I had so much fun using the white pen (Uniball Signo UM-153) on black that I wanted to keep going. Like, I wanted it to go on and on. So it made sense to move on from flat panels to an accordion. I could loosely plan an overall concept for the evolution of the design, but then work page by page. To me, the format meant it should read well as a whole when unfolded, and that was exciting to me…each portion or panel segueing forward.
What prompted an accordion? Back in April 2014 I shared how I had an epiphany and turned my favorite Escher poster(s) into a folded book. See HERE. Since I did not have a place to hang the four long horizontal posters, they sat gathering dust (for several years) and were in danger of getting damaged or worse, discarded. Now I can hold his masterpiece in my hands and page through blissfully. Escher definitely influenced my desire to work in a connected series of drawings and patterns. I love his panoramic morphing and transitioning of imagery. Genius.
Being in a mindset of two camps, linear and organic, I took two different paths – starting one with a grid, and one totally free-form. You can read about these projects in the July/August Somerset Studio. My copy arrived Friday so if you subscribe yours will arrive any day. If you don't, the magazine should be on the shelves of your favorite supplier very soon. The theme for this issue is Black and White, and it is fabulous!!
I'm not done yet….more to come.
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