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.