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.

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Project Two , exercise 1.5, collage and creases

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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.

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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.

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Project Two, exercise 1.4, lines and edges

-A series of drawings with a focus on using line.

I enjoyed using the continuous line, left hand and eyes closed method in this exercise. It helped me to loosen up a bit with my drawings and introduced some new marks where my lines crossed over or went on top of previous lines. I worked on large sheets of paper with sharpie marker pens for the continuous line and eyes closed methods as I felt this gave me more freedom.

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The blue dress- Large drawings, continuous line, smaller drawings with eyes closed. Using pen and ink and pastel to explore the drape and folds in the hem line.

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The black lace veil- large eyes closed work, smaller continuous line on deli paper, using a metal tube and indian ink on deli paper to represent the net structure, detail of lace design on deli paper using soft pencil and blender pen. Experimenting with different pens and marks on the piece at the back. 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.

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The waistcoat. I did quite a few drawings as I really like the shape of the waistcoat and it lends itself well to the continuous line and eyes closed methods.

The detail of the watered silk is one of the things that drew me to choose the waistcoat as one of my 3 archive textiles but it has been incredibly hard to try and capture. I have used pastel but that didn’t work so well, white prisma pencil on black paper looked ok as did fine black drawing pen. I used square paper and scaled up the watered silk marks and that has given an interesting effect.

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Project Two, exercise 1.3, making marks

I was allowed to draw these items in the archive room at the castle but I could only use pencil. I used hard and soft pencils to change my range of marks. I took lots of photos so when I got home I could do a few more drawings with a range of media, including pen and ink, pastel and paint and drawing pens.

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I made detailed notes on my drawings and I also wrote some notes/descriptions of each item. I was allowed to turn the items over myself if I wore the gloves so I did sort of get to feel the items, albeit through cotton gloves. For the Blue Dress (drawings above and below, wordpress won’t let me rotate the top photo today for some reason!) I wrote; The velvet is soft and plush, the nap is brushed in different directions which gives it different tones, the fold lines where it has been stored are very visible and have marked the velvet, the weight of the cotton (twill?) fabric is very heavy, the lace is stiff and yellowed with age but delicate, I can see some of the stitches, the dress is full and looks stiff.

Pencil drawings and 2 pen and ink drawings, one slow and detailed, one done quickly capturing the folds in the hem.

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Waistcoat; watered silk, shiny almost holographic, complex embroidery, stem stitch, exquisite and so detailed, very precise and tiny, I think it is silk treads as the embroidery gleams,one of the button holes is frayed, the hand stitches are a lot more prominent on the back, not as carefully sewn (I wonder if this is because the man would have had a jacket on so the back would not be seen?). The ribbon tapes are wafer thin, delicate and aged, look very fragile. The front of the waistcoat looks quite sturdy but the back is very thin and fragile. There are signs of wear on the collar and lots of creases on the back. There is some fraying of the back seam that runs up the middle back of the waistcoat. Again the fold lines are very prominent where it has been stored for so long.

Pencil drawings, pastel experiment for the watered silk, watercolour experiment for the watered silk and a fan paintbrush and indian ink to capture the watered silk.

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Black lace veil; Textured, fragile, delicate, patterned, so fine reminded me of cobwebs. Drape and fold to it, repeating pattern, the net has a honeycomb pattern and is quite structured. Light, airy and flowing. Turned over hem at the top is a little twisted, scallop type edges on the 2 sides and bottom. Again, fold lines very prominent. 

Pencil drawings, bubble wrap dipped in ink, fan brush and pen and ink and fan brush and indian ink.