If I do will I be judged harshly on my random ramblings? 

I love writing in my notebooks and I love keeping sketchbooks. One of my own personal goals is to create beautiful sketchbooks that are as artful as any final pieces so I don’t want to neglect my books in favour of a more digital method. 

My proposed solution is to keep using my books, grabbing all of my random thoughts and seemingly irrelevant information. If there is a clear ‘story’ or article or it is a specific project/ excercise/ asssignment piece for my degree I will write a  proper, tidy blog post. Inbetween I will post photographs of pages from my various notebooks with some notes and comments.

So please excuse the spelling, the ramblings and the poorly exectuted drawings. 

Moleskin notebook 

I love this turquoise notebook with its soft cream pages. Something about it makes it inviting and easy to write into. It’s difficult for me to take in all of the instructions in the OCA materials if I don’t write them down, this notebook has lots of copying and summarising of the instructions with my thoughts and action plans. 

I know really I should write these up in neat presentable action plans but really?  If I wanted to do that I could go back to me job as a project manager. I want to be an arty farty artist, please let me be messy!

In here are my first thoughts once I knew that the Shrewsbury Museum could help me with identifying 3 textile pieces to use for Part 1 – Observing & Capturing of a Textile Vocabulary. 

When I first thought about this exercise I wanted to follow a train of interest into regimental flags.   

  I loved the research and I’m still blown away by the flags that hang in our cathedrals but on reflection I decided to change track. There is a proper blog on this. Regimental Colours & Standards.

Where next then? 

  After I’d made these notes I moved over to my travel sketchbook. I do most of my recording in this book. It stays with me most of the time so I can gather information as I go. For a good twelve months I’ve kept a small daybook and this is an extention of this. This article by Victoria Torf really focused my mind and inspired me to carry on with my travel book.  

Travel Sketchbook

This little A5 book has a great surface for pen and paint. It’s filling up now with pictures, notes, articles from magazines and tests of new pens & other mediums.


A4 (Square) Khandi Sketchbook

This is another kind of book I love to use, again the papers take paint well and has a lovely surface for pencil and pen.

I use this book for collages, mind-maps, scribbles and more considered drawing and markmaking.  Now I have selected my three pieces I have started preparing for the information gathering and research I need to do to complete Exercise 1.2 – Substance and Story. 

I will fill in the gaps whilst I am viewing the pieces and once I get home using the internet.  In addition to this I also have a Pinterest board OCA – Linen. There isn’t very much information on vintage linen garments on the internet and if I decide to pursue this theme for Part 5 – Building a Collection I’m sure I will have to visit more specialist museums or contact some experts. Not something I find comfortable doing but a perfect way to develop my confidence.

Whilst I am in Ludlow seeing the pieces I am also going to start the next project – Recording & Capturing, here are my notes in the Moleskin notebook followed by the page I have set up in my A4 Khandi sketchbook.

 The visit should be great, it’s a whole new thing for me. I’ve only drawn once or twice in a museum or gallery and then with a group. I really hope I can do this without embarrassing myself or, worst, causing any damage to the garments. I’m aiming to gather lots of information with my camera and use pens & pencils to take some quick sketches that I can develop later.   


Asemic Writing

‘It looks like writing, but we can’t quite read it’ 

This comes from www.asemic.net a website about this practise that has potential as an intriguing way of adding focus and drama to paintings, drawings and mixed media pieces. 

I started searching for more information about asemic writing after reading an article in Cloth Paper Sissors about using your handwriting in your Art.

The article focused on using big sheets of paper that you cover with big bold letters that you then cut up into pages which are then assembled into journals. 

 Jennifer Coyne the article’s author suggests choosing a word, a feeling to infuse the journal without being obvious and to use colour and stitch on the pages to complement that word. 

This set me off looking for examples of this form of writing with no specific semantic content. I found out Kandinsky used it, the Chinese use it, including the wonderfully named ‘drunk’ monk Hucisu. 

I’ve found some images of drawings and painting that have really wetted my appetite.

  Kitty Sabatier


Kerri Pollo

 Andrew Van Der Merwe.

Flipping brilliant, I love text but often feel uncomfortable writing anything specific in my art work. This offers me a great stepping stone towards adding text and another way to add visual textures.
Here’s a little play I had in my daily journal.

I’ve started gathering more images on Pinterest.