In the frame

August 17, 2011 § Leave a comment

I have looked at pillow lace previously when I sourced a book of instructions from ebay. I didn’t have any samples myself of this form of lace so I ordered a sample off the internet. This meant that I had some choice over the shape of the piece I was to receive.

Pillow Lace sample


The empty frame seemed suitable for drawing on top of these abstract images. It also changes the way the image is read as it emphasizes the content caught inside the frame. This aspects adds a randomness to the following images:

Pillow Lace One

Pillow Lace Two

Pillow Lace Three



Joining In

June 22, 2011 § Leave a comment

My mum sent me these samples along with some paper doilies she has bought me:

Jill Richardson

Jill Richardson


She has taken a rubbing of the doilies and pushed ink through the negative spaces to create these patterns. She tells me that she tried to emboss the paper using the doilie but it didn’t have a raised enough surface to make an impression. This must have stuck in my mind when completing a workshop led by Laura White as I returned to trying to create a raised surface during this session.

I am enjoying the informal collaborative elements of my work – my mum sending post and Tessa collecting objects for me (and hopefully teaching me how to Crochet). Keep posted for an entry about my year 10 Textiles Students who are drawing my collection of crochet on hand made paper.

Closer up

June 3, 2011 § 1 Comment

I have been working on this drawing for a day. It started as a projection of the crochet piece on an over head projector (the old school type) and from there I recorded the negative spaces:

Step One

I then studied the crochet on a closer level to produce the final drawing:

Step Two

There are still elements that need tidying up around some the connecting area of the drawing, but my eyes are hurting now so I’m giving it a break.

Close Up

This is the first time I have worked on a slightly bigger scale (A3) and although the time it takes to complete the drawings at this size is immense I do feel they have more impact. Perhaps I could look at repeating my drawing as a repeat pattern and a cheat a little that way.

Drawing Tatting

June 1, 2011 § 2 Comments

Using my new tatting magazine pages I have made the brave step to start drawing directly onto them. In my tutorial Tiffany mentioned that I should start refining my materials, therefore I have bought three new fancy, extremely fine, pigment markers (archival quality no less).

There are a few incidental qualities that I like about this piece. For example, the way that the hands in the bottom left hand corner look like they’re creating the drawn piece links very much with my ‘process’ theme.

Also, I deliberately drew a piece of tatting in which threads were spaced more widely first as I didn’t want too much of the original page to be covered up. I also used my finest pen to draw with – 005. Thich gave a very delicate line to help the page be seen more easily.

By the end of this piece I reckon I was feeling the same way you might have done if you created the original – aching eyes, aching back, crampy wrist. I kind of like that about the process. It takes me time to figure out how to represent certain twists and knots in the pieces, sometimes I practise first on a scrap of paper.

I’m trying to be as accurate as possible – I use a digital projector to project an image of the textile piece onto the magazine page and record the outline of the piece, and other large patterned areas. Then I work flat observing the original piece to add all the details that the projection can’t pick up.

This next image illustrates the ridiculous set up I have in our tiny flat, projecting in the corridor as it is the only place with a white wall big enough to project on. I’m getting increasingly frustrated with the working space I have. I would work at school over the holidays but it’s an hours drive away. The dinner table is okay to draw on but packing everything up whenever we eat is a pain. We are moving at the end of July to a bigger place with a second bedroom that will become my studio – exciting times!

The last image illustrates a piece that I completed which includes more solid sections of linen in addition to the tatting. The fine cross hatch works well to illustrate the grain of the fabric.

I have enjoyed dedicating a whole day to this process and tomorrow I will do the same, this time exploring various other textile techniques drawn.

Making Time

May 22, 2011 § Leave a comment

I have put half term aside to have a stretch of five days to develop my work. I will be focusing on refining the materials that I have been using as suggested in my critique with Tiffany Black, sourcing appropriate paper (a friend has suggested print making paper for it’s flat surface) and fine pens that will allow me to draw the minute detail of the textile pieces. Tiffany wants me to “take people’s breath away” with  these drawings. I’m hoping to achieve this by spending more time on each piece in order to provide more detail. I also want to work on a bigger scale using projections to help me do this.

I would also like to continue to experiment with the link between the making  (instructions) of these pieces and the output (the actual textile sample). I have ordered a few more books about tatting and lace making to aid this investigation.

Whole Again

May 2, 2011 § Leave a comment

I am working on a large scale drawing that incorporates a series of recorded tatting and crochet on one sheet of tracing paper.

Fine liner on tracing paper

Previously I have recorded only parts of the crochet and tatted pieces with my drawing, here I have drawn the whole piece and will be presenting a series of whole pieces making up a series.

Fine liner on tracing paper

Raising the Surface

May 2, 2011 § 2 Comments

I have been trying to create a raised surface through using various pastes and polyfilla. My previous work has been quite flat and graphical but I now feel it is important to explore more than just myself translating the patterns and techniques of crochet, but to have it directly impact the work itself.

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