Sketchbook

  Documenting sketchbook work to date.

Merry Xmas

 

Part Two: Learning log.

Some questions to reflect on about the work in assignment two:

Do you feel you made a good selection from your drawings to use as source material for your design ideas?

Selection of suitable drawings was not a problem as such because of the volume of examples I had to choose from. ( See 18/11/2011 Project Four Stage Three)

Each one had potential for being developed in to further evolving designs but required the ability to foresee and determine just what that potential was. (See  Looking for shapes on the 11/11/2011 Project Four Stage Two)

For example the application of acrylic paint to glass and to vliesofix meant that the textures resulting from the dry paint and heated surfaces created pleasing results and inspiration for me as the ‘explorer’.(See Relief printing 1/12/2011 Project Four Stages 2-4)

Which interpretations worked best?

The chosen few were examples that had defining characteristics such as shape and colour and immediately created visual opportunities when using my favourite colours of yellow and violet as well as easily identifiable forms containing patterns and mirror images. (See the last two larger samples on 14/12/2011 in Project Five Stage Four.)

Why?

Forming abstract ideas was more difficult than geometrical designs because they did not always appeal to my mind’s eye whereas repeating patterns and identifiable shapes gave me more satisfaction in putting together the symmetrical designs.

Which fabrics did you choose?

Calico, silk, cotton, denim, polar fleece and hessian/scrim with a preference for silk.

What particular qualities appealed to you?

The soft and smooth finish to the surface of the silk fabric.  These fabrics also have consumer appeal and therefore a greater commercial value to customers. Looking good is important to certain socio-economic groups of people.

The fact that textile paints/inks have the ability to adhere more securely to a natural fibre such as cotton and that it can be washed at an appropriate temperature once the designs have been heat-set. 

The rugged and hewn appearance of hessian when hand painted or when a design was applied by a stencil.

Is the scale of the marks and shapes on your samples appropriate to the fabric?

On the cotton yes because I chose a nondescript background from the patchwork fabric which did not detract from the pattern.

This can be a very subjective factor depending on who is making the judgement and for what purpose.

Would any of your ideas work better on a different type of fabric – for example, sheer, textured, heavyweight? Why?

I’m sure they would but would need to spend more time and effort on different types of fabric samples than those I have currently worked with. I am aware that there are other additives which can be added to the dyes and paints to improve the outcomes for non standard fabrics for example printing pastes, urea water etc.,

I do know that machine embroidery does work on  any number of different fabrics if a stabilising material is used. I am also keen to use other types of materials such as ‘Tyvek, plastic etc., with such garments that are the ‘flavour of the month’ in wearable art displays.

Do the marks and shapes seem well placed, too crowded or too far apart?

All the above. Again see the two larger samples on the 14/12/2011 Project Five Stage Four as better than some of the others. These both are reasonable in their placement but would need to be seen on even larger samples as well as part of a finished garment to be able to comment more specifically.

The left hand image in the posting for the 14/12/2011 Project Five Stage Three is far too congested which is as a result of the technique and method used to apply the paint. Further samples could resolve some of these problems however.

Were you aware of the negative shapes that were forming in between the positive shapes?

No not with any practical outcome. Having studied this aspect in earlier lessons I am aware of this factor but would need to go back and do some more analysis of my current samples.

In placing the block/prints in each position I was more intent on forming a positive regular pattern than the creation of negative spaces. I was simply allowing my mind’s eye to make sense of where they should be placed.

What elements are contrasting and what elements are harmonising in each sample? Is there a balance between the two that produces an interesting tension?

 Project Four: Developing design ideas –  The sample of a felled tree stump has a reality about it that I believe emanates from a combination of colour, shape and texture the three essential elements for a design.For me personally this sample is almost perfect in its elements of balance. See sketchbook for backup material to see the samples in context with the drawings/sketches. The sequencing and resolution by way of intermediate experiments in hand and machine stitching and on a variation of fabrics is tight and prescriptive.

Project Four: Stage One – As a compressed paper based sample the positivity is of a limiting nature. The weakness of the image needs to be rearranged in order to make the point that the energy comes from its strength of colour and variation of shape and form. The negativism is as a result of drawing on A4. paper rather say A3.

Project Four: Stage Two – The framing of selected portions of the source material  mask the unsuitable portions of the samples – those areas which I have conceded do not lend themselves to being developed into patterns. The segments that have been chosen emphasize the positive elements such as colour and texture.

Project Four: Stage Two – Exercise 1. – The sketches do not emphasize the luminosity of the colours in the source material. The sample made with chalk pastels overstates the colour red and understates the colour brilliant blue. The spatial characteristics in the third sketch emphasize colours but does not reflect the effervescent nature of the colours in the source material. The negative spaces do help to lift the narrative but only as a background to it and not in the form of a pattern.

Project Four: Stage Two – Exercise 3 –

The needle felting sample shows in its early stages of development that the coloured wools create a visual sensation of warmth and softness of texture. These are positives in that they became motivators to persevere with the process because I kept thinking that I was getting somewhere towards meeting the expectations of the experiment.

Project Four: Stage Two – Exercise 4. –

 The lead pencil drawing of the class room equipment is set against a backdrop of the surrounding walls which have been left blank in order to highlight and focus the viewer’s attention on the items in the foreground. The negative wall space is secondary and enhances the drawings perspective. Texture has been added by lead pencil. Colour would be an added feature in order to bring the drawing alive and more in keeping with what the eye is actually seeing.

The image of the tui brought to life by collage is not well-balanced physically as its chest seems out of shape. It really needs some background such as its natural habitat to create a more inclusive environment. The colours are near to actual and the torn scraps of paper give an impression of a feathery plumage.

The drawings of a foreign house at different times of the day/season has some merit in that the shadings and textures give a semblance of the shifting direction of the light/sun. A tentative beginning to observation as to just where the actual shadows are as the light changes and how these effects can be drawn with different markings.

How successful do you think your larger sample is?

Much better than my first efforts would suggest because there is some semblance of order, symmetry and a definite pattern in my larger samples. Yes it is simplistic but has a sense of proportion and will be a good basis to build on as I progress with this work and as I determine just where my primary skills and metier lies.

Reflective Comments: Assignment Two.

My complete energy has gone into correcting the misgivings of Assignment One and the presentation of my work for evaluation and reporting. I have still not effected the maximum requirements of composing a public blog and the features that are available for a perfect website (such as tags and paging). I have however improved the basic elements for up loading my Learning Log, Reflective Journal, Sketchbook, Research about other artists and exhibitions. Now it is simply a matter of the quality of the content and a balance between the practical exercises and data entry.

I still believe and am willing to continue to improve my communication with other students on the OCA website by way of the Forums. I feel for all new students who appear to struggle with the relationship between us all, their work and the perceived limited amount of time tutors have been allocated for these issues.

This assignment has been experimental and exploratory for me in that each project/exercise has presented its own challenges and opportunities providing a basis to build on in the future and in respect of running a small business. The setting up of backup systems for filing and retrieval have been essential and will be of inestimable value as students move through the three levels in order to achieve their goal of completing the modules and eventually – graduation. 

I have a sense that there has only been minimal progression in my sampling of printing and painting because I have concentrated on learning the technique rather than moving into full resolution of my design ideas. This movement is also mirrored in my work in my sketchbook and the selecting of resource material for designs so that my sampling needs to be based more on determining a practical application rather than vague and abstract outcomes. It is possible that in terms of thinking ‘creativity’ I need to place more emphasis on discernible images when creating samples.

I will now move on to Part 3 with trepidation and a feeling of exhilaration.

 

Part Two: Project Five – Stage Four

A larger sample:

There is a distinct difference between oil pastels and textile inks, possibly because of the oil ingredient. The images are my predetermined patterns evolved from selected designs and backed up by sketchbook work.The block printing has not been imposed on the overall pattern. The seagulls came from the inspiration of the backup work on wings, are in free flight and consummate the extra space around them to create the effect of open cognisance. The central motif anchors the design and pattern whereas the part wings on the boarders create a sensation of continuance. The design on the left is more compact suggesting substance and stability whereas the image on the right is random in nature and subservient to the overall pattermn.Both these images would have been better conveyed against a neutral background and again need to be viewed from a distance rather than close up.

 

 

Part Two: Project Five – Stage Three

Printing and painting on fabric:

All three fabrics have given varying experiences and outcomes obviously because the weave and fibre content is different for each fabric. The cotton lawn has a tighter weave and is of course very suitable for smocking and compact stitching. The textile ink did not give a clean impression which was possibly because of the use of nylon lace as a stencil. An application of ink by a sponge left a less than pleasing imprint however ink on top of ink suggested that the idea needs further exploration and could be visibly satisfying when using complimentary colours. The pattern on the lawn needs more negative space to accentuate the design.

The curtain material was a synthetic and a very open weave which resulted in more of the ink remained on the under plastic cover than on the surface of the fabric. This in itself would seem to have possibilities if the bottom surface could be utilised to demonstrated its own pattern.

The silk was smooth and accommodating for the textile ink and complemented the manufactured pattern in the fabric. It was simply a case of blending in with the pattern on the silk and in the open spaces. Shapes were an obvious inclusion as the silk pattern was floral in nature.

It was a case of trial and error to find out which of my ideas worked in practice. Sometimes the work looked better from a distance rather than up close where all the imperfections were noticeable.

 

Part Two: Project Five – Stage Two

Selecting design ideas:

The original design came from my sketchbook of an acrylic painting on calico of the growth rings on a tree stump. By taking a snap shot of the image I was able to experiment with the colours and theme of the rings so that eventually I came up with a three D representation by cutting around the rings and letting the result droop downwards in relief.

Once again this is evidence of working towards a selected design stage by stage so that the outcome is a resolution of the back up material.

Made up blocks of the observed designs from computer ‘mouse pads’.

The end to a frustrating day trying to resolve patterns and load up images. School holidays seem to slow the up and down load times because supposedly students are playing on their computers – so much for the speed of broadband. Glad I am not still on ‘dial-up’.

 Will make a fresh start tomorrow.

The method used was to identify a selected image for further resolution and design. The image was of a patterned piece which I dissected, played around with in my sketchbook, developed other blocks of colours and shapes emanating from the design, set them up in a patterned form and with the use of mirrors rearranged the sequence to form further patterns. From this research I then used other constructed blocks for printing and painting out various trial patterns. A very pleasing and fullfilling series of trials and samples. Other options just keep suggesting themselves.

 

Part Two: Project Five – Painting and Printing. Stage One

Reviewing Fabric:

I am spoilt for choice.

 

Part Two: Project Four – Experiments with printing and painting. Stage One – Preparation

Preparation:

 Ready – set – go……………………………………………………………………………………………………………

 

Learning Log – Part Two

www.bodkinz.co.nz

have been discussing with Penny (Director of Bodkinz) membership and boundaries between arts and crafts.

Have come to the conclusion that : Fibre or textile art

(a) elicits a WOW! response which then engages the viewer; prompts close inspection and thought about the expressive purpose/theme/idea conveyed by the work,

(b) shows originality of design,

(c) exhibits coherence of design, colour use and technique, as well as

(d) technical skill in execution

that : Craft

(a) has, as the main expressive purpose, the personal satisfaction of making something that elicits a WOW response but may not hold the viewer’s attention or prompt much thought

(b) adheres to proscribed designs (e.g. clones designs by tutors or is based on commercial patterns)

(c) often lacks thought concerning coherence of design, colour use and technique

(d) varies in quality of execution

and I quote Penny “a major difference between art and craft is the depth of the thinking process, from inspiration to design to choice of technique, selection of materials and problem solving in execution and the technical expertise; satisfaction in art includes the audience response.”

 

Part Two: Project Four – Experiments with printing and painting. Stage Two. Experimenting with techniques

Stage Two: Relief Printing

 The idea was Ok but the performance was abysmal. In order to have the relief printed on another surface  such as paper, ended up with more paint than it could handle by filling up the cracks, too thin and ended up very messy. Not enough thought went into the preparation. Next time I will be more cautious and be much clearer as to what I was trying to achieve.

Making images on the face of a potato when at primary school meant that I wanted to move on from block printing to something that I thought would be more expressive and creative – hence experimenting with the other option – relief printing. I did persevere however.

 Moving onto predefined templates where an image is cut from a cardboard square and stuck to another surface such as cardboard. The idea that by applying paint to the surface an imprint can be made on any other surface once or as many times as required and in as many positions as wanted. However I left the imprint on the base board too long and when I went to remove it, it was stuck and consequently had to be torn away ripping both the template and print a sunder. Never the less I can see that there are more possibilities arising from the ‘unhappy experiment’ next time don’t leave the print too long other wise the paint dries and…………………………. I can at least see some resemblance to the object I was trying to make a print out of.

 By hardening up the material used for the base board and for the relief, the outcome was more successful except that the spaces in between did not have enough paint and pressure to end up in the overall print. The varying heights of the bits and pieces stuck on the base board does affect the print. The flatter they are gives a greater surface to apply the paint and the more successful the outcome. The undulating surface is more applicable to moulding than block printing.

Stage Two: Block Printing

 Preparatory work for block printing involved making up a printing pad and selected cutouts.

The printing pad was a carpet off-cut with calico stapled to the surface and a computer mouse pad was used for the printing blocks. These were glued to thick cardboard and then to a block of wood. The shapes were more forthcoming than I had imagined for the reason that a simply drew a shape on the surface and cut it out with scissors. The balance of the shapes came from what was left of the computer pad. Separation of the shapes meant that I had a variation to choose from when printing them on to calico with acrylic paint. These are easy to make using recyclable materials and basic art and printmaking supplies, although I need to use a stronger all-purpose adhesive like ‘UHOO’ to apply the shapes and patterns as some pieces of textile fabric came off when the paints and inks were applied.

The following images were of a craft nature and provided an opportunity to explore and experience the outcome from block, relief and stencilling.The main emphasis was on the application of the process rather than focusing on the substance of the outcome – textile and fiber art. I have definitely had a change of mind set based on the idea/theme/expressive purpose as a consequence of talking to Penny of Bodkinz Ltd., (see Learning log – stage two.)

More work needs to be performed with changes to all the variables such as fabrics, art and fabric paints, textile and drawing inks. The images speak for them selves so that more samples will start to show better application and outcome with the various materials and mediums.

                                                                               To keep on keeping on with sampling each technique becomes so inquisitorial that I was held in suspense awaiting the outcome each time. Apart from the fluidity of the paint and the application by a small paint brush the incentive remains to continue the process by building on to each stage – time permitting. The urge to make good some form of resolution is incessant. Other ideas gradually evolve for example to elaborate in sketchbook mode and with either fibre of fabric. Patterns and shapes suggest themselves and just simply need working through.

Obviously transparent colours look much darker when wet than dry. Differences can also be noted between paper and fabric when wet and dry.

In the facial pattern the figures are tied together by the continuation of the diagonal lines formed by the hair piece and lower neck outline. The whole design has greater unity because the visual texture in the background adds more continuity. If the background had been a solid colour, the whole wouldn’t seem as unified. I like designs that confuse the viewer because the more equal the visual weight in the positive and negative figures if they evenly distributed then it is harder to tell which is which.

Stage Two: Hand Painting on Fabric:

 Changed over from calico to polyester lining and tried to apply textile ink to a lace template with the idea of the ink being transferred through on to the base fabric. Used a soft, long bristled and a hard, short bristled paint brush to apply the textile ink through the lace doily. Perhaps a roller would have been a better tool to use but my guess is that the polyester fabric was the problem in that it did not accept the ink being a synthetic thread. Next time perhaps a cotton fabric will be a better medium and recipient of the textile ink.

 The textile ink has not been diluted and applied as a thick paste. The surface area of the doily has soaked up much of the ink and allowed it to create marks on the fabric through the holes in the lace. Because the edges of the apertures in the lace doily are not sharp the image has appeared as blotchy but the design is reasonably apparent. Still needs some further testing and  variation of other types of fabric and textile inks. Definitely not as sharp as the image on a wooden block stamp – yet.