Thursday 30 September 2010

Autumn Leaves Metallic threads assessment piece

IMAGE 1 (SIZE 25INS X 18INS) AUTUMN LEAVES ; METALLIC THREADS ASSESSMENT PIECE IMAGE 2 Close up of bark
Time taken overall 80hours
Costings
1 metre canvas backing £4.25
1 Sheet Abaca fibre £2.65
1metre Solufleece £3.25
Equivalent of 3 reels thread £9
Approx .5 metre fabrics £3

Tuesday 21 September 2010

Module 3 Chapter 12

IMAGE 1 Metlllic Assessment Piece: Background , further version This is the next version of the background for my Autumn Leaves , metallic assessment piece. The additions here are -; A number of different thicknesses, colours and textures of thread have been added in sections across the piece , following the arched lines of the design. Voids have now been left in place of some of the painted leaves A further piece of painted bondaweb, in a leaf shape, has been stitched through in the top left hand corner . A series of hand sewn 'seeding' stitches have been worked in red metallic thread to give a further impression of a fragmented outline around the voided leaf in the centre. In the bottom left foreground, fragments of painted bondaweb have been hand stitched through to represent a fragment of leaf lying on the ground. The top edge of this fragmented leaf has been hand stitched and embellished with copper embossing powder. The central vein has been worked as a coil of two kinds of metallic thread. I think I am now ready to superimpose the root, trunk and branch structure on to the piece and then to work further foreground leaves etc. Chapter 12 Textile artists who use construction techniques.
Image 2 (A4) Image 3 (A4)
Image 4 (A4)
Image 5 (A4)
Image 6 ( A4)
Image 7 (A4)
Image 8 (A4)
Image 9 (A4)
Experiment in construction I was particularly interested in the work of Ferry Staverman , Angela O'Kelly and Jason Cheng who all have taken ideas of repeating motifs arond a central core.
Image 10
Wire framework 13 inches X 2.5 inches)
I cut two sections of inch square wire mesh and laid one over the other to give .5 in x 1in rectangles.
I then used a metallic/ mohair thread to wind over the edges, both to cover the metal and ,also, to bind the two pieces of mesh together.
I then made a ' sandwich' of two lengths of deep blue satin taffeta with two thicknesses of iron on vilene to join them together.
From this stiff sandwich ,using a template of a butterfly wing,' I cut out a series of identical shapes. I painted the edges of the wings with silver paint and then stitched each one in place along the length of the covered wire mesh .
I then oversewed the edges again with the metallic /mohair yarn , threading it between the butterfly shapes and the wire framework . This gave an added stiffness to the shapes and helped them to stand out at rightangles from the framework. I then made the wire framework into a circle/ bracelet shape and stitched the ends together.
The finished piece has a diameter of 3.25 inches.
Timings
Research into textile artists 5hours
Construction of wire framework and bracelet 9 hours.
Photography, editing , typing etc 2.5 hours

Saturday 18 September 2010

background, metallic assessment piece.

IMAGE 1 Experiment with painting bondaweb on fibre background IMAGE 2 Experiment with stencil and skeleton leaves within painted bondaweb samples
IMAGE 3
Painting of full size bondaweb panel . Place over stretched curved wires to give the flowing curve of tree. Skeleton leaves placed underneath and real leaves placed on top.
IMAGE 4 ( SIZE 64 X 45 CMS)
Painted bondaweb fused to abaca fibre background.

Wednesday 15 September 2010

Revisions, Chapter 9,and metallic leaves

IMAGE 1 Reworking of flounce samples. Black and white organdie now overlaid with lacy white flounce with black net centre, replacing solid blue flounce of original Paisley print now has additional gathers in toning chiffons and sari fabric. IMAGE 2 Reworking of honey comb rolled edge sample. Red glued fabric now has grid/ smocked pattern sewn over it.
IMAGE 3
Reworking of flower pattern sample on grid. The grid is now formed from space dyed fancy boucle yarn stretched across the grid lines of the bacground black fabric and couched down. The random dued nature of the thread echos the 'hit and miss' crayoning of the origianl drawing over the mesh.
The leaf patterns are worked in stem stitch. The flowers are worked in needle lace in random dyed threads within a gold long and short buttonhole stitch petal edging. The stem is padded with piping cord and oversewn in chain and stem stitch. The centres are worked in gold metallic thread.
CHAPTER 9. DESIGNING FROM THE EDGE ; STAGES.1,2,3 and 5
IMAGE 4 SIZE 50 X 65 cms
Stage 1
Using a fragment of fabric ,the image was scanned into the computer and then used in paper form to form the 10cms x5cms central piece.
Stage 2
This was then enlarged on to an A4 sheet. The black paper was laid on to a sheet of fine mesh to represent the base weave of the fabric of the sample. Patterns were then drawn to enlarge both the solid and openwork circles within the design.
Stage 3
In further enlarging the design on to the large black sheet the background grid was formed by using oil pastel over wider garden mesh. Using acrylic and metallic paints ,different interpretations of the solid and openwork circles were worked across the surface. A few arched strokes were worked around the edge to echo the feathery nature of the original .
IMAGE 5 (SIZE 50 X 65 CMS)
This a second working of the same process but this time working on white paper and emphasizing different aspects of the original.
The central portion remains the same but on the A4 enlarged sheet the yellow background was worked in watercolour over a raised stencil. This was then worked over with water soluble pencils. The balck lines were to echo the coarser threads which joined the motifs in random fashion within the sample. The small motifs were drawn in pencil.
In the further enlargement the black lines were painted in thick acrylic. One of the resulting corner quadrants was worked in differing shades of green acrylics to represent the solid motifs. In the other three corner quadrants, acylics were used with different methods of application to give the appearance of some of the different textures within the fibres of the original. These included -:
stippling with a stiff half inch brush in the top left hand corner
Swirls with a cocktail stick in the top right
Random lines with a narrower brush in the bottom left. IMAGE 6 (SIZE A4)
A practice sheet for the enlargement of an extremely small portion.(stage 5)
IMAGE 7 ( SIZE A2)
Stage 5
An enlargement of an extremely small section in four colourways for a panel. The outlines were worked partly in thick oil pastels and then in watersoluble crayons on wet paper , spread with sponge brushes.
IMAGE 8 (SIZE A2)
A re-placing of the painted sheets above this gives a different central motif and the diagonal lines of each piece of the panel now give an elongated diamond frame around the centre section.
IMAGE 9 SIZE A2
Experiments with proposed backgrounds for Autumn leaves metallic assessment piece.
The background fabric is nautral hessian ,stretched and sewn on to a wire frame.
Top section is a selection of metallic threads and Anglelina fibres which could be couched down/ ironed on to the surface.
Bottom is a crinkled metallic fabric.
IMAGE 12 (SIZE OF FRAME 41 x 63 CMS)
Experiments in constructing metalllic assement piece ; Autumn leaves.
Some experiments in fabric and stitch for the Autumn leaves metallic piece.
Main outline drawn on to fabric and then edged with couched down fine wires.
Trunk is formed by felt over quilt wadding. This was covered with ruched layers of metallics and organzas , burned through to reveal the layers. So far just the right hand side of the trunk is sewn with ridged bark patterns through all the layers. Two metallic wire rings have been sewn in to represent knots on the trunk.
Two different leaf constructions have been added . One is formed by heat layering copper dyed organza and gold mesh. This is then stitched round the edge with buttonhole stitch to the background fabric. Copper wire has then been couched down to form the veins.
In the green sample a leaf shape has been drawn on to the background and filled in by fine threads of green wire. The leaf has then been over laid with stem stitch leaves in metallic thread and , using the same thread, attached to the background in buttonhole stitch.
Within the embroidery ring there is a experiment of creating roots, with piping cord being covered by copper thread