Still Life box by Jane Wolfe   I had intended to add a few of these images to my newsletter, but this collection of work is so good, I wanted to write more about them, so I am writing an extra blog post. The three students mentioned today are on the current online Experimental Textiles course. When drawing and painting is not normally part of your practice, it can very daunting to paint and draw a still life. I don't ask students to draw for the sake of making a picture, I ask so they can actively look at line and form. The spaces in between, the composition. Above - Jane's still life. Below - the still life drawing Jane's finished box. The still life was stuck to orange cotton then cut to shape and folded.   To make drawing and painting a still life less terrifying, I tell my students they will be tearing their work up when the they have finished drawing and painting. This helps to take away the fear of what the finished drawing or painting will look like. To make it more

 A 'squidgey' print taken from the left over paint from painting the colour wheel. I have just about finished clearing up from filming the 3rd and 4th weekends of Experimental Textiles Online. The 3rd weekend looks at colour and the 4th weekend is the still life. Students will be encouraged to build their own still life - or they can paint and draw from images of mine. I find a large scale still life is less frightening than the usual bowl of fruit. The idea is to look at shapes, lines and positive and negative space. It is not a competition to see who is the best artist. Few of us can paint and draw really well, but we can try, and the more you practice, the better you get.  Jayne has a new clapper board to help her with editing the videos.  We filmed the colour wheel on Saturday and the still life on Sunday.    I use paper plates as palettes.  When I was teaching Experimental Textiles at various colleges I always used a few of the same pieces, the wooden

It used to be an apple for the teacher . . . . So - we have had the fourth session of Experimental Textiles already - time is flying. I save the still life until the fourth session as by then as the groups are feeling more comfortable with each other and friendships are starting to form. The girls are all starting to support each other. Drawing and painting in front of other people is always uncomfortable. Few of us are naturally talented, but the exercise of looking and recording what you see is very valuable. I find that asking the groups to draw and paint a large scale still life is a bit less scary for them than a smaller scale one. The weekend group concentrating hard on their drawings. We spent the whole of the first day of the two day sessions making various drawings and paintings, using a range of media. Several of the drawings/paintings will be torn up the next day to create a collage. Telling the students that their work may well be torn up makes them place l

One of the great paintings generated over the weekend. If any of you have tried your hand at life or still life drawing and are not natural artists you will know the fear of trying. Particularly in a group. There is always someone better you, not that it is a competition, but we naturally feel undermined when someone is better than us - as a general rule.      My Experimental Textiles course  experimentaltextiles.com was written to teach the skills required to help students with their confidence and to start to develop their own style. The exercises and course work that the group work through over the nine weekends will encourage this. Having the end of year show at Fashion, Embroidery and Stitch at the NEC at the end of March gives them a bit of impetus to produce some excellent work if it is needed.  I was very pleased with efforts of the group this weekend, they are now starting to make friends with each other and support each other. I set up the main still li