jacket first assembly

IMAGE 1 FOURTH ASSESSMENT PIECE; NORFOLK BROADS JACKET I AM STILL WORKING ON THE BOTTOM BORDER BUT THIS IS THE FIRST STAGE OF ASSEMBLING THE JACKET.

jacket alterations

Image 1 Side view of mounted bird and sample of coloured pelmet vilene Image 2 Top view of mounted bird secured at wing tips, tail and beak with sample of coloured pelmet vilene.

Image 3

Altered colour of triangular border (left side ) for comparison (temporarily tacked on at present.).

Progress 4th assessment piece

IMAGE 1 WORKING ON THE BACK PANEL

IMAGE 2 THE BACK PANEL INSET INTO THE BACK FABRIC TOGETHER WITH THE EDGED FRONTSIMAGE 3 WORKING ON THE SLEEVES

IMAGE 4 CUTTING OUT THE BIRDS

IMAGE 5 THE PLACEMENT OF THE BIRDS.The on the right of picture front (actual left front) are placed under the net and will be fastened down flat on to the base fabric. The birds on the left of picture front (actual right front) will be placed on top of the net and caugh down at the wing tips, beak and tails to give a curved effect so that they stand proud of the background.

Totem/memory stick

IMAGE 1 SIZE A4

A photograph taken on a recent cruise to the Norway and the fijords. I thought this would provide good source material for my totem/ memory stick on my theme-- Life at the Margins; where land and water meet.

IMAGES 2- 12 EACH A5 IN SIZE.

I first made a series of sketches of various different sections of the photograph, some were across the whole piece while others were working on very small sections of the original .I used a variety of different mediums to translate the designs into A5 size images. Here I used painted tissue on muslin and worked on the bands of colour which run along the base of the interior surface of the 'cave' in the photo.

This was an intrepretation of the same band of colour made in coloured acrylic gel

A charcoal sketch on cotton rag paperAn acrylic paint view

Acrylic paint scraped back to the paper in sections

A soluble pencil sketch

Concentrating on one line of fissures I made a cross section in stencil film and used Markal paint sticks on the edge of the stencil , sponged on to black paper The same origins as the one above but Markal paint sticks on white paper

Oil pastels on cotton rag paper

Paint on very wet paper.

IMAGE 13 SIZE A4

I scanned in all the above images and then used them to make a collage.

IMAGE 14 SIZE A4

Another collage arrangement

IMAGE 15 SIZE 40 INCHES X 20 INCHES

POSTCARDS FROM THE EDGE.

I then used thin coloured card to frame each sketch. I then made three laminated images from the original photograph and cut them up to form joining strips across the frames. Each strip of photograph has within it an element of the original which is represented in the sketch .The laminated strips wer then taped at the back to form joining strips for the collection . The piece was photographed flat on the floor.

IMAGE 16 SIZE 40 INCHES X 20 INCHES

In lifting up the previous image from the floor it became apparent that a slide/ transparency effect could be achieved by holding the image up to the light. It is particularly effective in the muslin tissue samples and those sketches done on lightweight paper.

tTime taken 25 hours

mockjacket

Image1. E mail refers.

mockups 4th assessment

IMAGE 1.Full size paper mockup of back of jacket.

Following your suggestions I have prepared this paper mockup of the back of the jacket in full size. Measurements are therefore --Centre Back Length 26ins, Back width at hip level 22 ins, Sleeve seam ( excluding cuffs 13 ins.)

Mock up shows actual size comparison between border fringe and back triangular panel, Actual size of dragonfly wings and actual size of sleeves. The sleeves have a much more lace like feel than the rest of the garment . The body of the sleeves will be made in screen printed fine organza in a patern to linked to the reed borders ,overlaid with lacy windmill sail panels. The fabric either side of the triangular panels will match that of the front panels and the reed border will surround the whole garment at hip level.

IMAGE 2 ACTUAL SIZE JACKET BACK TRIANGULAR PANEL ETC.

SIZE OF PANEL 15INS AT WIDEST PART AND 18 INS DEEP.

Following my original construction of the corded insert piece, this has now been dyed and overlaid with a green organza. The cording has been oversewn with narrow dyed ribbons to emphasise the lines and to achieve the 'aerial view' of broadland river, lake and meadow scenery The side border of the triangular panels, the segmented dragonfly bodies, has been made from a metallic fabric overlaid with an iridescent toning fabric. It was constructed from a rectangle of the two fabrics stitched together with long running stitches at 1.5 inch intervals . The piece was then gathered along these stitching lines and rolled into a 'sausage'.The gathered segments were then emphasised again with metallic threads wrapped along the stitching lines.

The sleeve sections show the initial screen printing of the organza fabric from which the sleeves will be constructed ,overlaid with paper windmill shapes , actual size. The panels between the sleeve and the dragonfly segmented bodies are filled with the fabric being used for the front panels,the bottom border here is still in paper format but is, again shown actual size.

IMAGE 3 DEVELOPMENT OF FABRIC FOR FRONT PANELS

Following on from my previous post, with the suggestion for using long silk fibres, this has now been further deveoped. The actual body shape of the front has been cut from green silk and a layer of a bondaweb type fabric. The long silk fibres have then been bonded to this by ironing under baking parchment. This gives a softer and suppler fabric to that achieved by a 'silk paper' process . Once the silk'sandwich' was in place a series of stitching and couched threads was laid over the surface and secured through all the layers.This has a number of purposes , both practical and artistic. The added stitching and couched threads gives added strength and durability to the fabric while the patterns achieved give a further feel of the local landscape.

The bottom edge is in the process of being worked with the reed border. The front paper edging , again in actual size, is a pattern for an assymetrical front border to be made by a felting process and dyed to match the colours in the main fabric. The sleeves show the same screen printed organza overlaid with paper windmill sails.

fourth assessment piece development

IMAGE 1 Original design for Broadland jacket IMAGE 2 Paper and paint mock up of central back triangular panel and lace sleeves

IMAGE 3

Paper and paint mock up of reed border,fabric for birds, fabric for lace sleeve panels and fabric for dragonfly wings.

Fabric for birds is made in silk paper.Fabric for dragon fly wings ispainted bondaweb on organdie. These will be hand-stitched with feather stitch. The fabric for the lace windmill sail panels is a scrim and muslin stiffened sandwich. The lace sail shape panels will be stitched with a wing needle to give an open work effect.

Image 4

Fabric and threads for front panels prior to stitching. Begining of placement for reed border.

Fabric for front panels is dyed long mulberry silk threads bonded onto a silk lining. The surface will then be stitched using a variety of toning threads.

IMAGE 5

Fabric for front panels and fabric for birds prior to cutting and stitching.

Bird shapes will be cut from the silk paper fabric , bonded on to stiff pelmet vilene and then mounted above the surface of the silk fibre fabric.

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.