I attended a workshop by Bobby Britnell in March this year, where she used Ben Nicholson's work for inspiration. I kept a notebook with drawings and monoprint samples as well as developing a piece in fabric using techniques learnt.
1. Research
I started with some research into some people's methods of storing laundered towels.
Each person was designated a letter A through to J
Further research based on this included photographs and catalogue pictures, with sketches alongside to use later (Samples are in Notebook pages 96 - 98)
Ben Nicholson 1894 -1982 (outline of his ideas from 'History of Art' by E H Gombrich pp 582-583, 32-33)
A lot of Ben Nicholson's work explored the relationship of simple shapes including circles and rectangles, often carved into white boards. They were often given different depths.
He was searching for 'Reality', believing art and religious experience were the same thing.
As mentioned on pages 32 and 33, he often repeated sequences or arrangements until he got to what he felt was the right appearance. The skill is finding this and knowing when to stop!
Because his shapes were carved into wood, shadows and white light effects arose, which could be accentuated on other pieces using blocks of colour, light or dark.
As well as the wood blocks other work included views from windows, still lifes using containers, glass, bowls, cups, saucers, and jugs.
I decided to concentrate more the abstract shapes in developing monoprint blocks and developing designs for adding stitch and fabric.
2. Drawing
Development work included some drawing techniques:
a. In a time frame of 20 minutes drew sketches from Research Design D looking at the paper and using pencil on A3 page in my notebook, selecting circles and rectangles
b. In another short time frame did some sketches without looking at the paper using Design Hiii, Hx and J, a non-circle or rectangle image
c. Drawing with a 21/2" paint brush within an A4 space from images
3. Monoprinting
From the first two drawings I produced two low relief A5 Monoprint blocks A and B. What I noticed was that the best prints on paper were using tissue, however I loved the textured effect when gesso was painted over a surface. Overall fabric was better than paper, and I was glad I chose to include fabric alongside paper within my samples.
Monoprint Block A was based on development of the upper section from drawing d, using drawing technique a. (Notebook Page 99), using two pieces of thin A5 card to make the print block
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| Sketch on card for low relief monoprint block A |
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| Block A made up of circles and rectangles, cut away, relocated pieces, overlaid using two A5 cards. Can see background prints where spaces on the card |
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| Equipment required for mono-printing included glass sheet, wet and dry rollers, paint tubs with 50% added fabric medium, papers and fabrics |
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| Selection of 18 samples of mono-printing on paper and fabric. Print block in centre |
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| Gesso prepared surfaces roughly painted on to notebook cartridge paper and selection of papers and fabrics |
Materials used included: acrylic paints in blue, brown, white and black, gesso, oil pastels, black felt tips, sepia felt tips, blue biro
Papers included cartridge paper, tissue paper, newspaper both printed and non-printed.
Fabric used: cotton and calico both coloured and non-coloured.
There were 18 samples, showing the different techniques kept in my notebook, except where they were developed further.
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| A couple of the early prints |
I further developed designs using some of the samples:
Design 1 was an interesting piece using monoprint sample 1, where the monoprint was made using cartridge paper on to a squirly pattern made with the roller during initial spreading of the brown acrylic paint on to glass.
Thought it reflected folded towels.
The straight lines were enhanced using black felt tips
This was then overlain with some cut out parts of sample 12 blue acrylic on gesso painted tissue.
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| Design 1 cropped to the edge of the piece, which could be used as is, or at right angles |
Some circles and lines were enhanced using black felt tip or white oil pastels. Some areas I was able to erase where the design looked unbalanced.
The design was completed with lines to depict machine stitching, hand running stitch (at least two techniques and two lines of pile stitch, shown by the spiral pencil lines.
Worked with A4 portrait paper, and felt that the design might work as a curtain pattern
(see also section on computer manipulated pictures)
Design 3 was made from Sample 9, gesso covered cotton with multiple block prints using black acrylic paint. Blue biro marks show where there may be stitching in blue, stitching around a circle, stacked parallel stitches and diagonal arrangements, depicting the patterned edges on towels. I added the fabric to an A3 sheet with blocks of rolling direct to cartridge notebook paper, not using the Monoprint block, giving a border effect on two sides with different textures and tones.
At this stage I did a sample using free use of a roller, but this could be developed much further.
Design 4 was made from Sample 17, gesso covered dyed calico fabric, using Block A. It resulted in some ghosting as the roller continued presenting the image inprinted on it, down the fabric.
Areas were highlighted with black oil pastel, as Ben Nicholson, curves with either black felt tip or white oil pastel, and some of the lines and circles were accentuated further using black bonda webbed fabric to the fabric background. Stitch yet to be added.
Monoprint Block B was a result of not using the Ben Nicholson shapes but a freer design, selecting one of the three sketch Hx, a sketch of a badly rolled up stored towel.
Drawing technique b. was used selecting the second drawing of Hx, to trace and transfer to card.
There were 16 samples showing the different techniques, kept in my notebook except where they were used for further development.
Techniques were similar to the samples for Block A but used more repeated prints, shifted blocks and rubbings. Some samples extended from the original A4 size and there was a wave effect common to them. (Rubbing samples not listed)
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| Sample 5: Block B repeated prints on cotton |
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| Sample 9: Repeated patterns on calico and on longer piece of fabric |
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| Sample 11: Alternate prints on cotton with change of direction and colour, to be extended further |
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| Samples 12 to 14: 3 repeated prints on newspaper and tissue to wipe glass clean giving less distinct images, from top to bottom Could be used alongside one another as shown |
Lines were enhanced using black oil pastels, curves with white.
Some areas as with Ben Nicholson were blocked in using black oil pastels.
I know this design could be used without considering it from the original towel inspiration, however I could not help thinking this as a possible designer towel. An idea might be to use towelling fabric as a raised material where the brown elements are. I also marked an area for a towel edging near the bottom of the portrait image.
Paint brush drawing
The next series of drawings involved using 21/2 paintbrush and acrylic paint on similar materials as others.
The inspiration was from a pencil drawing from the rolled towel storage in the House of Bath catalogue (see below)
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| Photos were taken from House of Bath catalogue |
However there was another design also used from which there was further development
4. Computer manipulated designs
There were a number of designs and ideas provided throughout working on this chapter.
Often interspersed between using the different techniques above as the work progressed. Some I chose to leave on the back boiler, whereas others I developed further. Here are a few examples, finishing with development of patterns shown immediately above.
Different results:
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| Using editing feature which automatically changed to a different tone or textural effect |
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| Here are a series of different repeated images from a drawing inspired by a pile of folded towels. From left to right different textured images, selection of one image repeated 3x3 and a variety of merged different sized image or not merged |
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| This is an example of one A4 print of the folded towels, cut up and rearranged. Will keep the pieces separate to arrange further designs. Taking photos of each new one records the possibilities, even with the white bits. Each individual piece could be made up in fabric and stitch, then collaged together |
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| A4 copy of Monoprint block A Design 2 when repeated and merged on portrait |
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| A4 copy of Monoprint Block A Design 2 repeated and merged on landscape |
A4 sheet of paint brushed images of folded towels in blue (above) with stippled effect to show texture was printed off the PC to work alongside another painted drawing in black and white or sepia both produced by changing the colour of the original A4 sheet on the PC and here merged (below)
Printing off 2 A4 sheets one black the other sepia. These were cut in lengths and rearranged, not this time on the PC but on a table and photographed, resulting in the following three images:
Other variations followed eventually resulting in a design where I combined drawings I made alongside the circles and ideas of Ben Nicholson
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| Cut shapes left lying! |
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| Cut shapes woven together |
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| Cut shapes woven together, then circles and other shapes spaced on top, adding black shaded areas with white curved highlighting to give a 3-D image on a 2-D computer print out |
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| Editing and cropping a photo to show a specific area of the original |
It is so useful using the computer to edit, copy and print further designs so quickly.
Other techniques
- Using acrylic paint on a roller to mark pieces
- Using bleach on inked surface
- Markel sticks along a curved cut piece of paper
For the first, any of the prints could have added lines from the edge of the roller, blocks of rolled paint, stamps using the surface of the roller to enhance lines for stitch or blocks for stitch or de-mark areas for fabric (see also sample within Design 3 above).
Some of the design shapes or sketches could be reproduced using this method.
At Bobby Britnell's workshop March 2018 I kept samples and a record of this technique.
It is like an extra layer on top of fabric decorated pieces.
Using bleach with black ink
It is important to use an ink that will be affected by bleach, not all are.
I did some samples when working on the C&G Certificate Level 3.
The sepia samples produced on the computer (use immediately above) almost reflect this technique in colour.
Bleach is an appropriate method for removing colour from work as well as a design technique
Using Markel sticks can accentuate curves on work, producing shadows by rubbing the Markel powder from the cut curved paper on to paper or fabric. Markel fixes on fabric after being left 24 hours. The powder can be drawn or moved on to the materials using your fingers. Markel sticks are available in the colours I am working with, black to white, orange to blue.
Health & Safety
The main areas for Health and Safety in carrying out the methods in this chapter relate to
- Cutting shapes from card: whilst using knives and scissors, keeping blades protected and using metal rulers with hand guard on specially designed cutting mats
- In mono-printing: ensuring the glass has taped edges. Using acrylic paints are not toxic
- Using bleach: in a well ventilated room and ensuring it's stored in a secure container or on appropriate dishes, ensuring applicators are not left unattended and washed clean after use, or disposed with in a safe way
- Applying bondaweb to fabric: ensuring the iron is not left unattended, or on when not in use and the flex does not cause a trip hazard. Also use parchment paper below and above fabric to avoid scorching to fabric or damage to the iron.
- Using computers in a safe and secure way
Interesting piece of information
While updating my notebook at a recent Members' Day for our Embroiderers' Guild Branch
one of the ladies, seeing my inspiration was folded and rolled towels, drew my attention to a technique used by Marie Kondo from Japan. She has an ingenious way of folding and rolling items into spaces such as drawers and cupboards, which is not only tidy, but also makes it easy to find or sequence items, such as clothing, towels, etc.
Apparently the KonMarie technique has revolutionised de-cluttering. My EG colleague said she uses this method to good effect, after a bit of practice.
Google 'Marie Kondo folding' for images, articles and videos.
I must admit that I will probably try her methods and hope the tidy effect will be as inspiring for design and stitch as my current illogical and untidy methods!
In conclusion
I feel I have a number of samples which could be developed further or re-arranged into yet further designs. And, look forward to applying lines and areas of stitch into planned areas.
I enjoyed applying the different techniques, using towels as inspiration as well as the artistic techniques of Ben Nicholson and textile techniques of Bobbie Britnell.
