Mod4ch7-13

CHAPTER 7 (OPTION A) SHIBORI IMAGE 1 SIZE (cONE 8INCHES HIGH AND 3INCHES AT WIDEST DIAMETER) The base for this sample was a yarn cone which had a regular pattern of punched holes. Different 'tools' were used to hold the fabric in place through the holes in the cone, prior to steaming. The longer and more pointed the 'tools' the higher and narrower the resulting shapes in the fabric. 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 . DESIGN

IMAGE4 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

This 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 9 SIZE A3

EXERCISE 3

Exercise using the gradual tonal change from the full chroma to the palest lavender/ white.

IMAGE 10 SIZE A2

The 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

A SPIRAL OF WHITE SHELL SHAPES IN GRADED SIZES CURVED AGAINST A COLOURED BACKGROUND

IMAGE 14 SIZE A3

Graded shell 3d shapes which have been strung together to from a snaking curve

Alongside a fanned out pile of sail shapes.

IMAGE 15 sIZE A4

SAIL SHAPES CUT FROM TRACING PAPER AND PLACED OVER A COLOURED BACKGROUND.

IMAGE 16 SIZE A 3

A 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 MAKING

IMAGE 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 A4

Wet 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 A4

A watery background ( see accompanying E mail)

IMAGE 20 SIZE A4

Various yarn fibres dry punched into acrylic felt , returning to the hydrangea colour scheme.

IMAGE 21 SIZE A4

Background dry punched felt

IMAGE 22 SIZE A4

The 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

I hand knitted this section to replicate some of my decorated papers and then hot washed it to felt it together.

IMAGE 25 SIZE A4

Hand knitted felted sample with the addition of shapes cut from the sample at image 20.

IMAGE 26 SIZE A4

Sections 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

Double sided dry felt inspired by some of the decorated papers and hydrangea colours. Front and back views.

IMAGES 29 AND 30

A 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

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.

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!!!!

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.

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

Module 4Ch 1&2

Module4 Chapters 1 and 2 IMAGE 1 (SIZE A2) FLORALS IN ELIZABETHAN EMBROIDERY ( for further text on Elizabethan embroidery refer to blog post for Mod 3 Ch 1,2) IMAGE 2 SIZE (2XA2) HISTORY AND EXAMPLES OF ITALIAN EMBROIDERY

CHAPTER 2 TRADITIONAL STITCHERY FOR FLOWERS. SIZE 40 X 38CMS.EACH SAMPLE 5CMS SQUARE.

Bottom right hand image shows flower from which samples were worked.

Bibliography.

Thomasina Beck : The Embroiderer's flowers

Italia Invita 2005: Italian Laces and Embroideries

Time taken for two chapters

59 hours.

MODULE 3 CHAPTER 11

MODULE 3 CHAPTER 11 DESIGN FOR THIRD ASSESSMENT PIECE IMAGE 1 ( SIZE A2) Initial thoughts on a design for the third assessment piece. In researching textile artists who use construction techniques I came across 4 words which planted a seed of an idea for the next assessment piece-- Simple Shapes, Texture and Repetition I then returned to my main marine theme and looked at previous design/ sample exercises . I looked again at my Sails in the resoved knitted sample and then back at Module 1 Chapter 10 (blog images 34-38), patterns of repeating sails. I looked at my collection of shell barnacle/ sea creature pictures and began to draw some shapes, some singly and others repeated in different sizes and groupings. My idea would be to construct a long narrow panel with a series of sail shapes, each stitched over with a series of shell shapes.On each individual panel there would be a repetition of the same basic shape but in different sizes and groupings, range of colours and textures. I would hope to retain some translucence in each individual sail and mount them out from the background so that they overlapped . I experimented with some of the colours in the A5 sheet at the bottom left of the board .At the bottom right of the board there is the beginning of the shapes along the panel. I think I would work in a narrow horizontal , rather than a vertical strip.