Chapter 6: Changing faces (Part 1)

I will post the work for Chapter 6 in two parts, one post would be too large for the server. The images are numbered to make reference easier. The numbers will be continued in the second post.
 
Activity 5.6.1 Looking for masks and faces

P 1 Maori carving from the internet	P 2 Tattoo pattern for a male Ta Moko, also from the internet.
P 3: I found this wonderful book in the libary: Geschmückte Haut (Adorned Skin). A treasure chest. The following images are from this book. It contains all sorts of body and face painting, tattooing and scarring, from ancient rock paintings to the fanciful make-up of today’s football fans.
	P 4 Three shaman masks of the Tlingit people on the Northwest coast of North America.
P 5: from East Peru I love the subtle geometric patterns.	P 6: from Papua New Guinea
P 7: A traditional Peking opera mask, king of apes.	P 8: Celestial king of dragons
P 9: A young Nuba man.	P 10: A Hindu woman has tattoed sacred words on her face.

Activity 5.6.2 Drawings
I made drawings from three masks, but continued working with only two of them. Even this provided so many ideas that I feel I barely scratched the surface.

	P 11: Tracing from the Ta Moko carving, A4, pen. It was a first step to get to know the patterns. I would very much like to have a side view and see the patterns on the temples. the jaw and the nose from another angle.
	P 12: Drawing with pencil and pen in my sketchbook (A5), with notes. The patterns are much clearer here.
	P 13: Drawing with pen, Conté crayon and sanguine. I love the way the lines follow the form of the face. There seem to  be two beings in one.- I left out the stick in the photo and completed the face painting by guessing. Originally I had intended to use only masks as a source, as I feel a little shy of using a real human face – it does not seem to be respectful. But I do like this so much.
	P 14: The Tlingit mask from P 4, left, was drawn with a pencil and afterwards coloured with pastels. It is the mask of a shaman, and I wondered for a long time which animal it is supposed to represent. This is such a wild face, it really took my fancy.
	P 15: The right eye of the Tlingit mask, drawn with pastels in my A5 sketchbook. I especially wanted to look closer at the lines from the outer corner of the eye to the cheek.
	P 16: Another study in watercolour, A6.

Aside: Eyes
The variety in the depiction of the eyes in the book was astounding. I made a few notes in my sketchbook.

P 17	P 18
P 19	P 20
P 21	P 22: Sketchbook note from an exhibition: eyes in a painting by Ben Nicholosn

Developing the drawings further
1. Nuba face painting, P 13

	P 23: Initial tracings from the drawing A positive and a negative version. On Paint I tried various versions, reducing details as much as possible.
P 24: Stencil no 1: Initially I was drawn to the negative version, which is reduced in the left part and still quite detailed in the right half of the face.	P 25: Stencil no 2: The positive version. After taking away a lot of the details I put them back again to have a contrast to no 1. Both stencils are size A5
	P 26 a and b: Looking through stencil no 2 out of my  my window and at striped gift paper.

Work with the stencils
I worked mostly on pre-decorated papers from former modules. The theme of traditional face painting seems to cry out for using old material. 

	P 27: Bronze paint was sprayed through stencil 1 on a piece of wallpaper. (It is my desk cover and shows prints, sprinkles, smears and washes, layered over time.)
P 28 Stencil 1: Two layers in siena and blue with watery gouache on pre-decorated paper. (I cannot remember why I punched these holes.) A 5	P 29 P 28 overprinted with stencil 2 with dry gouache sponged on, then white gouache painted in.
P 30 Stencil 1 with watery blue gouache on pre-decorated paper A 5	P 31 P 30 overprinted with stencil 2 for more definition
	P 32  A4 Stencil 1: Acrylics stencilled vice versa on 190 g paper Looks like profiles and en face view at the same time.
P 33 The right one of the above prints, background washed with gouache, combined with cut paper from a pre-decorated piece.	P 34 The negative piece was glued on a light blue background.
	P 35 How about a really strong colour? The left half of the print in P 32, washed with Brusho. The black lines are acrylic ink drawn with a dropper, the white spaces drawn with bleach.
P 36 Stencil 2: Repeat pattern with the stripey half of the face sponged with black gouache on a pre-decorated piece of paper A5	P 37 Stencil 1 used for tracing the outlines on pre-decorated paper A5). Then I painted black gouache on the background, which stll shines through in many places, hinting at the outlines of the face.
	P 38 Two layers of watery gouache in siena and black on woven paper with a colour wash from a former Module. I like the broken lines and the edges of the torn paper. It looks very archaic. A 5

Printing
I love printing with vinyl blocks, and I also wanted to try a smaller version of the face.

	P 39: I  cut a small block (4,5 x 6,5 cm) with a simplified version of stencil no 2. The vinyl can be cut very finely, and I got a lot of detail for such a small size, especially the fine lines of the right half of the face.
	P 40 Print with black acrylics on a gelli printed A4 page, washed with blue gouache. The printed faces look like a lace curtain over the initial print.
	P 41 Changing direction: Black acrylics on A 4 catalogue page
	P 42 A crowd of faces, printed with black acrylics on A 4 cartridge paper
	P 43 Black acrylics again on an A4 Gelli printed page with lace texture. Printed this way the heads look like petals .

Chapter 5: Colourful faces

 

Activity 5.5.1 Adding colour

	My self-portrait from the last chapter. I printed it on A4 paper, 160 g, to paint with soft pastels.
	I began with a light base colour and added the darker shades. At the end I put in the highlights on the nose, the lower lip and in the eyes. The lines of the copy are still visible at the mouth and the eyes. I did not blend the pastel marks, and when I wanted another shade of colour I added marks with another pastel stick.

For the darkest shades I used dark brown, purple and blue. For the background I first painted  the lilac-coloured layer which is still visible on the right of the face, and then added purple-grey strokes. I think the uncovered part of the first layer gives some depth to the drawing.

 

Extra activity: Variations of the completed picture using Picasa

I have been using Picasa for photo editing since I started the Embroidery Taster with Sian. It is always fun to see what effects can be achieved by combining the various possibilities of the program, although after a few alterations I tend to lose track of what exactly I have done in what sequence. Here are some of my altered pictures.

I like the above picture a lot, it has something witchy. Hair and background seem to blend into each other to a bark-like structure. Beside the original drawing, this gave an idea for the next activity.	Reduction to basic colours. It is amazing to see that the likeness does not depend on natural colours.
	I also like this version very much, it is very three-dimensional.
I also like to work with reduction of tones. This variation gave me the idea for the next activity, although I did not work directly from the picture.

 

Activity 5.5.2 Developing my portrait further

Just recently my passion for hand stitching has woken up after a long pause, so I was courageous and started to do a stitched version. I wanted to use non-realistic colours, hand stitching and appliquéd pieces of cloth. 

	The background is made from old bed sheets, dyed with tea and pieced to a size slightly larger than A4. I transferred the lines of the portrait on the cloth and stitched the outlines. First I covered the face with a pale green piece of nylon stocking. On this I sewed half-transparent pieces of silk for the shades.
The eyes were hand stitched and the mouth appliquéd and framed with back stitch.	I stitched with sewing threads and MEZ embroidery cotton.
The back side	Before I started stitching I backed the cloth with very thin cotton fabric, I think it is called cheese cloth. The back side is an interesting drawing in itself. I don’t think I could achieve this if I tried directly. You can still see the traces of the embroidery hoop.
Meet Ms. Frankenstitch! She does not look too happy.
e Having done the face - the drawing - the piece felt unfinished. So I added a background. I was very cross with myself for not having planned this from the beginning.	The background is a half-transparent silk print in a warmer colour to connect to the mouth, stitched in rows of running stitch. Left of the head there is another piece overlayed, here only the outlines are stitched. I cut away the stocking fabric from the face and neck, because the pale green did not go well with the background colour, the warmer tone of the tea-dyed cotton was much better. I also made a few alterations with the appliquéd pieces on the right cheek and the chin.

I think the appliqué method has worked well around the eyes and on the right cheek.  I would like very much to use this technique again, it is like playing with brushstrokes which can be pushed around. But then I will definitely spend more time chosing pieces of cloth.  And I like the effect of the dense stitching pushing forward the areas with less stitching.

 

 

Just to remind myself that I do not always look so depressed I add a photograph of my brother and me having fun during a walk a week ago.

I am very happy that now I can stop looking so intently at my own face.

Chapter 4: My own face

 

5.4.1 Touch drawing

These drawings were done on A4 light sketching paper (100 g) with charcoal. After looking at the first one (and having a big laugh!) I made the drawings one after the other to see what changes might occur. 

	At first I found it  difficult to match the speed of the drawing hand and the touching finger. So the line goes off somewhere … Interesting shape though.
	The second attempt at least resembles a head.
	Here I changed the hands, touching with the right hand and drawing with the left. I thought this might  break the habit and help me to be more attentive.  I am approaching the middle.
	Again a drawing with the left hand, and without my glasses on. I seem to get a feeling for the space of the paper.
	This was done with the right hand again. It seems to have learned something from the left.

This was great fun! I might try this with other objects.

 

5.4.2 Continuous line drawing

 

	My first attempt: done on A3 cartridge paper with charcoal. I tried to do the feeling with my eyes.  Compared to all the later drawings the proportions are the best here. Perhaps it is good be losened up from the previous touch drawings? I felt I had to place the head on something, so I included the neck.
	On the same paper with B6 pencil.
	On A4 stone paper with a fine ink pen.

 

5.4.3 Observed self-portrait drawing

	B6 pencil on A3 cartridge paper. The upper and lower half of my face are not well matched in proportion, although good in themselves. When it came to my wrinkles I got carried away and decided to use the shading method from Module 1, taking out the lightest spots with an eraser. This worked especially well with the grey spots in my hair.
However, I need a line drawing for the next chapter, so here is my second attempt.
	Although I do have a long face, this is still too narrow.  B6 pencil again on off-white cartridge paper, A4. But … not quite a line drawing yet.
	After a bit of erasing I think I can tackle the next chapter with this drawing.