I had decided, through many unsuccessful Photoshop experiments, that I was going to use a number of repeated images layered on top of each other to create a more distorted but soft image. This was going to form the basis of my drawing, my first layer. This first layer is in fine tipped pen to create a more graphic approach to the drawing like Mehretu does in her architectural buildings. I was then keen to combine ink, colour and aspects from my emotion drawings (which cover the emotions – joy and loss). The main points that I picked up on in my joy drawing was the curves and circular motions of the marks created, whereas in my lost drawing I subconsciously created strong, vertical lines and let the ink drip down the page without having any control over it. I applied the ink in swift, circular movements and allowed the ink to run without directing the liquid onto the drawing. This use of ink is really subtle and gently shows some of the emotions behind the landscape. I also used the ink to visualise my sound recordings of the wind. Learning from my mistakes I decided to plan my drawing more extensively. This time I cut some curved lines to which I then planned to collage onto the main piece. I wanted to portray movement in this piece and started to attach curved, circular coloured lined. This is to incorporate energy into the piece and demonstrate aspects of joy. The colours I chose related to the landscape – greens and blues.
I stopped adding to it at this point as something wasn’t quite working. Looking at the piece more and more I noticed that I hadn’t created any sense of depth with these coloured curves, which was something I was definitely keen to portray. I wanted the viewer to be consumed by the drawing and swallowed into the piece. I had another look at Mehretu’s work and how she uses her coloured lines to create depth. After talking with a family member we decided that these marks needed to be more exaggerated. Thankfully my original coloured curved lines were placed onto the main piece with ‘blue tack’. I was able to edit accordingly so that I could create a more acute angle for the curves. By doing this, the piece was completely transformed and immediately depth was created in the piece. Once I was confident with the type of mark I was going to create I started preparing the new curves to collage onto the drawing. These were then painted in earth colours.
The final stage of the piece was adding the next layer. This layer was about adding the final details, bringing together all my visual research adding rhythms that had been visualised and observational details from my chosen landscape and other natural, organic places in London. I couldn’t decide if to continue adding to the piece or to leave it as it is. I’ve been trying to work on ‘less is more’ and I always find that I tend to ruin the work by taking it a step too far, so I decided to leave the piece as it is for now and have some time away to come back to at a later date.