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.