Translating Drawings

This week, I have been focused on experimenting with new ways to translate my drawings onto a metal surface. This is something that I have struggled with recently and I wanted to dedicate some more time to it.

I have quite enjoyed applying marks to material by using multiple texturing techniques. The first technique of hammering wire into the surface begins by either marking a sheet of metal with a marker pen or ‘re-drawing’ the lines in wire.


I then tape the wire down to the surface of the metal with masking tape and use a hammer to press the lines into the metal. The force with which I strike the wire determines how deep an impression I make. I quite like this method because I have a lot of control over the lines and I can create impressions of varying pressures, just like my drawings do. This level of detail was something that I think was missing in previous experiments.

I have previously tested out multiple other ways to translate my drawings, including engraving, impressions from a rolling mill and using a range of diamond burrs on the dremel. None of these are methods that I feel I have perfected as of yet, and am still developing in the workshop. I am most interested to see how combining multiple methods of mark making may effect the look of the final surface.

The next development I have made in the translation of my drawings have been to cut out from these sheets the shapes of negative space that I have recorded from the landscape. These are the spaces in between the trees and vegetation, the emptier voids of space, which lack in pattern or the intersection of other forms.

By using these areas of the landscape as my focus, I create new components to work with that illustrate the space in a way that is uniquely interpreted by me. I am beginning to identify with the term ‘site-specific’ when describing this method of working.

Each piece can then be used to form a piece of a puzzle, if you like; a small section of the bigger piece. I aim to effectively combine these ‘drawn’ components with my cast pieces, to create works that illustrate my personal interactions with the space.

I think I am finally getting somewhere with these translations of my drawings and I can not wait to start assembling some together!


For now, if you would like some more up to date info on the progression of my project, please visit my instagram page @explorecreaterosie or search the hashtag #explorecreaterosie!

One Comment on “Translating Drawings

  1. Pingback: Goldsmith’s Silver Bullion Grant – Rosie Wesley

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