Reflection on tutor feedback

Reflection on feedback for ATV 1


I was very nervous about my first Tutor feedback. Having been out of this world for 20+ years it was very daunting sending my work off to be examined and critiqued.

However, I was very pleased when the feedback was returned. It was very positive and encouraging. It was obvious that the tutor had taken the time to look through my blog and make comments in the formative feedback. I was worried that there was a lot on my blog as I had made the decision to put all of my learning log on the blog and just keep a paper learning log for my rough notes, and that because of this it would only get a cursory glance but I am very happy that this was not the case.  I would have liked a little feedback on the essay type questions, especially the ‘how textiles can tell a narrative’ piece as I worked hard on that piece and it would have been good to know how my research and essay writing skills stand.

The overall comments were very good and confirmed that I was working along the right tracks, something that I was unsure of due to working alone with no feedback until it was all completed.  The critiques were all very helpful and detailed and mainly about needing to do more self-evaluation and to keep referring back to the assessment criteria.  I liked that comments from my blog were referenced to clarify what the tutor was saying and references were made to specific pieces of work- it wasn’t just a blanketed, generic response. My tutor gave me lots of pointers for the next assessment and I found the feedback extremely helpful and it has boosted my confidence and I feel a lot more secure moving on to part 2. I was asked to write a list of my strengths based on the feedback and also a list of areas for development which has also been extremely useful.

List of strengths based on feedback:

  • Strong drawing skills
  • Clear affinity for colour
  • Willingness to challenge myself and try different approaches
  • Conscientious approach to visual research
  • Good balance of careful studies and quicker, freer renderings
  • Used lots of different marks and lines to depict objects
  • Good start with the learning log/blog
  • Artist research was well critiqued and thoughtful and questioning
  • Selection and manipulation of collaged papers demonstrates an affinity for mixing patterns and textures
  • Good crafting skills
  • Sketchbook used well-investigative and experimental for natures larder

Areas for development based on feedback:

  • I need to be more critically self-evaluative
  • I need to evaluate my work against my own intentions of what I wanted to achieve as well as the course content
  • I need to critique my work as I go along, what I like, what I didn’t like, what I could have done
  • I need to state what I have achieved and what I am struggling with to help build confidence and demonstrate evaluative skills
  • My research on point 2 was more biographical rather than what I thought of the work so I need to include a more personal response to the work
  • I need to focus on evaluation as much as documentation on my blog

How to extend the strengths:

  • Continue trying different approaches, experiment more and try to think outside of the box
  • Don’t get hung up on ‘right’ or ‘wrong’. I feel as long as I can explain why I have done a certain piece that should be more relevant than thinking I might have done something wrong. I am coming to understand that there is not really a right or wrong way, everyone’s approach is going to be different. I just need to know why I am doing the things I am doing.
  • Look at other students work to inspire- don’t compare!
  • Understand that some of the work I create won’t turn out how I expected-learn from it and move on- try not to be such a perfectionist!

How to build on the weaker areas:

  • Read the recommended articles and books my tutor has given me to help with self-evaluation and drawing research. (I have purchased Vitamin D by Emma Dexter but The drawing book by Tania Kovats is out of my price range, I can’t find it cheaper, or an online copy and my local library doesn’t have it!)
  • Self-evaluate more. This does not highlight my weaknesses, it shows that I can step back from my work and be able to see what is going right or what is not working. It gives a basis for helping make more decisions in what directions I can take my work and how I can improve on something.
  • Same thing if I am struggling with something- say why I am struggling, what I am finding difficult? Look at how I can overcome this, is there another way or method I can use or do I just need to pass on this and move on to something else.
  • Keep going back to the project criteria to make sure I am covering what’s needed
  • Sum up my blog posts with a review of what I have achieved, how I achieved it and what else I might have done
  • Give more personal responses to artist research, not just sticking to biographical or fact giving

So, all in all very please with my first feedback. The encouragement has really boosted my confidence and made me feel much better about moving onto part 2. I shall be checking back at all my pointers to help improve my work in the next stages. Thanks Cari!

Tutor Feedback for ATV 1

Formative feedback

Course/Unit A Textiles Vocabulary Assignment number 1

Type of tutorial :written

Overall Comments

You’ve made a good start to the course, Sam. Well done. You’ve got strong drawing skills, a clearly affinity for colour and demonstrated a willingness to challenge yourself to try different approaches.

The feedback below makes a few comments about the strengths and areas for development in each project.

Assignment Feedback

Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity, Context, reflective thinking, critical thinking, analysis

Introductory Project: Natures Larder

This project introduced me to your sensitive drawing skills and conscientious approach to visual research. You’ve gathered a good range of initial imagery and carefully deconstructed the theme through mind-mapping. There are some beautiful drawings within this body of investigation. You’ve used a range of approaches which has resulted in a diverse collection of drawing. I particularly enjoyed the careful rendering of the mushrooms, sweet chestnut, baskets and fabrics, as well as the lively energy of the quick line drawings of your gathered objects.

You’ve achieved a good balance between longer, more careful studies and quicker, freer renderings. It’s great to see you exploring different marks and lines to depict objects in your sketchbook (e.g. your multiple drawings of baskets and hessian).

You’ve made a good start in your learning log for this project but you could have been more critically self-evaluative. E.g. “This is the feeling I am trying to capture with this theme of ‘Nature’s larder’. I am not sure if I have achieved this but I have thoroughly enjoyed interpreting this theme “. Rather than saying you aren’t sure, articulate how you feel you have achieved it and how it could be improved. Refer back to your earlier mind-mapping and the intentions you set out at the beginning, so you are evaluating your work against your own intentions as well as the course content. Similarly, critique your work as you go more regularly. (Like when you stated you liked your white prisma pencil drawing of cheesecloth: I like the contrast of the white on the black paper.)

Your end of project evaluation was good – you evaluated yourself, the methods and the work. Your artist research was well critiqued and thoughtful – you pose interesting questions about the work. Great start.

Project 1: Select and identify

The thoughtful, questioning approach evident earlier is continued in your discussion of what textiles is, and in your analysis of your chosen archive items.

Project 2: Record and capture

You’ve researched your items well through drawing, photography and taking notes. You’ve drawn both fabric and form (e.g. cut of the waistcoat), which gives you a great range of information to use later. Overall, you’ve developed a varied body of drawing with sensitive mark making, playful exploration of quick line methods and varied choice of composition. Your selection and manipulation of collaged papers for ex.1.5 demonstrated an affinity for mixing patterns and textures, which I’m looking forward to seeing extended in future work. Definitely refer back to collage as a drawing method in future projects.

“I found the lace net background very frustrating to draw. It is so structured and precise that it would take hours to draw it correctly but a lot of the other marks I tried didn’t really capture it that well”. You have captured the structured repetition well, even if it is not as regimented and exact as the fabric. Try to state what you have achieved, as well as what you’re struggling with, to help build confidence (and demonstrate your evaluation skills). This will also help you move beyond “right and wrong” to consider what’s appropriate in the context of an exercise and your intentions.

Whereas your research for the introductory project analysed the nature of the work, the research for Research Point 2 focusses more on biographical detail, rather than how they portray florals and what you thought about the work.

Project 3: Picking and portraying (collect flowers, select media, draw flowers x10)

Lovely looseness and fluidity in your use of watercolours, alongside more constrained and controlled line drawings. There’s quite a graphic quality to some and more painterly approach in others. You’ve used colour really well – you’ve applied the media carefully (good crafting skills) and combined colours sensitively (pink and green can be hard to combine well). The lino cuts were a great way to extend your drawings. It’s a fantastic way to test different colour combinations (e.g. monochrome) without the labour of redrawing an image. A clear interest in pattern and motif has emerged through this work, as well as an affinity for colour, which has resulted in some striking images.


Demonstration of technical and Visual Skills, Demonstration of Creativity

– Your sketchbook was well-used in nature’s larder and contains lovely drawings for Project 3. It felt most investigative and experimental in natures larder, where you explore lots of ways of making marks e.g. for the basket, so keep using the sketchbook in this way for future projects.- Make brief evaluative comments about the drawings as you go (in addition to notes about the media/technique). This more intuitive evaluation is great to capture in project, rather than waiting to write it up on the log.

Learning Logs or Blogs

Context, reflective thinking, critical thinking, analysis

– Focus on evaluation as much as documenting what you’ve done. Consider summing up each post with an evaluative review of the work you’ve posted, to ensure you are critically evaluating what you’ve done.

– Evaluate the quality and quantity of the work against what you were asked to do in the project/exercise and your own intentions – what were you trying to achieve, have you achieved it?

– To ensure contextual research informs and influences your work, choose examples which relate to your ideas/processes/theme etc., and analyse the examples in relation to these elements. Biographical information provides an idea of context (era, intentions, method, where the work is seen) but focus more on your interpretation of the work, supporting this with research into what the artist, critic and/or other commentators think.

– The research for David Hockney wasn’t included on the log. All artist research contributes to your grade for ‘Context’ in the assessment criteria, so ensure you include this research on the log for assessment.

– Reduce the size of the font so it’s possible to view more content per page. (It looks about size 14-16 at the moment, so size 11-12 is more appropriate.)

Suggested reading/viewing


I was really interested in your view of what is and isn’t drawing. To continue your drawing exploration, look at the Jerwood Drawing Prize (2017 and earlier years) and the following books: The Drawing Book by Tania Kovats; Vitamin D by Emma Dexter. You talk about the boundary between “drawing and art”. Drawing is a process used by practitioners in art disciplines (e.g. sculpture) and design contexts (e.g. fashion, product, architecture). Have a look at Debbie Smyth and Monika Grysmala and how drawing can become 3D and spatial – at what point does a line moving off a page become sculpture and vice versa? Equally, at what point does a drawn image become a ‘design’ or a drawing a pattern? I’m not questioning the line you have drawn– I’m just giving you more food for thought…

Look at these blog posts about reflection:

Pointers for the next assignment

  • Reflect on this feedback in your learning log.
  • Write a list of strengths (most important to build confidence!) and also areas from development based on my feedback above. Consider how to extend the strengths and build on the weaker areas in the rest of this course – make notes about how you want to act on these.
  • Also evaluate your work against the assessment criteria. These personal evaluation skills will lead to growing confidence and an understanding of what you’re being assessed against if you decide to go for assessment. (Do this at the end of each part from now on.)

I really enjoyed your first assignment, Sam. I look forward to Part 2.

Tutor name Cari Morton

Date 8th January 2018

Next assignment due TBC by email

Written reflection for part one

Written reflection for part one

I used mind mapping and a mood board to help me get started on the introductory project, both of which I found very useful for getting the ideas flowing. I enjoyed putting my story together, collecting relevant items and then composing them. I did a lot of drawings, probably way more than I needed to but I was unsure whether I was capturing the essence of the theme with my mark making and actually what was mark making- was it different to drawing?? I had never heard this term before so it’s taken a while to get my head around that and what it means. My doubt mainly came from joining the textiles Facebook page and seeing other people’s work on there and on various blogs. Although very useful to see how other people have tackled the projects and the support from the groups looks encouraging, I got very hung up on whether I was doing it right or wrong, whether I was understanding and fulfilling the brief and whether my work was good enough. I have found it very hard not to have any reassurance from a tutor along the way but understand that this is part of the course, learning to work on your own and making and justifying your own decisions. As the projects progressed I feel that I have loosened up slightly in my approach. Drawing with my eyes shut or while not looking at the paper has been really helpful and I have found that I normally like these images more than ones I have spent longer on. I have enjoyed looking at other artists and designers but am finding it difficult sometimes to articulate my feelings about their work, something I am sure I will get better at as the course goes on. I have learnt a lot from drawing the archive textiles, looking into the story behind them has fascinated me. Learning to look at the little details that help to tell the story and trying to capture that in my drawings.

I now nervously await my first tutor feedback!

Project 3, exercise 1.8 portraying by drawing


I started by drawing the fushia from different angles with pencil in my sketchbook then colouring it with wet on wet watercolour (top left). I tried to keep the images quite loose. Next I tried wet on wet watercolor without drawing any pencil lines first (top right). I liked the flow and movement of these images better. I then drew outlines of the fushia, using different angles to get interesting shapes (bottom left). I did the same on the next page (bottom right) but without looking down at the page so much. These images were much more confident funnily enough- the images on the bottom left have hesitant marks and some of the lines are a bit shaky where I was conscious of what I was doing. I am finding that I like the shapes that come from not looking too much at the page and just concentrating on the lines of the object, they seem more ‘honest’ if that’s the right word to use?


Next I looked at the Rudbeckia flower. It was looking a little wilted and eaten but I liked how that made the edges of the petals different (wabi-sabi!). I followed the same process as before, line drawing first followed by wet on wet watercolor (top left) then wet on wet without any pencil outline (top right). I did some pen drawings, some looking at the page some without (bottom left) and then I concentrated on the spiral of tiny buds in the centre of the flower. They are in a sort of fibonacci pattern which I found hard to draw.


I found the chard (chard as in the vegetable not burnt!) leaf the most interesting to draw and the most challenging. Again I started by doing a very loose pencil drawing and then wet on wet watercolour. This piece didn’t go very well- I couldn’t match the green of the leaf and the wet on wet was just creating a mess rather than the nice flow and blend I had managed to achieve with the other paintings. I moved onto a detailed pencil drawing as I really wanted to capture the texture and bumpiness of the leaf. The drawing took a good couple of hours but I was really pleased with how it turned out. I think I have managed to capture the texture. I then did a speedy pen drawing, trying not to look to much at the page again.


The next day I was able to buy a bunch of flowers. I chose the bunch I did because of the cabbage rose, I liked the colour of it and the veins and texture. I used big sheets of lining paper for this next stage as I wanted to draw big. I drew a rough sketch of the flowers and then used the wet on wet watercolour. I then did a wet on wet painting without the pencil lines and painting only 3 of the flowers together. I was not pleased with the results of either of these paintings. I thought they came out quite wishy washy- I think the paper may have been a factor as it seemed to suck up the colour of the paint.


The pink and the green together on the cabbage rose and one of the other flowers was really standing out to me, I loved the contrast of the two colours together. I did a loose pencil sketch of the cabbage rose and then did wet on wet watercolour (top right). At this stage it sort of lost all its definition so I waited for it to dry and went back in, highlighting the veins and the slightly bumpy texture. I don’t think the end result is very good. The definition is gone and you can’t tell what it is, although I do like the colours together. I went on to draw a single leaf from the cabbage rose in pen and then decided to add water colour (top middle). I liked the contrast between the black pen and the watercolour paint so I also drew the other flower like it (bottom line, 2nd in) and one of the daisies (not sure it is a daisy, bottom row far right). I also painted one of the white flowers  and did some outlines of some of the leaves. I hammered the colour out of the leaves to leave imprints on the page. I liked the effect that gave.


By this stage I was feeling a little disheartened by the watercolour. It is a very hard medium to work with and I was getting a bit frustrated that some of the paintings were not turning out very well. I went back to the brief and looked at how I could bring some pattern, repetition and different orientation to the drawings. I went back to the pen drawings of the fuchsias I had done and two of the images stood out to me (bottom left). I traced the first image onto deli paper and then rotated the paper and traced it again upside down, matching the petals so that the tips touched each other. I continued down the page like this so that I had an alternating pattern. I really liked this effect and The negative space between the flowers where they joined. Also because of the angle that the fuchsia was drawn at originally, you couldn’t really tell what it was. I decided to add in the other image of the fuchsia but I found I couldn’t make it fit nicely as a repeating pattern matched in with the other image (top left). Still, I liked the overall result and coloured the images in with whispers brush markers (top middle). I wanted to expand on this pattern but it had taken ages to trace all the images so I decided to do a lino cut (bottom right) of the image. This way I could experiment with layout and colour (top right, bottom middle). I loved the way the print came out and it took it another step further from recognising what the image actually was.


I decided to do lino cuts of the chard leaf and the cabbage rose leaf. I really wanted to continue trying to capture that bumpy texture of the chard leaf and the green and pinky mauve of the cabbage rose contrasted well with the fuschia and the chard leaf. I had drawn the chard leaf to actual size in my sketchbook so I photocopied it and reduced the scale until I had a size I felt I could work with sufficiently, without losing any detail in the carving. I used dye based mini Ink pads so that I could get the varied colours. I am extremely pleased with how these have turned out. You can almost feel the texture of the chard leaf  and the cabbage leaf print just flows. There is a crispness to the prints which is in total contrast to the watercolours and the separate images join together really well to create a pattern, especially the chard leaf.


I then spent some time mixing up the prints but I wasn’t as happy with these results. They didn’t go as well together as I had hoped, I couldn’t get them to fit into a pattern that worked, but it was fun experimenting with them. I printed the images onto some calico and I am going to try various embroidery stitches to fill them in.

Project 3, exercise 1.7, Sources and Media

project31.jpgI wrote in my paper learning log that I wanted to go big and bold in this exercise. I wanted to be loose and free with my drawings and maybe use lots of layers for backgrounds and be quite abstract in capturing the colour and energy of the flowers rather than make precise botanical drawings. I wanted to buy a big bunch of flowers and do some drawings of the whole bunch in the vase.I had been inspired by the works of Jane Askley when looking at the artists in a previous exercises so thought I would try something in her sort of style.

But, It didn’t go that way! Circumstances found me having finished the previous exercises, with time on my hands, my new watercolours arriving that morning and no way to get to the flower shop, so I had a hunt around my garden. It’s november so all I could find was a fuchsia, one lonely rudbeckia flower and a chard leaf from the veggie patch! Change and adapt! I decided to go with the watercolor, looking more at Elizabeth Blackadder’s style. I have not used watercolour in years so I felt this was an ideal exercise to start again with this media.

What is drawing?

Another one of those ambiguous questions!

The Shorter Oxford Dictionary defines drawing as:

‘the formation of a line by drawing some tracing instrument from point to point of a surface; representation by lines; delineation as distinguished from painting…the arrangement of lines which determine form.’

‘The term drawing is applied to works that vary greatly in technique. It has been understood in different ways at different times and is difficult to define. During the Renaissance the term ‘disegno’ implied drawing both as a technique to be distinguished from colouring and also as the creative idea made visible in the preliminary sketch.’ [1]

‘Drawing is the probity of art. To draw does not mean simply to reproduce contours; drawing does not consist merely of line: drawing is also expression, the inner form, the plane, the modeling. See what remains after that.’-Jean-Auguste-Dominique Ingres (1780 – 1867) [1]

From all I learnt at school in GCSE and A level art, 20 odd years ago, my first response to this question would be that a drawing is an image created using pencil or pen to translate an item or an idea onto paper. When you add colour or paint it becomes a painting- the drawing may still be there underneath, but you have expanded on it. It is fully acceptable to push the boundaries in drawing, more so than when I was at school, but I do think you need a drawing implement to create a drawing.

I don’t see photographs as drawings- a photo is an image captured by a device/piece of equipment. There is art in taking a good photo certainly, but you have not ‘drawn’ it you have captured it. You can edit digital images of that photograph which could be seen as drawing, depending on what you do to it.

I stated previously while looking at the eight artists in part one that I didn’t see Alison Carlier’s spoken drawings as drawings. She is creating a visual image in someone else’s mind but it’s not tangible and no two will be the same. It’s also transient, you will never remember all the details as you did the first time, so each time will be different and after a while the image will fade away and even if you listen again, you won’t create the same image again.. A drawing on paper or canvas you can look at again and again and it will be the same each time.  That’s not to say that her spoken drawings are not art- I personally just feel they are not drawings.

These are obviously just my humble opinions. The boundaries of drawing and art are stretched further every day, with new ideas and technologies bringing new ways to create I feel it’s down to your own personal view as to what you see as a drawing, or indeed what you consider art. Art is an extremely personal experience and maybe should not have labels. Is it a drawing or a painting, is it real or imagined, is it art or not, is it good or bad- who’s to say??


Research point one, Project 2, Wabi-Sabi

Notes: (written up in my paper learning log but also added here in note form for my tutor)

Different definitions found on Google:

  • The discovery of beauty in imperfection
  • The acceptance of the cycle of life and death
  • A way of living that focuses on finding beauty within the imperfections of life and accepting peacefully the natural cycle of growth and decay
  • “A japanese way of being and seeing, honouring the beauty of all organic processes of birth, growth, decay, death and new life”– Deborah Barndt [1]
  • Wabi means-freedom from attachment, subtle, profundity. Sabi means- Austere, sublimity, asymmetry
  • “…an appreciation of the transient beauty of the physical world. It embodies the melancholic appeal of the impermanence of all things- especially the modest, the rustic, the imperfect and even the decayed…”– Andrew Juniper [2]

So…Wabi-Sabi is about finding the beauty in imperfection, not seeing it as damaged or old or broken and peeling. Appreciating the stories of these items, the growth of the journey, the transient nature of something, the natural cycle of its life. Nothing lasts forever, appreciate its beauty, in all its stages before its gone. The marks, scars, scrapes, chips, all contribute to the journey of the piece.

How Wabi-Sabi relates to Archive textiles-

Old or archive textiles have been on a journey. Every ripped seam, tear, stain, frayed edge and piece of moth damage contributes to its story. They have a history, a journey they have travelled on and those imperfections help tell the story. Without those imperfections we may not have the whole picture. We need to appreciate the beauty of these marks and imperfections for it is what makes it the piece it is today. You could look at it like a person’s story. Every experience, every piece of knowledge gained, travel taken creates a person’s life, their view of life, makes them who they are. They have been bumped along the way, fallen, stumbled, been let down, have wounds and scars- this makes them who they are. Without those experiences they would be a totally different person. You need to see the whole, the inside and the outside to appreciate the beauty. The damage contributes, rather than takes away from the story. Wabi-Sabi is a very difficult concept to explain!


[2]From the back cover of Andrew Juniper’s book: Wabi-Sabi: The Japanese art of impermanence

The best explanation of Wabi-Sabi I found was here


Research point 2 –project three, picking and portraying

Research point 2 notes- 3 examples of artists that employ floral and leaf motifs in their work. (More notes and images are in my paper learning log for my own reference, along with images for research point 3 on david hockney which I have not included on this blog)

I chose these three artists as their work spoke to me the most. I did a project on William Morris when I was studying fashion design at college as his work has always interested me. I love the medieval feel to his works and the use of pattern and repetition.

I must admit to not knowing the other 2 artists but their work appealed to me- the one with quite detailed flower paintings and the other with much more vivid and bolder flower paintings and a little more of an abstract feel.

Elizabeth Blackadder

  • She doesn’t like to plan her paintings too much but prefers to “let them grow on their own1
  • She studied Byzantine art and architecture and likes Japanese watercolour art
  • She began to become very interested in plants and flowers when she was sent to live with her grandmother at the beginning of the war when her father died. She used to be sent out as a gardener to all her grandmothers friends and her interest grew from there.
  • She doesn’t like to talk about her work much, she says in the YouTube video I watched that “I don’t like to talk about my art. It’s the paintings. That’s it.1
  • Some of her paintings don’t seem to be that detailed but others are very detailed, almost botanical reference like.
  • She likes to compose her works by arranging miscellaneous objects and painting them from above.2
  • Sometimes it is just the objects she paints- no table or background, and the items look like they are floating.
  • “The spaces between flowers and objects are very important to the composition, in fact almost as important as the objects themselves” Elizabeth Blackadder Masterclass
  • She often leaves the background white in her flower paintings.





William Morris

  • English textile designer 1834-1896
  • Part of the arts and crafts movement which was a revival of traditional handicrafts, improving the design of domestic objects and returning to a simpler way of life. (Even though his wallpapers were expensive!) 1
  • His sources were the plants themselves, although very much stylised and he was inspired by medieval tapestries and early printed herbals.
  • He uses repeating patterns and motifs in his designs
  • Due to the medieval influence his works could be mistaken for older than they are, and they also give a sense of opulence I feel- very suited to the upper class and manor houses.
  • “His success in creating structured patterns from natural forms, with a sense of organic growth controlled by a subtle geometry, was his most important design legacy.”2
  • He was influenced by John Ruskin who was also an artist and a nature observer and who also collected herbals. He was a member of the pre-Raphaelite circle and interestingly Morris’s wife Jane was a model for Dante Gabriel Rossetti painting ‘Proserpine’ 3






Jane Askey

  • “Painting is an attempt to make concrete the transience and fragility of flowers.” 1
  • ‘Jane is a painter, freelance giftware designer and university lecturer. She studied a degree in Textile Design at Manchester Polytechnic 1984-87 specialising in Printed Textile Design. Her textile background has influenced her current practise as a painter and designer. ‘ 1
  • Floral imagery, still life, vintage fabrics and decorative ceramics- ‘Elements pertinent to textiles are central to her approach to painting: pattern, rhythms and echoes of colour are investigated with a sensitivity to space and balance.’ 2
  • For still life paintings I think they actually portray a lot of movement. Whether this is due to the patterns of the vintage fabrics or the decorative spotty mugs and jugs, I don’t know. They feel very much alive to me though.
  • “The works are painted using mixed media on gesso panel, card and canvas. If I am painting in the studio I stand up to work either at an easel or a table focusing on energetic mark making, experimenting with the paint media, building transparent and opaque layers, allowing the texture of the brush to suggest rather than describe. Surfaces are constructed and de-constructed scraping and wiping away the medium and then re-applying the paint with a variety of brushes and tools until the piece has the balance and interest of the place that inspired me. My landscapes have the immediacy of a glimpse, somewhere seen in my peripheral vision as I walk the Cornish or Scottish landscape.” 3





Project Two, exercise 1.6, Detail and definition

For this exercise I focused on the little details of the blue dress and the waistcoat. I used hard and soft pencil and a variety of fine nib drawing pens and brush markers. I chose these media as I wanted to capture the fine details and these gave me the best results for that. For the waistcoat drawings I started off with the top middle drawing, focussing on the embroidery stitches and the pattern of the watered silk. I then did a detailed pencil drawing (bottom middle) of part of the back of the waistcoat, showing the ribbon tapes, creases and the frayed edge on one of the seams.  Top right was detail of the creases up the middle back seam of the waistcoat in varying scale.

For the dress drawings I started out by drawing a small detailed pencil drawing of the whole dress to show the creases and folds. Then I did close up detail of the creased velvet on the hem and the lace sleeve. I then looked at various other small details such as the hook and eye, moth damage, the lace, loose threads and frayed holes and made 9 small pen drawings of these. I then finished by drawing the bottom hem again, this time in pen and brush marker to capture the fold and dage on the hem.


Project Two , exercise 1.5, collage and creases


These are the collages I did. Top left is the black lace veil. I used black paper as my background. I created the net/lace paper by using a picture of netting and repeating it in word until I had a whole page and then printing out 2 copies. For the embroidered detail on the lace I used different black and white magazine pictures cut up into stylized shapes of the detail. I didn’t manage to get it in proportion but I think overall I managed to capture the essence of the veil. Bottom left is also the veil, I looked at one of the scalloped edges and I used magazine images of lace to construct it. I used different tones and I folded the papers in places to capture the folds and tone of the piece.

Bottom right is the hem of the blue velvet dress. I liked the rolls of the folds in the hem so I concentrated on that area rather than recreating the whole dress. I used magazine papers for the top and bottom cotton fabric and crumpled tissue paper for the velvet. I added the moth damage marks by using a magazine page with speckled paintwork on it which I thought worked well to show the damage to the velvet.


Top right is the waistcoat. I used old mottled book pages for the base of the waistcoat. I then found some magazine pages of laminate floors and wood as the wood grain looked like the watered silk pattern. There were not enough pieces to cover all the waistcoat and anyway I didn’t want to cover up all of the book pages, so i just placed a few, using different colours to convey the tone and light and dark surface of the watered silk. I cut out small images of flowers from magazines and then hand cut leaves from pages with foliage on. I used crumpled tissue paper for the fragile ribbon tapes and twisted tissue paper for the buttonholes and also around the edges of the waistcoat to represent the double layer thickness. I like the finished piece but I think I prefered it before I added all the detail. It has a clean look about it and where the page edges are mottled and darker it manages to give it a depth that I think it loses in the finished piece.