5.7 Forgetting what I’ve learned in Sewing School

Drawing 3

Decisions made prior to starting

  • to use cleaning cloths left over from printing: they are neither white nor coloured but stained tending towards a prevalent colour
  • to use machine stitch rather than glue
  • to stitch the pieces onto paper rather than fabric

As stated in the brief I wanted to begin without a clear concept and see where the process leads. I started in one corner sewing on a piece at random using white thread, adding an other and an other. I noticed how the pieces overlap like horizons in a mountain landscape. However, I didn’t want to commit yet and toyed with an other piece of fabric cutting into it and tearing it. The torn strips tangled like branches. I liked that.

The landscape was now inescapable and I surrendered. What more can I add? How can I chisel it out more? It needed more depth and shape. I decided to add light and cut a sun from the gold plastic I had found. For this I used yellow thread and zig zag stitch. I let the stitching go beyond the circle of material. I wanted to repeat the material somewhere else in the picture so I made some reflections in the foreground, like reflections on water. I then sewed on the tree using yellow thread where the light would fall and dark grey in the shadow.

Some of the “branches” had twisted and I noticed how they move under the presser foot changing direction. I let them and followed with the stitching. This produced much more interesting textures and shapes. It is clearly visible in the image when I discovered this. I also started to stitch over an area several times which produced a pattern not unlike bark. For the trunk I folded the piece over itself to get away from its rectangular shape.

I then painted the sky bits with blue ink and tried to make some of the mountain sides yellow . They were too dark and the fabric sucked up most of the colour except on the stitches.


I like the sketchy quality of this. I like some of the details, the zig zag stitching on the top of the bottom most piece or the three rows of stitching in one of the mountains. These were not thought-through impromptu decisions. I also like the sun being a bit out of the picture and its glittery material in contrast to the stained fabric.

However, I think the picture does not have enough contrast between fore- and background to be readily understood. I decided to make an other one.


  • Choose the fabric deliberately: pinkish for the sky, dark for the mountains, lighter and more coloured for the foreground and very much lighter and with clear colours for the tree.
  • Twisting the fabric in the tree from the beginning
Fabrics for the background laid out

This already has some depth I think. I sewed this on and added yellow to the lighted mountain sides. I tried acrylics which did not work very well and added oil pastel to that. I think this is the weakest part of the picture.

I then added the sun, the yellow zig zag and the tree.


I tried not to overthink and control too much but I think this picture still lost some of the immediacy of the first. It has more contrast and works better due to that. The tree is better in this I think.

There also are some creases I don’t like in the mountains due to botched work.


By the time I let the fabric twist and stitched in a less orderly manner I felt that I had touched on what I had been searching for. Thrilling! When stitching on the first pieces I worked fast and not very carefully. I wanted to “jot down” the fabrics, like I might do with a pen in a sketch. But it felt more like botching. Is it? Or is this the voice of my teacher from sewing class? In the tree my stitching back and forth – also done quickly and with a wide margin for crooked stitching – felt more right. Here I wanted to give an impression of gnarled bark which gives it a purpose. On the other hand I like the jotted down zig zag stitch, the tripple seam in one of the mountains and the piece of sky that is stitched in to cover a hole when the rest of the sky is in one piece or the stains on the fabric. All of these do not have any purpose or reason. But the pictures would be much poorer without them.

I think it is this last characteristic that I was after all the time, the arbitrary details that give life to a drawing. Something I admire in many sketchbooks and drawings. I ask myself how did the artist think of that? Maybe they didn’t.

This is something I want to develop and use in my future work.




5.7 Discarded Ideas

Playing around with fabrics and materials I followed some promising ideas. I’m not convinced by the outcomes, for different reasons.


The first I made parallel to the wave drawing (Drawing 1 described earlier).

Scraps of fabric on pondlining (laid out only), stitched together with hemp string

I quite like this one – the colours are agreeable and contrast nicely with the roughness of the black rubber and the hemp. I always fall for the charm of colour sequences.

However, I think it does not really answer to the brief which asks for multiple layers and drawing media. I had difficulties adding any more to it, as with the wave drawing. It feels complete apart from a backing. I also feel that, as much as I like the effect of the rough stitching, I am not sure of its purpose here. It feels a bit contrived. The wave drawing is neater so I chose to develop that into an assignment piece.



Among my fabrics I found a very worn out and torn piece of jersey. I stretched that over a hole in pondlining and fastened it in metal eyelets. I wanted to put something in strong contrast behind this, something shiny and clear. I chose a piece of gold plastic I had found at work and and glued that on with cyan acrylic paint.

Jersey, rubber pondlining, plastic wrapping, acrylic paint and white ink on cardboard

Again I had left out the drawing media. I added some kind of creatures around the hole but I am not really satisfied with them. Again it feels rather contrived and overstated. I think the idea of the see-through jersey is good but I do not really have any reason to use it here. I think it works as an idea, but not as a piece. I think I could develop this into something, but it is not where I want to go now.


Checker board

Early on in my experimenting with fabrics I had woven together whitish and blackish pieces of cleaning rags from printing. I had abandoned it because it felt too stiff. Over the week I moved it a couple of times and put other drawings on top of it. This rearranged some of the ribbons so that the checker board was starting to fall apart. This I liked better and I tried to do something with it.

The idea was to continue the ribbons in paint in rough brush strokes. They should “open up” the checker board net and reveal colour beneath. The blue silk should become something organic and growing. I have also sown in a blue string that mimics the weaving but contrary to the others, going over the top ribbon rather than below it. This too I wanted to become loose.

What it turned out to be is not at all what I had in mind. The ribbons are too neatly painted and I don’t like the background.

Cotton rags, silk and nylon on painted cardboard

Looking at it now I think there is something compelling about it but the execution feels inadequate. Doing it again might allow me to make it rougher and more like what I see in my mind. But this is not really where I want to go either.



I have struggled with this exercise. I felt I had a very vague and elusive image of what my collage should be like. My work so far seems to have been a search for this image. It turned out to be quite strong for all its vagueness. I followed ideas and made things only to then find that this is not it.

At times it was frustrating to always feel that idea just beyond my grasp. I think the gecko was an attempt to ignore it altogether. I like that collage, the idea and the outcome, but I can’t help feeling I chickened out of a challenge. And the challenge felt important. I think it is about finding a way of expression that I have been looking for for a long time. It is about balance between spontaneous rather raw expression and deliberate, planned execution. Also about the courage to not control everything, to not make something neat, to allow things to happen without analysing them too much.

After the attempts above I started to feel that my materials are too complex – the colours, the range of texture, the extravagant materials like rubber and metal. They stand in the way and mislead me. Gluing fabric did not suit me either and the acrylic paint added a quality to the images I did not want. I decided to go back to a simple material and to sew it on to avoid having to use glue or paint. This time I think I found the trail of that elusive image.



5.7 Textile – Mixed Media Collage

Drawing 2

When starting to work with textile collage I had jotted down some ideas in my sketchbook. After the very free creating of the first collage I felt I needed a new angle so I took up one of the ideas from the sketchbook:

To let a drawing cover different backgrounds and change character/medium with each background. I wanted to see whether it would still be recognisable as a whole.

I started with a drawing on paper which I cut up to get the pattern for the bits of fabric. I ironed the fabrics and put a backing on the most complex one to allow for the fine detail and to keep it from fraying.

I used patterned fabrics in greens for the background and decided the gecko should be black or dark except for one strip where I wanted the colours to be reversed. I chose a strip with a very simple and small part of the gecko on it for this as it should not disrupt the overall impression of a dark gecko. Also it should be somewhere in the middle so it would not “fall out” of its context too much.

I wanted the parts of the gecko to be as different from each other as possible, all dark but

  • a stitched one
  • a painted one
  • a drawn one
  • one from glued on fabric
  • one from inserted fabric

When I worked on these I realised that they ended up on different levels: in or on the level of the background fabrics. And it struck me that I would need one below the fabric level, too, on the level of the cardboard backing.

This made me decide to stick the pieces on with black acrylic paint.

From an earlier trial of an other idea I had small circular bits of pond lining. I used one of these for the eye.

I machine sewed the tail bit. As I had no black underthread ready I used a yellow one, thinking it would only be visible as small dots. It was much more prominent than I had expected so I sewed in roughly parallel lines instead of free machine stitching as planned. The stitching forms a pattern not unlike scales.

That concluded the fabric part of the drawing:

Fabrics laid out. The painted part is here substituted by a piece of painted paper.

I glued everything on cardboard with acrylic paint and painted the one tailbit. Then I used oil pastels to draw, taking care to break one or two of the dividing lines by drawing across them. I wanted to tie the pieces together and increase the impression of a whole.

I also added shiny specs. They should add interest, tie together the body of the gecko and mirror the stars in one of the backgrounds.

Textile collage. Different fabrics and materials, acrylic paint, oil pastels, and ink pen on cardboard
The drawing on different levels



I think this works quite well. I like how the gecko covers different levels and still holds together. I also like the different materials and how they play together.

It was easier to incorporate drawing materials in this. I feel they have a purpose here. The idea of the “cut up” drawing also makes the collage a natural choice. I seem to like the medium/technique to follow the idea rather than the other way round. Although, of course, this was the other way round.

I found this process easier than the one before. I had a definite starting point in the concept of the “cut up” drawing but no specific idea as to its execution. That allowed me to start working which then triggered new ideas and revealed aspects I had not seen at the beginning. Strangely I felt more free in this than with the totally open approach. I very much enjoyed discovering possibilities and solving “problems”.

With this I think I have made headway in mixing media. As it is a figurative drawing, however, the process was very controlled. I think for my third drawing I should try to reduce control/planning and be bolder.

5.7 Textiles – Collage with Fabrics

Drawing 1

The brief for this exercise is very open: create three low-relief collages built up from pieces of fabric and other materials and add marks with drawing medias. It should be very experimental and spontaneous:

  • engage in a process of experimentation
  • overlap, build layers, add folds and layers
  • let ideas come while working instead of working to a plan, stay open to change direction

Working into the Blue

With all my fabrics and other materials on my studio floor I felt overwhelmed – there were decisions to make about colour, shape, size. It was very dfficult to work without an initial theme or aim.




So eventually I made some decisions:

  • fabrics without pattern
  • blue colours

I began to cut rounded shapes and put them together. I was not happy with the shapes, too cloudlike. Longish shapes would be better and I wanted them more ordered colourwise.




This I was happy with, I especially like the piece of edge with the fringe. This needed a nicer background and more layers. By this time I was thinking “water” so I chose a piece of silver silk for the background, reminiscent of glittering waves.

For the next layer I chose warm colours in longish shapes going perpendicular to the waves. With the colours ordered like this I wanted the shapes to be very uneven and random. So I cut my pieces from the narrow bits of fabric left from earlier cut outs.


I like the creases in the fabric making the shapes change direction in interesting ways. I am also happy with the distribution of colour and size.

I glued this to the cardboard backing with water diluted glue. It made rather a mess and stuck more to my fingers than to the backing or the fabric. It also left marks in the fabric when dry which rather spoils the image. So I decided to make an other one with the pieces sown on. This solved the problems with the glue, but created new ones: What colour should the thread be? Where do I put the stitches? Do I use running stitch or zig-zag the edges? I chose a light grey thread for the blues connecting it to the silver backing and same colour stitch for the red and yellow bits.

Looking at the two side by side I feel the stitched one has more depth and a stronger impact than the glued one. Although the shapes of the original red and yellow pieces in the glued one are better. The stitched one seems calmer and lets the colours do their magic where as the glued one is more distracted by loose threads and parts sticking up. It looks a bit unfinished I feel. I expect the edges of the pieces in the stitched image to fray more.

The stitched image has a reverse side which I also like very much:

Reverse side from above

I like the subtle quality of the lines and how they interact with each other. I like that the vertical lines differ in colour from the horizontal ones and that the vertical ones have several colours and the horizontal ones almost merge with the background.

The stitching creates “bubbles” in the fabric making it very nice to hold and touch. In this size the piece becomes rather solid with the stitching and layers of fabric.


I had very much looked forward to this exercise. I felt scraps of ideas moving under the surface – interesting fabrics and materials sprang to mind and things I wanted to do, but never quite tangible. When I had taken out my stash of fabrics I did not know what to do. I felt overwhelmed with the choices of colour, shape and texture and the freedom to do anything. I needed a starting point, an entrance to all the ideas I know were there. It was very difficult to stay in this blocked state. Something did evolve eventually and I was very surprised when it was there in front of me.

I also felt that I constricted myself initially – preconceptions about how fabric is to be used, what materials can be combined. Once I understood this limitation I put on myself I tried to deliberately take an extra look on ideas and pieces I had discarded. Still I think my pieces show that I shy away from mixing fabric with drawing media and from layering. Here I refrained from drawing into it at all although it is part of the brief to do so. Also the layering is very timid. As these images feel very much complete without more layers and drawing I decided to concentrate more on that aspect in my next attempt.

An other thing I struggled with was working with blocks of colour instead of lines. Although I had done this to some extent in the printing exercises and in some of the drawings, there always were lines at the beginning. Here I put down shapes of colour which I found was something very new.

5.6 Stitched Drawings

  • Create two stitched drawings
  • Use previous exercises as inspiration
  • Figurative or abstract
  • Highly experimental

The brief also includes a list of ideas:

  • Stitches create a repeated pattern
  • Continuous line wandering and curving, crossing itself
  • Built up marks overlapping and creating tonal contrast
  • Highly organised, creating grid like effects and geometric form

I had planned to make a kind of abstract landscape inspired by a sketch I had made early in the course.

hel bild
Charcoal on drawing paper

However, I got distracted and what I did in the end are two very different drawings.


The first one is a development of my test pieces for the texture exercise. I wanted the squiggly line to form a stylised tree with large leaves. This is my search for it:

Initial sketches

I then painted the fabric with silk paints and stitched the line with two strands of embroidery thread. Stem and leaves were made as in the test piece.

Silk paint, black and red embroidery thread on cotton and sun blind fabric

For the flower/fruit I chose red as a contrast. It is blocked in without allowing any white to shine through and built up from three different reds to give it volume.

Detail from above. Red embroidery thread

I stitched the whole onto a piece of sun blind as a support and frame.

I am not satisfied with the leftmost leaf. I made the creasing too strong so it spreads to the surrounding fabric. The other two are better.

I like this very much although it seems different from what I do otherwise. The semi-abstract drawing appeals to me as do the colours and the single red dot. Maybe I have managed to work in key aspects of what “treeness” is to me – the root and in it the riches of the soil (although it seems to float in the air), green and specks of light around the leaves, all bound together in one movement, culminating in the fruit. But these thoughts came afterwards, I did not set out to depict anything like that. The roots of this picture are in the technique. This makes me wonder where the “meaning” in a piece of art comes from.


A very spontaneuous image. As I was looking for fabric for my second drawing I came across this and the ink stains intrigued me. It was crinkled and some of the creases coincided with a stain giving me the idea to use creases as lines.

The photo does not do it justice, the shadows of unwanted creases become much too overpowering as the colouring is very subtle and delicate.

Cotton and nylon thread on ink stained cotton fabric and sun blind

I chose a white thread so as not to deflect focus from the creases which I wanted to form the main lines. The stitching continues further than the creases to let the lines fade out in a way similar to the stains.

Detail from above

For the lines in the water I used dark grey nylon thread hoping it would reflect the light and glint like water. It has not yet done so but I still think it might given the right light source. I tried to make the water lines horizontal which turned out to be very difficult as the fabric is old, worn thin and losing its shape.

I like the way the ink has followed the weaving of the fabric in the edges of some of the stains. The lines remind me of a skyline of fir trees. I left these lines unworked so they contrast to the creases and waterlines.

I also left the stains above the uppermost waterline unworked to make them retreat and add some depth.

The fabric had become crinkled by the time I was done so I ironed it where possible. I could not do that over the nylon thread so the creases there stand out. They disturb the effect I had in mind with the water lines.

I am not sure if this works as a picture. Maybe the drawing is too subtle in colouring for a viewer to recognise what I saw. Maybe the idea with the creases would work better on a larger scale and with stronger colours? But I like the subtlety, the mere suggestion of a landscape. The colours and composition play first fiddle here, I feel, making the figurative aspect take a step back.


I am surprised at where this has taken me. During the initial exercises I have found new ways of using thread and fabric and they have led me down a different path than anticipated. I like that. Doing has had a different effect on me than thinking about doing. This is something to remember.

I have also seen that translating a paper-and-pen drawing to textiles does not necessarily mean to imitate it. Reworking an idea in a different medium can lead to something new and different. This might not be a new insight but with textiles being very different from pencil or ink it leads further away from the original idea.

In the brief it says the final drawings should be highly experimental. I am not sure if my ideas are experimental in a larger context, but they are for me. Experimental in the sense that I have been experimenting and following ideas I did not know the outcome of. The landscape especially although the stitching in that is conventional running stitch.

I am glad I chose this unit. It has further opened up my idea of what drawing can be. Ideas have been forming while I worked involving all kinds of materials and techniques. I will have to find a way to remember them and to revert to them in coming work.

5.6 Textile – Tone and Texture

Exercises 2 and 3

  • Look at my drawings and find strong areas of tonal variation
  • Recreate these using different shades of grey threads
  • Try to create different textures, visual and physical

After the exercises on line it felt natural to continue with ex. 3 on tone rather than texture so I started with that. I had made many drawings for Markmaking for Shading in Unit 2 from which I chose two I thought would lend themselves very well for stitching.


The pencil lines in this sketch are straight and very directional, like stitches. I had wanted to try and sew on pond lining for some time so I chose that. As it is black I could also try to stitch the light parts rather than the pencil lines. I chose a tiny piece as I expected the stitching to be hard. It was easier than expected but the lining dirtied the white thread.

Looking at it now (after having made quite a few samples) I see that I should have used threads of different thickness stretching into each other to mimic the pencil lines. More like the following.

Pencil on cartridge paper

This sketch, too, is built up with straight lines. However here the directionality of the lines is broken and the overall impression is non-directional. Tone is achieved by varied density of the lines and by the thickness/weight of the line.


The first attempt is made with a thin black thread using only density of lines to achieve tone. In the second I used a thicker thread for the darkest tone. Having combined black and grey threads in the line exercises I decided to only use black for this. I feel the colours distract from the effect of the stitch and I wanted to work out that.

The second works much better. The tonal difference is marked which lends the shape a certain 3-dimensionality. What fascinated me most in this, however, was not the tone, but the texture. Stitching changes the feel of the fabric, it makes it thicker and stiffer. The stitches are also raised and cast shadows, albeit very small ones. They change in the light when the piece is moved. This gives the drawing a velvety feel, especially the one with two different threads. This can be manipulated further by using dull threads in combination with shiny ones.

I realised that it is very difficult to separate tone and texture here.


For Exercise 2 I chose a piece I had made for the mark making exercise in Unit 1.

Ink and pencil on cartridge paper

What I wanted to translate into stitch were the dots in the uppermost field and the gradual shift in tone in the spiral at the bottom. I also like the squiggly line forming areas I could fill with stitch.

Not surprisingly, the result is very different from the ink drawing.






The aim with this piece was to try out different kinds of texture, visual and physical. From the pieces above I had learned that stitches have a physical quality in themselves. I started there with the dots and the parallel lines discovering the physical textures as I went. The thickness of the fabric changed, long stitches produced shadows, tight stitches made the fabric bulge changing it from a flat surface to modeled shape.


I am very pleased with the tonal gradient in this. What I had in mind was visual texture here, but when working I felt the physical texture become stronger as I increased the dots.


Again I had to deal with the direction of the stitches. Although I tried to make them as short as possible they are still short lines. I was careful to make the directions random to eliminate that feature in the overall impression. Only when I had reached the solid black part I worked to a pattern in order to avoid white shining through between the stitches.

I used embroidery thread with two strands in the lighter parts, three strands in the darker ones. I also increased the length of the stitches in the darker parts.

Hatching with long stitches


The long stitches are made with double thin thread. I did not manage to keep the two evenly stretched and the tension between stitches also varies. The effect is one of two separated layers. The upper stitched one moves and casts distinct shadows.

In the lower loop I also tried to achieve a tonal gradient by increasing the space between lines. The gradient is there but the wobbly lines disturb it a bit I find. The layering effect is stronger.

Modeling the fabric


I had tried to make an even area here but stretched the thread too much (a problem I am familiar with from sewing lessons at school). I am glad I did because I discovered a new way of achieving texture. Stitching does not only involve thread, but the fabric, too! The piece becomes distinctly three dimensional and the role of the shadows becomes stronger. This fascinated me. I tried an other more conscious one as the last sample in this piece: a leaf.


The creases here are achieved by stitching two veins alternately and stretching the thread on the reverse side. By stretching it distinctly near the main vein and gradually make it looser towards the edges of the leaf the creases can be kept inside the leaf.

Back of leaf
Reverse side of the leaf

I very much liked the leaf, the stipling and the overall build of this piece but it contains too many different things. I decided to use it in a simpler version for one of the assignment pieces.



One of my strongest impressions from these exercises is the amount of time I needed to execute ideas. New ones would line up long before the one I was working on was finished. Rather frustrating. Sketching in stitch has nothing of the fast jotting down I can do with a pencil. On the other hand, ideas have time to ripen while I work.

From having had a rather crude idea of what is possible to do with stitch I think I have markedly widened my horizons. Unexpected effects, mistakes and new ideas popping up while working have opened up my imagination. Very early on I wanted to introduce painted elements into the textile work, on fabric but also on paper. I think combinations of the two can result in interesting images. These ideas are very loose as yet. Some I implemented in the assignment pieces.

5.1 Textile – Line to Stitch

Exercise 1

  • Look at my marks from unit 1 and 2
  • Find ones I can translate to stitch
  • Try and imitate the marks using black and grey thread in different thicknesses on plain fabric

As it turns out my marks from unit 1 are not very diverse. I used charcoal and ink, both of which I find hard to imitate with thread. Many of my marks are long and sweeping, playing with the change of width in the mark. Stitch as I think of it at this stage is short. For longer marks I need to combine them in some way which means that the long and sweeping marks become broken into bits. Also the thread has a fixed thickness. So what properties of the line can I translate to stitch and how?

For this exercise I tried to limit my ideas to the line, ignoring ones concerning texture and tone which will be the subject for later exercises.

I started with a simple outline. The fact that it is broken is of little importance here as the eye reads it as a line anyway. Still, I tried to make the parts where the thread is on the reverse side as short as possible.

Flax thread on cotton fabric stained with printing ink

I took one of my cloths I had used to clean my printing utensils and stitched an outline in running stitch around a shape I saw in the stains. The white flax makes a nice contrast to the dark stains. I like the texture of the line and the shiftings in the stains. I like there to be a yellow one.

The flax thread I used, however, does not lend itself to stitching as it frays from repeatedly being drawn through the fabric.

Next I chose one of the simpler lines from my mark making and made something similar using backstitch.

I tried three different threads and found that the fine ones are much more sensitive to uneven stitching. I also found that the reverse side is much more interesting! This was a surprise.

Reverse side from above

For my next piece I used the same materials but tried to imitate the varied thickness of the ink mark by stitching more lines where the ink line is wider and by covering an area with stitches perpendicular to the line. (This maybe is using tone rather than line?)

Black and grey cotton thread on flannel

I think the effect would have been better if I had used black thread only. This is something different. However, I quite like the outcome. The reverse side of this does not work anymore as the grey and black stitches go across each other. I made one version where I worked from the reverse side, making the stitches from behind.

Backstitch worked in reverse

I like the texture of this. It also fills out more and actually has a difference in thickness between straight and round line.

One of my favorite pictures from the mark making unit is one in ink and graphite. I like the energetic broad ink marks in this. How can I make tapered marks in stitch?

Ink and graphite on paper

I tried using a tapered piece of ribbon sown into the fabric as if it were thread. This reminds me more of weaving than sewing and the effect turned out very different from the original in ink. The fact that the mark is partitioned lends it a different character. I stuck to the idea, though, and continued with wool and sewing thread in black and grey for the thinner marks in the ink drawing. While I worked the cut edges of the ribbon started to fray.

Ribbon, wool and cotton thread on flannel

The stitching is sloppy and the ribbon used is the wrong kind but I think this could become something. It looks a bit like a tuft of horsetail with grasses.

To translate the energy in the ink marks to stitch I have to come up with something else. This version is much too static.

Tutor Report 4

Things to keep up

  • Keep experimenting. I like to see the exercises as a starting point for further experiments. They make me do things and reflect on what I do which triggers ideas.
  • Study of other artists: Keep looking at what they do and how they do it. Look at their work analytically and learn from them.


Things to develop

  • Don’t forget the technical aspects of drawing. I tend to be seduced by materials and mediums and the freedom of experimental, expressive work. It is one of my main aims with this course, after all. But there needs to be room for technical development. I think good sketchbook practice would help here. I struggle with that. Try to balance sketchbook work between experimentation, development of ideas and technical practice.
  • I was surprised to see that my tutor only saw “some” tonal variation in my hand sketches and consequently only “some” volume. I read that as meaning tonal variation and volume are developing in my work but I’m not quite there yet. When I looked at the sketches again I understood what she means. There are no really dark darks in most of the hands. More dark tones would help to model the hand. I need to be bolder with the darks.
  • Keep the background in my mind. Not only as an area to fill out, but as a feature and part of the whole picture in itself. In these exercises the background had centre stage. Don’t forget it when it doesn’t anymore!
  • Including a narrative in a picture adds interest. Sometimes I manage that, not sure how, though. It is an intriguing thought and I would like to develop it. Try to use it more consciously.

5.1 Balance – Coloured prints

For exercise 1 on the theme of balance I tried out an other idea. I was thinking of towers we used to build with building blocks challenging gravity by trying out precarious constructions.

I cut out paper blocks and inked them by pressing them into an inked plate.

For the first composition I chose two background colours – black and white and then added the inked blocks and a ball to it. I expected them to get a white line around them where the paper would not reach the inked plate.

Balance 6
Relief ink on buff drawing paper

Having used both black and white as background colours I was left with the problem of the paper colour. I used a beige drawing paper but the white does not show properly. This paper also has a tooth which I don’t like. The colours are less vivid than I had anticipated. I do like the composition, though. A good start.

Next I used smooth white drawing paper and a black background. I stacked the blocks in a similar way but added more circles at the bottom. I felt they were needed.

Balance 7
Relief ink on white drawing paper

The background in this is better (except for the white spots – I think the wind has brought in debris. I was working in the garden). The colours are more distinct and show the quality of the prints made by moving the paper bits in the ink on the plate. They are interesting marks but not what I wanted for this. I am pleased with the three additional circles as a counterweight.

For my third attempt I made the background as before but inked the paper blocks with the roller. This resulted in more saturated and even colours. I like that as it also makes the white lines around them more prominent. They suddenly remind me of Mondrian, probably due to the shapes and colours.

Balance 8
Relief ink on drawing paper

When cleaning the plate after the previous print I noticed a nice pattern and thought I might use that as a somewhat chaotic frame around this very square composition. It did not transfer so well and looks more like a mistake than anything deliberate. Like this it does not work. Otherwise I am pleased.



I think this image answers to the exercise brief to make an abstract picture on the theme of balance. Maybe it is not as abstract as it could be? There is balance as a theme in the stacked blocks but also in the composition which is balanced up by the circles.

The strong colours underline the shapes of the blocks which is good. But it makes the whole thing rather stiff. It is strange, I like the implementation of the exercise, the way I thought it through and modified it – but I do not particularly like the images. They are too static, stiff, square. With regard to movement and interest I like my first versions better – although I am less convinced they make good pictures.

5.2 and 5.3 Coloured prints

My coloured inks having arrived I gave the monoprint exercises an other go. I wanted to try and combine different colours.

The traced print turned out very nice. I rolled the colours on the plate roughly where the head and hand (umber), the torso (magenta) and the background (phtalo blue) would be. Having watched the videos on printing technique on the OCA student site I was careful to achieve a thin layer of ink.

Traced multicol
Traced monoprint, relief ink on drawing paper

I have managed to get the colours almost in the right place. Where they miss the drawing – in the hand, the hair and a cheek – it does not feel wrong. I think it adds interest and gives the drawing character.

As before I wanted to use the marks on the plate for a reductive print so I was careful not to remove too much ink where I wanted dark colours in the reductive print. This gave the traced print the character of a partial negative. However, this time round the drawing is not as good as the first one and the features of the face become harder to read.

I also wish I had made the background pick up more colour.

I think this technique works very well with traced monoprints.

The reductive print from this plate did not work out quite as well. With this technique more of the colour fields transfer to the print. Where they do not match the drawing they are stronger than the line and disturb the shapes. The shoulder on the left side seems to be too high up due to the red colour field ending there. The brown around the head has not as strong an impact. Also I do not like the roller marks being as visible as they are. They make lines where there shouldn’t be any, especially in the face.

reduct multicol
Reductive print, relief ink on wetted watercolour paper

The traced print had taken off too much ink to allow for dark darks in this second print so I tried to fill them in by adding undiluted ink. The contrast turned out too strong, especially in the eyes.

To pick up as much ink as possible I wetted the paper as described in the printmaking video. This worked well. The marks on the wetted paper become softer than on dry, thin paper. I used smooth watercolour paper but it still shows quite a strong tooth in this print. I like the more evenly inked fields on the jutepaper better.