During the last 2 years some of my works have had the added surface design element of painted dots. These were applied by hand, using a cut-off paintbrush, but it could easily have been a cut off green twig as used by various peoples who use dots as a signature element of their painted designs, including Aboriginal Australians. However applied, no one has a lock hold on the use of dots, so I don’t feel there is a problem with my using them in this way around my own original design shapes.
Last time I was in the USA I was thrilled to find some plastic bottles with applicator tops that I really thought would revolutionise, ie streamline, my application of dots of paint on the designs in which I wanted to use them, and happily paid a few dollars for a set of 6. As always when trying something new or different, I did a sample. In the next photo, paint and cut-off brush are placed near the applicators containing thick and thin versions of gold paint, and the sample piece on which I used both paints. The result on the 6″ square of black featuring pieced-in colours, and easily show that (1) either I need a lot more practice using the applicator bottles, both thick and thin paints, or (2) I need to go back to using the sawn-off brush to apply paint such dots in future 🙂
In the past couple of weeks I have viewed s0me TextileArtist.org videos, with the following take-away points that I totally agree with. To develop one’s vocabulary of textile art techniques, a would-be artist needs to focus on experimenting to discover possible variations, no matter how limited the range of techniques or stitches that person knows. Making samples to ‘see what happens’ is vitally important – this is one of my soapbox topics!
The key person in TextileArtist.org is Sue Stone, who studied with the legendary Constance Howard for several years, and that influence shows. I feel it myself, as I count myself fortunate to have been in a 4-day workshop taught by this now deceased, legendary, British embroiderer, in the Outback Australian mining town of Mout Isa, where I lived at the time. It was either 1979 or 1978, a long time ago. How we came to get her to stop over for a few days on her round-Australia teaching tour, owes a lot to Ailsa Bray, the intrepid secretary of the local embroiderers’ group in that town at the time. Having snagged the booking, Ailsa asked the tour organisers “When the flight arrives, how will we know which passenger she is?” The answer, delivered with a slight chuckle was “She’ll be the only passenger with green hair.”…and so it proved to be! Amazing for the times; but once we had been in her presence a few hours, we all forgot about the colour of her hair and found ourselves totally focused on all that his amazing woman could teach us. Her influence stays with me still, absolutely.
Tags: battings. samples, creativity, lines, paint dots, the importance of making samples