IMAGE 2 SIZE APPROX 8 INCHESX3INCHES)
In this sample a length of black and white striped fabric was stitched around an offcut of narrow bore central heating pipe, prior to steaming. The pipe was bent in the shape of a question mark.The interior of the pipe was subsequently used to contain another fabric sample which had first been wound around a length of fine wire so that it could be drawn through the pipe.
IMAGE 3 SIZE APPROX A2.SHIBORI SAMPLES
Top left, floral fabric stretched over shells and stitched into shape before steaming.
Top right furnishing net folded and stitched in patterns over short lengths of wooden knitting needles prior to steaming.
Middle centre ,small peice of red silk gathered very finely in a grid pattern and stitched into shape. Threads removed after steaming.
Middle right, pale green/blue polyester fabric secured to the cone in image one by short lengths of cocktail sticks.
Bottom left. Black and white fabric cut from the length of pipe in image 1.
Bottom middle. Peach coloured rayon which had been wound around wire and steamed inside the section of pipe. The surplus was wound in a spiral outside the pipe.
Bottom right. the fabric which was secured to the cone by curtain hooks.
CHAPTER 9 . DESIGNIMAGE4 SIZE A3 EXERCISE 1
Coloured squares using Yellow and violet as contrasting colours with gradations of mixing. Squares then cut from background ad rearranged in patterns.
IMAGE 5 EXERCISE 1 CONTINUED SIXE (2 X A4 SHEETS)
The central section of each piece was formed by tearing up small pieces of tissue and soaking them in coloured, diluted PVA.
IMAGE 6 A,B,C. SIZE 2 A4 AND ONE A3 SHEETS.In the bottom image (A) a combination of the yellow and violet colours were stippled onto paper with a stiff brush.
In the middle image,(B) using the former sample as the base paper, this was covered by a series of triangles which were made by applying the same colour paints on white paper placed over raised stencils. The paints gradually fade from dark to light coverage as the triangles move from the centre to the lower right corner.
In the top image (C) a sheet of A3 watercolour paper was used as a background and the palest of the former triangles were placed around the edge as a border. The original sample paper was placed over this and some of the original squares were then placed in each of the corners 
IMAGE 7 SIZE A3
IMAGE 7 SIZE A3This used the stencilled paper from which the triangles were cut.
This was overlaid by some of the original squares in a woven effect.
IMAGE 8 SIZE APPROX. A3
Here the background paper was formed by sponging the paint on to paper laid on a metal grid. The yellow and violet colours were used , initially, separately on the background and then merged at the edges. Some of the original squares were then placed in diamond formation against the linear grid background.
IMAGE 10 SIZE A2
IMAGE 11 SIZE (2 X A4)
IMAGE 12 SIZE (2 X A4)
EXERCISE 3
Exercise using the gradual tonal change from the full chroma to the palest lavender/ white.
IMAGE 10 SIZE A2The bottom of this image shows patterns made by using the strips cut from the violet tonal gradations in image 9 above. The choice in this was to use angular geometric shapes
, long strips, triangles, squares, zigzags etc.
CHAPTER 9 SECTION B COLOUR AND SHAPE.
The top section of the composite Image10 relates to this chapter. The shape chosen was taken from the charcoal drawing of the Hydrangea from the previous posting.(Image 6, 2nd December). It is not a separate flower or petal shape but a shape formed by the meeting point of stem, flower head and individual petal. I used the same shades of lavenders, violes blues etc and a shape which contrasts sharply with the geometric patterns in the last chapter.
On the top left the shapes are cut in a variety of slightly differing sizes and then placed in a curve on a black background.
At the right hand side of the top line the shape has been cut from two different decorated papers prepared in the previous part of this module and then placed on another two papers.
Below and left of these two samples the negative shapes remaining from cutting out one of the top samples has been overlaid on another decorated paper. In the right hand sample the negative shapes have been partially covered by shapes cut from another of the decorated papers,placed slightly off centre.
IMAGE 11 SIZE (2 X A4)EXERCISE 2
Here stencils have been cut from the shapes . In the left hand image oil pastels have been brushed off the edge of the sencils to colour the background paper . In the right hand sample water soluble pencils have been usde to draw around the stencil shapes a number of times and then washed over to merge their colours. The Stencils were then used to cut shapes from a variety of decorated papers which were off set to the stencilled shapes on the background.
IMAGE 12 SIZE (2 X A4)Positive and negative sail shapes in a variety of sizes.
IMAGE 13
IMAGE 13A SPIRAL OF WHITE SHELL SHAPES IN GRADED SIZES CURVED AGAINST A COLOURED BACKGROUND
IMAGE 14 SIZE A3
IMAGE 15 sIZE A4
IMAGE 14 SIZE A3Graded shell 3d shapes which have been strung together to from a snaking curve
Alongside a fanned out pile of sail shapes.
IMAGE 15 sIZE A4SAIL SHAPES CUT FROM TRACING PAPER AND PLACED OVER A COLOURED BACKGROUND.
IMAGE 16 SIZE A 3
CHAPTER 10 FELT MAKING
IMAGE 18 SIZE A4
IMAGE 19 SIZE A4
IMAGE 16 SIZE A 3A variety of sizes and colours of paper cut outs of the original shape threaded on to fine wire and fromed into an undulating circle.
CHAPTER 10 FELT MAKINGIMAGE 17 SIZE BETWEEN A3 AND A4
Wet felt made from blue/green/lavender merino tops. Crochet wool flowers and cut stripos and spots of dyed silk rods have been incorporated into the top surface with sprials of dyed gummed silk fibre. This sample inspired by Elizabethan floral patterns.
IMAGE 18 SIZE A4Wet nano felting with fine merino wool tops,incoporating silk paper , off cuts from dried felting experiments and gummed silk. In this, and some subsequent samples I have revisited one of my main themes, Life at the margins , where land and water meet.
IMAGE 19 SIZE A4A watery background ( see accompanying E mail)
IMAGE 20 SIZE A4
IMAGE 20 SIZE A4Various yarn fibres dry punched into acrylic felt , returning to the hydrangea colour scheme.
IMAGE 21 SIZE A4Background dry punched felt
IMAGE 22 SIZE A4
IMAGE 21 SIZE A4
IMAGE 22 SIZE A4The background from image 21 above with the addition of crocheted wool flowers ec.
IMAGE 23 SIZE 2 X A5
A variety of threads felted together from which decorations were cut for another piece. The resulting fragments were then used to encircle a fragment of copper mesh.
IMAGE 24 SIZE A4
IMAGE 24 SIZE A4I hand knitted this section to replicate some of my decorated papers and then hot washed it to felt it together.
IMAGE 25 SIZE A4
IMAGE 26 SIZE A4
IMAGE 25 SIZE A4 Hand knitted felted sample with the addition of shapes cut from the sample at image 20.
IMAGE 26 SIZE A4Sections of felts cut up and seamed together using dyed sections of silk rods and fine ribbon as linkages.
IMAGES 27 AND 28 SIZE OF EACH APPROX A3
IMAGES 27 AND 28 SIZE OF EACH APPROX A3
Double sided dry felt inspired by some of the decorated papers and hydrangea colours. Front and back views.
IMAGES 29 AND 30
IMAGES 29 AND 30A felt 'petal ' bowl. Formed from petal shapes being cut from the length of felt in images 27 and 28 above. These were then reformed over a plastic basin and coated with diluted PVA. Once dry the edges were stitched to emphasise the petal shapes.
CHAPTER 11 RESOLVED FELT SAMPLE
CHAPTER 11 RESOLVED FELT SAMPLE
IMAGES 31 AND 32
The front and back of sections of dry felt prior to cutting and stitching. The design of the felt inspired by the decorated papers in image 10 above
IMAGES 33 AND 34 SIZE A4
RESOLVED FELT SAMPLE REAR AND FRONT VIEWS .
THE SAMPLE WAS INSPIRED FROM THE POSITIVE AND NEGATIVE SHAPES OF THE DECORATED PAPERS IN IMAGE 10.
The sample was formed on a base of the felts shown in images 31 and 32 above.
Using the chosen shape from one of the stencils a number were cut from the background. The resulting cut outs were then over stitched in concentric lines from the edges to the centres . The remaining negative shapes were then oversewn to help create a stiff edge.
The felt background was then sewn with an automated leaf pattern in fine machine embroidery thread.
The cut shapes were then moulded into 3D shapes and reapplied to the background, offsetting them against their spaces and putting the reverse colours against their respective backgrounds.
Reverse view
Front view of final resolved sample.
IMAGE 36
Front view of final resolved sample.
CHAPTER 12
FURTHER TOUGHTS ON DESIGN IDEA FOR 3RD ASSESSMENT PIECE, STRETCHED PANEL.
These ideas follow on from those submitted in a previous blog post using sail and shell shapes and build on your feedback and work done in this chapter.
IMAGE 35 SIZE 26INCHES X 6.5 INCHES
I first painted a seascape/ shoreline
IMAGE 36 I THEN ADDED A VARIETY OF SIZES AND SHAPES OF SAILS
IMAGE 37
I then thought about it!!!!
CHAPTER 13.
IMAGE 37
I then thought about it!!!!I then took the sail shapes off the background and thought about it again!!!
I then began to think about merging the ideas of the seascape and the sails into one entity.
I then cut up the seascape into a variety of sail shapes and reassembled them in an overlapping pattern but with some turned top to bottom. I now think I've got a quite pleasing composition but would be grateful for your views.
CHAPTER 13.Still making progress with my researches into contemporary textile artists , following on from you last comments haven't added any more images to this post.
TIMINGS
SHIBORI SMPLES 6HOURS
DESIGN CHAPTER SAMPLES 15 HOURS
3D PAPER SHAPES 8 HOURS
FELT SAMPLES 25 HOURS
3RD ASSESSMENT PIECE FURTHER DESIGN IDEAS 4 HOURS
PHOTOGRAPHY, TYPING ETC 9 HOURS.
