Recording and Capturing – Making Marks

Using a variety of different sized surfaces and although not necessary when considering the brief, the addition of colour when mark making, contributed to a strong folio of drawings, the result of close observations of my chosen textiles.

Additional words were added to the recommended list to consider, words that directly related to the chosen knitted textiles.

Tight – loose – raised – reverse – honeycomb – oxo – shape – linear – ribbed – oddments – stranded – chains – linked – memories – travel – time – connecting – past – twist – ply – finished – weave – feathered – laced – knots – stitch – bobbled – matted – dimpled – contrasting – flowing.

My knowledge of knitting I consider to be extensive. I was therefore surprised to learn so much more from close observations of the textiles themselves. Viewing the textile with a means to capture its qualities, when my focus is generally on the making of the textile.

Black ink, acrylic paint and charcoal feature heavily with the addition of soft pastel and ink providing accents of colour.

Limited regarding different weights of white paper, I introduced kitchen paper as a surface, manipulating it with spray mount and hairspray to strengthen and increase control over bleeding of inks. On reflection this proved to be well thought through as prints were produced from these drawings, the texture of the kitchen paper adding to the print. The kitchen paper also a surface for prints taken from other drawings.

Reverse was a key word when considering my textiles in observational drawings. In the case of all three textiles, the reverse of the fabric was equally and in the case of the Fairisle sweater, more interesting than the front. Stranded work and the woven nature, providing a sense of depth, looking through the stitches – captured in additional sketchbook work by adding and removing marks to create depth.

Very few traditional mark making tools have been used, pushing the boundaries – helping loosen up. Repetition was expressed using thumbprints, butterfly prints.

Painting with Cow Parsley heads as a tool, creating a random result with varying pressure and ever changing shape.

Household brushes were used to drag material across the surface or to stipple when creating sense of depth, when combined with more subtle marks.

Yarn was tied up and also used to apply ink, the dragging of which creating a blurring quality, particularly successful in the rendering of single ribbing stitching.

This folio is very strong, its strength lying in the more accidental outcomes, in particular the Fairisle prints and the thumbprints, the placement of which create an undulating effect that suggests the movement and drape of the fabric. Better results were due to loosening up – more scope for future stitch-work.






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