Useful reference: Grease-proof paper and acrylic paint

This blog is a fascinating idea to produce layered textural images using grease-proof (deli) paper to apply and also lift paint - and one I will certainly try in my sketchbook.  The added bonus is lovely sheets of coloured grease-proof paper to be used for collage etc. at another time.

http://janedavies-collagejourneys.blogspot.co.uk/2014/01/deli-paper-prints.html

There is a short 'how-to' video on this link

Here is a copy of one of Jane's print-paintings from her blog as an example.

2. Observations: Intial observations

This is a photo of my chosen area of wall.  It is part of an external church wall and is a mixture of stonework, old brick and weathered mortar; the coloured lichens and lovely rusty and dark grey tones add lots of interest.  It's a fairly uneven surface, which was a deliberate choice as I'd like my work to have raised areas of texture as this sort of interpretation interests me.

A rubbing taken of the wall using calligraphy practice paper, which is light-weight but strong, and a Derwent tinted graphite block.  These blocks are really good for this purpose as they're large and easy to hold and give up their pigment very easily (though this does mean it will need to be fixed to prevent smudging).  I really like the patterns created by the high points and also the background 'noise' where the graphite has scraped the surface of the paper. This is an interesting exercise as it removes the distractions of colour and detail and focuses purely on the surface texture of the wall, and you can see the undulations.  It shows how the surface actually works, which isn't completely apparent to the naked eye - the large area of rusty stone is clearly visible (bottom, extending right of centre) as a generally higher area of this part of the wall.  I know I'll find this a very useful reference as I begin to develop ideas and use of stitch to represent this wall.

This is a more detailed study of the rusty coloured stone to the bottom right hand side of the area.  I love the textures, lines,shapes and the many naturally occurring colours.......

......and a close up of the 'centre area' of brick fragments and aged mortar showing colour and tonal detail. I have also created a black and white copy of this image to help consider tone and surface relief without the distraction of colour.

Finally, I made a very rough sketch to get in mind how the different elements are placed in relation to one another, and where different coloured lichens occur.  Proportionally this is not at all accurate and I'm not sure how useful it will be as I work - but by doing this it helped me to mentally record and visualise the immediate area, as distinct from the entire wall, although the area for this study is roughly the centre part of the sketch only.  I will keep it as another reference point and add it to my sketchbook.

Useful reference: Developing ideas

A really useful blog with practical suggestions for interpreting a structure using sketchbook 'drawing' techniques to develop design ideas.

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1. Choosing a wall

To begin my blog, I thought it would be interesting to record some background to the location of the wall I will use as a study for this module.

We are very lucky to live within walking distance of a lovely country church at Warminghurst, West Sussex. The Church of the Holy Sepulchure has been managed by The Churches Conservation Trust since 1980 after being declared redundant and falling into disrepair.  This simple but very lovely little church stands in an elevated position with an open view to the South Downs and the Iron Age hill fort at Chanctonbury Ring.  It has a long, interesting history and in it's current form dates to 1220; some restoration was undertaken in 1707 but the ravages of Victorian modernisation passed this church by, so it's a little historic gem.

I have always loved old churches, the more ancient and original the better, so this little church captured my imagination and as it is always open, I often call in whenever I'm walking our dog nearby. There are lots of lovely weathered and aged architectural features, shapes, patterns and surfaces here, so it was a natural choice for me as a place to find a wall to use for this module.