Initial thoughts. Detail and definition – an area of strength.
Pencil the only medium I consider to be necessary, producing the finest marks. Choosing not to experiment with any other medium or technique. I feel the traditional approach key here.
Additional sketchbook work produced, fine detail of patina on other garments producing more variety. The drawings from the chosen textiles not feeling to be enough, their lack of age a hindrance. The patina a chance not to be missed, resulting in particularly strong drawings in colour pencil.
Proving difficult to impart the textile story due to lack of age. Overcoming the obstacle with additional work, patina, embroidery. Chosen textiles may have proved more interesting to capture in detailed drawings if their story was in the age of the textile and not the age of the pattern from which they were produced.
As in previous exercises, both the front and reverse of the fabric was considered, a small graphite study produced of a section of reverse fan and feather stitch. Graphite lent itself well to this, as with the scaled up drawing of the fairisle embellishment. Light touch suggesting lightness of touch with stitch.
Focus also on fastenings, buttons captured in both graphite and colour, interesting how different qualities are emphasised with different mediums. Drawings equally strong.
Going forward, considering working with darned textiles – evidence of repair. Beauty in imperfection. Reverse embroidery – tangled. Having focussed on imperfections here, loose stitches, patina – bobbling on a knitted surface, uneven stitching – fairisle, stitching to popper fastening damaged over time.
The drawings working well as a series.
A challenging exercise. Playing to my strengths, although my choice of textiles letting me down due to their lack of age and imperfections. A real issue for me when considering fine detail. The sketchbook work strong, the chosen textile drawings the weaker.