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Ink, Charcoal and Acrylic. A1

Although the work I have been doing this term could fit into several of the drawing categories, I have chosen a variety which relate to drawing as reference. Each of these drawings reference something I have seen before and can evoke something new, leading onto another idea. I have picked out an element of an image in my mind and used that as a base for the experimentation with materials. The result becomes a starting point for another idea, something to refer back to. These drawings inform rather than illustrate the next piece of work.

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Hannah Wade, Ink Acrylic and Charcoal, A1

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Ink and Acrylic. A3

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Acrylic, A5

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Acrylic and Fineliner. A5

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Kyra Canes categories of reference and thinking connect most closely with my drawings. They facilitate reflection, observation, thinking through my making process with increased appreciation of light, shadow, and form. The action or process of creating the drawings is mediative and provides a different perspective and insight, which enhances my creativity, making, informing ideas and new work.

The drawings are about A5 in size drawn in my sketchbook with fine liners or pencil coloured with watercolours or felt pens.

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Throughout this module, many of my drawings have been doodles where I am letting my subconscious take control and, in a trance, I have created a lot of ideas from these numbers 1, 3. 4 and 5 were also doodles but were inspired by a real event in my life. I continued to explore the unconscious by exploring my dreams, I drew the scene and tried to recreate the emotion and the instantaneity. And this led to my creating symmetrical image and then stencils which I used to create the final pattern in figure 2.

Fig. 1

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Fig. 2

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Fig. 3

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Fig. 4

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Fig. 5

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Within this module, I would have to say that I have mainly been using the ‘drawing as surface’ category from Kyra Canes book. This has involved me creating a design through drawing experiments and applying the main motifs from the design to the surface of my ceramic work. This category surprised me at first, as previously I would have thought I would fit into the 'drawing as thinking’ category, due to my focus on abstract painting in the past. I think even though I would feel more comfortable working in the ‘thinking’ category, it is important to try to explore the different categories, and not keep myself in one box.

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These five drawings represent drawing as making. When thinking about the material's value, acrylic paint has a similar texture to clay slip; watercolour has comparable quality to ceramic stain and oxide. So, I used the pottery tool as a drawing tool for making marks, different layer and methods to apply clay slip on paper to create pattern and design. I also applied watercolour on the white porcelain slip surface. I used wax and stencil with paint and ink on paper to mimic the slip and stain at the pottery's surface. The drawing experience will inform and reference later making experiments.

'Stones in River Water'
Acrylic paint, ink, wax on paper.
41cm x 29.5cm.

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'Applied Slip'
White porcelain slip on black paper.
29cm x 21cm.

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'Stones on a Tray'
Charcoal, watercolour, porcelain slip on a card.
28cm x 19cm

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'Stone and glass pebbles'
Charcoal, watercolour, earthenware clay slip on paper.
15cm X 7cm

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'Pattern making'
Porcelain slip, acrylic paint on a card.
29.5cm x 21.5cm

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These pieces fit within Kyra Cane’s ‘Drawing and Surface’ category. I concentrate on pattern across surfaces, particularly in my box experiments, trying to make an organic pattern unfold in a 3D space. My main interests are meditative organic patterns, texture, and exploratory mark making. I stuck to a monotone palette as a simple way to explore these things.

My main inspirations in pattern making are neurons and other human cells, connective tissue, muscles, sinew, as well as the digestive and vascular systems. I’m interested in the relationship between these imperceptible internal things represented on an outward form.

Black Slip Tiles
5cm x 5cm

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5cmx5cm tiles approx. clay, black slip. Jessica Horsley

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Paper, fineliner and tape.
5cm x 5cm x 5cm

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5cmx5cmx5cm. paper, fine liner, tape. Jessica Horsley

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Paper, gel pen, fine liner, graphite, pencil and tape.
21cm x 29.7cm - 5cm x 5cm x 5cm

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21cmx29.7cm - 5cmx5cmx5cm. paper, gel pen, fine liner, graphite, pencil, tape. Jessica Horsley

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Paper, acrylic, tissue paper, ink and alcohol marker.
21cm x 29.7cm

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21cmx29.7cm. paper, acryllic, tissue paper, ink, alcohol marker. Jessica Horsley

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Paper, wax resist, ink, and acrylic.
23.5cm x 9.5cm

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23.5cmx9.5cm. paper, wax resist, ink, acrylic. Jessica Horsley

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Philip Eglin Sculpture Redesign

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Paint Experiment

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Paint Combing

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Ink Experiment

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Mug Render

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I have selected five pieces of work that define my recent creative practice. Most of my inspiration is sourced from curvilinear forms and objects such as industrial pipes and tubes to clumps of hair, often the drawings are observational yet through development become more abstracted. My choice of materials is equally important as my choice of tools I use to draw with. These outcomes represent surface pattern and texture that I envision transferring onto ceramic, the relationship between the 2D and 3D connects two languages of drawing. I enjoy using mixed media and the unpredictability of combining different materials such as ink and acrylic.

Ink and pen.
A4

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Charcoal and Pen.
A4

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Ink.
A4

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Pencil, acrylic and ink.
A4

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Video

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<Into the unknown>

On a dark evening, almost invisible, walking on an unknown path evokes tension and adventure. I do not know where I am and cannot see anything. I feel the sound of a river alongside us and the sense of slippery and sticky mud.

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The drawings I have chosen here represent designs for the surface of 3d ceramic objects, for this reason the drawing category which they come under is drawing and surface. My opinion on ceramics with contemporary illustrative decorations has really changed this term. I used to think that they really didn’t suit ceramics objects for the most part and did very little to enhance the object. However as the term has gone on my perspective has changed, instead of focusing on what the illustrations do for the object I have began to think about the how a the surface of a 3d object can enhance and open up new opportunities for drawing. This pictures are the result.

'Guess Who'

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'It was him'

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'Mask'

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'Punks like u'

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'Stab'

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Stopmotion collage, Rosie Harman

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I use drawing as a tool to understand the forms I encounter and how I relate with them, sketching to develop my practise rather than create a blueprint for later works. In this way drawing enables me to formulate and express the unspoken creative process.

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I have been attending the Drawing & Making seminar series hosted by Natasha Mayo, Hannah Walters and Yalda Bozorg until it’s completion a few weeks ago. As I am moving from a very design and making based practice towards a more illustrative making practice, it was beneficial for me to attend. The seminars were invaluable to me, because it taught me that drawing doesn’t have to be perfect and that is something I really struggled with as an autistic artist before.

I have learned that drawing is varied and doesn’t have to be an accurate representation but more a representation about how you feel about that object, item, or other subject you are drawing. Hearing about Kyra Cane’s propositions of drawing helped me identify where my work sits in a creative space and who I am as an illustrator, author, and possible future animator.

I included some of my favourite illustrations that are taken from new writings I have been working on, as well as a self-portrait I started illustrating for my artist book. I wouldn’t have even dared to attempt to draw myself before the Drawing & Making seminars, however, I feel I have developed my skills and conceptual thinking since attending and wanted to challenge myself.

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Planning Sketch of Vase
Ink and graphite,
A4

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To Scale Sketch of Vase
Ink, pen and graphite,
A4

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Sketches from Boras Konst museum Sweden

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Sketches from the Percival David Collection, British Museum

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Sketches from the Percival David Collection, British Museum 2

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Sketches from the Percival David Collection, British Museum

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Sketches from the Percival David Collection, British Museum 3

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Sketches from the Percival David Collection, British Museum

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Sketches from the  Percival David Collection, British Museum 

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Sketches from Gaudy Welsh, A visual reference book.

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Sketches from Gaudy Welsh, a Visual Reference Book

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Sketches at Aberystwyth Ceramics Collection

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Sketches at Aberystwyth Ceramics Collection 2

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Sketches at Aberystwyth Ceramics Collection

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Sketches at Aberystwyth Ceramics Collection

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Sketches From the Musical Instruments Museum, Brussels

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Sketches from the Musical Instrumens Museum, Brussels

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Gaudy Welsh Watercolours