Making Marks (1.3)


Here I am trying to capture the drape and movement of the little kimono with loose line, repeated inexactly. Not unhappy with this but will also try on a larger scale with wet media like watercolour. Wondering if a bit of vertical dripping will emphasise the upright nature of a kimono.kimonodrape.jpg

As I had my ipad with me and inspired by a blog post from another student, I decided to try a quick digital image of the kimono too.



Next I have tried using wet liquid pencil. Not as successful at suggesting the movement related to the drape of the fabric. Outline now a bit heavy and the liquid pencil didn’t run to emphasise the fall of the fabric.



Finally another go with watercolour. This time I have stretched out the length and allowed the watercolour to flow to the bottom points to emphasis them. This is subtle but I think more successful.



Looking at the close detail of the ikat weave, I have done a drawing based on weaving. The watercolour lines are drawn back and forth with breaks in the line where the resist has meant the thread is not dyed. I have bent the weave lines slightly as they are in the source image hoping this would show the underlying flexibility of the cloth, but I don’t consider this has worked. The image looks too rigid and hard compared to the softness of cotton cloth.




Tried again with a bingo marker, thinking that it will give a softer mark, more in keeping with the fabric weave, but it isn’t right. All the negative space behind is actually shadow and should be dark.



Zooming in even closer, I’ve now started by inking in shadow and then filling the weave in with watercolour. I like this much better but it’s just a little tester size thing. An interesting byproduct is that the weave that got wet by watercolour has bubbled a bit and added to the textural effect. It looks more like a stone wall though than close up weave. That’s because of the granular separation of the watercolour, which I like, but which doesn’t say softness or fuzziness.



I’ve looked ahead to upcoming exercises and seen that I will be doing both line and close up so possibly I should be focusing more on drawing the complete object for this first exercise.

Couldn’t resist one more go at the weave though. This one is just watercolour and I’ve used lots more water to blur the edges and give it a softer appearance. It does look softer but still very flat. I think it lacks the deep shadow in the groove to give it texture and dimension. Not going to keep going with this now as I have to get on but will revisit this problem in the upcoming close detail exercise.

Just accidentally pressed on my keyboard and zoomed right in to the above photo


The granular appearance is enhanced by the texture of the paper and the pixels at this level of zoom. Printed it off to include, just because I can 🙂


Final whole kimono drawing that isn’t all line. This time I have joined four A3 papers to make a bigger one by using masking tape on the back. That way I figure it can be folded and unfolded for viewing. The masking tape could come off and it could be presented as a series of four either assembled as taped, or in fact in a line might look interesting.

I’ve used a wide paint scraper to apply black ink. Here I was trying to emulate the way a kimono hangs because it is constructed from smaller loom width pieces of fabric. The dense black does have shade and curves within it. I drew the whole thing from the neck down so it would be falling as if hung. Not all the drip lines were intended (it was windy outside) but once I had the ones off the sleeve, I decided to purposefully include some vertical ones, as hanging thread or simply just to indicate the hanging nature of the kimono.



Had one more go at drawing the weave of the kimono in watercolour and trying to soften the edges more in keeping with fabric. Not an very arresting image but the blurred edges and tonal variation are more in keeping with the texture and tone of the fabric.



Need to move on as wallowing here

Boro futon cover:

Here I’ve used line contrasting with solid areas to illustrate the repaired and holey nature of this piece. I’m quite happy with this little drawing in its simplicity. I wonder if I’m really meant to be drawing more realistic drawings of each piece but I am pretty short on patience to do that. Instead I’m trying to focus on qualities of the textile and how I can represent these. This work is too graphic to show the patchy and worn nature of the piece bit hopefully some of that is conveyed in the irregular lines.



In the next work I’ve focused on the stained nature of the textile. I felt it needed a framework to place the stains but I thin that the high contrast with line and the very textural and opaque nature of these stains is not right. I was looking for something that more melded with the paper by seeping in and this did not do that. The paper is a piece of found paper and I have torn the edges reflected the raw edges of my textile.


Trying again with stains. This little series was just one stain that was a tester in my little notebook. It soaked through to create these three. I have used water colour, gouache and liquid pencil, plus a bit of ramie fibre that was literally floating around as I am packing for our central Australian working trip. This photo looks great but I have cheated by photographing it on my lightbox while it was still a bit wet. I’m still getting a stoney look rather than fibre though.


Next I have used two different papers to see if I could get better seepage. I have painted watercolour into water on the watercolour paper and then, in keeping with the Japanese origins of my textiles, I have overlaid this drawing with a piece of Japanese rice paper, whilst it is still wet. To my eyes the resultant image on the rice paper most reflects the seepage of stains and the differential movement of the pigments creating linear edges.


Finally I tried this one earlier which took ages to dry. That’s ok I think because stains are developed over time in life as in art :). I used kids painting paper and it must have a certain resistance to water because it seeped very slowly. I was happy with the yellow edges that developed but otherwise find this one hard looking and again not reflecting the absorbent nature of fabric well.



Sake draining bag:

Here I have used a watercolour stick to try and demonstrate the thick rubbery gentle folds of the draining bag. I had hoped that when I wet the watercolour it would flow a bit with soft but darker tonal variation.  Unfortunately this didn’t happen. It’s too faint and light with not enough form.



Here I have used oil stick to give an overall texture and flexible but dimensional pattern, as the persimmon treated bag.  I have overlaid the oil stick with watercolour paint which flows into the areas not touched by oil stick to added softer tone to the folds of the fabric.  It’s ok but fairly uninteresting.



Finally I have chosen to represent the function in mark. As this is a bag that strains fluid I have masked out the bag shaped area and dropped watercolour from a height as the sake drips from the bag. I’m happy with this sort of mark but it is conceptual and not recognisable as a bag.