ATV - Pt2 - PJ1 - Creating Surfaces · Textiles 1: A Textiles Vocabulary

Manipulating Paper – Simple Layering.

I have a huge collection of paper, I’ve been accumulating it for years and good friends save unusual wrappings and papers for me, so this project has made me very excited. Sad but true!!

Recently some amazing bark paper and other hand made papers have come into my possession and I’ve been itching to play with them. They have a very fabric like quality, rough and fibrous rather than smooth.

My original plan was to take them to my husbands workshop and bash and weather the papers with his power tools but time has got the better of me and I’m been working in my own workroom at home. 

My original source material: the archived garments had lovely textures and detail created by wear and tear and I want to experiment with different ways to distress my paper.

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After the distressing I shall go on to some explorations involving the hems and seams and then the folds of the smocking.  

Including the smocking feels like an obvious choice but they are so beautiful it would be rude not to at least have a go at doing some different with it. 

  

My textile archive source material is subtle and mono in colour which is in stark contrast to the second source material the flowers, which were very bright and bold. 

I shall bring in some colour using this as the reference to the second source at this point.

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So in the absence of manly power tools I got out the embellisher and armed with a few lose ideas I set to work on creating some interesting surfaces.

I forced some muslin and ribbon through the bark paper; bits of needle flying off everywhere! Luckily broken needles still work with paper. Good job too, embellisher needles cost a bomb!

These samplers were too small, so I changed onto A4 sized sheets. I’m not completely sure using muslin and ribbon really meets the brief but I liked the result so decided to continue with the explorations even if I chose to disregard them later.

  
 

These first few samples are simple; I selected 2 layers: 1 plain and 1 coloured and ran them under the needles until the thinner layer started to rip and distress. 

Orange lutrador and handmade fabric paper (tissue paper, PVA glue & calico)

I like the areas where the weave of the fabric is starting to show through.

   
Flecked cartridge paper and handmade silk paper. The cartridge paper started to flake and I’m not sure it will hold together once stitched without a coat of PVA or gesso.

 
Mulberry paper and the lighter grade bark paper. Yummy yummy! The bark paper started to give and stretch but didn’t rip as I forced the mulberry paper through the fibres again and again. 

The colours are very bright, which has the reference to the bright colours of the flowers but I wanted to tone them down, so with a nod to Alberto Burri I rang the heat gun over the edges to char the raised and loose fibres.

Finally I had a go at embellishing some scrim through some cartridge paper. It’s not my favourite but it does give me a simple base where I could let the stitch be the star.

  
 

I’m not finished yet, my next post will be some multilayered experiments and today I bought a Variable Speed Rotary Tool with 172 grinding, sanding and stabbing accessories. Just how much mischief can I get into with that?!!

ATV - Choices & Planning · ATV - Pt2 - PJ1 - Creating Surfaces · ATV - Pt2 - PJ2 - Drawing with Stitch · Textiles 1: A Textiles Vocabulary

Selecting what to work on next.

Focus! Keep it simple. That has been my brief all through this course so far. No over thinking but informed rational decision making. This isn’t always easy when working in an atmosphere of assessment and judgement (peers and tutors). 

I try very hard to ignore this and to work as an artist would: using their own eye and judgement to decide which direction to go in next. But then at least I don’t have the haunting consideration of ‘will this sell’.

So my choices? What governs them? 

1. Putting something right – taking something I don’t really like and seeking out ways to make it a pleasure to view. 

  
2. Making something bigger – this is tricky, pretty lines and shapes are just that so how does extending and stitching something take it to a new level? 

The answer must be in the selection process. I am going to experiment with taking an area of a drawing that now transmutes the original source into something very different.

  
3. Turning flatness into texture – taking a mark making exercise that hints at depth and tone and experimenting with creating that texture with stitch.

  
4. Building and developing a feeling or idea – another tricky challenge, I like the dreamy quality of these seed heads and can I improve on this or will stitch just overwork the image and alter its original qualities?

  
5. Fixing an issue with colour – when the basic composition is sound but the colour is not pleasing I can remedy with different colour choices.

  

6. Working across several pieces to identify unusual and interesting compositions – where there are several sketches on one page and sometimes lines and textures created by the base paper(s) then I like to block a small area that covers different elements.

  
That should be enough to get me started. I’ve got my view finders and once I’ve started moving them round my actual picture selections may change but I shall endeavour to keep to the 6 guidelines above.

   
 

ATV - Pt1 - PJ2 - Recording & Capturing · Textiles 1: A Textiles Vocabulary

Textile Archive – Recording & Capturing. What have I got here?

I was slow to start with this exercise, I was very nervous about contacting a museum and didn’t know at all what the etiquette was. But it all went very well in the end and I spent some wonderful time with my 3 linen textile items. 

I was able to do some sketches on site and to take lots of photographs so I had plenty of source material for my sketchbook.

The brief split the recording and capturing instructions down into 3 elements: line, detail & definition and collage.

I made 3 line drawings of 2 of the garments, hoping to capture the atmosphere of the garments without getting bogged down with too much detail.

  

   
I also made a number of more relaxed and abstract renditions of the lines in the stitching and the folds of the fabric.

 
It was a real test of my need to add lots of detail to keep this sketch this simple. I think it stands out against my other sketches.

    
    

   

     
 
Recording the detail was very enjoyable, the smocking and folds in the fabric of the garments gave me lots of shapes and shadows to record.

   
    
    
    
    
 
   
    
 

Then there were the interesting shapes make by the rust marks and the weave of the linen. And I experimented with some different ways to express their shapes and attributes.

   


   
    
  

   
   
  
 
Making the collages proved far more tricky, I was restricted by the small pages in my chosen sketchbook. In the past I’ve used collage to make far bigger compositions.

I began with a detailed rendition of the sleeve sketch I made on site.  I used an assortment of magazine pages but it was very flat so I cut out and added 2 little pieces of a photocopy of the sketch to add some contrast and a focal point.

   
 
When I found an article in a magazine with some photographs of carved wood I was very excited that it would make good collage material. Well, I did my best with it but it really didn’t come together in the end. I was hoping for gentle lines but I think it just looks clunky and very clumsy.

I did try to rescue it with some distressing and colour but I’m still not satisfied with the results. 

It does make me wonder though whether I should take it forward to the stitch samples. It might work far better if I select small areas through a view finder?

   
   
I’m including these collages but I don’t think they are very good!! I was trying to show different ways to record the folds and weaves but I think my 2 attempts are too obvious and clumsy (again) 

   
 
I was a little bit happier with this piece, I like to draw over photocopies and I like the way this collage takes the original source and it’s now something very different.

  
I finished off the sketchbook with a couple of Hockney style montages.

   
 

ATV - Ex 1.8 - Portraying by Drawing · ATV - Pt1 - PJ3 - Picking & Portraying · Textiles 1: A Textiles Vocabulary

Flowers – Picking and Portraying. So what have I got?

I gave myself the challenge of making big, bold, bright paintings of my flowers.

This is totally out of my comfort zone. I prefer fine line drawings and more abstract mark making. This has left me feeling slightly worried that I haven’t been experimental or original enough during this exercise. On a personal level it has been very enjoyable and forfilling. It was not very long ago that I wouldn’t have had the confidence to attempt a series of paintings without using photocopies or tracings.

So I could ease the pressure of making accurate paintings I decided to use Procion MX Dye to paint the backgrounds and some of the basic shapes, they are very easy to apply, generally vibrant and create organic graduations of tone.

I then chose to use pastels to actually draw the flowers. I’m not a big lover of pastels, I’m drawn to buying them because they always look so lovely in their boxes or displays but they usually just sit around, still in their wrappers, so I thought this would be a good exercise to get them out and put them to some use.

I liked the idea of making some dreamy painting with lots of dispersed colours, all running into each other and layering up over time and with continued applications. To add some texture I also got some brusho pigment grains ready to sprinkle onto the wet dye.

As a base and rather than be restricted to the size of a sheet of paper I have used lining paper. This worked really well; it made me feel I could splash dye all over the place and make big bold statements. I could be free with my mark making and expressions and not become overly obsessed with making accurate renditions of the flowers.

In the end, I filled up 3 pages/table tops with colorful flowers. I don’t think I pushed any boundries or developed anything new but for me this was a whole new painting experrience. It was lovely having this all set up in my workroom and I was able to nip in first thing in my pyjamas to lay down a few quick layers, then keep going back  during the day, right up to bedtime to add more paint or detail. Very gentle and therapeutic.

My first page consists of a failed attempt to use Jacquard Solarfast to make a background with the shapes of some of the ephemera I’m always picking up off the floor.  I hadn’t realised (stupidly!) that it needed UV rays to work properly. So that’s one to try again when it eventually stops raining!!

Then I went on to doing what I had originally set out to do and make an attempt to capture the abudance and bright beauty of the flowers whilst they are still fresh and sunny. Looking back now I think I could have added a little bit more detail or contrast with brusho but I didn’t want to over work these first 2 pieces. I love the way the dye clings to the edge of the brush strokes but I’ve no idea how I might interpret that in stitch, french knots maybe?

  

I had sidestepped the pastels quite nicely on the first page so I made myself start with the pastels on page 2.  I used Neocolor I wax pastels to draw the shapes of the crazy structural flowers from one of the bouquets. I was looking to capture the shapes of the rigid leaf like petals and plasticky stamens with the smooth oily pastel. Quick rapid strokes worked best. Over the top I painted a Procion MX dye wash and added some highlights to the background with a soft pastel. Painting over the wax resist is a wonderful process, it just brings everything to life.

     

On the left hand side of the page I made some quick painted impressions of the gladiolas and lillies and left them to completely dry. The flowers are starting to wilt now and the colours are darkening and becoming more intense.

The gladiolas were getting quite sticky so inbetween the drying paintings and pastel drawings I laid down a gladioli stem and painted round it  and then pressed and hammered at the petals to transfer some of their colour. It was exciting to see how the colours developed under the dish cloth I used to cover them so I could press down with plenty of force. The finished article was a little too simple so I added some pastel detail and a little bit of iridescent white ink to give some highlights.

  

Back to the pastels then and a few doodle style scrible details on a couple of the gladiolas. I’m happy with the layering of the colour and the Procion MX dye makes a perfect base for pastels because it adds a little bit of texture for the powdery pastel to grip onto.

  

I had a mad idea to spray some primer onto the page using some leaves as a stencil but it really didn’t work and I ended up with a big battleship grey cloud. Odd to say the least! So I went a bit crazy with the next gladioli and added some more pressed petal colour and splashed on some more layers of dye.


Photographs of the pages take well to being digitally manipulated and these are a couple of my favourites.

I would love to be able to make paintings in this style so I’ve stored this idea away to be worked on at a later date.  I’m wondering if I could use a photograph as a base and if I could add layers of textured paint to replicate the small geometric dab like marks.

I might even use these as part of the drawing folio that I will consider for the next exercise in this project to complete a small collection of stitch samples.

By the time I came to the third and final page the flowers were really starting to decay and were slowly starting to fall apart. I decided to use the sunflowers as stamps and I painted them with procion dye and pressed them onto the lining paper. Very little of the dye transfered so I added more dye with a brush to represent the petals.

Then I had a go at the back of the sunflower and created the alien! These is another blog about my attempts to save this monstrosity.

  

I then had a go at a couple more pastel drawings, I don’t think the sunflower adds anything to the party but the lttle bells are quite sweet, they look better now the dye has dried fully around the oil pastels. I must have overlayed 3 or 4 different colours now and I love the way the oil pastels stay very defined so you can keep adding to the background and playing with the tones and composition without losing the original drawing.

At a later date I would like to expand and build on this technique, maybe trying to scrape away some of the pastel usings pins or sandpaper.

  

The little scabious flowers were really drying out so I thought I might have a play with using then as a stencil and maybe getting some of the colour to transfer on to the papers. So I dousted them with dye, layered them with paper, a dish cloth and some wood and flattened them with the flower vases and my hands.

  

The paper in the sandwich has some potential but the effect on the lining paper was just a big blue puddle! It did look quite nice with the reflection from the water in the flower vase shining on it.

After it dried it did provide a very nice base for a few flower sketches. Scabious is one of my favourite flowers and I felt very intimidated with the prospect of drawing them so I fell back on an old technique I use in these situations and drew with my eyes on the flowers not the paper and once I’d got the basic shapes down I added some more detail with the pastels.

On the little purple flower I wetted the petals with dye and added a few grains of brusho on the trip of a brush and worked the colour as it developed into the paper to get even more of a graduation and mix of tone and colour.


The pink delphinium like flowers were tiny and delicate so I decided to draw them big and bold with lots of bright pink, by the time I started them the page had begun to fill up with the edges of other experiements which gave me an interesting and spontaneous base to work onto. These pink flowers always make me smile. There is nothing new or exciting about them but sometimes it is nice to produce something that is just pretty.

I had been using some Modge Podge glue on the ugly alien sunflower and whilst I’d got it out I decided to use it to make some glue prints with the sunflowers. I hoped that the glue would work as a nice resist and wouldn’t pick up too much colour when I painted over them with the watery dye.  The big sploges didn’t work so well but the more defined prints actually look quite nice. I just kept adding more colour and then walked away to let the colour dry before going back and adding more colour.

 

As the sunflowers dried whilst I was working around they became paler and paler so I started to add more colour with dye, pastels and Inktence blocks. In the end I think I went too far and I’m glad I’ve photographs of the paintings a long the way. It does fit in quite well with the final page but I have lost the delicateness of the original  painting.

Overall I am very pleased with my flower pages; I used pastels and enjoyed the results; I painted flowers that actually looked like flowers and the Procion MX dye worked as I intended and created a huge variety of tone and colour.

It is very different to the sketchbook on the Textile Archive which is full of line drawings of detail and mark making to record textures and fabric. It is going to be interesting to see how the 2 elements come together for the next exercise of stitch samples.

ATV - Pt1 - PJ3 - Picking & Portraying · ATV - Research Points · Textiles 1: A Textiles Vocabulary

David Hockney 

These research points are always tricky for me; I love to research, I love to soak up all those pictures, facts and information but I always feel uncomfortable writing it all down. Cut & paste made that all too easy! 

When I was at school writing a report showed you had done your research, you’d had to go to the library or find someone else who could tell you all about it or found or bought a book. Now it just means you can type some key words into Google! 

Unless you are doing your research on site at a museum, art gallery or other interesting location, to me there doesn’t seem any need to write down all the stuff you’ve read. 

It’s especially difficult if you’ve got a preconceived idea about whether you like the artist or not. Hockney is one of those artists that I have chosen not to like: the celebrity artists, all parties, drugs and sexy groupies.

Maybe Hockney was a bit like that but, accept my apologies, he’s also a damn good artist. Not that I think he’d care what I think!

He’s never not been fresh, he’s always kept his love of life and positively. There have been periods of sadness and difficult times but he’s always looked for the excitement, beauty and new things to investigate in life.

Hockney’s work covers such a long period and so many genres, mediums, styles and influences I couldn’t possibly cover them all here without being in danger of boring you with information rather than spiking your interest. This official website has some excellent information, including a chronological biography. 

Colour has always been key in Hockney’s work and he’s well known for his quotes. I am especially drawn to his thoughts on ‘seeing’, ‘painting’ and photography.

Shut up and paint

Being one of my favourites.

Over the years Hockney has always embraced the new and exciting: he drew and painted but then took photography to new levels. I particularly like his montages, almost as if he could see the future of photograph as we have it now with camera phones, Instagram and selfies.

He was using the photocopier to make layered pictures long before Art Journals and mixed media. And now he is painting using his iPhone and iPad. 

No hiding behind his age; reading an IPad For Dummies and ringing his grandchildren for help to switch ‘the damn thing on’ for Hockney.

Hockney is showing his ability to reinvent himself time after time by incorporating this new technology into his already vast repertoire and producing some wonderful iPad paintings and as to be expected has some very interesting things to say about it all. I particularly liked this article in the Telegraph

I’ve focused my Hockney sketchbook pages on his quotes and added lots of bold colours. There are more of his pictures on my Pinterest Board: David Hockney – OCA – Research. 

I really have been surprised at how much I have enjoyed this research point, just proves sometimes, you’ve just got to shut up and paint!

   
 

ATV - Ex 1.8 - Portraying by Drawing · ATV - Pt1 - PJ3 - Picking & Portraying · Textiles 1: A Textiles Vocabulary

Tricky Sunflowers 

This morning’s painting session started quite well. I used some Procion MX dye to do some sunflower prints. The flowers are starting to rot and are ponging, so it was time to cut them off before they turn to mush.

  
I liked this but the tone was created by the wetness of the dye so I added some more colour. I still feel it’s a little bit flat but I’ve shown some rare restraint and I’m leaving them to dry before I add more colour.

  
The backs of the flowers are beautiful in a Wabi-Sabi way so feeling brave I thought I’d have a go at drawing one. Oh dear, oh dear. I created an alien!!

   
 
I couldn’t bear looking at it so I ripped off some of the green leaves and placed them over the offending item.

  
Better? I’m not too sure yet. But I’ve gone ahead and added some glue and pinned the leaves down, in the vain hope that they dry flat.

   
 
I’m in love with these pins that I bought from the Dovecot in Edinburgh, they are for pinning down butterfly and insect samples. They are so delicate and pretty, I might just leave them in.

In case you were wondering what the backs of the sunflowers should really have looked like when painted, here’s a digitally manipulated ‘painting’. 

  
Outdone by an IPhone – huff!!

ATV - Pt1 - PJ3 - Picking & Portraying · ATV - Research Points · Textiles 1: A Textiles Vocabulary

Floral motifs, fabrics and paintings. 3 of the best. Research Point 2.

1. William Morris

Where else would an exploration into the world of floral decoration start other than with William Morris. His fabrics are a perfect combination of reality and motif. I chose the pink peonies because I love the symmetry of the design and the way the leaves overlap with the little yellow flowers as an extra element and complementary detail. I was immediately drawn to the other 2 pictures because they show the outlining and laying out of the design before the colour was added.

 

2. Tord Boontje.

I’ve chosen 3 very different examples of design by Tord Boontje that I feel demonstrate his ability to work with the overlapping and layering of flowers and plants in nature. 

 

3. Jane Askey.

The more I look at Jane’s Floral Summertime the more I like it, at first I thought it was almost too simple but my eye gets drawn back to it again and again. Jane’s choice of composition layout is calming and gentle. I really admire her ability to express complex shapes with bold brush strokes and simple colour selecctions.

 

4. Marni

This OCA degree broadens my horizons all of the time and this research exercise has taken me down a route I rarely follow or consider. High fashion is not my thing and I’d never heard of Marni before. To me these 3 garments are works of art. They are beautiful and I love the use of floral themes and motifs in such prominent ways.

  
5. Timorous Beasties.

Very, very yummy and expensive wall paper and fabrics. It was difficult to chose just 3. The more tropical design makes me think of Victorian glass houses and tropical heat and the Bloomsbury Garden is just like having the garden inside. I think the use of the blotch technique is very brave, it’s very dramatic and I’m sure everyone will see something different in the details. Is is wallpaper or a psychology test?

   

6. Elizabeth Blackadder

My parent’s lived not far from Falkirk in Scotland and my Mom had the most beautiful ‘black’ irises in her garden. They had come from a nursery of rare flowers and flourished, loving the damp conditions in the Glasgow peaty soil. Irises and Flags are delightful flowers and Elizabeth has really done them justice in my eyes.  I chose the other 2 paintings because of the delicate layout of the different elements. In False Palm I can see both Scottish and Japanese influences. The paintings look simple but it’s clear that a lot of skill has gone into their construction and into deciding what should be included and very importantly what should be omitted.

 

7. Takashi Murakami.

This for me is heaven; I love Japanese design and art and I love ‘Superflat’ paintings, drawings and doodles. These 3 pieces very cleverly mix traditional and contemporary influences. In High Five I like the use of white as an outline, almost as if the colours have been inverted. 

  
8. Erdem

More art to be worn. These garments are very very beautful. The fabric is a soft and fluid painting. So often floral fabric uses stylised repetitive motifs, sometimes almost doodles but Erdem use patterns more akin to the watercolour and oil paintings usually seen in frames. 

It was difficult to chose just 3 favourites but I couldn’t resist the white dress, it looks so comfortable whilst being very beautiful. I liked the photograph of the detail of the skirt because it demonstrates how Erdem don’t just drape stunning fabric and expect it to speak for itself, they also employ clever tailoring tecchniques.

   
 

9.  Zoffany

I have assumed that the name Zoffany, for the purposes of this exercise refer to the Zoffany fabric and wallpaper company. They use flowers and birds as the subjects of many of their products. It’s not my favourite, I appreciate how they are using archives of traditional documents to influence their designs but I find the patterns lacking in tone and dramatic punch. 

As an alternative I have chosen a section of one of Johan Zoffany’s 18th Century paintings, he often included a bouquet or a vase of flowers in his paintings much like tv documentary makers now put an arrangement of flowers in the background of a talking head interview. 

 

My research for this exercise has been done using Wikipidepia (what else!) and Pinterest and the original links can be found on my pin board OCA-Artists-Flowers/research.

  

ATV - Ex 1.7 - Sources & Media · ATV - Pt1 - PJ3 - Picking & Portraying · Textiles 1: A Textiles Vocabulary

Flowers – Getting Started

To make my bright and bold drawings of flowers I’ve decided to use Procion MX Dye and brusho as the colour wash. I’ve used this in the past to paint paper and sketchbook pages, it soaks well into the fibres and leaves a nice smooth surface to draw on.

Here’s my colour palette of dye, I’ve also mixed up some purple, green and black brusho.

  
To make the actual pictures I’ve planned on using the dye, brusho with pastels; oil, soft and watercolour for more detailed and controlled marks.

I have made up plenty of dye and after I had mixed it today I couldn’t resist making a couple of paintings. I was immediately drawn to the sun flowers. The shapes are easier to replicate and colours make me smile. 

   
 

Over on the other side of the table are some richly coloured gladiolas, so I forced my shoulders down, relaxed my grip on the brush and made some splashes on the paper.

   
 

Tomorrow, after the paper has dried I will roll the lining paper along the table to expose a nice fresh ‘canvas’ and  splash a load more dye around.

ATV - Ex 1.8 - Portraying by Drawing · ATV - Pt1 - PJ3 - Picking & Portraying · Textiles 1: A Textiles Vocabulary

Flowers – Alternative Reality

Flowers are bright and bold,  they are both delicate and strong. For this exercise I don’t want to get caught up in making detailed, accurate drawings. I want to be bright and bold, I’d like my marks to be expressive and representative.  These two pages from my sketchbook have some examples of flower based drawings that I like.

To me they represent the concept of Alternative Reality, as defined by Helen Birch as “Real world reference and, imagination, experimentation and design”.

   
  

These next three paintings are examples of what I’m looking to achieve with this more relaxed and looser approach.

 

ATV - Ex 1.8 - Portraying by Drawing · ATV - Pt1 - PJ3 - Picking & Portraying · Textiles 1: A Textiles Vocabulary

What is drawing?

Well? Drawing is drawing, isn’t it? You take a pen or a pencil, or maybe some charcoal and make some lines on paper to represent something that you are looking at or imagining. Can it really be that simple?

In her book, One Drawing a Day, Veronica Lawlor lists the following tools as recommended for drawing. 

  
That’s pretty clear then? So everything else is mark making, painting, mixed media, or any other description or label. But that’s just what they are labels; categories and in the modern world a #hashtag.  

The increased use of computer databases has encouraged us to use labels to facilitate quick and accurate searches and there is a danger that this will create an atmopshere of rigid definitions but it’s done nothing of the sort. at the same time as we are becoming more dependant on Google and hashtags we are seeing an explosion of creativity and it’s in art using a variety of objects and methods; recycling, found objects, eco dying and a general mixing up of all the different schools of art, design and textiles. 

Now anyone can find a way to ‘draw’, to be creative. If nothing else you can pick up an adult doodle colouring book and enjoy the simple pleasure of putting pen to paper.

But human beings are stubborn beings and we’re often not happy unless we are critiquing ourselves.

God forbid we get too big for our boots so despite all these new ways to express our creativity there is still an issue around the negative feelings so many of us have about drawing and being able to draw. 

  
It has taken a long time and lots of reverse psycology to get me drawing. 

When drawing for designs for textile and embroidery pieces I have always told myself it’s just mark-making and I’ve mixed it up with photocopies, stamping and tracing. It helps me relax because I don’t need to rate myself on accuracy or worry about how the picture is going to look in a frame. I’m looking for the motifs, the shapes and the marks that will make good stitches. I can be free to stylise the subject matter; doodle, collage, trace and rub. I can use digital programs to manipulate the image and colour to make it more appealing or complete.

If I was to buy a book of drawing I would expect to see pages of pencil and pen sketches. lots of tone and cross hatching, full of reality and accurate. Think Leonardo da Vinci, all of those drawings of taut muscles and flying machines!

I always believed being able to draw was something I could only dream of, it always looked like drawing was a skill you were born with and had to study and work on almost from birth.

Helen Birch helped change my views, her wonderfully simple book Freehand is full of examples of drawing that uses more modern techniques. There is colour, collage and digital imagery. Then, there is the excellent book Drawing Projects by Mick Maslen and Jack Southern in which they take head on the restrictions bought about by our traditional education systems and our need to express reality.

  
Loosen up, that’s the advice coming through from so many places, just start, have a go; take a line for a walk.

  
The simple act of drawing without looking at the pen or the paper is very rewarding and freeing. It’s a couple of years since I made these sketches but I remember it as a pivotal moment. I shocked myself, my hands could follow my eyes; I could enjoy drawing and like what I drew. It gave my confidence levels a huge boost and maybe one day I will actually finish the embroidery I started based on one of the sketches.

   
 
  
 Drawing is not just about visual accuracy, it’s also about feeling and using all of our senses to express what we see.

 
A representation, a record , a visual ‘copy’ of an item can be done in many ways and drawing is just one of these ways. Drawing is a habit, it’s a skill that can be learnt and with time and practise improved.

  
There are no limits on how and what you can choose to use as an artist to portray or record an item, a concept or an idea, and drawing is only one of these ways. It is not all of the ways. Sometimes a photograph is all that you need, or a texture rubbing or a huge blob of colour. 

At the end of the day it’s all semantics; a distraction. What is important is to decide what you want to use and to focus,  learn as you go; making any changes after well considered analysis or you end up getting tied up in technique not your feelings and your expression. 

All of the pictures used in this blog can be found on my Pinterest boards: OCA – What is Drawing and Flowers – OCA – Research