Part Three: Project Six – Stage Four.

Raised & Structured Surface Textures:

 These two photos are of my work in progress from Stage three namely the piecing of denim patches and my experiments with tyvek, both of which I hope to take further.

Two ideas came to mind when reading through Stage Four, those of embellishing the sample piece from Stage Three and/or creating a more resolved project based on my pencil drawing of a block wall with the waterfall pouring down from an aquifer onto a rock starfish and two pedestals.

Will now re-read the notes and firm up how I intend to proceed with a raised and structured surface. Immediately I read that I am to choose a drawing from stage two hence the pen & ink drawing as above. Dam I had some really good ideas for the Denim patchwork top – perhaps I should have sketched them into my working notebooks – next time – aye. Having re-read the notes I must now follow the set instructions before going off on a tangent. Well at least any reader can see my thinking ahead and what is going on in and around my mind so back to the tasks in hand. Really miss the ‘bouncing off of ideas on other students and tutor’.

01/02/2012

Folding, Gathering, Pleating & Tucking.

Sample one also was created by trapunto twin needle quilting and a sliver of quilting wool threaded in between the two rows of stitching.

02/02/2012

Raised shapes created with stuffing and batting. Bu sing a pre-designed fabric it is possible to add a piece of muslin on the back and sew around the features on the piece of fabric so that the stitching is continuous. By making a small hole in the muslin behind the shape (flower) it is possible to insert stuffing – sufficient to give the shape a 3D raised impression. Simply by adding batting in between the top and the backing fabric – depending on the weight and depth – the topping can also be raised and quilted creating either a preset or freehand design to the surface area. The excitement of seeing one’s ideas come to fruition is more specific to controlled designs than abstract ideas at the moment – but I will push on testing and stretching my imagination.

In my mind quilting is a means of embellishing a ‘fabric sandwich’ with decorative stitching as well as simply holding three layers of material namely fabric and batting together. The geometric designs which I make up on graph paper are the most satisfying. Being of my own conception and seeing the finished product is extremely satisfying. Quilting can be by hand or by machine. I take great pleasure in quilting clients quilts on my own Longarm Quilting machine. As far as hand quilting goes trapunto is a special technique more applicable to twin needling and inserting quilting wool between the two lines of stitching.

The degree of difficulty between decorative quilting and abstract fabric manipulation is extreme and what is pleasant and regulated to the naked idea can also relate to creative and abstract work. I still have this urge to create something abstract that I like not necessarily that any one else likes.

Moulded and contrived shapes can also be over a cardboard template. The stitching is gathered and is held firmly in a defined shape. A very common object technique is that of the Suffolk pom poms. This technique lends itself to thicker fabrics such as polar fleece.

Slash and Fray.

Sample 9. Five different layers of fabric consisting of net, cotton, polar fleece and sheer polyester. Sewn from one side to the other in vertical lines of unequal width. Washed in a washing machine and distressed.

Sample 10. Five layers of polar fleece fabric sewn vertically and then cut through the top four layers and washed in a washing machine. Both samples did not fray up to any great extent. Will have to now try different fabrics such as hessian which has a more open weave. Might even try a woollen garment. chenille is also supposed to wash up and fray out.

Sample 11. A resolved piece of personal work showing the effect of fabric tucks sewn into a background fabric and finished off with a border. This is an example of a piece of work undertaken alongside my studies but not written up in detailed notes. The design and instructions came from a retail kit off the internet.

 

Part Three: Project Six – Stage Three.

Applied Fabric Techniques:

 Having chosen the photo resource for the purpose of producing samples I used the ‘Parson Bird’  image which started out as a painting/collage/photo in my sketchbook.

By cutting out template patterns in coloured paper I was able to build up a collage by layering each one upon the other in a predetermined order to create a picture of the native bird. There was a sense of being at the ‘craft’ end off the ‘art/craft’ pendulum, but a greater sense of have achieved something more decorative than some of the abstract work. Each medium has its own ‘for and against’. The fusing  and blending of colours was made difficult because the coloured papers were only one colour when in actual fact the fabrics today especially “batik’ which are multicoloured and merge more successfully than mono tones. Apart from ending up with one colour when dying fabric it is more than possible to have a fusion of colours from which to choose from various dye blends.

The process of interpreting the modules narrative meant that creating samples became an endless and ongoing process which lead to much satisfaction and the sense that what I was achieving was helping me to understand such techniques as ‘Applique’.

Each sample did not have a set plan of action and design as such. The applique technique suggested the manner in which the sample stitching were put together. Coloured paper was a case of cutting out shapes and choosing colours to build up an image in the style of the craft of paper tole.

Stitching was simply a process of selecting the appropriate stitch and fixing an image to a piece of base fabric. Embellishing the image was again a process of looking in the appropriate colour and material plastic envelope and making a considered decision as to what colour, shape, texture, type of fabric and image was in one’s mind. As samples the exercise did not have any specific resolved outcome other than testing ones ability to put various pieces together and record the process and add ones reflections accordingly.

25/01/2012

Moving backwards and forwards, in and out of my sketchbook and blog are still creating some uncertainty in my thinking. I need to meet the requirement of keeping working notebooks to record my progress. The following photos are all about the work I have been undertaking in the past few days.Presenting my work in a logical order backed up by my blog is my goal.

29/01/2012

The first two photos are indicative of the resource image that I have chosen to work with for this exercise and the component parts retrieved by way of observation – hence the charcoal sketch and the block sample, cut up into strips and reformed to illustrate what I was seeing in the rotting boards on the front of the building. By painting a piece of foam in the relevant colours  meant that a very structured outcome was achieved by rearranging the pieces in a vertical formation – with the exception of some smaller strips. So that I was better able to understand the decaying portions of the timber I burnt out crevasses on a piece of foam with a soldering iron and the applied acrylic paint in the darker hues. It is so easy to become consumed with the experiments  – time just flies with the excitement of seeing the fruits of ones work.

The next two photos represent the result of printing out the ink applied to the block in a non descript fashion but with the idea of again representing the up-right stance of the timber except for where some panels had fallen across the vertical lines. This I thought was somewhat more successful than the last time I tried working with a printing block. I have a sense that I am doubling up by working in a sketchbook and also loading the images on to my blog but I am determined to meet my tutors requests for ‘keeping working notebooks’ and to ensure that if the assessors have the time to read my blog they will get a clear sense of my working processes. Having said that I now am having trouble getting the narrative alongside the ‘photo step’ I am talking about. I need to spend some more time improving the layout of my blog so that it makes sense when compared with my working notebooks.

The last twelve photos show the procedure I have used when working with the waste fabric from the cut off hems of denim and worsted jeans. Laying the remnants out on the table I sprayed them with bleach in order to have some of their basic colour removed and/or stained. Rather than paint them I chose to create distressed fibres by running them up against an emery wheel.

There are two A3 sheets of strips of fabric for my sketchbook and also for highlighting the fibres and textures of each different piece of fabric. Whilst able to identify the construction of each sample I was not prepared to include any further techniques of destruction of the fibres in order to limit the number of variables and to move the process of resolution on in the time allotted for this stage of the project.

I purposely separated out the thick hems from the strips of fabric leaving small fragments for later construction and embellishment of the pieced patches. There are photos of the samples pieced, thick hems joined with an heirloom stitch and machine free-motion stitching over water-soluble material. I had in mind the addition of these test pieces to the base layer of the pieced segments of fabric. My initial thoughts were to make a 2D piece to work with and embellish. Shades of piecing patchwork fabric except that when joining the final four strips I used a variation of stitches including zig zag, button and blanket stitch. The long length was cut into four quarters before rejoining in one long strip.

It also occurred to me that if I was to send this work away it would be larger than the red bag and much heavier than the 2KG limit so I decided to reduce the number of samples and experiments on the basis that I have recorded my work in my sketchbook and working notebooks. This way I could be judged on the process from the photos and sketchbook work sheets – hopefully. I was keen to move on to the 3D stage of this project.

 

Part Three: Project Six – Stage Two.

Developing Ideas:

Having back tracked a number of times previously to my mixed media experiments as a resource I have chosen to build a couple of story boards of photographs that had been filed away for future reference when ever that would eventuate – now is the time to bring them out into the day light. I am using them as my sketchbook images, dated them and will progress the suggestions in stage two with the idea that they will be adequate as inspiration even though they are in 2D form. Here in lies the challenge. I am sure it will work and the memories recalled will be many as I bring them into a more sensitive environment on paper using multiple senses and who knows they may even become stitching samples from my hand sketches.

11/01/2012

Thinking about these photo’s I have started to question whether or not they are appropriate in that the sheen/gloss of each photo seems to be detracting from any form of visualisation. I intend to use a series of different shaped frames so that I can separate out and highlight various segments for greater concentration of colour, shapes and textures. I am not sure how or whether I am going to be able to enlarge the chosen segments on my home printer. I am thinking that perhaps if I copy a portion and then physically enlarge it by using a series of vertical and horizontal lines in grid fashion. Increase the width between each line and then reproduce the A4 size up and onto an A3 page. I ended up going to a commercial photo copy centre to get the selected images enlarged. proceeded to cut up the copies and reorganise the shapes looking for as the exercise suggests contrast in shape etc., Placed them on another piece of A3 paper which I then photocopied in grey-scale to get a better impression. Stuck both these A4 sheets side by side on an A3 sheet so that I could play around with various colour combinations.

Have just re-read stage two – developing ideas on p-135 (my numbering) of part two, project six and already I have gone off on a tangent. Now how do I make use of the time spent already and without spending an inordinate amount of time in narrative form rather the visual?

Well first my images are on an A3 sheet so I will assume that I can apply the same suggestions to them as a whole resource – sketching will need to be part of the process – in one of the work notebooks. Each sheet has its own similar subject matter. One is of shacks or buildings of general interest, identified by their almost identical shapes, the other has a number of vertical images with patterns and shapes peculiar to each but similar in essence, as would be any specific theme – pyramidal .

Now to focus on paragraph two then. ‘You could enlarge…………………………………………………………………’ So energy sapping but so invasive in the need to concentrate and persist with sketching the perceived markings. It draws me in so that time just passes so quickly. BUT it is becoming messy so I need to put it aside for the moment. Taking each object I have endeavoured to reproduce them inclusively – as a total sketch rather than as individual shapes or forms. I have the sense that I am trying to make a specific picture out of the objects rather than letting them become extensions of themselves.

My reason for moving sideways is to avoid buying into my ‘be perfect’ driver. So I’ll move on to the second photo board and concentrate on shapes and colour by tracing the images of the buildings and rearranging them in some form of a pattern. Then cut out, reorganise and glue the negative shapes to a tube, apply some paint/ink and try transferring the pattern to either paper or fabric.

The first tracing was too regular and objectified. Using the same spacing as the photo’s are on sheet two, make the negative spaces excessively large and non descript.

 The second tracing was more random. The shapes were more variable and lent themselves to manipulation and placement. Cut out and glued to a tubular roller suggested that inking and applying paint would contribute to a number of possible copies for cutting and reorganising.

12/01/2012

Re-read notes for yesterday and need to go back and retrace my steps as I made some suggestions and have not followed up on them.

13/01/2012

Rearranged my work space into one area for table top exercises and reduce time taken to move between studio and class room.

14/01/2012

I wonder what will happen if I try adding colour to a photocopy of a gray-scale rendering of the cutouts. The white background appears to dominate the A3 image so a neutral colour like blue may soften the background shapes and highlight any pattern. Well at least water colours can be dispersed so that the change of colour tones start to blend in with each other but water plays hell on poor quality photocopy paper, rubbing up the surface if the brush strokes are too strong against the surface of the paper.

Now try highlighting some of the repetitive shapes forming a pattern but change to another type of paint such as a Markel oil paint stick.

Yuk – using a colour to blend in with the background such as purple, covered the surface but did not cover the underlying gray-scale in this case more a black than a grey toning. The result meant that the three shapes in the pattern were a different shade of purple when in actual fact I meant them to be all the same so that they stood out. This will also be probably true of any other shape that is in grey scale. The base tone will affect the colour being applied to it.

This exercise seemed to end up being a case of seeing just what kind of paint would cover the underlying grey’s. The blocks of colour were as per the cutout shapes using gouache paints. The image is there but as for any sense of visual pleasure I’m not sure I can make that claim. Rather than a disjointed series of objects it may pay me to go back and work on more formalised and recognisable shapes and patterns.

By looking away and then back at the painting I could make myself believe that the three shapes that are the same lead the eye down to the violet at the bottom centre. This toning then takes the eye up the left hand side to the grey colour and then automatically jumps across to the green and down again. So there is some sense of flow when making an effort to look into the picture. There is a coolness which I can accept about the colours but I am disappointed as to where I have ‘arrived at’. I was thinking of running off more photo copies of the grey scale sheet and trying other colours but have come to the conclusion that I will end up with a similar result. I need to change my focus at the moment until I can convince my self of how I will unblock my thinking.

14/01/2012

Stopped off on way home to the Aigantighe Art Centre. See write-up under exhibitions/galleries.

15/01/2012

Have digressed to thumbing through Drawn to Stitch by Gwen Hedley for some inspiration and ideas on how to progress from yesterdays efforts. I am thinking that a variation to the last colouring of the A3 design may be to close the shapes up by taking away much of the background. The resulting image then becomes more compact. Another alternative would be to re sketch the last design by using a collage of painted papers and work the surface in say coloured pencils, felt tip pens, pastels or soft B pencils.The aim being to see if I can see a more pleasing image even though it is of an abstract nature.

A third alternative would be to carry on with the next stage (3) after selecting a neutral background fabric such as hessian, linen or muslin stiffened with vilene. Stitch fabric samples to suitcase labels.

16/01/2012

Another idea would be to colour a sheet of vliesofix with water-colour paint, let it dry so that when it shrunk it created a wrinkled texture that could be used as a distressed base on top of a sheet of A3 paper. Another idea would be to enlarge another segment of the chosen resources so that some of the detail became more obvious and able to be sketched rather than simply base the experiments on shape and colour only.

Pin the drawings up…………………………………………………

Matching up fabric groupings by simply laying them on or around the blocks of colour on the drawings. Choosing as near as possible the colours in each drawing realising that my collection is not complete or entirely the exact colour. Approximation is the key word with the idea of getting the colours to blend and the design to look something like the original. Must try to get some semblance of order by making up collages of each sample that relates to the drawings by taking pieces of each fabric and stitch them to say – suitcase labels.

17/01/2012

When all else fails keep trying. No! my collages do not match my drawings but then I do not expect them to be a complete replication. For example I have not concentrated on reproducing specific details like the rusted boards on the houses in the photographs nor the shimmering waters of the waterfall. This will be more of a fabric piecing operation in the next stage hopefully. Take for example the above sample – the fabric has been stitched to core board by a stippling stitch and using the forward and reverse stitching function. Trying to reproduce the exact colours, shapes and textures was just not possible because as the fabric was being stitched the presser foot was manipulating the outcome creating fissures, tucks and pleats so that there was more of a 3D appearance in some segments.

Perhaps I could reflect on the mood of the piece. Whereas I was annoyed it changed to being aggressive until I accepted that the machine was in control and not me. All I had to do was keep, working on the sample so that there more pleasing parts to it than disappointments. Time became the essence of the exercise so I satisfied my self with the view that the relationship between me and my work was exploratory and a developing one.

One great satisfaction was that I did not ‘glue’ or ‘staple’ my samples to their background. My tutor will really be pleased.

 

Part Three: Project Six – Stage One.

Manipulating Fabric:

These definitely require being sorted through and into the same colour groups. There are more samples than necessary so I will need some system to work to and be organised.

To really get a feel for fabrics they need to be experienced either in pencil or coloured pencil for a start. The hollows and folds are inconspicuous until the eye separates them out from the surface of each fabric.

Pencil sketches enable me to see and draw the textures as the eye sees them. More times than not they depend on one’s understanding of and interpretation of what I am seeing and the ability to use as many different marks as possible to record them on paper. Colour and shapes have been drawn with water-colour pencils so that the application of water to the marks adds another dimension altogether.

I have dated these as required and drawn them in my sketch book prior to moving on to stage two. The more interesting aspect of these drawings was that I used the side of a B pencil more so than I have done before because this way it seemed that the textures were easy to convey.

 

Part Three: Research point.

http://www.worldofwearableart.com/category/image-galleries/winners/2011-winners

I can only be envious of the tremendous opportunity offered to students of the textile and fibre genre and regret that I was not involved from its beginnings as the first festival of its kind in 1987 in Nelson in the South Island of New Zealand. Firstly because it has now moved to a larger venue in the North Island and is recognised as a worthy international embassador for our country. The above URL highlights the winners for the most recent show in 2011.

http://www.worldofwearableart.com/files/siteimages/2011_profile-web.pdf

The above URL has all the background data to this great national festival.

For me it includes the integration of every facet of my current interests – art (textiles/fibre), design, music, movement and drama. I have been fortunate to see this genre evolving in our tertiary schools, not realising the potential and interest that was being conceived. The teaching of home economics (food and clothing) was in decline as new technology’s were being advanced by the ministry of education. The curriculum was moving from sewing and cooking to designing and the enhancement of soft and hard materials. Terms such as needlework and woodwork were of the past and textiles and wearable art was emerging –  a more comprehensive approach so it was said. But there was also another side to this marketing explosion – that of solo mothers and fathers not having these essential skills in one parent families. This is also true of two parent families – I believe.

In the current industry of clothing alterations the sewing on of a button is foreign to many families. One economics teacher tells the story of how a year nine pupil entering tertiary education for the first time did not know what was meant by having to peel an onion.

Because of the interest and entertainment level of this fast grow festival many technology departments in schools are riding the wave for reasons best known to themselves, but, also because of the great hype surrounding these festivals which are driven by sponsors and promoters possibly for personal and economic gains. Get on the band wagon – I say – for the benefit of textile and fibre artists and their works.

This festival is said to be the most creative event on the international design, fashion and costume calendar and is being viewed as ‘going off shore’ at some time very soon.It is on my list of “Must see/do”. I am also mindful of the Research point in assignment one ‘try to visit at least one exhibition of contemporary textiles and one historical or ethnographical exhibition collection in a museum or stately home. This will require me to travel to a metropolitan city in New Zealand or alternatively harass our local arts community  into setting up an exhibition in Timaru. Perhaps I could get involved?

 Being a retailer of dress and patchwork fabrics I have the luxury of having access to and knowledge of the materials and yarns in the photographs – on site. Basic fabrics such as homespun, muslin and cotton are a steady and popular stock item whereas fashion fabrics are at the whim and fancy of the consumer. Rather than stock every sample in the travellers stock book  we endeavour to have sole rights to specific lines rather than try to sell the same fabric stocked by other fabric retailers. This way the consumer knows that they will not walk down the main street and be one of many wearing the same fabric. The patchwork & quilting public are not loyal to their towns retailers unless the products are discounted or on sale. The P & Q  fraternity buy outside of their own town when they are on bus trips or holidays. This we know from asking the customers where they are from and most say they are tourists or from out-of-town. The current economic climate is such that we are selling 25 fat quarters for $50 being $2 each – and they are still not moving.

Craft-based textiles maintain a place in our New Zealand society because in the case of the Maori population they believe they are ‘the people of the land’ and their crafts have been handed down from one generation to another. Their polynesian ancestors were already raranga experts when they first arrived in Aotearoa. Because the plants that were the basis of basket and mat weaving in tropical lands did not grow as well in the cooler climates they were forced to search for alternative materials. Harekeke or flax was native to New Zealand and proved to be a satisfactory alternative. Kete continue to be made and are used by all New Zealanders and have become something of an NZ icon.

A strong and concentrated effort is currently going on to meet the terms of the Treaty of Waitangi signed in 1840. As a consequence ‘learning nests’ referred to as Kohanga Reo have been set up to teach and continue the ancient crafts of the Maori hence the reason and background to why there is a resurgence in craft-produced textiles such as Korowai  Maori Cloaks and other ornaments. See:

Http://www.maori-arts.com/weaving/weavelink.htm

Two craftsmen  one a leading sculptor and the other a self taught artist, both New Zealanders have a current exhibition at our local gallery which I viewed just recently.

Llew Summers told us that his primary focus has been on figurative works and is celebratory of the human form, affirming the beauty of the human body. Following a formative and revelatory overseas trip he has developed a use of religious symbolism becoming preoccupied with winged forms; most often, but not exclusively, attached to the human body. “What’s important to me is to get a balance between the physical and the spiritual in life.We are given a body and a soul – works must have a soul, rather than being merely clever or smart”.

His sculptures ranged from large-scale to more intimate pieces. His large outdoor sculpture ‘Tranquility’ sits outside our local town library. The smaller scale version of her was in the exhibition. The public were allowed to place their hands on the statue which normally is a no-no with exhibition items.

Colin Higgins also was a participant in the gallery with pieces that did not paint a pretty picture. He said “that was not their purpose or intent, rather they raise questions for us all to consider.I am hoping that my visual interpretations of the topics will be a catalyst which triggers the viewer’s conscience and that discussions will lead to a better outcome for the future. I paint in the hope that whatever emotion it takes you to I will get a response when sharing my ideas.”

He has mastered the medium of acrylic painting and each painting has a topic about a current issue that he believes must be addressed by every New Zealand for example the desecration of our land and waterways.

 

Part Three: Assignment Three.

Creating Shapes and three-dimensional shapes:

To date starting each new assignment has as its focus the tutors report from the previous assignment and their pointers for the next one.

Having crystallised the main action points in my learning log of the 01/01/2012 I now await my tutors confirmation so that I know we are both on the same wave length. One of the problems for me at the moment is when to stop exploring and start moving on to a resolved piece with a specific focus.

I have read through and will progress through the assignments notes in order of their suggestions.

I generally start the week off with the weekly bulletin from OCA www.weareoca.com as well as reviewing and revising my timetable for each weeks work. This week OCA has set the scene by writing up an article on Fran Clark’s Blog entitling it as an “Exceptional” example of how students can write-up their Learning Log/Blog. I thought I was on track untill I read through her narrative/journal/diary.

Other specific articles on this extremely important aspect are:

(A): The Tortoise and the Cake. 30th November 2011  http://www.weareoca.com/uncategorised/the-tortoise-and-the-cake/ (1) Make a quick sketch of the chosen resource, (2) Paper Collage can be a form of drawing, (3) Record colours and shapes as blobs of paint as well as describing what you see. By doing initial studies reactions and feelings are anchored down early on. Written notes help with this process. Isolate what it is and why you love aspects of the chosen resource. This will help me to have a point of view which can be carried through in my work.

(B): How to tempt Pat into a bodice. 14th November 2011 http://www.weareoca.com/textiles/how-to-tempt-pat-into-a-bodice

Being resident in New Zealand it is not possible to attend student days such as planned by OCA,(‘a lacy midlands study day) however we do have an amazing annual festival called the ‘World of Wearable Arts’ which I will comment on in my Research entry in this blog/log.

 

Because I will be thinking about the presentation of my work over the next few months I have re-read a resource book loaned to me by Jo Dixey who is an English lady now resident in NZ and who trained with the Royal College of needlework. The book is entitled “Designing Worksheets – Presentation techniques for students” by Jan Messant. Not quite the manner of presentation of work that is being advocated by my tutor however.

 

Part Three: Introduction

Creating shapes and three-dimensional forms.

 What better way to start the New Year and this section than with some hand stitching and piecing samples.

 

 

My pride and joy from the day’s of City & Guilds was my final wall Teddy Bear wall hanging and King sized bed quilt.

 

 

 

 

 

 

Just arrived on my desk is Julia Caprara’s book “Exploring Colour”. A sentimental purchase as Julia and her husband were the inspiration behind OPUS and the The Julia Caprara Textile School of Arts. I wish I had had this resource when I was working on assignment two, it is said that ‘wonderful examples of Julia’s colourful stitching will inspire readers to develop their own personal colour language”. As my tutor has suggested I need to increase my colour vocabulary.