4th Assessment & Chapter 6

IMAGE 1. COMPLETED 4TH ASSESSMENT PIECE BACK VIEW

IMAGE 2. COMPLETD 4TH ASSESSMENT PIECE FRONT VIEWCHAPTER 6 BEADS

Secion A 'Found beads'.

IMAGE 3 COLLECTED/ FOUND BEADS

Collection includes toggles, keys , jewellery chain links , metal and fabric and leather buttons, wooden beadsSection B and C Made beads and stitching/threading

IMAGE 4 PAPER PULP BEADS.

Home made paper moulded over jar lids and bottle tops. Painted with acrylic pints and threaded on to ribbon.

IMAGE 5 SHRINK PLASTIC BEADS. Size A5

An A4 sheet of shrink plastic was covered in orange, black, brown and white thick acrylic paint squares. The surface was then 'combed' to create ridges and to merge the colours . Each square was punched with a hole at one corner. Some squares were then cut into triangles. After baking/shrinking the beads were then stitched on to a previously made sample of a rusted section of metal grid on calico.

IMAGE 6. SIZE A 5 ACRYLIC PAINT BEADS

These 'beads' were made by taking off the dried on acrylic paint which formed around the necks o a number of paint tubes in my collection.

IMAGE 7 . SIZE A4.

The top beads are pasta shells painted with silver acrylic paint and then threaded on to jewellery wire. The pasta shells were ,initially, too hard and brittle for a needle to penetrate them. Once they were painted, however, while the paint was still wet, they were softened and could be threaded on to the wire. Once they were dry they returned to their former hard and brittle state.

The centre sample consists of a number of shapes of made homemade paper beads which have been knitted in to a rectangle.

The bottom sample is made from a cluster of pistachio nuts bound together by a gold polyester ribbon.

IMAGE 8 TOGGLE BEADS

Formed from bonded strips of organza rolled and wrapped with green metallic threads

IMAGE 9

Toggle beads.Formed from strips of red organza bonded and rolled and then cut into/sealed by a fine tipped soldering iron. The beads were then wrapped with red wire.

IMAGE 10

Toggle beads formed from strips of sari silk, covered with nylon net bonded to the surface and decorated with sequins.

IMAGE 11.

Toggle beads formed from bonded synthetic fabrics , foiled, rolled and scored and wrapped with copper jap.

IMAGE 12

Toggle beads formed from organza and iridescent fabrics,foiled and scored

IMAGE 13

Bead loom formed from moulded plastic packaging.

IMAGE 14 MAORI BEAD DESIGN

A design adapted from Maori wall panels was painted on to heavy calico and then beads stitched oer the patterns.

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.