I'm rather pleased with the artists' book based on the theme of positive/negative I produced as a result of the Contemporary Drawing Sketchbook course at City Lit. I'd done a lot of preparation in advance of the class : painting the cover and stitching and drawing a variety of pages so what I did in the final session was draw with white ink on the cover and tracing the same pattern on the reverse but write the text associated with 'the elusive spark'.
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| cover - based on fold out etching in book from 1787 |
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| inside |
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| inside showing pamphlets attached to accordion |
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| cover folded up |
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| cover laid out flat |
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| Inside with pamphlets towards centre |
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| Inside with left hand pamphlet opened |
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| Inside with right hand pamphlet opened ( showing reverse of stitched page) |
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inside with text
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However my sketchbook practise itself hasn't altered that much from the start. Seeing what other students had achieved in their sketchbooks was very interesting, with one page leading to another, inserts, collage, space left to add additional material , pages altered. Overwhelmed with all the techniques demonstrated and with so many ideas to explore I tended to work on large separate bits of paper rather than in the sketchbook itself. I'd do it differently if I did it again!
One of the reasons I chose this course was to bridge the gap ( ok chasm!) making links between my observational drawings and paintings and the design work for my textile pieces . It's certainly given me a lot to think about in regards to my sketchbook practice. I've written before comparing my
lab book records to my
sketchbooks. Now I'm no longer working as a scientist , I'm not sure the lab book approach is as appropriate and I'm in the process of reviewing how to make my sketchbooks work better for me as I develop as an artist.
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