This one is about serial collaboration in absentia, as it were. I worked on Sue Maher's journal in the group working on "Patterns". I was second in line; that is, she made her journal, sent it to me, I worked on it, and it will go to three more collaborators before returning to her to keep. It was supposed to be a test of my control-freakery control. (I scanned rather than photographed images and they look duller than in real life.)
Looking at the left, blue/pink-lavender page, again without a strategy for the spread but aiming to harmonize colors, I drew squares in a copper gel pen much like the fifth picture in the previous post. I chose bronze because depending on light/angle the shapes are hard to see, sort of like weft and warp in the same color and size but with different sheen; or they shine. I had in mind a map of an invisible/lost city.
This is what surprised me. After this much detail, I might have been expected to sign and finish the spread, at least the left page, but I didn't because I was immensely eager to see what others would do. Even if someone painted or collaged over so the shapes were obscured, I wanted to see it. Isn't that so strange, me? I hope others aren't annoyed I left it unsigned.
I had this drawdown printed, (with colors slightly altered,) for my own journal. The colors matched but I also wanted to use Clare Plug's collage techniques or my version of them: I cut the draft in different-width vertical strips, turned one upside down, and staggered the positions to make it like the original draft but with a little more quirk. I added some brown music strips Sue gave me to pull some of the brown on the Scarry page. I thought I was nearly done and scanned at this stage as reference for developping a draft like this.
I wanted to draw a shape repeated several times in white, but we have always had problems with white gel pens clogging up, and sure enough, the latest, with almost a full tank, wouldn't work. When in doubt, I turn to collage, so I hunted for something smallish and white.
This is why I find paper work fascinating. I can rework, (fix?) without making a new warp or rethreading; there is much I can add/amend/improve (or ruin) before "wet-finishing", as it were. The way I work is time-consuming, and perhaps I exercise my own but different-from-usual kind of control-freakery. The process/experience teaches me about design, composition, which I know will help when I start the freeform weaving.
And I got two different white acrylic pens today. Take that, four wonky white gel pens!!