I settled on trying to capture the patterns of this loincloth - through a very quick fine pen sketch for a rough overall layout and then some details in thicker felt-tip. The more I looked and drew, the more I felt a connection with the maker - the unevenness of the ink and line, the variations in the surface, and the riffs on what seemed initially like the same pattern.
Concentrating on the patterns painted on the cloth , my attention kept being drawn to the fringe at the bottom and it's shadow, liking the positive and negative shapes so I then attempted drawing this in 2H and 2B pencil. Lots of counting and rubbing out - it's still not quite right. The light was so poor I didn't realise until I looked at the photos on the research pages that its constructed with 1 strip 'stitched' through the edge to leave 2 strands dangling - makes more sense than cutting into the edge.
headdress of barkcloth with bound feathers, drawing it from some distance from a convenient bench then looking closer at the details of the bindings. The feathers I particularly enjoyed drawing - pressing hard with a 2H pencil from the base and using my whole arm in a 'whoosh' of lighter pressure to the tip. Very satisfying to engage with materials - for years I've shunned pencil wanting to dive straight into colour but the City Lit drawing course challenged my prejudices.
I was trying to remember what the feathers ( and the action of drawing them ) reminded me of , then looking through my photos from my first visit to the exhibition in April I remembered- the etchings of paintbrushes by Jim Dine which were in the next gallery. I was then about to start my printing course and look on them now with even more awe knowing what's involved.