Mod 4 chapters3-6

CHAPTER 3 CREATION OF SLIP DESIGN IMAGE 1.Hydrangea Flower Head IMAGE 2 Digital Images of Hydrangea Flower Head

IMAGE 3 INDIVIDUAL FLORETS OF HYDRANGEA FLOWER

IMAGE 4 DIGITAL DISTORTIONS OF INDIVIDUAL HYDRANGEA FLORETS

IMAGE 5 ADDITIONAL DiGITAL DISTORTIONS OF INDIVIDUAL FLORETS Contrasts between full summer and faded Autumn colour

IMAGE 6 (Size A2)

DRAWING STUDY OF HYDRANGEA FLOWER.

The elements of this study comprise a charcoal line drawing of the composite Hydrangea flower head and smaller coloured studies of individual flower heads.Top left are actual individual florets while to the right of the charcoal line drawing is part of an actual whole flower. In the later parts of these chapters I wanted to use both the whole flower and the individual florets which became my chosen slip shape.

The other element of the flower that I wanted to bring out in the drawing study was the juxtaposition between the full colours of the summer flowers and the rather papery quality of the autumn versions.

In drawing versions of the flower I used potato prints, bleached inks, water soluble pencils, Markal paintsticks,watercolours, acrylics and acrylic wax. I also used foam sheets, painted bondaweb and actual flowers bonded between bondaweb type sheets.

IMAGE 7 (SIZE 6 X A5 SHEETS)

DECORATED PAPERS FROM DRAWING STUDY AND DIGITAL IMAGES

The top left image was achieved by coating an individual actual floret in Acrylic Gesso, dipping it in acrylic paint and using it as a print block.

The background for the middle of the top row was formed by fabric paints on a monoprint polythene sheet.A potato print of a floret was then applied over the top.

The top right sample was formed by a cut stencil being brushed with acrylic paint and moved across a water colour background.

The bottom left sample was made from oil pastels being brushed off the edge of a hardened foam board stencil of a floret.

The bottom middle was a potato print on blue paper with acrylic paints.

The bottom right sample was an attempt to replicate the bottom right digital image of Image 5 above. A circular plastic fly swatter was used as a stencil for the background and then a print of a floret applied on top.

Image 8 (SIZE 1 X A4 AND 2 X A5 SAMPLES) ADDITIONAL DECORATED PAPERS

The top image was an attempt to replicate the digital image in the bottom left of Image 4

It was achieved by applying thickened fabric paint to a sheet of firm stencil film , applying another sheet on top and twisting the two sheets between the palm of the hands.

The bottom left was an attempt to replicate the markal paint stick stencil in water colours while the bottom right was a textured potato print place over the same background as the bottom right sample using a paint and gesso mixture.

CHAPTER 4 SLIP RE- INVENTED IMAGE 9 (SIZE A3)

Annotated study sheet of different ways of making slips.

The top left was influenced by the 'pontillated ' digital image at the bottom right of image 5 while the metallic slip was an attempt to replicate the 'chrome' digital image at the bottom left of Image 2 above.

IMAGE 10 (SIZE A4)

EXPERIMENTS WITH MACHINE STITCHED SLIP SHAPES.

The top one uses the contours of the fabric. The bottom ones used slip shapes cut out of the same fabric and stitched over with automatic machine stitches. The one on the bottom right was then coated with embossing powder.

IMAGE 11(SIZE 12 INCH RING)

EXPERIMENTS WITH HAND STITICHED AND EXTENDED SLIPS

IMAGE 12 (size A 4)

Experiments with painted silk mounted on felt with machine stitch highlights and then hand stitched to attach to background fabric.

CHAPTER 5

SLIPS FROM STITCHED SURFACES IMAGE 13 (SIZE A4)

EXPERIMENT WITH MAKING FABRIC FOR SLIPS AND BACKGROUNDS.

Boucle cotton yarn and rayon embroidery thread bonded together. This sample and the one in image 14 below were influenced by the decorated papers at the bottom left of Image 7 and 8 above.

IMAGE 14 (SIZE A4)

FURTHER EXPERIMENTAL FABRIC

Fancy mohair yarn bonded over the top of previous sample.

IMAGE 15 ( SIZE A3)

ADDITIONAL FABRICS.

The left hand sample was built up on dyed net and was influenced by the background of the decorated paper in the centre top row of Image 7 above. It used bamboo fibre and fancy polyester yarn bonded and stitched to the backgound net.

The left hand sample was again built on a net backgound. This was covered with layers of strips of organza type fabrics in Hydrangea colours overlaid by a glossy metallic fabric into which petal shaped holes had been cut. I had in mind the full summer colours of the hydrangea in making these samples

IMAGE 16 (SIZE A3)

Fabric formed from painted bondaweb bonded to abaca fibre and overstitched with automatic machine embroidered flowers.

I attempted to achieve a more 'papery ' effect in the composition and colouring of this fabric.

IMAGE 17 (SIZE 2 X A4 SAMPLES)

DARK AND LIGHT FABRIC SAMPLES USING THREADS, STICHING AND BONDING TECHNIQUES.

IMAGE 18 (SIZE 2 X A5)

BONDED AND STITCHED FABRICS

The left had sample was made from dried out wet wipes, painted and bonded together with angelina fibres and over- stitched. The right hand sample was made from metallic fragments bonded to an organza top layer and over stitched.

IMAGE 19.(SIZE A4)

Applied slips .

Backgound fabric from right hand side 0f image 17 with applied slips made from fabric on right hand side of image 15. The slips have been machine stitched to the background in toning threads to integrate them into a new fabric.

IMAGE 20

APPLED SLIPS

Here the slips have been made from the same fabric as the ones in the sample above but they have been cut much bigger. They have been attached in a way which emphasises their shape rather than it merging into the background.

IMAGE 21 ( SIZE A5)

APPLIQUE AND APPLIED SLIPS

The background was made from slip shapes being cut from layers of organza which were then appliqued on to an acrylic felt background to replicate the composite Hydrangea flower. Individual actual florets were then bonded between layers of bondaweb type glue fabric and each one attached with a bead at its centre. In the one sample there is again the juxtaposition between the full summer colours and the papery, faded, colours of the hydrangea flowers.

IMAGE 22 (SIZE A4)

COMPOSITE SAMPLE OF BONDED TECHNIQUES/POSITIVE NEGATIVE AND 3D FORMS

Here layers of diferent colours of pink/red organzas were bonded on to a heavy red wool fabric. A square pattern was then cut into the new fabric back to the wool and then each square was subdivided. Petal shapes were then cut from the piece. Some were used in the sample at image 23 below and others were used within this sample. By peeling off differing layers it was possible to achieve differing colours for the petals within the flowers from the same piece of fabric. The resulting petals were then reapplied in slightly different positions against their negative shapes.

A group of petals were used to make a 3D flower and the edges were hand stitched in red metallic thread.

Some petals were left partially attached in their original positions to demonstrate the 'peeling ' technique.

IMAGE 23 ( SIZE A4)

APPLIED SLIPS

Red petals cut from the sample above and applied to the dark fabric sample from image 17 above with red sequins.

CHAPTER 6 THREE DIMENSIONAL SLIP SHAPES

IMAGE 24 (SIZE)A4

SLIP SHAPES CUT FROM THE FABRIC IN LEFT OF IMAGE 18 ,OVER STITCHED AND GILDED. ADDITIONAL FIBRES FROM THE OFF CUTS OF FABRIC ON RIGHT OF IMAGE 18

The shapes were built up in layers with the frayed metallic fabric fragments secured by beads or sequins. The samples were attached to the painted bondaweb background.

IMAGE25 (SIZE A4)

3D SHAPES

The top left flower petals were made by stretching the body of nylon tights into an embroidery hoop and sewing concentric slip shapes in machine straight stitches across the surface. One the resulting shapes were cut from the hoop they curled and twisted. This techinque once agian emphasised to papery nature of the faded flowers.The bottom middle and right hand samples were made by sewing slip shapes, cut from the fabric in image 14, to painted Tyvek. The resulting slip shapes were then heated and distorted.In the bottom middle image these petals were then mounted and sitiched on to a twisted wire framework while in the bottom right sample they were stitched directly on to the fabric.

IMAGE 26 (SIZE A5)

COMPOSITE FLOWER

In this sample the petals were cut out from various stiffened fabrics pictured in the forgoing images, edge stitched and then mounted onto wire circles. These were then built up into layers and decorated with glass beads.

IMAGE 27 ( SIZE A5)

3D HYDRANGEA FLOWER.

In this sample individual petals were cut from a double layer of the fabric in image 13. The double layer was then stitched onto wire laid around the edged. The resulting wired petals were then manipulated into shape while the 'tails' were then twisted together and mounted on to large petals cut from the Image 14 Fabric.

BIBLIOGRAPHY Embroidered flowers Pamela Watts

Embroidered Flowers and Fauna Lesley Turpin Delport

Embroidered Flowers Helen M Stevens

Time Taken

80 hours