Module I, Chapter 4

This chapter has been fun.

Pages 48 and 49

I identified shapes from my sketchbook over a period of days, with the sketchbook both upright and upside down.  It is surprising how your eye sees different things at different times and from different aspects.

I especially like the key-like shape on the top left of page 48 (taken from the work on buttresses on page 11) and the tree trunk-esque shapes on the right of page 49 (taken from the dissection of the stained glass window on page 25).  However, for the purposes of the following exercises, I followed Siân's advice in the course book and chose an irregular shape with a curved indentation.  The shape was actually derived from the negative space behind the heads on page 27.

Page 50

The left hand side of the page shows my shape in 3 sizes, whilst on the right is the first of the required exercises with diagonal lines drawn over the shape.  

Page 51

These pages show the next two exercises.  As the shapes on the right were a bit too similar to the background, I added some extra lines to make them stand out a bit more.

Page 52

On left, new shape created by tracing shape made by 4 shapes on previous page.

On right, shape partially obscured by overlapping rectangular blocks.  I like the strength of the colours here (Inktense blocks with water) and the touch of complementary blue.

Page 53

Cut out shapes as per exercises 6 and 7.  The page had already been decorated with stamps onto a painted background.  I especially like the sample on the left.

Page 55

I love these pages, especially the one on the right.  The ochre/terracotta/black/olive green colour scheme is very pleasing.  The letter used for exercise 8 was a K, albeit a rather wobbly one.  I then remembered something I had done previously where spray paint was misted through a plastic letter stencil.  The layered effect makes for an interesting page.

Page 56

Exercise 9 on the left, wax crayon writing over negative shapes, brushed with Koh-i-noor.  Exercise 10 on the right, negative shapes worked into with wax crayon, the brushed over with Koh-i-noor.

Page 57

Exercise 11 on left.  Eye drawn into part of original shape with wax crayon, lines extended, again brushed over with Koh-i-noor.  On right, own exercise, positive and negative shapes partly obscured by torn strips.

Page 58

I found the instructions for exercises 12/13/14 a bit confusing but the one on the left is in the required style - paper folded, shape drawn over fold, paper opened out, lines extended.  Wax crayon brushed over with Koh-i-noor.  I love the hot colours in this, feels Mexican for some reason.

Page 59

Own exercise with shapes cut from two pieces of paper at the same time then replaced in the other piece.

Page 60

Again own exercises.  One on left is reverse appliqué/Mola style.  One on right is just shapes arranged randomly on coloured background.

Page 61

Exercise 15 on the right, 16 on the left.  The first time I have sewn into a sketchbook!  Quite difficult to control the free machining as the weight of the sketchbook, kept pulling the book away.  I especially like the random shapes superimposed over the linear and solid shapes in exercise 15.

All in all an interesting chapter which illustrates how far you can go with a single shape.  Also a reminder that, for me at least, creativity comes with actually doing, not just thinking!  As soon as I start doing one thing, my mind is flooded with other ideas for lots of other things which were a million miles away when I was just looking at the blank paper.  Time perhaps to go and actually start making my FOQ entry and not just thinking about it!

Module 1, Chapter 3

I found it quite difficult to think of my patterns in terms of texture but I have had a go with varying degrees of success.  It has taught me to simplify the shapes, which I think will be useful as my designs develop.

For each sample, I have given the page in the sketchbook where the source is located.  All samples in the same A4 landscape sketchbook.

Page 41

Based on roof on page 32.
For this sample I used PVA to stick matchsticks to a backing sheet.  I then stuck tissue paper over the top and coated the whole thing with white acrylic paint.  The texture was emphasised by rubbing a soft graphite pencil over the top.

Page 42

Stylised versions of windows on pages 1 to 9.
The sample on the left is made of aluminium baking foil, manipulated by hand into the right shape, then glued to a base and painted with white acrylic.
The sample on the right is made with string, glued to a base and painted with white acrylic.

Page 43

The sample top left was made by spreading a thickish layer of modelling paste onto paper and then impressing a homemade stencil into it.
The other sample is made of scrunched up tissue paper, glued to a base.

Page 44

Vaulting, pages 31 and 38.
The sample on the left was made by dribbling PVA glue onto paper.  As it dried, however, the PVA spread and merged together, causing the definition to be lost.
The sample on the right is made by wetting a piece of cotton scrim with dilute PVA, manipulating it into the desired fan shape and sticking it to a backing sheet.

Page 45

Patchwork church, page 34.
The sample on the left is made with cut up squares of adhesive plasterer's tape, stuck onto white paper.
The middle sample is a piece of heavy watercolour paper, cut to shape and stuck into the sketchbook.
The darker sample is made of Galleria Mineral Texture Gel, applied to paper then cut out.  The surface is naturally dark because of the added grit but I painted over it with Neocolour II soluble crayon and it look a lot lighter in reality.  This is a strange substance as it is clear with bits in and looks solid but in fact is very flexible, so much so that I can imagine it being used on fabric.

Page 46

Drawing, page 30.
For this sample I traced and transferred the drawing of the nave onto heavy watercolour paper.  I then cut out the individual shapes and trimmed them a little before sticking them back down.  I got the idea for this technique from Gloria Loughman's book "Quilted Symphony".

Page 47

This was a random design made using the negative shapes left after cutting out the shapes on page 46.

Module 1, Chapter 2

As I have been working on this second chapter, two things have become clear: 1) my subject is vast, 2) I could go on recording forever and never get beyond this chapter!  I have therefore decided to post up what I have done and get Siân's feedback and suggestions.

All work is from an A4 landscape notebook.  Whilst I have found this size a bit restricting, it is nevertheless very practical as I am able to just pop the book under the scanner.  Backgrounds are brushed with diluted Koh-i-nor, Brusho or Neocolor II soluble crayons.

Page 1

When you start looking at church windows, the variety of ways to fill an arch with tracery is mind-blowing.  This one is in a church in the Netherlands and contains many interesting shapes.  Various grades of pencil on cartridge paper.

Pages 2 and 3

On the above pages I have tried to reproduce the teardrop shapes using pencil and Letraset black and metallic markers.  These reminded me of the "art nouveau" style.

Page 4

This is a window in Ely Cathedral which featured in my Level 3 Certificate work but continues to fascinate me.  Pencil and various felt-tip markers on cartridge paper.

Page 5

Back to the Netherlands and some rather different tracery.  Again pencil on cartridge paper.

Page 6

The teardrop shapes again, this time in brighter colours.  Watercolour pencils on cartridge paper.

Page 7

Tracery from a French church this time.  The circle at the top reminded me of the Isle of Man symbol - albeit with an extra leg!  I used foam pads impregnated with liquid chalk to age the paper, although this did rather obliterate the pencil drawing.

Page 8

Rubbing made using wax pastel over a stylised lino cut of the window in Ely Cathedral, then washed with Koh-i-nor.  Lino cuts seem to have a very special quality to them - whatever you do with them.

Page 9

Same lino cut, this time rubbed over with a graphite stick (left).  The print on the right was achieved by rubbing directly onto the lino cut with Inktense pencils, spraying it lightly with water and printing.  Much of the definition is lost.

Page 11

A row of buttresses on a church in the Netherlands.  I love the shapes but tried to be a bit more adventurous with the colours.

Pages 12 and 13

These are markings found on the floor of Gouda Cathedral to denote the position of family graves.  The marks were apparently for the benefit of those unable to read.  I love these and the old gothic script.

Pages 14 and 15

These carvings are above the entrance to a church in France.  As well as the central figure, I was also drawn to the borders and the shapes under the figure's right knee, which reminded me of catacombs.  Again I used liquid chalk sponges to give an aged look on the white paper, otherwise white sketching pencil on black cartridge paper.

Pages 16 and 17

Many churches consist of quite simple geometric shapes at varying angles to each other.  As I find these very difficult to reproduce accurately by drawing, I developed a tip by Elizabeth Barton (Inspired to Design, C&T Publishing, 2013) to measure the angles of the planes.  I chose instead to hold a ruler against the photograph and extend the lines onto my drawing paper.  Originally my intention was to draw over the lines I needed and to erase the others, but I found that I rather liked the extra lines so chose to leave them.  I also made a photocopy and cut out the individual shapes.  However, I did not develop this idea any further at this stage as I believe it is more appropriate for later in the course.

Pages 18 and 19

Here I applied the same technique to a photograph of Dordrecht Cathedral, before having a go at a  rather wobbly freehand version!  I also made several tracings and overlaid them slightly offset.  This is an effect which I can envisage using again later in the course.

Page 20

The extended lines technique again, this time to a different church.  I love the simple shapes and the importance of contrast.

Pages 21 and 22

The same church again, drawn freehand, firstly in various grades of water soluble pencil and then with a sepia Conté crayon on heavy water colour paper with a Koh-i-nor wash for the sky.  Simplistic but pleasing.

Page 23

Applying the line technique to a photo of the complex wall of Gouda Cathedral.  I then simplified this still further to produce an abstract impression of the individual shapes.  Pencil and Neocolor I wax crayons on cartridge paper.

Page 24

I love the way different values are used in this window to produce an image, again an idea which could be transposed into another medium.

In this case I have dissected a photograph of a window and tried to reproduce the colours.  Coincidentally, this image fragmentation is something which I particularly like.

Page 27

Many years ago, when I was at school, it was said that I had a "vivid imagination" and it is obviously still true.  As I played with these wonky gravestone shapes, I began to see people in them, especially in the two narrower ones at the back.  I then cut out some freehand "people-ish" shapes from tissue paper in varying sizes and glued them one on top of another.  By accidentally cutting their shoulders in a rather pointed shape, I then began to see angels' wings .....

Pencil, black marker and Inktense pencil directly onto cartridge paper sketchbook.

Page 28

I found this lovely little vignette on the outside of a tiny church in Brittany.  Not sure if it has any religious significance, but I like to think of it as the stone mason's little joke.  Various grades of pencil on cartridge paper.

Page 29

A stone border from a doorway at Ely.  A deceptively complex design which would lend itself well to use as a positive or negative shape.

Page 30

The imagination took over again in this one.  I was fascinated by the receding geometric shapes and found that when I simplified them, they produced a parade of receding people!  Pencil and black marker on cartridge paper.

Page 31

The way in which vaulted ceilings are treated varies greatly.  In this little chapel in France, the walls were simply rendered and painted white, with the protruding vaults left in natural stone.  Pencils and crayons on cartridge paper.  Exaggerated version in black marker and watercolour on rough watercolour paper.

Page 32

Part of a vast vaulted wooden ceiling in a Dutch cathedral, hard to photograph because of the height.  Pencil on cartridge paper.  Background showing parts of a stamp made of the window at Ely.

Page 33

A vaulted stairwell.  I love the different angles of the bricks.  Neocolor II soluble wax crayons, oil pastels and pencil on cartridge and watercolour paper.

Page 34

A beautiful little sailors' chapel in France with a stunning patchwork pattern on all four sides.  Soluble wax crayons on cartridge paper.

Page 35

Brass screen in a Dutch cathedral.  Reminded me of peacocks' feathers.  Inktense pencils on cartridge paper.

Page 36

In the churches of the Lot in France, I was surprised to find quite brightly coloured walls and columns.  These were hard to photograph because of the lack of light, but the colours were actually quite vivid.  Inktense pencils and wax crayons on cartridge paper.

Page 37

This Occitan cross features heavily in the churches in this area and is a shape which I find particularly pleasing.

Page 38 

More brightly coloured decoration, this time on the ceiling vaults.  Watercolour pencils on cartridge paper.

Pages 39 and 40

Pencil, watercolour pencils and watercolours to try to achieve the colours and texture of brickwork.

To sum up, I have really enjoyed my research for this chapter and feel that there is loads of mileage left in the subject.  My only reservation is that the natural colours are a bit "wishy washy" for my normal colour range.