Module3 Chapters 1and2

Module 3 Chapter 1 Drawings of Celtic knots Image 1 (Size A4)

MODULE 3 CHAPTERS 1and2 HISTORICAL STUDY

Images 2-7 Tudor and Post Medieval period ;Text of historical study

IMAGE 8 HISTORICAL STUDY PICTURES ( SIZE c. 1 METRE SQUARE) This board incorporates stitched examples of braid, buttonhole and a variety of filling stitches. The embroidery hoop contains hand worked examples while the blue watered silk patch has automated machine patterns.There is a worked blackwork sampler and an experimental cut paper sample made from layers of tissue mounted on a muslin base. The tissue was stitched in squares and alternate squares were then cut back to the musin base in a chequerboard effect.

Samples of braid and plaited upholstery string were mounted on a back board and used to print fabric with patterns. Bottom centre includes a Ming dynasty Chinese Peking Knot design. The portrait of the first Lord Burghley shows a knotted and braided tie, waistband and semi circular chest decoration. Bottom right is part of a study of headwear of the time, a particular personal interest.

IMAGE 9 ( SIZE A4)

Experiments with making braids .

IMAGE 10 ( SIZE A 5)

Drawing of a renaissance head covering and strapwork shoulder edging from a newly discovered Leonardo drawing. The hairpiece uses knots in cords with an edging in herringbone stitch while the long 'pony tail' is bound in embroidered braid. A strapwork pattern is made in couched threads along the shoulder edge. Bibliography

A History of Textile Art : Agnes Geijer

Celtic Inspirations for Embroiderers : Valerie Campbell Harding and Maggie Grey.

Celtic Knotwork :Ian Bain

Beginners guide to Braiding: Jacqui Carey

A World of Embroidery : Mary Gostelow.

Timings

Historical study (inclusive of research , photography typing etc.) 50 hours.

Preparation of samples etc. for picture board for historical study. 20 hours

Preparation of Braids 7 hours.

Design development metallic piece

Further development of Design ideas for the Metallic Assessment piece. IMAGE 1 ( SIZE 10 INCH SQUARE) As part of my research for the Opus Anglicanum study I made a visit to Ely Cathedral to see a building originating from this era. In one of the Side Chapels is Prior Cauden's pavement. One of the few remaining complete ceramic tiled floors dating from the early 1300s. One of the tile designs had a repeating leaf pattern, photographed below. IMAGES 2 AND 3 ( repeat from previous post) In developing design ideas for my metallic object I focused on an idea developed from the tile. Although I realised that this needed further working up it had echoes of the previous design experiments with a repetition of images. The fabric sample used the same leaf shape as a base , overlaid with nearly identical smaller leaves arranged in repeating rows. I went on to develop the idea but extending it into a variety of leaf images to give interest to the design and to give the basis for experimentation with textile representation of a variety of leaf ,seed and faded flower head images . The whole picture has a feel of the colours of Autumn.

Image 4 (A4 size)

Following feedback I went both backwards and forwards!! In looking at the design above I decided to work on the obvious curved shape . I then went on to acquire some additional computer skills in manipulating both 'Paint ' and Photoshop. (Although ,in design terms, these skills are still in their infancy they did, however, provide a medium in which to develop ideas and experimentation. )

Once I had decided to focus on the curve it then led on, fairly obviously, to the development of a number of arched branches of varying lengths and curves ,moving across the design.

The movement of the wind would lead to the scattering of leaves and debris as leaf litter on the floor. The development of my previous mask design from the fragments of cut up, manipulated designs gave rise to this idea. When eventually making the leaves ,the resulting fragments of metallic threads and fabrics can then be utilised to make this pile . Bonding distressing and fusing techniques can then be used to add to the definition of the pile.

The main metallic shapes of leaves , seed heads and faded flowers will hang free from the branches to create movement while fabric 'shadows' will be stitched to the background to add depth and interest. The addition of wire into the leaves hanging from the trees will enable the shapes to be manipulated to show the action of the wind.

I used a paint programme as a way of experimenting with some of the above ideas and the image and text below charts the development of these, trying to respond to Tutor feedback.

IMAGE 5 (FULL SIZE 24 x 16 INCHES)

I then used photoshop and its drawing tools to try to incorporate some of these ideas into the original drawing. When going back to the painted leaf design, following the development of the three curves idea, it transpired that the three main curves connected elements of the original quite well (as in the paint shop design above). Other foliage and flower shapes were then added both to augment the original and to introduce some brighter colours. The leaf litter was then added to the bottom edge of the design. The black curves have been translated into a gold tone as it is intended to wrap the main curved wires with gold metallic thread In developing the design I have revisited a number of the processes in chapters 12 and 13 including

Using a variety of Colours

Using the natural curves and movement in the original drawing but making multiples of the original by utilising a number of cross sections through it.

Adding a variety of shapes to an original fixed leaf shape

Using a series of repeating designs , with variations, across the page

Trying to create different levels and vistas within the design.

The single leaf 'hanging' at the left hand edge of the design will be deleted at the next phase!!

Mod2 Chapters 14 ,15

CHAPTER 14 DESIGN IDEAS: METALLIC PIECE. Image 1. ( size 24 inches x 16 inches) My design ideas for this piece are linked to a recurring motif which I have found throughout module 2 ,that of leaves. Leaves figure in many of the Opus Anglicanum textile samples, in stained glass windows and ceramic tiles of the same period. In my posts for module 2 Chapter 10 of 28th February Images 16 and 18 were workings of leaves in metallics and sweet papers and a number of thoughts arose from these samples. Taking leaves as the underlying subject I felt that I wanted to use the repetition of a number of shapes and that I did not want the finished article to be completely flat. I am , however, seeking to make a decorative picture rather than an object of some kind. The image below is one working of an idea from a drawing of a floor tile from a side chapel at Ely Cathedral dating from 1350. The tile was painted with a leaf shape similar to the large background leaf in this image. I made a series of leaves, at present all the same shape, in stiffened net. I machined patterns of veins etc and attached the leaves in a overlapping pattern over the base shape which was mounted on wadding. This was a starting point for some other experiments.

Image 2 (size 24 inches by 16 inches)

This is a painted design of a variety of shapes of leaves, faded flowers and seed heads on paper. The design moves in an arched shape across the paper and is the actual size I will probably work to. IMAGE 3 (Size 24 inches by 16 inches)

Having drawn the design on paper I began to experiment with potential backgrounds and materials for leaves. At the top of this image is a strip of buckram . The left hand side is its natural shade whilst the right hand side is coloured with fabric paint. The leaves are painted on with acrylics.

The bottom strip is formed by painting bondaweb and fusing it to both sides of a strip of abaca fibre. This gives the paper like quality of leaves in Autumn.

Image 4 (size 24 inches x 16 inches)

I then went on to experiment with making the leaves metallic. In this image at the Top left the green leaves surrounding a previously worked sample for this module were made from fragments of metallics and organza on a base of acrylic felt . The design was drawn on the back of the felt and stiched from the back. the excess felt and front fabrics were then bunt away and some of the layers were melted through to reveal the metallics. In the centre (between the green leaves and the embroidery hoop) is a leaf cut from the bondaweb /abaca sandwich and then dusted with copper embossing powder. The leaf could then be further defined by stitching in metallic threads. In the embroidery hoop there are a number of leaf shapes cut from a bonded sandwich of organza and metallic fragments. In addition one of the leaves has had copper wire applied to its main veins. The reason for this was twofold-- firstly to add definition and secondly to enable the finished leaf to be bent into shape . On the bottom row leaf shapes have been cut from gold mesh, metallic plastic film and copper shim. At present these are in ' raw' state prior to further decoration.

From these initial experiments I believe I could make a sample on the painted buckram with a gold wire 'bough' in an arched shape and fixed about two inches above and across the design. it would then be possible to work leaves both flat on the painted background and then additional metallic leaves could be made, using a variety of techiniques, and fixed to the bough.

Happy to discuss further before starting on a first mock up.

CHAPTER 15 STUDY OF TWO CONTEMPORARY TEXTILE ARTISTS.

Follow up image from Chapter 9 Patination of metals.

( sample size 8inches square)

From left to right --Copper shim with metallic pint and ageing fluid ; brass Schlag .

top right copper schlag, aluminium drink can ( all treated with the same chemicals) Small square of brass soaked in vinegar for 5 weeks.

Additional Bibilography

The Cambridge Library of Medieval Ornament

The Grammar of Ornament Owen Jones.

Time taken.

Chapter 14 Designing/painting 5hours, leaf samples 5 hours, painted bondaweb sample 2 hours

Chapter 15 Researching textile artists 12 hours

Patination of metals 30 minutes

Photography and editing 2 hours

Blog set up and typing 3 hours.

Materials

Abaca fibre £1.75

Chemicals for patination £ 10 ( a ten year supply !!!!)

Chapters 12 and 13

CHAPTER 12 HEAD AND FACE DESIGNS-OPTION B Image 1 ( size A4 sheet) Selection of drawings of famous expressive head paintings in a variety of styles and from different eras. SILHOUETTE OF THE HEAD

Image 2 (size A2)

I chose a strongly African silhouette for this exercise and made a number of black and white images in different sizes. Image 3 (size A3)

The silhouette frames.

Image 4 ( size A3)

Using an A5 size silhouette I made a series of outlines'nose to nose'

Image 5 ( size A3)

Using the same silhouette I made a series of interlinked outlines.

Image 6 ( Size A3)

These are a series of etching type outlines. A glass plate was covered in layers of soap which were left to harden overnight. The silhouette was then drawn round in water soluble pencils and a sheet of damp paper was pressed over the top. This caused the pencil marks to transfer on to the page. Different effects were achieved depending on how close the etching marks were on the plate.

Image 7 (size A2)

I made a decorated starch paper and used this to cut out positive and negative shapes / cross sections of the silhouette to form new designs on a background of fibre paper.

Image 8 (size A 3)

Using a different starch paper two opposing versions of the silhouette were cut into strips and placed on the white background.

Image 9 (size A3)

This image uses the same strips but on a red silk background.

Image 10 ( size A2)

Returning to a black and white theme I printed paper copies of photographs of embroidery/blackwork/cut work together with my own patchwork quilt and cut various shapes from the silhouette. The effect in the bottom right looks rather like a Tudor headdress.

Image 11 (size A2) Continuing the black and white theme.

Image 12 (Size A3)

Moving away from black and white I made this starch paper in what semed to me to be hot African colours and cut shapes from the silhouette to fasten on to black paper.

DESIGN DEVELOPMENT FROM SILHOUETTES Image 13 (size about A2)

In contrast to the hot colours used in the starch papers I decided to move away from the African colour palette associated with the silhouette. I also wanted to use a more fragmented style with less definition and for this exercise I used a slightly smaller silhouette.

For the first stage I drew roughly round the silhouette on a pale net backing ,covered in bondaweb, to form 6 individual pictures. I then covered the outlines with lengths of thread of varying thicknesses and , for the darkest green sample, very fine shavings of wire. In some of the samples I added Angelina fibres for additional sparkle and in some filaments of sik tops were used to increase the frayed nature of the edges.

I then ironed each of these bonda web backed circles on to ovals of toning dyed fabrics. The silhouettes were then stitched round leaving the rough ends of threads etc. trailing over the edges. The individual silhouettes were then placed on to circles of toning tissue paper and a lacy machine edging stitch was used to attach them.The sample was photographed on a watered blue silk background.

A number of thoughts emerged from this experiment.

The thicker and darker the threads added to make the base fabric the less definition there is in the resulting outline.

The resizing of the silhouettes to a smaller version means that the original strong African image is blurred. The use of the pale green/ tourquoise colour palette , together with this rather less distinct outline , makes the heads more reminiscent of neo classical head shapes from the 18th century.

Image 14 (size A4)

Shapes within the face.

A series of drawings from the designs of textile and other artists over the centuries.

Image 15 ( Size A4)

Drawings from a photograph , exaggerating features.

This was a series of drawings made from a photograph of Elvis Presley.

The top left is the closest to the original. The top right has exaggerated the coif of hair at the top and elongated the chin at the bottom.

The bottom left has a different exaggeration of the hair line and the addition of heavier lips.

The bottom right has the addition of heavy rimmed galsses which were a feature of later pictures of Elvis.

A series of photocopies were then made of these drawings.

Image 16 ( size A4)

The hair seemed to be the main feature of the individual pictures so the images were cut up to focus on sections of hair. These were then put on to a black background .

Image 17 ( size A4)

In this design the images were cut up into guitar shapes which were then mounted on stiff black paper.

Image 18 (size A5)

In this image the guitar shapes were used again but this time they were mounted on transfer painted paper in pastel colours. The effect of this pale background was to lose the definition and impact of the originals.

Image 19 (Size A5)

In the original set of 4 images of Elvis.(in image 15) the effect of the exaggeration in the top right image was to make the face look oriental. I chose to mount a cut out of this face on a page which I decorated with Japanese print images.

DRAWING EXERCISES BASED ON THE SECTIONS OF THE FACE. Image 20 (size A4)

This is the image of my face drawn with a wax crayon while looking in a mirror.

Image 21 ( Size A4) Self portrait (my Blue period!!!)In Oil pastels.

Image 22 (Size A4)

A dark self portrait.

Using remants of procion dyes with thickener.

Image 23 ( Size A4)

A lighter mood self portrait using water soluble crayons.

Image 24 (size A4)

A self portrait using torn half dark and half light images with one the right way up and the other upside down.

Image 25 (Size A3)

This version again uses half dark and half light images but they are cut around the original African silhouette shape and interwoven.

Image 26 (Size A3)

In this sample long strips have been cut through the dark and light images but not all of them have been used, giving an elongated appearance to the faces even though they are exactly the same length as in the previous portraits. The strips have been woven through a metal cooling tray to give an imprisoned feeling to the design.

Image 27 ( size approx A4)

Having cut up lots of copies of the light and dark portrait images for the samples above I was left with lots of small off cuts. I had a papier mache mask and so I covered this with cling film and proceeded to cut up the majority of the offcuts into samller pieces, leaving some with clear features for the last layer. I layered them over the surface of the cling film covered mask with silghtly diluted PVA. I used similar bands of colour, working from the top of the head to the point of the chin. For the final layer I added some spectacle, eyebrow and mouth shapes, saved from my original pile. Once finished the mask was coated with PVA and left to dry on the mould.

CHAPTER 13 RESOLVED SAMPLE. Images 28 and 29 ( Head A4 size)

For the resolved sample I decided to work with the African silhouette of the head. Having worked in paper with a variety of shapes intercut from the original silhouette I wanted to return to the strong African outline. I began ,therefore ,with a silhouette drawn on to brown silk dupion bonded to a sheet of cotton felt. I wanted to have a sightly relief surface when the sample was finished and the depth of the felt added to this effect.

I returned to the metallic theme and I decided to reinforce the African image by using a variety of metallic and sheer fabrics in the shape of the African continent. The use of mainly copper and gold metallic fabrics also reflected the presence of gold and copper mining on the African continent

For the first layer each shape was drawn onto individual oblongs of fabric. Each outline map was then sewn down individually with a straight machine stitch on to the prepared background fabric. After this initial sewing the excess fabric around the edge of each map was burnt away by the tip of a fine tipped soldering iron. Finally the outline of each map was worked over with a fine zig zag . The sample was then built up in the same way , layer by layer ,until all the background fabric was covered. I followed the outline of the silhouette and in some places the shape of the map closely followed the outline while, in others, I allowed the outlines of the maps to overhang the silhouette. Once the whole series of layers had been completed I then redrew the silhouette and worked over it with a larger zig zag than that used for the maps. .

Once the sample was completed I made a gold frame by covering a cut out rectangle of cotton wadding backed with stitch and tear. I used hot colours in the bobbin as in the 'alchemy' samples earlier in the module.

Time taken;

Resolved sample 16 hours

Photography 2hours

Typing and editing blog 2.5 hours

Preparing decorated papers 4hours

Self portraits and subsequent designs 6 hours

Tissue paper circle silhouette designs 10 hours

Elvis Presley designs 2.5 hours.

Researching and drawing 2 A4 sheets of face designs by various artists 7 hours.