Mod6 chapters3&4

CHAPTER 3 ADDING COLOUR IMAGE 1 (SIZE A4) The top strip sample was achieved by wrapping hot used tea bags in a length of calico. The lower samples (Lto R) Silk Dupion in weak tea. Silk dupion in cinnamon. Cotton in weak turmeric solution with green food colouring edge Cotton in coffee with green food colouring Muslin in blackberry vinegar.

IMAGE 2

POTASSIUM PERMANGANATE SAMPLES .

SIZE OF EACH INDIVIDUAL SAMPLE ABOUT A5.

SAMPLES LABELLED A-I

A . handmade paper with embedded hydrangea flowers.

B . calico over orange slices , treated with discharge paste

C . calico over pegs and kitchen tongs and then painted with lemon juice

D . silk dupion with lemon juice

E . calico over a leaf

F . stitched muslin in layers with machine stitched inserts painted with acrylic and then discharged with lemon juice.

G . Kitchen cloth folded over kitchen scissors

H .Silk with fringed ribbon edgings discharged with lemon juice.

I . Calico over a leaf stencil and a cut passion fruit.

IMAGE 3 (SIZE A4)

Egg Tempera with Procion dyes scraped back with serrated plastic knife.

IMAGE 4 (SIZE A4)

Calico wrapped over section of garden wire , soaked in white vinegar and kept in airing cupboard in plastic bag.

Larger spots of rust occurred at the intersection of the metal struts while the small spots gave an outline of the grid.

IMAGE 5 (SIZE A4)

Composted calico

IMAGE 6 ( SIZE A4)

SHIBORI.

Muslin wrapped around wooden knitting needle and gathered by green garden twine. After steaming, but before uwrapping, the sample was dipped in procion dye. After unwrapping the green stain of the twine remained along the top edge of the sample.

IMAGE 7 (SIZE A5)

Shibori with deep pleated curtain tape, treated with blue dye.

IMAGE 8 (SIZE APPROX A4)

SHIBORI.

Calico wound around kebab sticks and cinnamon sticks together with cotton twine.

Parcel uwrapped after steaming and the threads used to stitch the kebab and cinnamon sticks to the background fabric.

IMAGE 9 (SIZE A5)

Pelmet vilene crumpled and smoothed out , sponged with markel paint sticks to give suede effect.

IMAGE 10 (SIZE A3)

'Animal Prints'

Bottom right sample was a sheet of 'anaglypta' wallpaper coated with metallic acrylics. Top right this was used to make a monoprint on muslin.

On the left hand side of the sample the wallpaper print was then re- inked and used on wet silk.

IMAGE 11 (SIZE A3)

In the sample on the left a layer of muslin was dipped in a dilute PVA solution. This was then layered up with multiple sheets of tissue paper and grooves were pushed into the surface and left to dry to a stiff ridged finish.

When dry it was painted with acrylic paints and drawing ink and used as a monoprint for the right hand sample on damp silk.

After the monoprinting more paint was applied and the ridged sample was left to dry again. It was then coated with acrylic wax and polished like deeply grained leather.

IMAGE 12 (SIZE A4)

Wax resist on drawn thread muslin with textile paints (top)

Wax resist on heavy paper (bottom)

IMAGE 13 (SIZE A3)

Right hand side. Further monoprint from first stage painting of the muslin tissue in image 11 on heavy furnishing fabric.

Left hand side .Full sheet of wax resist paper.

Middle. A sheet of adhesive labels was pressed on the left hand sample before it was dry and then the labels and their connecting strips were cut, peeled off and re-applied to plain paper.

IMAGE 14 (SIZE A4)

Mashed potato as a resist with drawing inks as colour.

The wet potato caused the backing fabric to shrink and once dry it could be stretched out to reveal a 'crazed' pattern

IMAGE 15 (SIZE A4)

Sample in image 14 with sections of potato removed.

IMAGE 16 (SIZE A4)

This sample used the same technique with mashed potato as a resist but it was placed on a thin sheet of polystyrene foam backing material so that it did not adhere to the surface. Before it was completely dry the surface was rolled over by a lattice pastry cutter and it could then be broken up into small tesserai when completely dry. These were placed on a fresh sheet of backing material and were coloured with gold acrylic metalic paint. The background material was additionally sprayed with copper and gold paint IMAGE 17 (SIZE A4)

SEEDS

A section was cut from the card which had been used as a screen for the spray painting of the sample at image 16. This was then covered with glue and small seeds scattered thickly on the surface. The seeds were then spray painted with the same metallic colours in different intensities across the surface.

CHAPTER 4

DESIGN PATTERN FROM AN ETHNIC SOURCE

IMAGE 18 (SIZE A3)

A selction of shapes from Maori culture, many based on curled and uncurled ferns.

IMAGE 19 (SIZE A4)

A selection of coloured images from the previous example of shapes and previously gathered samples of Maori textiles, weaving and cane work.

Colouring mediums include watercolour pencil, drawing inks, markal paint sticks and oil pastels. Some patterns were coloured over a ridged surface of cocktail sticks to replicate woven patterns

IMAGE 20 (SIZE A4)

Maori Dragon's Tooth and Spider's web patterns in coloured papers and ink

IMAGE 21(SIZE A4)

Maori fish scale design in coloured papers

IMAGE 22 (SIZE A4 )

Maori Fishnet Mesh design in coloured papers

IMAGE 23 (SIZE A4)

Maori weaving pattern for Keti (basket)

IMAGE 24 ( SIZE A4)

Further Maori weaving patterns.

IMAGE 25 (SIZE A4)

Maori fern design worked with garden fern and spray paint on paper.

IMAGE 26 (SIZE A3)

Pressed broad leaf fern used as background.

Sample of paper made from garden leaves with waxed paper rolled ito strips and threaded through.

IMAGE 27 (SIZE A4)

STITCHED SAMPLES

Top. Maori Wall panel worked over kebab sticks with coloured garden twine in cross stitch.

Bottom stitched samples derived from Maori taniko borders.

Time taken 27 hours

Exhibitions etc attended

Eastern Region AGM for Embroiderers Guild

Alexandra Palace Knitting and Stitching Show.

module6Chapter2

FINAL IMAGE OF THIS POST ---OUT OF SEQUENCE (SORRY) IMAGE 11 SIZE OF MOUNT BOARD 31INS X11 INS On the left had side strips of packaging from wild bird food was cut up and oversewn together. The sample was overlaid with a piece of plastic netting from some lemons to make a 'cage ' for the wild bird whose picture appeared on the packaging. The construction of the two centre samples from crumpled brown paper is descibed in the narrative for image 9 below. Top right hand sample . Packaging from coffee packets was sewn together in strips using both the inner and outer surfaces (ie foil and couloured plastic) The strips were then recut and sewn together diagonally. The sample was then partially covered with florists cellophane, leaving one corner 'open' Bottom right sample. This utilised the amber/gold brown paper sample . The backgound was formed by a piece of metallic fabric.This was overlaid by a piece of knitting made from nylon filament and various sand coloured cottons knitted together into a rectangle with scalloped edges and a series of holes knitted into the fabric. The holes were then threaded with strips cut from the paper sample. A series of one inch squares was then cut from the paper and additional gold glitter was sprayed on to them. The sample was then overlaid by a series of threads frayed from the metallic background fabric. The layers were then held together by adding machine stitching in a wave pattern with tightened tension. This made the whole sample gather into a series of ridges as are often found in sand.

FURTHER DESIGN WORK FOR FINAL ASSESSMENT PIECE

IMAGE 1 .ORIGINAL PLAN. IMAGE 2 SIZE A3

Scale drawing of re worked front design. Experimental fabric for bird bodies.

IMAGE 3

EXPERIMENTAL CORDED FABRIC FOR BACK V INSERT PRIOR TO DYEING

EXPERIMENTAL SECTION OF BORDER REED EDGING

IMAGE 4 SIZE A3

SCALE DRAWING OF BACK SHOWING CORDED INSERT .

Designed to replicate the aerial view of broadland lakes, rivers and marshes SCALE DRAWING OF TWO IDEAS FOR SLEEVES.

Ideas for using windmill sail motifs for lacy sleeves.These could be in a regular, circular sail pattern or more randomly applied sail shapes across the piece.

CONTINUATION OF MAORI TEXTILE ART STUDY

IMAGE 5 SIZE A4

Drawing of a stylised form of fern used in many Maori art forms.

IMAGE 6 SIZE A4

Top left . Drawing of Maori cloak. The base fabric is woven from flax in the method described earlier in this study. The body is shaped to fit snugly over the shoulders and a Taniko border is added to the finished garment. The outer surface is covered by rows of tassells. these are now formed from modern textile fibres but were, in their original forms, made from puppy dog tails.

Top right. Drawing of New Zealand Flax (Phormium)in its natural state.

Bottom. Sections of Phormium dried but undyed and woven by hand.

CHAPTER 2 COLLECTION AND TRANSFORMATION OF SURFACES.

In making my selection of surfaces I determined not to buy anything new but to utilise things already in the house. I also tried to demonstrate how some of them could be transformed into representations of landscapes with sand, waves water ,plants etc. IMAGE 7 SIZE OF MOUNT BOARD 31INS X 11 INS

Top left . This sample is formed from a roll of continuous fax paper from a now defunct Fax machine. The long lengths were curled into wave shapes and then these were joined together by a continuous cotton thread . The completed sample was lying on the kitchen bench when I began to spray cleaning fluid on . I found that the fine spray reacted with the chemical in the fax paper to make a blue /grey stain which I rather liked so I deliberately added some more to colour some of the sample.

Bottom left . This sample is made from layers of white kitchen towel. The indentations which formed a rolling wave like pattern in the kitchen roll where then stitched through with straight machine stitches.

The samples on black background ;-- Cake wire Starfish. Short lengths of cake wires threaded through slits in the black backing paper. The short lengths of 'fringe' on the black paper were formed from cut lengths of horticultural fleece , heated and distorted.

The far right fringed sample was made from further lengths of the fax paper, stitched down and cut into fringes down the edges. The fringes were then curled using a short metal ruler.

At the bottom right of the black paper background is a sample made from the corners of white envelopes. These were stuck together with PVA and then opened out to form a type of honey combe pattern and left to dry. A white cotton thread was then used to crochet an over arching structure of netting which was then supported by a pastry funnel.

The sample at the bottom was formed by gathering the edges of a piece of tyvek. The sample was heated and the gathering stitches removed.

IMAGE 8 . SIZE OF MOUNT BOARD 31INS X 11 INS

Far left sample .A piece of plastic 'canvas' was used as the background . Lengths of uncooked macaroni were then threaded through by a cocktail stick. The cocktail sticks were then stitched on to the canvas using green garden twine to anchor the top and bottom edges of the macaroni.

The sample to the right of this and at the bottom of the board was formed from pasta shells stitched on to a piece of packaging foam. Above this is a sample made from curved/wavy sections of wire wool/plastic sheeting/ polythene tubes which were fastend together with silver bottle top wire.

The centre two samples were experiments using the same colour medium on different surfaces.The left hand sample was made from pieces of tissue bonded together with dilute PVA. Once they were partially dry printing ink was dripped over the surface and the colours allowed to merge together. Once the drying process was further advanced the sample was run through a paper crimper. The sample immediately to the right of the tissue paper one was made from crumpling kitchen foil. Eactly the same inks were used but they were not, of course, absorbed into the surface of the foil. They were left to dry overnight.

The right hand sample is a composite of a number of techniques and is reminiscent of bits and pieces found in the sea. There are lengths of piping cord, cut up fragments of old lace, Make-up remover pads, cut out cardboard starfish,ridged anaglypgta wall covering and lengths of narrow ribbon gathered into sea anemones .The individual elements of the sample were coloured and stuck to a card background stitching was then added over the surface. The compostion was then covered in Gesso . I may use this further as a printing plate.

IMAGE 9 SIZE OF EACH INDIVIDUAL SAMPLE ABOUT A5.

The left hand sample was made from a Waitrose flower plastic carrier ,oversewn with cut lengths of pink plastic drinking straws.

Moving to the right there is a sample made from lengths of garden twine alongside strips of abaca fibre. The setions of twine and fibre are then meshed into a new fabric by an automatic machine stitched honeycombe pattern.

Moving again to the right there is a blue-green/white woven wave like sample. The white sections of the sample were made from polystyrene packaging beads (sample alongside) which turned out to be very versatile and to have some interesting properties. Here they are just flattend by the pressure of the sewing machine foot. The blue-green sections were made from crumpled brown paper. This was then opened out and stitched with a grid pattern. Acrylic paints were then used to colour the paper between the lines of the grid ,with silver metallic paint being used along the stitching lines. The sample was then crumpled again and coated with acrylic wax for additional strength and lustre. The sample was then cut into strips and woven with the lengths of polystyrene beads. the finshed weave was then oversewn with a wave-like machine stitch.

On the far right there is another blue-green/ white sample. The blue background was made from spray painted dried out 'wet wipes'. this was overlaid with a piece of florists cellophane. the top white grid was made from the bindings of a large parcel received through the post. The layers of the sample were then sewn together with odd lengths of wool.

Below the two blue-green samples there are two smaller samples representing lichens. The left hand of these two samples was made from painted and heated Tyvek. The right hand sample again utilised the polystyrene beads. I discovered that if these were painted with acrylic paints they shrank into much smaller pieces. These were then stitched on to a backgound made from a strip of hessian covered with frayed out lengths of furnishing fabric. The small hard beads were too tough for thread to go through them and they were therefore attached with looped stitches to secure them to the background.

IMAGE 10 SIXE APPROX A4

This was a series of samples designed to experiment with different forms of walls and brickwork. At the top, gold backed crumpled brown paper was placed over wadding and covered with a gold lattice mesh. Below this a length of silk rod was dyed and threaded with small terracotta beads along its length. Below this a length of upholstery webbing was dyed in a terracotta colour and this was the covered by lengths of dyed mohair wool, couched down in a diagonal pattern across the surface. At the bottom was a kind of wattle and daub formation made from strips of ribbon and abaca fibre on top of a 'grass' verge.

Mod 6 ch1 & Design

INITIAL DESIGN THOUGHTS 4TH ASSESMENT PIECE As previously discussed my idea for a 'site specific' assessment piece was to make an evening jacket with a Norfolk Broadland theme. The emblem of the Broads Society is a dragonfly so the basic jacket design is of dragonfly wings , back and front. The border around the hem of the jacket will be representing the reed lined river fringes. There will be a V shaped padded and embroidered piece in the back which will be like the segmented body of the dragonfly upon which dragonfly wings will be mounted. The front edges will be lines of water/pond weed and it will be fastened by water lily 'frog' fastenings. On the front panels here will be representations of birds in flight, an iconic broadland image. I am hoping to work in muted winter colours with silvers, whites ice blues and greys as the jacket is designed for a winter event. Would be grateful for your initial reactions to these ideas before I proceed further. MODULE 6 CHAPTER 1 STUDY OF ETHNIC EMBROIDERY For this element of the course I have chosen a study of the textiles of the New Zealand Maori. This work is presented in the 22 scanned pages below

Bibliography

The Decorative Arts of the New Zealand Maori . T Barrow

Maori Art and Design Julie Paama Pengelly

Auckland Museum web sites and teachers resource centre.

Time taken --- Research 36 hours

Drawing /Editing/ Typing 8 hours

Exhibitions etc attended

Day workshop Crewel embroidery

Embroiderers Guild, Eastern Region, Regional Day

Lecture, Japanese braiding.