Give & Take: Core drawing work shop (1)

Ignore the ‘(1)’ at the end, if this is the second or third drawing workshop we have done. I just cannot recall. 

We draw everyday as illustrators (or well, we’re suppose to… or I do anyway), but I have learnt a lot about collaborating with others in this drawing workshop. Not being afraid to express or join your idea or creation with another person will not stop or differ you in any way. I found out that, while i was looking at my group or partners drawing methods or how they do the set rules, that anyone can express them in a completely different way from mine.

I tend to be an illustrator who likes to spend their time drawing in detail or sticking with one style, but I found that, the most enjoyable thing of today was just smearing a pen across the page of imitating the shape of a brick, or not paying too much heed to the things we look at. While bearing in mind, that I did have to make some consideration towards why I have made those marks, I aimed to at least capture the shapes of those objects or the things I was looking at.

I did find a method that I enjoyed the most, which was the double toned colours and the continuous drawing. With continuous drawing, it can limit you to how you move the pen or tool across whatever you’re drawing on.



Design Competition: Poster workshop (P1)

The first part of our experimental poster work shop; getting in to our groups, we had a table with some objects and we were given some instructions to follow by Regular Practice. While it was a very constructive afternoon, I found it was getting messier by the moment as I worked my stick in with the ink on the paper.

I tried to imitate my chosen Exhibition image from the Barbican as best as I could, but I found it difficult to copy it fully. However, when I think back to the outcomes obtained, they appear to be far more exciting and interesting, as it’s a concept that has been created by me in an attempt to imitate the artists piece.

After following the first set task for our table, we moved on to work on the other tasks set on a different table and did the same after that. It did open my options and considerations up a bit, that when it comes to making marks or creating a new piece of work or concept, I should try to be more open and considerate of what tools and materials I use, as the end result may be a reflection of that.

Collect, analyse & (re)assemble: Development in plan and experiments.

Going over this very quickly, I’ll highlight what my plans are and what exactly it is, that I’m doing for this current project because I don’t think I’ve classified it clearly. While my subject is called ‘Starting point’, it’s a collection of pencils. I would like to think that actually, there’s more than just one collection from simply looking at this one. It’s pretty much a collection with in a collection, with in a collection with in a collection. I thought this collection was going to be very basic, simple, but it turns out it isn’t.

The pencil collection has more to it, than it meets the eye. How it’s collected, the size, the number of bumps, scratches, marks and teeth marks it has, the patterns, its colour, its thickness, its type. I constantly think about how I’m going to portray these traits with in this project to help define what the collection is, or at least summarise it. So, my main focus with it has been it’s use and how they can be catagorised, sorted. When looking back at the term ‘Stating point’, a pencil is always there to take an idea from your mind and link it to paper. You take a concept and put it down, develop and create something new.

I could rant on more about this, but basically, I want to show the start and finish of how a pencil can be used as a collection.

Last time, I put forward my marks research, I was thrilled, but it led me to some new ideas on how I could take it further; in my sketchbook, I simply started to draw down energetic lines with a group of pencils held together. Moving them across the paper, then trying to recreate the patterns I saw from the research.


For the teeth marks, logos and any indents on the pencils, I had to experiment with how I was going to make that in to an image. I did start to brood over this idea quite a bit and I wasn’t getting anywhere; they could’ve been photographed and placed together? they could’ve been drawn out? I could’ve even photographed the marks and logos, edited them on Photoshop and then made them in to a screenprint? but my time was running out, I was also at home at the time, so the only thing I tried out was printing them by hand with block printing ink.

The print on the left hand side was one of my favourites, I liked the diamond shaped marks that came out of it. Those marks were made from one of the mechanical pencils I had– the ones with the rubber grips.  Each set’s unique in its own way, there’s a range of different marks, patterns and even when I was rolling one pencil across, they would make this nice, smooth, smudgey mark on the paper.

After, I decided to see how I can try out a 3D aspect, but then again, it would’ve come out 2D once presented on paper, anyhow, I did some testing of this before, but in the library:

If you have noticed, when changing the order of something; it becomes an entirely different thing to look at. The collection itself was organised in to seperate different colours, then changed once again. Then again. From doing this, I learnt that I could take advantage of this and then sepereate  every single pencil and organise them in to categories(As shown in the first photograph).

I continued this experiment at home, but changed it. I tried to build a model, that would involve the collection as a whole:


After speaking to Matthew about my ideas and how I’m putting my book together, I did at one point over the holiday felt that I was taking far too much time with the content and development, than the outcome of the book. However, from the book binding session from the last week of term, it allowed me to experiment with how I can lay out each image with in the book and what bind I can use. I have a vague idea of how I want it, but i’m not sure of what the bind would be called, if I combined two methods of patching the pages together. THIS is what I need to look in to, I also need to remind myself, that if I leave something to the last moment, I’ll end up with a rushed outcome and that’s not good. It’s no good at all.



Photography workshop- Week 3

It’s been a very, long while since I’ve updated here, but to start off, I’ll be giving a brief feedback on the last week of the photography workshop which I attended. Compared to the previous two weeks where they were more experimentive with developing photos on the photographic paper (is that what you call it?) , this time it involved cartridge paper.  I was quite confused about this method when it was first mentioned, as I’ve never seen or heard of using cartridge paper to print the photos on or even a basic image, so, yes, I was pretty new to this.

I chose two different images to print on to ascetate; the first one was actually a  drawing base for the GOATBED poster, that I later edited in photoshop by using a photograph I had taken in week one. As they had to be in black and white, I changed it to that in the desaturate filter. While I may mention what my second photo was, some may tell me that, that was a poor decision. So, I purposely re-used the same photograph that I used in the edited version for my drawn image. I did this intentionally to see what the difference would be between the two and by having a 2d image on top of a 3d image, it certainly did make a huge difference.

I was actually quite fond of the outcome, as they proved how different an image can look once you play around with it a little.

For example, I layed them over each other:

It became an even bolder and more graphic image. I absolutely adored how there’s this overlap of different lines and stripes coming across over the drawn/edited image.

Besides learning about this very new technique, I learnt from the testing, experimentation and development of each image was that I need to be more patient with how I set each thing out. I felt that on a couple of the wash outs, I was rushing the process and that left the image to underdevelop or over develop at times. I was truely disappointed in myself for doing this, but then again, that wasn’t the only lesson I had learnt.

(will post photos of these later)

With each ascetated image I had created, they can be seen a new light once they are re-arranged on the paper differently, or if I over layed the two together they would become a new photograph; this in itself was quite interesting.

Collect, analyse & (re)assemble- Artists and designers looked at.

Trying to find artists and/or designers who work with pencils in a more creative, or conceptual way is tough. Even from typing up the words ‘artists who work in pencil’, it brings up pages of life drawings. Not that, that’s such an awful thing. Narrowing my search to ‘mark making artists’, I came across some unusual outcomes, which I didn’t think about before. That just goes to show that there’s always someone who thinks of this object in a different way, or uses them.


Abbey Withington was one of my first finds, while looking for different mark makers. She creates these interesting, colourful patterns made via screenprint. They almost look as if they could of been hand drawn, just from looking at the textured markings. While these appear to be refreshing to look at; how each shape is spaced out appear to have been put in to consideration. Each colour, pattern and shape do not seem to be too repetitive and they seem to work together well. As an illustrator, I may need to bare in mind of this method; making careful decisions on what pattern, mark or how something will look on the pages of the book.

Other than that, observing closer at the marks, the patterns and textured strokes seem to stand out among all of the white space.

Reedy’s Legend of Zelda wood-block prints are what caught my eye. They’re captivating, bold and very detailed. They’re able to capture character among the characters in such a simple way.

I adore the use of thick lines he uses, and the amount of detail that goes in to each print’s astonishing. In terms of this method of production, I plan to use some printing in my tests for the collection as a form of presenting the object. What I mean to state is, the teeth and name etchings and the patterns on the pencils for instance could be printed multiples amounts of times, or could be used to create another piece of imagery with in the book to make it look appealing to those who look at it.

Honestly,  I didn’t ever think you could obtain something like this from just colouring pencils.  Though, this one is most likely not all in pencil, but it’s another nice example of an illustration that uses pencils. This piece was created by Rebecca Green; an American Illustrator, who works with gouache, acrylic, colored pencil, and ink. What I liked about this was how simple and traditional it was.

 By using groups of objects, Federico Uribe gathers them all together and creates sculptures from them; to me, it looks complicated. It may be, if I were to try something similar to this, I might try building the sculpture out on its side instead.

Collect, analyse and (re)collect.

You never ever seem to notice the small collection of books gathering up on your shelf, or even the bundle of pencils, pens ad other stationary that clutters up in your drawers. There’s always a system and a way of how things are organised, and this is the new task that I’ve been set to work on, discuss, analyse, experiment, collect and start to develop.

When I start to think about this subject, I thought at first that this was going to be a pretty, damn hard subject to figure out, but as I returned home and arrived to my room… it hit me.  I have several collections of my own, but I had never considered them as a collection at all and I did have a strategy of how I line them up, organise the objects or even spacing them out in my room a certain way and it’s extraordinary.

As much as I like boasting about my little gathering of figures, or manga; I don’t like talking about it to the whole class. It makes me nervous.

The loom band jar.

My manga collection (which seems to grow every time I go into Waterstones.)

I have far too many keychains/keycharms now, but here’s the collection I have pinned to the wall.

Things to take in to consideration during the project:

What makes them a collection?

what defines them? how do they change when they are a mass? what are their qualities? what do they do? what shape are they? what are their functions? do their qualities change when reassembled? how do you reassemble them/organise them? Are they any different when they are resorted?

Now, the final outcome is going to be a book that’ll document or that will discuss our collection. I’m having a little trouble processing my thoughts/ideas in to how I’ll present my findings into this book, but I do have some ideas of what I want to do for the collection.

Collection ideas:

  1. Things about my cats: This could be a collection of images, sketches of them, I could also have records of events, for example their vet slips, food packaging.
  2. Letter packaging: Collecting a series of different packaging that’s to do with postage.
  3. Cosplay materials: Recording things to do with this subject.
  4. Pencils: I have so many of them, that I can’t even count them all. Pencils are a pillar to anything. You can make many different marks and record in different ways with them; you’ll also get many different results. There’s also so many varieties of pencil types.

A definite collection choice so far for me has been the pencils, I also thought about doing pens, though, a pencil can be recorded in numerous ways. I’m looking forward to playing around with the ideas that I’ve got so far.