The chapter headings give an idea of what the book covers:

How perspective works

The picture plane

Vanishing points

Questions and answers

Aerial perspective

Foreshortening in figurative drawing

More advanced perspective

There are lots of exercises involving holding a pencil in front of you while looking at the horizon  and I can see that it would be useful for quilters who wanted to make realistic images of landscapes or street scenes.  The author does include lots of photographs and examples of what she is talking about.   However, I think it would take a lot to make me go and stand like a lemon in the middle of a country road with a number of large cardboard boxes as she suggests!  Although, to be fair, she does suggest an alternative exercise indoors..

I would imagine that this book would be useful to go through if you wanted to get a clear understanding of how perspective works (in order to break the rules, maybe?) but I must admit I prefer the approach of Betty Edwards in Drawing on the Right Side of the Brain.  The author is a teacher and I found her style a bit patronizing at times, such as when she tells you to stand up straight and not slouch because it’s good for your health as well as good for the drawing!!   Having said that, it does seem to be very systematic and clearly explained and maybe if I actually went through the exercises rather than just reading through them I would change my mind.  She does have an interesting section on painting the sea and sky and mixing colours.  Maybe this is why I didn’t get on so well with the book – I am a colour and texture person rather than someone who likes shapes and mathematical exercises and I’d much rather eyeball things than be scientific!

A reminder: The  books I’m reviewing are called Self Sufficiency: Hen Keeping by Mike Hatcher (£7.99), The Felted Bag Book by Susie Johns (£14.99) and The Artist’s Guide to Perspective by Janet Shearer (£8.99) and New Holland Publishers are offering 20% discount plus free P&P if you buy them through their website – put the code Spiral at checkout (this lasts till 31st March 2011, UK customers only).

I love the colours in that one.  It was a glorious, crisp, sunny winter’s day last week.

A few weeks ago I signed up to do an online course, hoping to get my creative mojo going again, and it definitely worked!  I did LK Ludwig’s Printed Patterned Painted journal making class – Karen Stiehl Osborn was doing it and mentioned it in her newsletter. 

Here are a few of the painted papers I’ve made:

Can you believe these were made with acrylic paint, a few old credit cards and some foam stamps or stencils?  My (mostly) home made stamps box is getting fuller:

I have actually made two journals out of them so far, but don’t seem to have any photos yet!  Here is one in process of construction.

Besides all this, I spent most of last week monoprinting over them with a gelatin plate – this time I used Rayna’s recipe and it is still going a week later!!! Last year it cracked up after a day or so, and Rayna’s recipe is definitely easier so I will be using that from now on…  I seem to have been so busy printing that I haven’t taken any photos yet so that’ll be the next post.    Last week it was half term and DH was away in India and I seemed to get a lot more done, for some reason!  I also finished the two large reeds hangings finally so pics of them will be forthcoming as well. 

Here is the sample piece I produced for what I want to do.  I’m trying to capture a grey, glowering sky with the dirty-gold reeds against it.  This is just a practice piece to help me see how the lighter colours of the yellow-gold will show up against the grey.

It is going to consist of many layers.  Here are the first two, not looking too promising yet…

Next I started with one thermofax screen.

And then another….

At least another 5 layers to go… This is a slow process, as I have to wait for each layer to dry before I add the next.  I’m using fabric paints.  But it fits in with my routine at the moment: lots of cooking food for teenagers and countless household tasks, packaging up Gocco machines (only three left now, the pile is going down!), and my least favourite, juggling with figures for the tax return.  Not so many visits to quilt shows or textile museums, though I did manage my first ever visit to Ikea now that DS1 has passed his driving test! And lots of family tree research, and I’m plotting a visit to the National Archives in London….

So, to conclude this post, here is my design board at the moment:

I used Golden thick bodied acrylic, Golden fluid acrylics and some Daler Rowney FW acrylic inks that I had.  I painted each one on some thick cotton duck (canvas), some fairly coarse cotton fabric and some not all that thick polycotton.   I painted two of each and washed one of the pair to see how much washout there was.

Here are the results.  The ones on the left of each photo are the washed versions and the ones on the right, the unwashed.

Heavy acrylic paint on the canvas:

Heavy acrylic paint on the cotton fabric:

Heavy acrylic on polycotton:

Acrylic ink on canvas:

Acrylic ink on cotton:

Acrylic ink on poly cotton:

Fluid acrylic on canvas:

Fluid acrylic on cotton:

And finally, fluid acrylic on poly cotton:

This experiment wasn’t at all scientific but it was interesting to me, especially to find that acrylics seem to be fine to use on poly cotton (next time I’ll have a go with 100% polyester) and the fluid acrylics are best of all for painting on fabric, predictably because they contain less binder and more pigment. 

The little sample book, by the way, is another that I made with the Bind it All.

Before the week started, Claire sent us a list of questions to answer and send to them in advance, and this in itself was a valuable exercise.  They were things like, what do you want to commit to in the coming months, what do you need to do to realise this and how can we help?    I think the key word for me both before and during the week, was focus.  To choose one thing and focus on it, and get rid of all the extraneous things; be willing to chuck anything that isn’t working and stop fluttering like a butterfly on to any and everything textile related, the latest technique, the latest ‘must have’ item.   I think that ever since City & Guilds, when you get to try lots of different techniques and samples, I’ve been a ‘butterfly’, hopping on to one craze and then the next without getting deeper and trying to make my own path through one thing, ignoring all the rest.

So during that week I decided that what I really love is to colour the fabric, and that the stitching bit isn’t really important to me; often I would dye cloth or paint it and then feel I had to make it into something, and stitch it, and then it got put into a pile and never used.  So I decided that I’d concentrate on wholecloth work.    Hence my destashing over the last few weeks.  (There are still about 8 fabric bundles left, by the way, plug, plug!!)  I freecycled a load of stuff, chucked out or rehoused another load (what hordes of rubbish I was collecting in there in the hope that it would come in useful one day….), rearranged my studio and moved the tables around to make it easier to paint and print large pieces of cloth.  I did hope that I might be able to have a sink put in there but that looks as though it might be too impractical.  But already it feels more workable and I’ve been getting down to a piece of work that I started sampling on the course.

Claire and Leslie were great during the week – there were only 5 of us on the course and so we were able to have lots of one to one time with them.  Over the last year I have been trying to work on a series about the local river and I had already come to the conclusion that I was trying to do too much in each piece and so got bored and come unstuck.  They helped me see that I had to be a lot more specific – FOCUS again! – so I decided that I would take the theme of reeds and develop design material round that during the week.   Claire advised me to do a writing exercise to help put into words exactly what I wanted to say in a particular piece and so I was able to do mark making around those words and feelings.    Here are some of the designs which came out of that:

When I’d done a lot of design work, with Claire and Leslie’s help I picked out several which seemed to work best with the words and thoughts about what I was trying to achieve, and then we used acetates to see how these would work when layered.  After that I worked on a sample of cloth to see how these would turn out in colour.  Here is the result (though the photo isn’t very faithful to the colours and there are some random shadows which aren’t there in the original!).

I’m in the process of making this into a large wall piece and the great thing is that I have a load of design material and ideas to develop other pieces in a series on reeds.     And, more importantly, I learnt to see how to get from doing a load of design stuff to actually translating it into fabric without being too literal.  I made the above sample with fabric paints using a stamp cut from a rubber, a credit card, a scrubbing brush and a piece of laminated plastic!

Through the week, as well as working on our own designs (and every one of us worked on very different things), we got together and Claire and Leslie taught us about the elements of design, what you have to have in a design to make it work and how to critique our own pieces of work to help us ascertain why they were or weren’t working.   And lots of other discussion about methods of working, ways of framing or finishing pieces of work – and yummy lunches and endless cups of tea and coffee in the process!   The course took place in Claire’s wonderful house and an important part of the atmosphere was the beauty all around.   It was a wonderful week and a pivotal one, for me, I think.  Time will tell on that last point.