A CARPET PAGE’S PROGRESS/PROCESS III
Now that this is set down it’s time to draw more definite ruler lines. And to tackle the geometry of the main, inner carpet box.
Again it can be quartered. Breaking things down into smaller bitesize parts so it’s easier to digest and handle during the analysis and drawing process – which happens simultaneously and organically – I started with the inner rectangular quatrefoil and work from there. I sketched the shapes first, freehand. Bear in mind that everything anyway needs to be done by hand so you might as well get this hand-practise in first and as much as you can – drawing is key, as is hand-eye coordination.
BY EYE AND BY HAND
I worked with geometry tools too but realised that since you always end up needing to do it by hand anyway, and that is always true, I might as well practise drawing good curves by hand and by eye. So with this in mind I carefully drew the whole geometric part by hand. I am lucky to have had a lot of experience with drawing in general, which helps (as I have been drawing all my life, not just throughout all my years of art school but really since I could hold a pen) – and this makes the geometry flow and look organic, not static. The symmetry comes from doing it in one quarter first.
Drawing by eye and by hand allows a rhythm in the geometry to show through, and in this sense it is more ‘true’ than if it were done with instruments. Remember it all has to be done by hand anyway – if that is your aim (it is mine); if not, then computers can do it better, and there is the option of recreating it entirely digitally. But for me the pleasure in making and in viewing things done by hand usually surpasses that which is created digitally.
I only drew the main lines of the main carpet box, not the intricate motifs inside each one; I can do those later.
I worked on the piece as a whole, to keep my eyes and hands moving and to keep ‘on the ball’ and on my toes. I sketched out the border motif loosely at first, and then in a more detailed way, looking at it in further detail. Again, I halved the motif so I could get a symmetrical pattern, which is then repeatable. Note that I did not draw all the intricacies of the motif – only the main lines, which are spirals. The whole piece is based on a series of interlocking spirals and it is these that are the connectors for all the other elements. So, in keeping with my ‘layer’ technique, I drew only the spirals first, and loosely sketched in the other main elements – loosely, so they can be refined later. In fact, to differentiate them from the spirals, I shaded them for ease of reference.
Slowly, slowly, yavash, yavash! ~