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.

 

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.”

 

Learning Log – Part Two

Part Two: Project Four –

Each morning on our local radio station the two d-j’s end up with ‘what I have learned today’

To day I have learned that:

Students let themselves down if they do not include a learning log with their assessment work which records their reflection on their work, and that

Students need to show judgement of their work by being selective and plum for ‘ones’ best work’  with efficient preparatory work for their final pieces, and that

Students who investigate, practice, try again, do re-work, look at the masters (artists) structure their assessment clearly, label each assignment outcome, present final work other than that work that was done last, look for guidelines and examples provided in the OCA handbook, reconciling the instructions in the course folders withe assessment guidelines can be assured that they will not feel let down when it comes to their assessment reports, and that

it is not necessary for Students to learn these things the hard way.

What have I achieved?

Did you mange to ‘make space move? The size and scale of the blacked blocks and lines affected the amount of movement as did the amount of space in between each object. The other apsect was related to moving the sheet of paper on which the objects were drawn – Yes is the short answer.

What are your thoughts about the drawings you did in Stage 3? At the time my thoughts were how can I choose, what criteria will I use? but eventually  – what a wealth of resource material I have that is so different. By taking time to look more closely I became convinced that there was some aspect of every drawing just waiting to be conceived.

Were you able to use your drawings successfully as a basis for further work? Yes and no. Yes where the patterns became obvious as pencil and paint brush hit the paper, no where I was not prepared to spend an exorbitant amount of time trying to construct patterns from abstract images.Are there any other things you would like to try? As yet undiscovered ways of progressing designs with computer software that will create stitches that can be embroidered on a sewing machine.

Now that……………………………………………………………………independantly?

Yes, realising also that there must be more creative ways just waiting to be discovered by researching literature and other master artists. This is just the beginning.

 

Learning Log: Part Two

Now that I have set up a ‘blog’ I want to get back up to speed and meet my time lines for this module. The blog still needs perfecting and I will put this into the list of medium term tasks for completion and review. My senses tell me that time wise I need to rebalance the productive work with the support work. More than likely this will be an ongoing process. I expect my tutor to confirm to me that my work is focused and meeting the ultimate goal of assessment.

As an aside the continual thumbing through the module notes without page numbers and major headings for parts, projects and stages is regrettable and OCA needs to address this question as it does its students web site. Compared to Julia Caprara and City and Guilds OCA needs to be a ware that they can improve these two areas so that it becomes less time-consuming for students and not a distraction from their studies.

Have sent off a second sketchbook/folio to tutor for the reasons 1. to test the exchange of work performed as a step towards assessment and 2. the success or otherwise of the red bag system involving overseas students. The guidelines in the support booklets are detailed and in the early stages of a students studies need frequent reading to help maintain one’s progress and to avoid going off track. I will review the booklet on keeping sketchbooks and learning logs, the assessment criteria for the visual arts at OCA as well as the guidelines for submission for formal assessment so that I am confident that with the tutors comments I am making satisfactory progress.

As in any professional occupation there needs to be a system of capture, recording and retrieval of directly related material and resources maintained in a manner that is easily accessed. My work area and all other supporting material is best kept as tidy as possible and in notated files appropriate to the type of resource. I need to make safe most of the experiments and samples undertaken during this module as I don’t have a filing clerk. I need to back up material on my computer and arrange shelving for my files.

What brought this on?

I have just read the booklet where it states that all communications between student and tutor including reports must be filed/recorded as part of the learning process. Every now and then I take the opportunity to read the blogs of other textile students, all are different which is understandable but ‘some appear to be way off beam’. This leaves me wondering if we as students have the same goal of ‘assessment, and if there is a moderation process of students work by tutors and/or moderators’.

 

Learning Log: Part Two

Were you able to mix and match colours accurately? I thought so until I was less able to be precise when comparing one with the other. Colours of a pure hue and saturation were more easily matched than those of a lesser or greater value. Mixing became an exercise in measuring quantities so that dry ingredients were more accurate than wet (oil, water, acrylic paints) ingredients.

Were you able to use colour expressively? Sure can, especially when the colours are of extreme juxtaposition. Because I have no fear or preconceived notion of what is right or wrong I use primary colours to vent my intentions rather than dull or less vibrant ones, such as black, brown and grey.

Can you see colour rather than accepting what you think you see? My first reaction is to make sense of what I am looking at and only then start to think about what colours am I actually seeing. Once I have asked myself what are the colours that are bringing the image or object to life I then move on to make sense of why a particular colour is creating that sensation. This approach then has its conclusion in ‘what I think I see’.

Did you prefer working with watercolours or gouache paints? Both because they are a new experience for me and I sense that the more involved I get by using them and achieving a result that is satisfactory to my eye and brain then I will become more discerning as to which ones I prefer. My guess is that I will enjoy working with both because learning about their qualities I will then use each one according to how best I can achieve a satisfactory outcome/painting. First up the difference for me was that gouache paints left a stronger colour than watercolours because of the process of dilution with water. Thinking about this difference though I could concede that once I have moved on that this difference would be relative. Meaning that there will be different techniques which may achieve the same outcome with both water-colour and gouache paints.  Having searched for differences I find that Gouache can be opaque as well as transparent whilst watercolours can only work as ‘transparent’. Apparently some artists find watercolours harder to control and gouache paints easier to rework a picture/painting.

How successful were  the colour exercises in Stage Five? How did they compare to the painting exercises? Very amateurish.Successful in that I completed the exercise but being hyper critical of my efforts I was hoping for a better visual outcome having allowed myself to become conditioned by the work of professional artists such as Carol Naylor and others. For me the choice of my favourite colours made possible the revelation that the changes that occur are obvious when seeing the effect of the background colour and the other colours in close proximity. I was also successful from the point of view of being in control of my sewing machine which is generally viewed as being that of the female domain. I was also successful in that I achieved  a reasonable result with the paint brush by following instructions, reading widely and adapting to how I judged my efforts when appraising my own work. I thought my rendering of the fruit bowl and azaleas in watercolour paints looked pretty good for someone who is more used to working with pen and pencil and that was as an accountant not as an artist.

Is there anything you would like to change or develop? Definitely the number of hours in a day and the quality of my images. This creative approach is all new for me, so that anything I can learn and develop further will be a challenge and hopefully help me achieve new horizons and extend my capacities. In short making good my learning log, sketchbook and work for assessment as progress towards the awarding of a degree. Otherwise long arm quilting, freehand embroidery stitching, cut work and needle felting.

 

Learning Log – Part Two

 Am responding to tutors comment in relation to Colour matching and Colour Drawing on the basis that the Key Word is ‘Analysis’.

Have reached a point where I need to get back on with the module having spent more time than I wanted to on setting up a blog:- https://acreativeapproachtotextiles.wordpress.com independent of the OCA students website, I will perform an optional exercise so that I can be sure that I am consolidating the learning involved by working on some more samples of colour recognition. Knowing that assessment requires a discipline both in preparation and presentation drives me on to play the game by the rules, which hopefully will to my benefit in the long run.

Two issues that I need to focus on are: 1. an optional exercise and 2. sketchbooks.

1. The most obvious place to obtain inspiration at the moment is in the garden where the spring flowers and other natives are flourishing and coming into bloom.

The rich colours found in the azalea bushes are awash with variations of colour that cry out for analysing and for encryption by pencil and paint. 

I had thought that I had accomplished a better than average degree of analysis when studying City and Guilds and Julia Caprara design, draw and paint but am now finding some floors in my thinking. I have photographed a number of budding flowers with the intention of reading the colours and reproducing them with pencil and aquarelle coloured pencils.The first photo is an excellent sample of myriads of shadings of white and red with what appears to be a black and blue background.

The first lesson learned was that the printer was on a ‘reduced ink setting’ so that the colour in the printout was not the same as seen by the naked eye. I proceeded with the exercise on the basis that I was painting the colours that I was seeing rather than what my brain was telling me they should be in real life.

Penciling in the outline of the petals was adequate and about where they should be but when applying what I thought was the colour of the background (blue/black) to highlight the petals it was streaky and looked washed out. Applying a wet paint brush to the paint is supposed to bring the colours to life as in reality  – back to the drawing board.

The quality of the paper has a bearing on how wet it can be before the surface rubs and destructs. The underlying surface on which the drawing paper is resting also affects how the corrugations in that surface come through as in frottage or rubbing. These lines and markings create textures in the paint which can be positive and/or negative. Using a sharpened pencil with a pointed lead/colour does not work when making dots for pointillism as does a blunt one. The marks tend to be elongated. When brushing with a wet paint brush it does soften the colour being applied. Definition can be lost and a dry coloured pencil does need to be used to create definition. And I thought reproducing the colours in a  painting would be easy. This sample needs more of the shiny white to show the petals and stamen of the flowers.

 

 

 

 

 

  

I realise now that these photo’s are of the full image of each flower. What I think I should have been doing was to take a segment of each image and blow it up so that the detail was more accessible and then reproduce that segment and the colours in that portion.

Am left with some questions as to the suitability of aquarelle coloured pencils – I have not been successful in blending and merging the colours. Wet on wet left me with shades that did not appear to be the colours that I was working to achieve. Waiting until each colour dried before applying  the next layer of shade becomes a further possibility.

My tutor has suggested ‘throwing a handful of pot pourri’ out on a sheet of paper and try to reproduce the colours from a covering viewing frame.

As for no., 2 Sketchbooks I will address this question under the sketchbook heading.

 

Learning Log: Part Two

Impressionist artists:

One of the artists that the term has been derived from was Claude Monet and in particular his painting entitled ‘Impression, soleil levant’.

In my own personal view another more modern piece of textile stitching in the Impressionist style can be seen at: www.ginaferrari.blogspot.com

 For me this is a classic example of what I will be trying to achieve ‘drawing to stitch’. Gina sees herself more in keeping with Matisse than Monet. I consider them to be ‘two of  kind’. Even though this is the back of the piece of work there can be no disputing that visually there is a hint of coloured illusion in her image.

As for looking up the paintings by the French Impressionists and not having the benefit of seeing the originals but on a computer screen, it is not possible to see for example the brush markings whether they be dots as in pointillism or strokes as in Monet – will have to look closely at the originals in an art gallery or exhibition – but possibly not in New Zealand although there will be examples of New Zealand artists originals using the same or similar techniques.

It would seem that the outcome will be determined by my mind’s eye and the pleasure I derive from seeing the colour in a photo/image being observed. Compare Rothko’s dense layering to Seurat’s brush strokes and there are major differences – I know which paintings I prefer, but reading the art historians revues and different opinions these techniques will become obvious as they do from the artists narratives of the works they are presenting.

 

Learning Log: Part Two.

COLOUR:

The amount of information on colour, I find, is difficult to quantify.

What I am looking for initially is a few basic principles that I can understand and build on as I move through the exercises in Project Three.

I would like to think that these principles will help me in the selection of the colours in any medium I decide to work on and at best predict and control the outcomes.

To date God has not struck me down as a result of my choices in any of my previous work.

 

Learning Log: Part Two.

PART TWO:

I now have a sense of how my tutor must have felt trying to co-ordinate my images on the OCA students website with my Learning Log in a separate and independent set of folders. Having persevered with the intricacies of setting up a public blog I now have to locate which weeks files of narrative apply to which set of images. I had a satisfying sense of relief when the blog site at least looked like something I was trying to design.(Not as great a sense of relief though when the All Blacks beat France in the World cup). Reworking Block one and two will have new learning points so I must hede my tutors suggestions:

“it is important that in future there are reflective evaluative notes alongside the work you are doing – not simply labels”