Sketchbook Review

My visuals have been generated through photographs and first-hand drawings. I started with pencil and traditional media, and then began using other materials such as collage and bleach on tissue paper. Other student’s drawings were more adventurous and tactile; layering images, manipulating fabric and paper, hand-stitching into their work and ripping through the page. Likewise, I should experiment with different, less conventional drawing methods. Information is clearly presented within my sketchbook so the project is visually straightforward to follow. Although, in certain areas it may be too organised, resulting in a lack of unrefined, spontaneous ideas which have potential development. My methodology is to think everything through before displaying in my sketchbook, yet I could improve this by designating some pages for quick, rough work whereas others for orderly thought processes. I learnt from others that each page does not need to be completely filled; white space around a drawing is important for clear viewing. 

Drawings in Sketchbook, Carefully Organised

My project originates from a parasol collection seen at Platt Hall, followed by research into the parasols history. However, photographs and information resulting from these discoveries were not recorded in my sketchbook, preventing a quick reference back to them. I documented later, more appropriate gallery visits which focused on shadows in relation to my large-scale drawings, and colour combinations for weaving. Artists and designers inspirational to my work are referenced, with drawings and annotations to demonstrate this. Although the opportunity remains to explore these further: For example, Kumi Yamashita’s work was crucial in investigating shadows, therefore I should look at further shadow/ silhouette artists find different approaches on the same subject. Also after examining the sculptural work of Sally Freshwater, I could have made three-dimensional sketches of parasol forms and structures. My investigations touch on fine art, as many artists feature parasols within their paintings.  The traditional, professionally executed work does not link coherently to my own drawings, being mainly a method of extracting colour palettes, so I could now research fine artists who have influential techniques. 

Colour Inspiration From Fine Art

Artist Research, Limited Investigation

 My Sketchbook begins as an extensive mind map to culminate ideas, through which I selected one to progress. Revisiting these original thoughts encourages new ideas, however it would be beneficial to include updated mind-maps as my work develops, just like my peers had scribbled down notes to plan and review their project. My ideas advance from tentative parasol drawings to bold, negative images that capture interesting shadows. It is obvious how contextual research inspired visual content since I made relevant drawings after artist/ gallery research, although the transition between colour and black & white is displayed in a fluctuant way. So far I have sufficient research to work from, yet am interpreting parasols in an obvious and literal way, with the prospect of my project becoming uninteresting and repetitive. Whereas other students had imaginatively portrayed their subject: thinking more conceptually, using the theme as a subtle thread in their work, creating  abstract, fragmented or stylised pieces of work e.g  through layering and mark-making.  

Contextual & Visual Research Linked

When beginning  I dreaded the first white page, and was worried about showing my sketchbook to others  due to fear of  comparison,  considering  theirs to be of a higher standard.  I now realise that everyone’s work is individual and different.