|Ref 6.9.3 a,b,c,d|
The lower paper had used a candle resist before brusho colouring. Image 4b uses 3 papers the top two using acrylic resist - with brusho and acrylic paints on layer 1 and 2. The bottom paper a silver crayon was rubbed over a texture wallpaper and then brusho painted Image 4c shows sponge effect with brusho. Image 4 c shows gold rubbed over an acrylic pattern where the paper was a second print from c.
As the original sketch could be conceived as too close to meandering chose a more random design where I concentrated on the 'holes'. For sample 6.9.6a the top layer of PVA resist was cut and torn and placed over the lower layer of brusho painted over a silver wax resist.
For sample 6.9.6b the bottom layer was rubbed over the original top layer paper of PVA resist with a gold wax crayon. When tearing the top PVA layer resist it was apparent that another note to self was consider how this would translate into fabric and stitch? Layering was going to be an important in the finished piece and was beginning to see that three separate but sometimes touching or alternating layers would need floating threads would play an important part in maintaining some sense of fluidity but also support. It was also important that texture as well as colour would be seen on the bottom, revealed layer. samples 6c and 6d were about showing the contrast and tone.
|Ref 6.9.6 d(i)|
For the third image, reflection and rhythmic were in my mind...is this cheating! I wanted it as much for holding in mind as a sense of place as much as an image. So my answer to combining was to elongate or distort the perfect circle. The issue of light in the finished piece would need much thought not least because it would effect the palette across the piece but in the meantime on with the tearing...
Image 7 shows the same paper using PVA on the top image and wax rub on the bottom as in earlier samples. In 7b the inclusion of tissue that was pleated dyed and opened was included.