Category Archives: Research & Reflection

Developing printmaking samples for an exhibition

14 May 2017

The Print and Stitch Group Exhibition – developing my printed samples from Part 4

I belong to a group of printmakers and textile practitioners called The Print and Stitch Group, which was founded in July 2015. We have been working towards our first exhibition in September 2017, on the subject of “Identity”. I used my sampling with fabric stencils which I produced for Project 1 exercise 4, and developed the figure prints in conjunction with techniques of back drawing, mark-making (reductive process) and drawing onto the plate.

The prints for the exhibition are shown below:


The first print (above) is a rework of Project 1, exercise 4, sample 4a. First I made a print of the negative space with a burlap stencil, which also gave me the embossing in the white (masked) area. When dry, I used back drawing techniques (project 1, exercise 3, samples 3), to fill in the detail of the figure.

This second print (above) also uses the back drawing technique, this time applied over a ghost print of the stencil plate used in the first print.

The print above is taken from the one of the plates which I used for back drawing. I have used reductive technique (Project 1, exercise 1, mark-making), to remove additional ink from the background areas before printing. The results are similar to project 1, exercise 4, sample 4d, except I have managed to achieve a better transfer of the burlap fabric texture, and I have also been more consistent with my mark-making within the negative space.

This final print (above) was produced by first taking a ghost print from the inked fabric stencil (see project 1, exercise 4, sample 4c before back drawing was added). In a second stage, I then used a paper stencil to mask off and print the negative image. Finally, I used Akua liquid pigment and a needle nib to draw the figure’s outline and clothing onto an acetate sheet, which I printed from using the direct drawing method (project 1, exercise 2, sample 6).

I am really pleased with the way in which I have been able to combine the texture of the burlap into all of these prints in different ways. The common shape, colour and texture of the fabric provides unity to the set, whilst the different methods of printing and line generation provides variety and interest.

I have entitled this series “Covert figure”. In keeping with the theme of the exhibition, I wanted to portray these images in a way which left their identity open to interpretation by the viewer. The way in which the image is framed top and bottom, suggests that the figure is perhaps lurking in a recess, window or balcony. Who they are and why they are waiting is the question which is presented. Their identity is almost hidden; we know the figure is female and have an idea what clothing she is wearing, however there is little else to give us a clue as to her purpose. I hope that this adds a sense of mystery and intrigue to my prints. 


I have also produced a second series of mono prints, based on the techniques in project 1, exercise 3, samples 3 (back drawing), in which I used first prints and the ghost prints for background texture before adding detail by drawing into the prints with charcoal.

These three prints (above) were made by drawing into mono prints which were initially very similar to sample 3a from Project 1, exercise 3.

I also took ghost prints from the plates (similar to sample 3b of project 1, exercise 3), and once again draw into these with charcoal to add detail (see below):

I have entitled the series “Blue” (being the name of the model). Although I feel taht there are is some suggestion of domesticity and female vulnerability in the prints, I wanted to keep the title neutral so that the viewer could make their own interpretations of the possible identity and roles of the subject.

In contrast with the “Covert figure” series (A4), these prints are A3 size and are more dramatic and imposing. By incorporating the charcoal over drawing, they have become very distinctive of my artistic style, whilst still retaining some of the subtlety of line from the original printing stage. The printing helps to soften the images, add texture and a feeling of depth and shadow.

The Print and Stitch Group’s exhibition runs 14-20 September 2017 at Aldeburgh Gallery, Suffolk IP15 5AN.


Assignment 4 – Reflective commentary

11 May 2017


Measurement against assessment criteria

I used the assessment criteria as the benchmark against which to make my critique. I also referred to the course aims and outcomes on page 5 of the notes.


Demonstration of technical and visual skills

Before starting the assignment, I had only limited experience of mono printing and no experience of collatype. Consequently, I found project 2 more technically challenging than project 1. 

I was careful to limit the number of samples I made for this assignment, so as not to overstretch myself. This made time management easier, and when it came to writing up and analysing my results, I feel that I had achieved a good balance between practical work and analysis.

Initially, I had to overcome technical challenges of finding the right thickness of printing plate to run properly through the press and to understand how to prevent smudging with Akua liquid pigment. Through trial and error, I learnt how much ink to apply, how tacky the ink needs to be, and the correct pressure. These skills can only be acquired empirically, and as result of the exercises, I feel that I have a firm grounding on which to build knowledge and experience.

As well as techniques, the assessment criteria mentions observational skills, visual awareness, design and composition (course notes, page 11). I was pleased that I was able to begin the process of resolving quite a few of my samples, in particular, in the latter states of project 1 and in exercise 3 of project 2. I was sufficiently confident to start combining techniques and to develop multi-stage/layer prints. This proved especially fruitful, and I feel that I have a secure understanding of how to take the methods forward and use them in future in new and different ways. In the collagraph portrait and seascape prints of project 2, exercise 3, I was able to use design and compositional skills to produce balanced and visually interesting prints. 



In addition to quality of visual output, outcome is also concerned with the application of knowledge, presentation of work in a coherent manner, the conceptualisation of thoughts and the communication of ideas (course notes, page 11). 

More so than in any of the assignments so far, I feel that my sampling produced pieces which were either more fully resolved, or I could see the direction that they needed to be taken/developed. Sometimes I feel that my sampling produces lots of distinct, disjoint elements without obvious connection or application, but in this assignment, the read across between techniques was clear and straightforward.

My tutor raised a question about a dissonance between my use of colour to represent the samples in my Part 3 sketchbook. I am now confident that I understand the problems and the reasons why certain combinations did not work. I have explained this in a blog post and I do not believe it to be an issue, either in Part 4 or going forward.


Demonstration of creativity

This criterion looks for experimentation, invention and development of a personal voice (course notes, page 11).

I found it very easy to generate ideas for this assignment. Perhaps it’s because I have a natural affinity with printmaking? I feel that the loose and expressive style of mark-making fits my creative style, whilst allowing me to exploit my drawing skills.

I have been experimental, but not as much as I would have liked. I had to spend a lot of time understanding ink behaviour, so limited most of my printing to plain paper. More experimental backgrounds I tried included envelope paper, brown paper, paper bag, Japanese paper and cotton muslin. I feel that I had only scraped the tip of the iceberg in this respect and I would desperately like to expand and experiment further.

The ‘sorting’ stage was much more straightforward this time round because the direction in which I need to take/develop samples was clearer. It was also easier to pick out samples with the most potential, because techniques like back drawing, reductive mark making and stencilling are very much in tune with my creative voice/style, so I was naturally drawn to these samples. I am beginning to make mental links between the assignments of this module, especially between printmaking, and surface distortion, joining and wrapping. There are lots of exciting avenues which could be explored in my final project.


I have continued with the format of my previous two assignments; completing a detailed piece of research into several artists relevant to the assignment in a dedicated blog post. I have taken on board my tutor’s comment from part 3 and tried to more closely relate each artist’s work to my own practice. I have particularly considered techniques, style and composition, and the emotional response prompted by the use of colour and tone. Although my style of contextual research is quite formal, it is a process which allows me to mentally rationalise and sift the information, and to present it is a format which I can easily a quickly return to and refresh my memory.

The difficulty with presenting research in a separate post (with a password, so as not to breach copyright), is that it is not presented next to the project work/samples to which it relates. I have tried to redress this by mentioning relevant work/practitioners in my write up for stages 2 (sample-making) and 3 (recording outcomes). 

When commenting on the merits of my sampling, I have been especially careful to explain exactly why I find a piece appealing (or otherwise). I have also taken on board my tutor’s comment about recording the emotional response to each piece as well as the technical merits.


Part 4, Stage 4 – Sorting

10 May 2017

Part 4, Stage 4 – Sorting

Project 1 – Mono printing

Project 1 consisted of four exercises: 

  1. Mark-making (reductive, removing ink selectively from the plate) 
  2. Drawing onto the plate (additive, painting or applying ink directly onto the plate)
  3. Back drawing (using pressure to transfer a mark from an inked plate onto a piece of paper laid on top of it)
  4. Working with stencils (using simple masks to create printed shapes)
In the initial two exercises, I found that I was concentrating on learning about the behaviour of the ink and paper/fabric, rather than focusing on the images which I was producing. As I progressed to exercises 3 and 4, I felt more confident and was also able to combine techniques effectively.
From exercise 1, the only image which I felt was successful as a stand alone print was sample 7a (below). This was a sample which I made after completing exercise 3. 
Exercise 3 produced another successful image using reductive technique (exercise 3, sample 4d below). This was made by reworking an inked plate that I’d used for back drawing on exercise 3, sample 4c. I am very fond of this image because it is dramatic and suggests lighting and shadow around the character. I’m sure that with more practise, I would be able to refine my marks and make them more controlled and subtle.
Exercise 2 produced lovely simple drawn outline prints, of which my favourite is sample 7b (below). Despite it’s simplicity, the lines in the print are characterful and have a spontaneous, playful feel.
Also, there was the very detailed still life (exercise 2, sample 5a, below) which I consider to be a technical success due to it’s boldness, vibrancy and the way which a variety of marks have been controlled. As an image I don’t have immediate plans for how it could be developed, although I can imagine using the techniques on other projects in conjunction with perhaps with backdrawing or stitching.
I had to spend a lot of time experimenting before producing bold, readable prints for exercise 3 (back drawing), many of the prints were being too feint to give meaningful images. Although I consider sample 3a (below) a technical success, for me it felt as if the print still lacked interest and character. Perhaps it was because I’d traced the image, and my mark-making needs to be more fluid and spontaneous? This characteristic is one of the reasons why Tracey Emin’s mono prints are so successful (see for example her Royal Academy bird print) (Eastaugh, 2017a)
I successfully re-worked a couple of my back drawing “failures” (exercise 3, samples 1 and 2b), which contributed background depth and texture to my stencil prints (see exercise 4, samples 1 below by way of example):
Exercise 4 (working with stencils), was the most exciting exercise for me. This was because of the success which I had experimenting with textile samples and the exciting images I produced by combining them with back drawing techniques (see exercise 4, samples 4a and 4c below):
Backdrawn_over.jpg Sample_4c.jpg
I can imagine that I could develop these samples further to produce a series, perhaps combining them with a joining method, using cutting to enhance negative space (for example around the crooked arm), or by using areas of translucent material in conjunction with the prints. I could also look at introducing a second colour into image 4a (for example gold or red, as developed in my sketchbook pages 47 and 49-50).
Although I also made some lovely prints with plant stencils, I feel that I would need work on my composition and colour to improve on the images which I produced – by comparison see the plant stencil collage by Mary Margaret Briggs, which is much more striking, modern and appealing, and which would make an excellent cushion cover or wallpaper design (Eastaugh, 2017b). Artists like Brenda Hartill use plant stencils within her collagraphs (Eastaugh, 2017c), so this is an alternative way in which I might consider using plant material/stencils in future.

Project 2 – Collatype printing

Although there were three exercises in project 2, the first 2 were concerned with producing sample boards from collage and textured polyfiller, to gain knowledge and experience. From the first two exercises, I particularly liked the beautiful prints which I achieved in sample 3 (extracts from which are shown below). I’m sure I could develop these into transitioned textured surfaces, perhaps incorporating stitch and/or textile manipulation.


Technically, I found project 2 much more challenging than project 1 and consequently, I do not feel that many of my outcomes from exercise 3 were generally as successful as stand alone pieces. The exception being sample 2a (see below):


Although I felt that the outcome could have been better balanced, I would also consider developing exercise sample 3c (below), because I feel that the combination of collagraph texture and back drawn line were starting to work. I can see that with a bit more experimentation, this sample has the potential to become very engaging.




Thinking about which techniques I would develop further from project 1, it would have to be mark-making (reductive process) and stencilling in conjunction with back drawing and extending and exploring the use of fabric stencils. In particular, I can see a lot of scope within both these processes to develop my figure prints. I would use the samples below as a starting point for refinement and development.


From Project 2, I would like to specifically extend my knowledge of printing with collage materials (including plants) and polyfiller textures. The beautiful outcome from exercise 2, sample 3 suggests that there is much more unexplored potential. This knowledge would help me to develop sample 3c from exercise 3 (below left) and to improve landscape prints such as sample 2a (below right).




Eastaugh, N. (2017a) Tracey Emin RA Bird print. [Pinterest pin] At: (Accessed 10 May 2017)

Eastaugh, N. (2017b) Monotype collage, Mary Margaret Briggs. [Pinterest pin] At: (Accessed 10 May 2017)

Eastaugh, N. (2017c) Brenda Hartill. [Pinterest pin] At:  (Accessed 10 May 2017)

Links suggested by tutor in part 3 feedback

10 May 2017

Links suggested by my tutor in part 3 feedback

In this post, I want to show that I have examined the suggested reading/viewing recommended by my tutor Cari Morton, and to make comment on the work which I feel was especially relevant or appealing.

I started by looking at my tutor’s Pintrest board made in response to the OCA MMT course handbook (Morton, 2017). Although I have a Pinterest account, I hadn’t considered making use of it at a learning resource up until now. I could see, through Cari’s collection of images that it could be a useful tool for discovering relevant practitioners and, by setting up different boards, could become a focus collections of particularly inspirational works or those related to a particular topic, style or discipline. As a result, I decided to make my own board “Printmaking for textiles” in response to Part 4 of the course (Eastaugh, 2017). Collecting all the images in one place allowed me to appreciate the breadth of styles and techniques and it also acted as a resource pool which I was able to return to throughout my contextual studies and sampling. I shall certainly use Pinterest as a springboard for my Part 5 contextual studies.

Next, Cari suggested that I have a look at the use of silicone and latex within the graduate collections at New Designers and Graduate fashion week; in particular she suggested the work of Lucy Simpson and Xiao Li as being relevant to my use of silicone within part 3, project 1, exercise 1, samples 50-54.

Lucy Simpson describes herself as a “print and materials-led textile designer”, whose practice arose from a desire to seek out the tactile qualities lost within digital printing (Simpson, 2012-2016a). Especially relevant to my sampling was the way in which she combines a partial covering of silicone onto fabrics to make new tactile surfaces in which both elements are visible. I thought, particularly about sample 51 of part 3, project 1, exercise 1 (shown below), the broken surface, and how this could be contrasted with a textile places underneath.


One of the strong elements which appeals to me about sample 51 is the geometry of the surface relief. Although many of Simpson’s silicone textile fabrics are irregular in pattern, I found an example of a regular “dogtooth” check (Eastaugh, 2017b). I like the striations in the silicone as it has been laid down onto the fabric, which gives additional surface texture. Also appealing is that the application of silicone is not completely consistent, so there are interesting variations on the fabric surface. I was interested to read that Simpson’s work had been included in various trend magazines, such as Elle decoration, Mix magazine and WGSN. Searching for the dogtooth fabric, I found an article in which it had been featured as a dress (Cover Magazine, 2014).

Xiao Li coats whole blocks of knitted fabrics with silicone and creates contrast within her garments by leaving other areas untreated. Examples can be seen on the Style Bubble website (Style Bubble, 2012). I also found a write up about Li in the London fashion week profile page (London fashion week, 2017). It described how she sought to use her techniques to show that knitwear doesn’t have to be shapeless, instead designing voluminous structured clothing. I was also interested to read that Li lists modern architecture as one of her influences. I also love the simple clean lines and shapes of modern buildings, and particularly have been influenced by the buildings of Oscar Niemeyer.

The final practitioner suggested by my tutor was Laura Splan and her “viral doilies” series (Splan, 2004). These works comprise of computerised embroidered lace based on virus structures, each of which displays a different radial symmetry. The work re-examines the lace doily as an innocuous domestic artefact by placing in the context of microbial imagery which has associations with cultural anxieties such as bioterrorism and health epidemics (e.g. Bird flu, Ebola). As a biology/mathematics graduate, I am interested in both the concept and the geometry of this work (I have purchased a copy of Ernst Haeckel’s “Artforms in nature” (Haeckel, 2015)). Consequently, I was surprised to find myself underwhelmed by the visual aesthetics of the Splan’s work. On reflection, I think this is because of the lack of depth and texture in her pieces, accompanied by the fact that they were presented as monochrome (white doilies on a black background). They seem rather clinical (which perhaps is the intention seeing as they reflect functional domestic objects?) In contrast, the Haeckel structures have colour, texture, three-dimensionality and in some cases semi-transparency, which is the direction in which I would be inclined to take the development of radical symmetrical structures.



Cover magazine (2014), ‘Editor’s picks: 20 designs from London’. In: Cover magazine: Textiles and carpets for modern interiors. 30 October, 2014. [online]. At: (Accessed 10 May 2017).

Eastaugh, N. (2017a) Printmaking for textiles. [Pinterest board, May 2017] Available at: (Accessed 10 May 2017)

Eastaugh, N. (2017b) Silicone texture Lucy Simpson. Available at: (Accessed 10 May 2017)

Haeckel, E. (2015) Art forms in nature. London. Prestel.

London fashion week (2017) Designer profile: Xiao Li. At: (Accessed 10 May 2017)

Morton, C. (2017) Textiles mixed media. [Pinterest board, May 2017] Available at: (Accessed 10 May 2017)

Simpson, L. (2012-2016a) Lucy Simpson: About. At: (Accessed 10 May 2017)

Simpson, L. (2012-2016b) Lucy Simpson:silicone At: (Accessed 10 May 2017)

Splan, L. (2004) Doilies. Projects: viral artefacts At: (Accessed 10 May 2014)

Style Bubble (2012) Neon slick knits. At: (Accessed 10 May 2017)

A review of the use of colour in my Assignment 3 sketchbook

20 April 2017


My tutor made specific comments in the feedback for assignment 3, remarking that at times there was a dissonance between the use of colour and the work. She suggested that I consider using a palette from within the image or working with a more neutral/monochrome palette to start with, and that I review and reflect upon my use of colour in the course.

In response, when I looked at my sketchbook again in context, it became obvious to me which colour sketches worked well and which did not, and I thought the best way of presenting this information would be to go through each in a blog post and explain why, with lessons learnt for the future.


Which colour sketches didn’t work:

Page 53: The punched cushion

I used colour because I wanted to emphasise the negative space more prominently and I wanted to emphasise the “window-like” properties of the sample. In the event the lemon yellow and bright turquoise seem like an affront to the eyes – the contrast in hue is large and it seems out of place in this context.


Page 54. Observational drawings of Part 3, project 2, sample 6

A thumbnail of the sample is shown below:


The next image is an extract from my sketchbook:

In the top drawing, I have used a muted shade of charcoal to make a mostly tonal drawing to reflect the shapes and shadows of the sculpture. This is soothing to the eye.

In the drawing on the bottom right, I wanted to get away from the focus on contoured surfaces and the reason for the colour was to focus on the outline of the holes made by the balloons and to clearly differentiate from he positive and negative spaces. Looking at the image, I can appreciate that this bears no reference to the sample, and appears somewhat misplaced. My intention had been to abstract the image from a 3D sculpture and project it onto a 2D surface. In hindsight this would have been better achieved with a monochrome or harmonious palette which did not distract from the imagery.

Pages 55-59. Observational drawings Part 3, project 2, samples 2a) and 2b)

A thumbnail of one of the samples is shown below:


The first sketches I have included are in charcoal, so that I can contrast their success with the later coloured analogies. I am pleased with these sketches because they provide detailed and expressive representations of the surface of the sample, and areas of depth and shadow.

In contrast, the sketches made in water-soluble crayon above are also tonal, but lack the range of the charcoal analogies. The purpose of changing the colour was to abstract them away from the original sample, but the three colours neither relate to each other, nor to the sample, so once again there is a feeling of displacement or disjointedness. 

In this final analogy I made a collage but cutting out the outline shapes from magazine pages. After sticking them into my sketchbook, I decided that they did not show up well against the white background, and for this reason I decided to outline them using orange water-soluble crayon. The aim was to create a shadow effect, but they are orange, it does not have the desired effect. In hindsight,  I should have made a note to explain this is my sketchbook.


Back inside cover – Part 3, project 1, sample 72

In this colour sketch, I was trying to give myself an ideas of what the natural cork background and red coloured latex sample would look like. If I am honest, I don’t like these two colours together, but I did not have time to rework the sample in a new colour scheme. This was sample 72 (recommended number for this exercise was 9)! I had just made too many and had I concentrated more on fewer samples, I would have had sufficient time to think careful and rework my results, if needed.



Page 26. Lattice

This is a bold colour combination with a strong contrast of saturation. It is both vibrant and an affront on the senses and is emphasised by the pattern. I am undecided as to whether it is pleasant or not and I have concluded that this would depend upon the situation in which it is used (i.e the size of the piece and the overall colour scheme in which it is placed).


Which colour sketches worked:

Front inside cover: based on Part 1, project 1, sample 48

Although this outline drawing has been abstracted and bears little resemblance to the sample, the shapes are interesting and the colour scheme (which draws on the paintings of KAWS) is bold helps to differentiate the shapes. It suggests a kaleidoscope, maybe graffiti or street art. 

Compared with the pencil outline (see above – sketchbook page 50), the contrast helps to draw me into the image and invites me to decipher the shapes.


Page 6-7. Doodles

These shapes were inspired by linocut marks, packaging and the paintings of Van Gogh. The colours add to the textural quality of the image, suggesting that some shapes are more prominent, and suggesting depth and perspective.


Page 10. Relief texture rubbing

This colour scheme works because it focuses on the complementary colours of violet and yellow. Together with blue-violet it from a harmonious triad, as described by Itten (Itten, 1961, 72-73).


Page 26. Lattice

This is the same analogy as that on page 25, but using a harmonious colour scheme with a soft transition of hue across the background and an increasing construct of saturation from bottom left to top right. I feel that this scheme is restful and I am more convinced of it’s success than the colour scheme on page 25.


Page 46. The squashed object

In the bottom right I have adapted Barbara Cotterell’s “Flourpots” piece by using a different shaped “container”, and by emphasising the outside instead of the inside by applying her colour scheme o the exterior surfaces. This colour scheme has a bold contrast in hue and gives the impression of being taken from a paintbox. I think that the contrast works well in this instance and helps define and differentiate each of the elements.


Page 51-52. Development from a drawing based on Part 1, project 1, sample 48.


This is an harmonious colour scheme of autumnal colours ranging from yellow, to green to brown, to russet to pink. It works because the colours form a transition from similar hues and overlapping the stencils helps the eye to blend them together,



In the sketchbook for Part 3, I made a conscious effort to try and abstract away from the samples by using colour. It is obvious that this was often not successful.

The colour schemes which didn’t work tended which I chose without consideration of the context nor the feelings that I wanted to engender. They were more often bold and strongly contrasting. 

Harmonious, complementary or related colours tended to work well and enhanced rather than retracted from my visual message. 



Itten, J (1961) Itten: The elements of colour. New York. John Wiley and Sons.

Assignment 3 – response to tutor feedback

28 March 2017

Assignment 3 – response to tutor feedback

My tutor for this module was Cari Morton. A link to her feedback can be found here


Response to tutor feedback:

Summary of the main learning points with my responses:


1. Exploration of biological tissue through latex sampling was crying out for more discussion about medical connotations and how it reflects on the audience. Would have liked to see more about the intentions for these samples.

I agree with the comments, but please see my response to point 4. Because of the large number of experimental samples made, I didn’t have time to expand this idea, which came right at the end of the project. I will have to think more carefully about division of time in future.


2. Use sketchbooks even more to develop samples and propose further ideas. Keep the photographs as they compose different imagery to drawings.

I will continue to develop the use of my sketchbook in this way (using sketchbooks to develop samples is a new concept for me which I only started in assignment 3). It is good to know that the photographs are useful and can be retained.


3. In the sketchbook, writing sometimes predominates over visuals. Reflect on whether I could be more succinct (maybe use bullet points).

I will try and take this on board, although at the time of receiving my feedback, I had already completed three quarters of my sketchbook for assignment 4.

4. An example was given of a leather sample which I said “didn’t appeal” to me, and on this occasion I hadn’t qualified my statement, nor had I expanded on the other contexts in which it might be used.

I try very hard not to do this (there are many other examples of where I have qualified what I liked or disliked about a sample, so I am disappointed that this one has been picked out, because it is not typical). 

In my comment I stated that “the leather held the creases and marks well, although as a sample, it’s not really very appealing…” I should have expanded on why I felt that it didn’t appeal “as a sample”. What I meant, was that as a stand alone object I found it difficult to relate to; it neither being immediately analogous to another object nor suggesting any particular feelings or emotions.

When thinking about other contexts in which the sample may be used, I could have thought about it being cut and rejoined at different angles, or perhaps being joined with a contrasting material to add excitement? I could have asked whether the sample would have been more interesting had I changed the scale, or cut out shapes and duplicated them t make a pattern. These are options which I should have suggested and expanded upon.

Finally, this was sample 32 of a total of 65 (The coursework guidance suggested “about 6 samples”). By this point I was mentally exhausted and finding it difficult to say something new about each sample without being repetitive. It is nobody’s fault but my own for overburdening myself with too many samples and it is something that I must urgently address in future assignments. Had I worked 10 times less samples I would have had the time and energy to be more thoughtful, discerning and careful in my analysis and writing up.

5. It was mentioned that the use of colour in my sketchbook sometimes created a dissonance when making observational drawings of samples.

I agree that some of the colour combinations didn’t work. I had purposely been trying on expand my colour palettes away from those in the samples, but I clearly need to be careful with this approach.

I have written an analysis of the colour sketches and lessons learnt which can be found here.


6. Continue to develop multiple outcomes from each source.

I am pleased that my tutor has picked up on this because it is an area which I have been actively working on. I will continue to develop this approach.

7. Consider using the forms, shapes and patterns which I have used in the last three parts of the course as the imagery for the prints.

See comment to point 3. Unfortunately most of my ideas were developed and I had completed Project 1 of Part 4 before I received the feedback.