Experimenting with Structure Stage 2 Exercise 1

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Using one of my monoprint scrap images, I experimented with an open weave picture.

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Closed weave using pink and cream card.

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Paper weaving with cream and pink card. This differs from the one
above due to the thicker and thinner weave, but in a different configuration.

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Silver shiny card woven with matt purple paper. The contrasting papers show depth within the weave.

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Handmade paper previously made and dyed was used to weave a more open weave. It gave an uneven weave and a textured surface.

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Previously painted picture deconstructed and then woven showing patterns within.

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Weave showing a plastic bag and a bin bag. The roughness of the bin bag shows texture.

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Weave using gift wrap and plain paper. This is particularly interesting as could use a fragmented photograph printed onto plain fabric

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Magazine and plain paper weave

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Weave using a newspaper. This could be definitely used again combining images to make new ideas.

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Both of these materials, plastic against the hessian strap wove together, but could not hold its structure as the strap was coated with a plastic finish.

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A previously made colour wash was deconstructed and woven with a fast food carton.

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An onion sack was woven with gold leather. The weave in this enabled variations in shapes of weave.

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Gold leather strips were woven with blue leather.

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Sequin waste was used with household lamp wires.  A useful reference for a repeat pattern.

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Research Point

Research Point

Caroline Herbert-Carter 512924 – Assignment 4 Choose 2 International textile artists whose work you find particularly inspiring?

Finding inspiration from International artists that are interesting was difficult, due to the vast collection of textiles across the world. The majority did not relate to the direction I wish to pursue. Two artists that emerged from this research were Toshiko Haruichi MacAdam and Annmieke Mein (http://www.annemiekemein.net.au/)

I like the work of Toshiko which is very organic and structured, relating to the theme of my work ‘the microscopic world’. However the colours used are too bright, and not right for what I want to produce.
toshiko

Annemieke’s design shows softer colours and the way machine embroidery is used gives dimension and is preferred.
annemiekeOne idea generated is using soluble fabric sculptures or a wall hanging heavily stitched, with raised hanging organic shapes.

Categorizing these artists, is not simple, having subtle differences between them.
Annemieke
Fine artist            craftsperson      illustrator             designer/maker             designer

Toshiko
‘architect’            Craftsperson      ‘sculptor’             designer/maker               designer

What category does each ‘artist’ belong. An artist is a fine arts practitioner who creates paintings or sculptures but could be considered designers. As except for commissioned work they decide what to paint.

“Every human being is a designer…. Many also earn their living by design- in every field that warrants pause and careful consideration between the conceiving of an action, a fashioning of the means to carry it out, and an estimation of its effects.”
NORMAN POTTER From, “What is a Designer: Education and Practice”
http://mysite.pratt.edu/~jwenner/thesis/Wennerstrom_Thesis_2.pdf

Whilst this is true, designers need to be critical of other peoples work, creating positivity out of negativity to pursue goals and generate new designs or ideas. Therefore problem solving is essential to discuss, understand, and interpret the needs and wants of the customers and the purpose intended.

Traditional artists and craftsmen use inherited methods, usually handmade or requires repairing, occasionally adapted to produce modern interpretation of original idea. This is where the designmaker comes in, shown by Toshiko Macadam. Artists, designers and design makers tend to follow trends,  are creative, able to draw, with a good attention to detail. All have craft backgrounds with a general understanding of techniques.

Research is important for an initial idea however the craftsman has to understand the techniques to produce authentic work. Generally, all of these overlap somewhat.   I would consider that all of these different ‘artists’ could teach each other different ideas, whether the actual product or design.

Annemieke a traditional artist uses light and shade combined with colour combinations give the impression of watercolours or impressionistic oils, almost devoid of colour. This ‘absence’ draws you to the heavily stitched surface, showing depth, light and colour, magnifying the realism of the work. The stitch work used is black or sepia similar to fine penmanship, whether hand or machine embroidery.

The work is very distinctive using various techniques, from sculpting, padding, stuffing, embroidery and hand sewing. So the question is she a craftswoman, designer or artist, well actually there is a crossover, creating working designs and layout, colour palettes and materials whilst using traditional techniques.

Annmieke could also be described as a ‘sculptor’.  In 1984, her work ‘Barnacles’ caused controversy as appeared to look like a woman’s labia and seen as a ‘feminist statement,’ which was not the intention said, It is interesting for me to realize that no shape in nature is entirely novel; so many forms are repeated constantly, others only rarely.”

In comparison, Japanese artist, Toshiko uses traditional methods such as knitting, crocheting and knotwork, traditionally a female handicraft or craftwork, initially working with Vinylon (a cheaper alternative) but prefers Nylon. The structure is an important consideration in the planning of this type of work and needed careful consultation with structural engineers. Again, there is a crossover, between crafts and designer maker.

Toshiko explains that ‘When I am using my hands, my brain focuses, the image becomes clearer, technical solutions come to mind’. All are handmade by Toshiko and bespoke, here the title designer blurs as designers get someone else to produce their designs.

Toshiko questioned herself and wanted to know ‘What does it mean to apply ‘surface’ design to textiles? At its most basic, what is a ‘textile’?’ this is where Gaudi’s inspiration took form. Toshiko’s work could also come under the category of architecture, however, not in the traditional sense.

One of her early pieces was Fibre Columns / Romanesque Church completed in 3 weeks was inspired by Antonio Gaudi, whose work used gravitational forces using weights to calculate designs. Gaudi’s design ideas came from the fluidity of water and the organic shapes within nature. Which is where Toshiko realizes the correlation of physics and textiles? Gaudi’s design were influential and is shown in the weighted balls on elongated designs, which show strength and structure and are more architectural than ‘art’.

church_L_1[1]
http://www.metalocus.es/en/blog/toshiko-horiuchi

la-sagrada-familia-fronthttps://thetravelingtimes.wordpress.com/2012/09/16/barcelona-returning-to-la-sagrada-familia/
http://architecture.about.com/od/greatbuildings/ig/Antoni-Gaud-/Sagrada-Familia-.htmhttp://www.newworldencyclopedia.org/entry/Antoni_Gaudi

Like Gaudi’s most famous building, the Sacrada Familia, Toshiko’s brightly coloured installations are a source of awe for people. The only difference is that it is created for children.

Toshiko thoughts on why the pieces were created were overshadowed by
What do I value in life?

  1. Who am I?
  2. Why do I create these works?
  3. Why do I pour so much energy into my work

When reading this, it made me question what I would like to produce.

Toshiko’s organic structures evoke a dreamlike world, which is calming and as an adult quite envious of the playgrounds created. It generates energy and is true to what she believes her motive to create such structures.

This idea is shown in later work. For example, When asked about architecture, her response was that her interest was ‘Most of my artwork involves architectural ideas or references. I am interested in how form is created through tension and the force of gravity including the weight of the material itself and textile structures. It is the intersection of art and science – like geometry – which we observe in nature.  But I don’t think of myself as an architect.’

The shapes created fits in with my theme of the microscopic work as I prefer the rounded shapes as they ‘flow’ as opposed to harsh angular lines. Having researched this I now need to adapt my original thinking. I had never considered working on a big scale, so maybe this may be the direction I need.

Being dissatisfied with what she was producing, began to look at the reasons behind this. Whilst exhibiting a piece a 3d openwork piece, children climbed into her sculpture and a realization of why she had created the textiles was the connection between it and people.

Her research began in play areas in Tokyo and found few places children could enjoy and explore. She likened her creation as a ‘womb’ where the natural movement and materials would enhance the experience for children making them feel safe and to play freely.

Toshiko’s motivation was that this challenging environment would be something the children would remember, into adulthood and be inspired to create something for themselves. However, the installations have limited shelf life deteriorating over time, just like life. And that was her connection to her work.

Toshiko’s structures use traditional crochet stitches, traditionally a female handicraft, which could be considered craftwork, transformed into huge installations, are then considered fine art. The design process comes from using her hands and the ideas are transferred to the piece produced.

So there is a fine line here between craftsperson and designer maker.

Annemieke uses her artistic discipline of painting, first thought of as fine art but almost breaks into illustration on fabric with depictions of wildlife. Annmieke uses talents for crafts within her work, whether, stumpwork, padding or quilting. So what could she be classed as craftsperson, designer, artist, designer maker! This is difficult, as they all of cross over and blur the edges. So the answer is not so clear cut.

Textiles are not viewed well within the establishment. However, my feeling is that if we draw from the past and understand how things were made and the importance of this, then the potential for innovative products can stem out of this. Toshiko has done just that. A simple technique is used creating something not only incredibly beautiful and complex, but useful.

Annemieke has used the simplicity of what we see around creating stunning pictures in her work. She has used embroidery to create complex work, with techniques more in keeping with a craftsperson. So whatever ‘category’ they are classed in, cannot be defined conclusively.

How do you view textile art?
Initially when posed with this question, my view wasn’t particular one way or another. However, I became interested in how textile art is constructed and materials used? In addition I was intrigued how colour enhances the techniques used and is so different to the flat surfaces of traditional paintings and lacks tactile qualities. My reservations were how useful these textiles were. But having looked at the trends I have reconsidered my opinion.

After discovering Toshiko Haruichi, my interest in other aspects of art has been heightened. As the saying goes ‘beauty is in the eye of the beholder’, this can be said loosely of art.

Her work is fascinating however; I dislike the contemporary art of the unmade bed by Tracey Emin. Whilst appreciating it was the idea that was accepted by the art world as people related to it. I don’t consider this art as textiles have to be created with skill and creativity.

Textile art has been a big part of my life, creating clothing and costumes for my children. I like the uncertainty of what direction it would take me, pushing the imagination where nothing seems to be wrong, whereas a portrait has to be perfect.

In my opinion, textiles have a lot to offer the fine art establishment, and is now being recognized as to its importance?

‘Fanfare for fabric as two major London galleries put textiles in the spotlight’
http://www.independent.co.uk/arts-entertainment/art/news/fanfare-for-fabric-as-two-major-london-galleries-put-textiles-in-the-spotlight-9804281.html\
‘Finally, the poor relation of the creative world is getting recognition it deserves’

The Tate Modern housed an exhibition of textiles. The curator of the museum Magnus af Petersens said ‘we can see that many galleries are showing artists who have worked with textiles’. He went on to say that there is a realization of the complexity of the work undertaken.

How far do you feel it has been accepted as a medium for fi­ne art by the fi­ne art establishment?

Craft historically was not accepted by the art establishment. During the Da Vinci era, apprentices were taught a craft from an accomplished master, which could take many years.

Artists were paid per square inch and called skilled artisans, but lack of recognition caused the sculptors and artists to rebel rising to acclaim due to a book called, ‘the lives of the most excellent painters.’

Craftsmen produced functional, repetitive items and were considered inferior to artists who produced beautiful things. The status of craftsmen was diminished and gained the title of artisans, rather than artists as the work produced was considered minor or decorative arts and not so highly valued. Which in my opinion was wrong, as these skills were just as important, if not more so. Carpenters and builders for example would build houses to live in, showing the importance of ‘simple’ skills, and is demonstrated in the resurgence of traditional skills.

In many parts of the world, there is no distinction between art and craft, it is just cultural art. Whether decorative or utility, it is just accepted. It is classed as primitive as it has remained traditional, throughout the generations, suggesting that they could not be innovative. Personally I think this is a narrow minded. Someone would have had to create this in the first place, and adapted throughout the generations however slight. Especially with materials that need to be used and what are available possibly due to environmental issues.

For example, Nordic textile artists remain true to traditional values and crafts. Through the work produced the feeling is they can convey stories from the past for generations to come. This link to the past has somewhat been lost in the Western world until recently when importance of traditional crafts, that are being lost are being revived. Shown around the world with government incentives to encourage the craft based heritage.

There is a certain snobbery within the fine art world. Paintings and sculptures remain the elitist of the arts. Whilst textile art is resigned to the title of design and craft.

http://issuu.com/jessbunyan/docs/essay_final/1
http://www.craftscouncil.org.uk/articles/fashion-fabrics-and-fine-art
Another consideration, why crafts are devalued, is that they represent domesticity and considered woman’s work, which is not the case. However there are much more men practicing traditional crafts. Today, textiles remain mostly as minor ‘arts’. But there is a move to preserve traditional crafts learning from them. Many contemporary artists are using the craft based techniques to create innovative new ideas.

Textile artists and fine art artists, definitely have a divide, reflecting in the price that someone is willing to pay. Fine art paintings can fetch a lot of money. Tracey Emins bed was sold by Charles Saatchi for £2.2 Million! Another consideration, when collecting textiles, is that they deteriorate over time, which may well put people off the initial purchase.

Prejudices against textile art still exist, but may be due to lack of historic evidence showing the value of the work that can be produced.

Examples of prejudices within the art world.
http://www.aestheticamagazine.com/jerwood-contemporary-makers

For fifty years there has been slow progress within textile art. During the 1960s and 1970s there was movement of fiber artists, who tried to bring craft and art together as one, which was viewed with strict opposition. There is no reason other than this to suggest that textiles are just not accepted, because they don’t conform to what the art ‘establishment’ deem it to be. For example, Cezanne who was a fine art painter was shunned by the art world for being different.

For ideas to formulate, theory and practice is needed to demonstrate
‘New art emerges on the ruins of old culture’
http://www.academia.edu/5395262/The_Movements_of_Enviromental_fiber_Art_and_Three-Dimensional_Sculptural_Textiles

This statement reinforces change of attitudes which are beginning to emerge in the art world as shown in London recently.

The initial question asked to research 2 international artists, and found that although their work is very different in techniques, the basic principles are the same. This sounds contradictory but shows the crossover between craftsmen, designers and design makers.

Both artists produce work that is people orientated and is indicated in the desire to help children to ‘grow’ and make people aware of our environment. Annemieke quotes ‘through my textiles, whether sculptures, wall works or wearable, I hope to make people more aware of our native species while expressing my love and concern for our native environment’.

Through this research, I have thought about why I want to create something and how it makes me feel.

The research undertaken was particularly useful, discovering unknown textiles artist and new techniques. It was discovered that the fine art established still has an aversion to the textiles genre but that they are slowly accepting that it is a medium that is here to stay and evolve which is shown in the success of acceptance of textiles within London galleries, usually resigned to small galleries and other outlets.

I felt that i got a bit carried away with the research, as there was always an interesting fact to pull from the artists work. The artists chosen have intrigued me, to the point that i may do some work on a bigger scale than I would have ever done.

Having always enjoyed research this was an exciting part of the course. New techniques learnt, to learn and a vast world of textiles to explore.

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Introduction

Furnishings around the house

Looking around the house at different textiles, I was surprised to see the various weaves. This was something that I hadnt really noticed before. One of the cushions had a thicker close ‘knit’ fabric, smooth in texture and has a pattern almost like herringbone.

The curtain material is cotton with a crisscross weave, again this is a tight weave. The fireside rug has a thicker warp. It is coarse and hardwearing. I would it is hemp, however not too sure. The pile is very thick and close.

One of my dresses is silk. I can see no obvious weave. It has a soft surface and strong qualities. One of my skirts showed an obvious weave, as it was raised and slightly open. It was almost like little squares.

All of these showed variations in construction and has made me appreciate how it was made. It also shows the quality of a piece of material.

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Analysing Colour Texture and Proportion

Picture of the drawing i did by Klimt plus windings and colour combinations

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I chose Klimts painting The Virgin for the colours primarily, however the shapes were also interesting as there are numerous swirls under the microscope, so keeps in with my theme. When I was looking for a picture to analyse I found a picture within a picture and decided to draw as the colour combination was quite beautiful. I did a wool sample to see how I could match up to the original.

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A further colour match was done. By using different mediums it showed a variety in colour tones and shades.
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A further experiment was done, with collage and colouring. I feel the bottom part of it was the best part of the image. The top part didn’t work possibly due to the arrangement on the page.

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A second picture by Klimt was drawn as the picture and a colour swatch done. I feel I accurately matched the colour in the drawing. I further adapted the shapes within the picture, producing some interesting shapes.

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Referencing – books and websites

hans baldung grien. (1889). witches. Available: http://www.luther2017.de/en/22693/witch-hunts-%E2%80%93-what-are-myths-what-are-historical-truths. Last accessed 4/8/14.

unknown. (unknown). Pagan Community Notes. Available: http://wildhunt.org/tag/britains-wicca-man. Last accessed 12/8/14.

The night gallery. (unknown). Wicked Witch of the west. Available: http://thenightgallery.deviantart.com/art/Wicked-Witch-of-The-West-342802088. Last accessed 20/8/14.

unknown.  (various). Part 11: The Witches of Salem: Theories and Speculations. Available: http://www.unmuseum.org/salemwitch2.htm. Last accessed 20/7/14.

https://www.youtube.com/watch?v=m1u-JEvGhOQ

http://charlottesometimes.co.uk/2014/07/manipulating-fabric/

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Collette Wolff (2003). The art of manipulating fabric.  Krause Publications.

Margaret Beal (2013) New Ideas in Fusing Fabric. Anova Books

Maggie Grey (2006) Raising the Surface with Machine Embroidery Batsford Ltd

Maggie Grey (2006) Stitch, Dissolve, Distress with Machine Embroidery

Linda Clements (2011) The Quilters Bible David and Charles (256)

Katharine Guerrier (2001) The encyclopaedia of Quilting and Patchwork Techniques Search Press Ltd

Abigail Mill Applique Art:freemand embroidered pictures (2014) Search Press

https://www.youtube.com/watch?v=cda8GmvUYwE

https://www.youtube.com/watch?v=Yn4yKIMmPAc

http://www.bhutantravelpackage.com/artandcraft.php

http://www.festival.si.edu/2014/cultural-sustainability-and-traditional-crafts-in-bhutan/

http://www.vietnambreakingnews.com/2015/03/dao-xa-trade-village-preserving-handmade-traditional-craft/

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Anon n.d. 100% SILK scarf, Hand painted Butterflies in Blue tones, stunning unique and useful, perfect gift. Etsy. [Online]. [Accessed 19 May 2016g]. Available from: https://www.etsy.com/listing/160953145/100-silk-scarf-hand-painted-butterflies?utm_source=OpenGraph&utm_medium=PageTools&utm_campaign=Share.

Anon n.d. A Lackadaisical Lexicon for Laggard Logophiles, LEPIDOPTEROPHILIA [noun] a love for butterflies…. [Accessed 19 May 2016j]. Available from: http://victoriousvocabulary.tumblr.com/post/123913418391/lepidopterophilia-noun-a-love-for-butterflies.

Anon n.d. Amazing Golden Cocoon Butterfly – The Meta Picture. [Accessed 19 May 2016l]. Available from: http://themetapicture.com/amazing-golden-cocoon-butterfly/.

Anon n.d. Antique Yard Long Chromolitho Print: 1903 by SusabellaBrownstein. [Accessed 19 May 2016r]. Available from:

https://www.etsy.com/uk/listing/44149196/antique-yard-long-chromolitho-print-1903?ref=related-1.

Anon n.d. Art Gallery: Salvador Dali Paintings. [Accessed 19 May 2016u]. Available from: http://my-photogalore.blogspot.com/2008/12/salvador-dali-paintings_9853.html.

Anon n.d. Bergsma Gallery Press :: Paintings :: New Images 2016 :: Love Is A Beautiful Thing – Prints. [Accessed 19 May 2016aa]. Available from: http://www.bergsma.com/love-is-a-beautiful-thing-prints-c-392-p-1-pr-4626.html.

Anon n.d. Blanka Matragi Cocktail – Bo Mariage – beau mariage, wedding dress, chignons, bridal bouquet, decoration, ceremony, reception venue. [Accessed 19 May 2016ab]. Available from: https://sites.google.com/site/bomariageblog/wedding-fashion/evening-dress/blanka-matragi.

Anon n.d. Book Of Life: Beautiful Butterflies Burst From This Stunning Book. [Accessed 19 May 2016ac]. Available from: http://www.bitrebels.com/design/book-of-life-beautiful-butterflies-burst-from-this-stunning-book/.

Anon n.d. Butterfly Art. Original Painting on silk. Purple by Allaras. [Accessed 19 May 2016ad]. Available from: https://www.etsy.com/listing/273340314/butterfly-art-original-painting-on-silk?ref=related-0.

Anon 2016b. ca which design brief. Textiles at Gumley. [Online]. [Accessed 22 February 2016]. Available from: http://textilesatgumley.weebly.com/ca-which-design-brief.html.

Anon n.d. CHANEL. [Accessed 19 May 2016ah]. Available from: http://indulgy.com/post/Ig46GttKq1/chanel.

Anon n.d. Chele Belle’s Lair: Gateway to the Lepidopteran id. [Accessed 19 May 2016ak]. Available from: http://chelebelleslair.tumblr.com/?og=1.

Anon n.d. Comtesse du Chocolat. [Accessed 19 May 2016al]. Available from: http://comtesse-du-chocolat.tumblr.com/post/46262605314/source-weheartitcom.

Anon n.d. d8d026ace58a281cabe60938d643ff99.jpg (261×193). [Accessed 8 May 2016an]. Available from: https://s-media-cache-ak0.pinimg.com/originals/d8/d0/26/d8d026ace58a281cabe60938d643ff99.jpg.

Anon n.d. Delightfully Manic. Delightfully Manic. [Online]. [Accessed 19 May 2016ar]. Available from: http://lalulutres.tumblr.com/post/62510772384.

Anon n.d. Eclectic Jewelry and Fashion: Roberto Capucci: Fashion Artistry. [Accessed 19 May 2016as]. Available from: http://eclecticjewelryandfashion.blogspot.co.uk/2011/02/roberto-capucci-fashion-artistry.html.

Anon n.d. Fabric sculpture -Large cross’s wave moth textile art. Etsy. [Online]. [Accessed 19 May 2016bb]. Available from: https://www.etsy.com/listing/167032804/fabric-sculpture-large-crosss-wave-moth?utm_source=OpenGraph&utm_medium=PageTools&utm_campaign=Share.

Anon n.d. fairy dress. [Accessed 19 May 2016bc]. Available from: http://indulgy.com/post/EtoAiolTI1/fairy-dress.

Anon 2016c. fernando vicente maps – Google Search. [Accessed 17 March 2016]. Available from: https://www.google.co.uk/search?q=embroidery+artists&espv=2&biw=1366&bih=667&site=webhp&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjUwo2Z2MjLAhUEMhoKHS2qBdoQ_AUIBigB&dpr=1#tbm=isch&q=fernando+vicente+maps&imgrc=_.

Anon n.d. fibrearts: Eliza’s Embroidery. All of the Making. [Online]. [Accessed 8 April 2016bi]. Available from: http://allofthemaking.tumblr.com/post/126881766621/fibrearts-elizas-embroidery.

Anon n.d. fleur – Cake by kelvin chua – CakesDecor. [Accessed 19 May 2016bk]. Available from: http://cakesdecor.com/cakes/25530.

Anon n.d. Greg ‘Craola’ Simkins – Artist Interview – WOW x WOW. [Accessed 19 May 2016by]. Available from: http://wowxwow.com/artist-interview/greg-craola-simkins-ai.

Anon n.d. Hippie Orthodox. Hippie Orthodox. [Online]. [Accessed 19 May 2016bz]. Available from: http://hippieorthodox.tumblr.com/post/51288438694.

Anon n.d. http://www.gipsydharma.com/collections/all.

Anon n.d. interesting buttonholes technique. Available from: http://pgarya.blogspot.co.uk/2014/02/buttonhole-twist.html.

Anon n.d. Items similar to Soft sculpture moth. Unique textile art. on Etsy. [Accessed 8 May 2016ec]. Available from: https://www.etsy.com/listing/108836009/soft-sculpture-moth-unique-textile-art?ref=v1_other_2.

Anon n.d. Juxtapoz Magazine – Isabelle Dalle’s Digital Anatomical Portraits. [Accessed 19 May 2016ef]. Available from: http://www.juxtapoz.com/news/isabelle-dalles-digital-anatomical-portraits?utm_source=McFetridge+Issue+Outside+Lands&utm_campaign=Jux+Eblast+Aug1+Sep+Issue+Outside+Lands&utm_medium=email.

 

Anon n.d. Lily butterfly lotus blossom waterlily fairy art by strangeling. [Accessed 19 May 2016en]. Available from: https://www.etsy.com/listing/114945839/lily-butterfly-lotus-blossom-waterlily.

Anon n.d. Margot Leandro. [Accessed 19 May 2016er]. Available from: https://www.facebook.com/margot.leandro.

Anon n.d. Matylda / Butterfly chandelier mobile on imgfave. [Accessed 19 May 2016eu]. Available from: http://imgfave.com/view/1530428.

Anon n.d. Ongezien gezien: Bambi – de Filmkrant net-versie van november 2003, nr 249. [Accessed 19 May 2016fb]. Available from: http://www.filmkrant.nl/av/org/filmkran/archief/fk249/ongezien.html.

Anon n.d. the owl hooteth — geisterseher: Bibliothèque nationale de France,… [Accessed 19 May 2016fd]. Available from: http://theowlhooteth.tumblr.com/post/65907444629/geisterseher-biblioth%C3%A8que-nationale-de-france.

Anon n.d. Paintings by Tomasz Setowski | Art and Design. [Accessed 8 May 2016fi]. Available from: http://www.cuded.com/2011/03/paintings-by-tomasz-setowski/.

Anon n.d. Picture This by Molly Bang. [Accessed 12 May 2016fo]. Available from: http://www.mollybang.com/Pages/picture.html.

Anon 2015aj. Picture This: How Pictures Work. Library Mice. [Online]. [Accessed 12 May 2016]. Available from: http://librarymice.com/picture-this-how-pictures-work/.

Anon n.d. Prettie Sweet (kcyang688: :)). [Accessed 19 May 2016fu]. Available from: http://fancitaste.tumblr.com/post/92938901520/kcyang688.

Anon n.d. Purple Butterflies by Christina Meeusen. Fine Art America. [Online]. [Accessed 19 May 2016fv]. Available from: http://fineartamerica.com/featured/purple-butterflies-christina-meeusen.html.

Anon n.d. Spectacular and Beautiful Examples of Butterfly Photography. [Accessed 19 May 2016fz]. Available from: http://www.designzzz.com/spectacular-and-beautiful-examples-of-butterfly-photography/.

Anon n.d. Surrealist Fairy Tale Illustrations by Nicoletta Ceccoli « Illustration « Mayhem & Muse. [Accessed 19 May 2016gd]. Available from: https://mayhemandmuse.com/surrealist-fairy-tale-illustrations-by-nicoletta-ceccoli/.

Anon n.d. thelordismylightandmysalvation: Cecropia Silkmoth. My Colorful World. [Online]. [Accessed 19 May 2016gl]. Available from: http://diggers-colorful-world.tumblr.com/post/126753667365/thelordismylightandmysalvation-cecropia-silkmoth.

Anon n.d. Top 50 Best Butterfly Tattoo Designs And Ideas | Tattoos Me. [Accessed 10 May 2016gq]. Available from: http://tattoosme.com/butterfly-tattoos/.

Anon n.d. Trendy Traveler. [Accessed 19 May 2016gr]. Available from: http://trendytraveler.tumblr.com/post/5750750267.

Anon n.d. Unavailable Listing on Etsy. Etsy. [Online]. [Accessed 19 May 2016gt]. Available from: https://www.etsy.com/listing/214541823/daisy-butterfly-3-9×12-inch-acrylic?utm_source=OpenGraph&utm_medium=PageTools&utm_campaign=Share.

Anon n.d. (Valentina Ramos diary 2013 illustration …). wasbella102. [Online]. [Accessed 19 May 2016gw]. Available from: http://wasbella102.tumblr.com/post/118449506829/valentina-ramos-diary-2013-illustration.

Anon n.d. Vases – Carol Long Pottery. [Accessed 19 May 2016gx]. Available from: http://www.carollongpottery.com/vases.html.

 

Anon 2014. what a combo: fashionable metallic butterfly knight armor & latex protection ; ) (by Cayatena Designs). Wefollowpics.com. [Online]. [Accessed 19 May 2016]. Available from: http://wefollowpics.com/what-a-combo-fashionable-metallicbutterfly-knight-armor-by-cayatenadesigns/.

Anon n.d. Whispers on the Wind. [Accessed 19 May 2016hd]. Available from: http://whimsicalepiphany.tumblr.com/?og=1.

Anon n.d. White Butterfly Tea Dress : Lady Vintage. [Accessed 19 May 2016he]. Available from: http://ladyvlondon.com/Beautiful-White-Butterfly-Tea-Dress/#.Vz4hpZErLIV.

Anon n.d. Woman’s Sleeveless Jacket with Butterflies | 45.125.15 | Work of Art | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art. The Met’s Heilbrunn Timeline of Art History. [Online]. [Accessed 19 May 2016hi]. Available from: http://www.metmuseum.org/toah/works-of-art/45.125.15/.

Anon n.d. wor (huggywitch). Pinterest. [Online]. [Accessed 8 May 2016hj]. Available from: https://www.pinterest.com/huggywitch/.

Anon n.d. Елена Кузьмичёва – by Elena Kuzmichiova. [Accessed 1 April 2016ib]. Available from: http://indulgy.com/post/KkW81KjhA3/by-elena-kuzmichiova.

Anon n.d. Подборка красивых спинок платьев с подиумов. Вторая улица. [Online]. [Accessed 19 March 2016ic]. Available from: http://secondstreet.ru/blog/dekor_spiny/podborka-krasivyh-spinok-platev-s-podiumov.html.

Anon n.d. [Accessed 7 April 2016id]. Available from: http://www.ocerint.org/socioint15_epublication/papers/197.pdf.

Anon n.d. [Accessed 7 April 2016ie]. Available from: http://www.ocerint.org/socioint15_epublication/papers/197.pdf.

Anon n.d. Available from: http://wc.rootsweb.ancestry.com/cgi-bin/igm.cgi?op=GET&db=ltweed&id=I2057.

Anon n.d. Available from: http://www.inspirationgreen.com/thread-inspiration.html?start=20.

Anon n.d. Available from: http://wc.rootsweb.ancestry.com/cgi-bin/igm.cgi?op=GET&db=ltweed&id=I2057.

Boxes, M. n.d. magic boxes: Magic Box – Mica Butterflies. [Accessed 19 May 2016]. Available from: http://magic-boxes.blogspot.com/2010/11/magic-box-mica-butterflies.html.

Brekhus, R. 2015b. Library Guides: Zotero: Adding Items<br> to Zotero. [Accessed 28 September 2015]. Available from: http://libraryguides.missouri.edu/c.php?g=27928&p=172240.

Imgur n.d. Imgur: The most awesome images on the Internet. Imgur. [Online]. [Accessed 19 May 2016]. Available from: http://imgur.com/AabDK2t.

Mangan, J. and Hix,  as told to L. n.d. Hidden Gems: Lost Hollywood Jewelry Trove Uncovered in Burbank Warehouse. Collectors Weekly. [Online]. [Accessed 11 October 2015]. Available from: http://www.collectorsweekly.com/articles/lost-hollywood-jewelry-trove-uncovered/.

M, B.L. n.d. Lily’s Tangles: ‘Renaissance’ Butterfly. [Accessed 19 May 2016]. Available from: http://zenlilymoon.blogspot.com/2014/03/renaissance-butterfly.html.

Morse, G. n.d. LibGuides: Zotero Support: Archiving a web page. [Accessed 28 September 2015]. Available from: http://libguides.northwestern.edu/c.php?g=114874&p=749215.

Rena 2015. Incredible Surreal Paintings by Vladimir Kush. Learning Mind. [Online]. [Accessed 19 May 2016]. Available from: http://www.learning-mind.com/incredible-surreal-paintings-by-vladimir-kush/.

http://www.bibliopolis.com n.d. BUTTERFLY BABIES by GEORGE BUTLER. Aleph-Bet Books. [Online]. [Accessed 19 May 2016]. Available from: http://www.alephbet.com/pages/books/35038/george-butler/butterfly-babies.

Монетка_Счастья n.d. сказочная эльфийка. Обсуждение на LiveInternet – Российский Сервис Онлайн-Дневников. [Accessed 19 May 2016a]. Available from: http://www.liveinternet.ru/users/2321150/post65969895/.

 

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Project 7 A THEME BOOK

This has been a hard decision, as initially, I wanted to explore witchcraft, as I have always had an interest in. However, in the last assignment, the options were limited, so taking witchcraft as inspiration and the reasons behind the use of mushrooms in this religion. Having explored different types, I was drawn to the microscopic spores, but this was again limited. This made me explore the microscopic world, which opened a whole new concept for me. I am amazed by the shapes, colours and total diversity of this unseen kingdom.

Having studied genetics and biochemistry, the microscopic world had been a source of awe having looked at the structure of viruses, which despite being virtually invisible, can be so deadly.

Although I haven’t narrowed the theme to a single item, I feel that ‘life’ seen under the microscope will have the best inspiration that I could have wished for. The only constraint is that I wont be able to draw from primary sources. however with the diverse ‘world’ that is hidden, there are vast possibilities for unusual designs.

I have a number of ideas for future projects using various shapes drawn from Diatoms. Which have amazing structures. But again this may narrow my options if I was just to rely on this due to the source material.

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Assignment 3 -learning log

Fashion today is influenced by the past, and draws from both traditional and contemporary designs. During Elizabethan times fabric was not readily available and reused to make new clothes and invariably new designs, where designers reinvent the ‘wheel’.

 

Historic fabric design is used extensively for upholstery in interior design e.g.

 

Modern interpretations of Elizabethan fabric

http://www.spoonflower.com/collections/20669

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Goldwork swirl embroidery print

organic cotton sateen $27

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Mock blackwork

Combed cotton $17.50

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Elizabeth I phoenix portrait fabric- black/gold – with pearls

Printed fabric that mimics goldwork.

 

Traditional stitches haven’t changed much over the years. Contemporary artists adapt the techniques to develop innovative designs. (Used historically for different reasons, goldwork symbolised wealth and power, whitework used for weddings etc.)

 

Designer, Lynn Skordal uses loose threads in her textiles.

 

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Sarah Walton another artist uses minimalistic machine stitch.

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Fashion Trends

Vogue fashion trends now are inspired by the feminine power dressing of the 50s.

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This season the emphasis is on grey or ivory fashion, replacing traditional black. Split skirts that finish just under the knee. Sharp Tailoring makes a comeback, with mannish boxy cuts using finer fabrics, Denim or teamed with hippie influences.

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Military uniforms and the outer white coats remain fashionable.

London fashion week showcased new zingy pastels in soft blue and greys. Many are impractical, and are redesigned for the high street.

Here in Worcester gloves were produced, but the factories have all gone now with the increases in modern technology.

I collect lace items, with varying techniques, designs and ages E.g. lace making or tatting, similar to crochet, but with tiny knots and loops showing diversity by the people who created them.

REFLECTIVE COMMENTARY

Overall I was happy with the shapes and movement in my work with both manipulating fabric and appliqué, with surprising results

eg cutting back, created depth. However, colour choice would be a consideration for future designs, as some pieces did not work’.

Manipulating the fabric gave a 3D impression not achieved with stitch alone and quicker to achieve.  It was interesting experimenting with the folds of the fabric, not quite knowing whether it would work or not.

This altered the ‘feel’ and look of the original drawings and changed conceptual ideas. Having a reference was useful gave a basis to work from. Ideas were changed a few times, before deciding which technique ‘fitted’ the work. It was liberating to enjoy the freedom to experiment rather than the rigidity of formal art, for example portrait painting.

I enjoy working with stitch and how it can change by altering the direction, colour, hand or machine work (which is my favourite way to ‘paint’). Trapping fabrics produced amazing effects and would definitely use again.

Tyvek was not inspirational, but would not discount its usefulness. Soluble fabric was unpredictable producing an idea for a future project, a corset. Changing the direction of the pleating gave a different quality to the piece and changed previously held opinions of the construction of it and therefore appreciating the work involved.

Tearing, fraying and slashing felt wrong to do, however the results were interesting. Having never attempted quilting before, found this was by far one of the best techniques achieved, one definitely to explore.

 

 

 

Posted in ASSIGNMENT 1 -Drawing, Mark-making and Stitches, ASSIGNMENT 3 - Creating Shapes and 3 Dimensional Forms | Leave a comment

Creating Shapes and 3 Dimensional Forms – 2nd Research point

WHY CRAFT PRODUCED TEXTILES MAINTAIN A PLACE IN OUR SOCIETY?

Cultural heritage is increasingly being recognised in today’s society.

UNESCO (http://www.academia.edu/403826/The_Importance_of_the_Intangible_Cultural_Heritage) promotes the value of learning and keeping alive traditions. Understanding cultural diversity enables cultural awareness of identity of a particular race of people and the way in which they interpret their own historic methods.

Its not just about crafts, it’s also about oral traditions, whether music stories or artefacts. Even performing arts costume and design plays a big part. In years gone by these crafts were used to mark stages in a persons life (e.g. samplers) where birthdays, weddings and marriages were depicted.

 

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Or even historical events are marked (Bayeux tapestry).

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http://www.vam.ac.uk/content/articles/s/samplers-and-childhood/

Nature also plays a big part in the development of these crafts, materials for constructing, plants for dyes, and colours for painting.

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http://www.rehahnphotographer.com/blog/indigo-dye-vietnam/

 

Fabric dyes are taken from nature throughout the ages. The Hmong people of Vietnam use dyes taken from the Indigo plant. The blue colour doesn’t appear until the leaves have been fermented where the mushed leaves produce a blue powder.

Globalisation is blamed for the threat to traditional crafts. However, medical organisations, still regard plant useful for new medicines. Many of the woods of the world are disappearing to make way for ‘progression’. However this has a detrimental effect on the raw materials needed for local craftsmen. Also people are moving from small villages to bigger cities for better pay and a better life, with the loss of community spirit. However drawing on these skills could help the craftsmen or women to promote further development and self-worth to provide for their families

Craftsmen rarely earn a massive wage, but enjoy creating the pieces they make and therefore maintain living traditions. However saying that, in the UK where skills have been lost, there are few craftsmen that retain traditional methods and can command their own price for the skill to produce traditional art. A lot of artefacts also need craftsmen that know their trade to achieve the best results in restoring historic work.

It has always been considered that artefacts should be preserved but there is increasing awareness of maintaining the crafts and educating people within their own communities to preserve their own communities to preserve their very on heritage. Many skilled craftsmen struggle to compete with mass production. This has an impact on small businesses that are trying to compete with the mass production of goods.

One of the key factors to teaching people the importance of maintaining the crafts produced is the sense of well being of the community and the development that could be achieved, whether learning a skill or monetary value.

Governments from around the world are now recognising the basic requirement for saving craft techniques and making them ‘living’ history.

In the Middle East a framework called the Cultural Heritage Development has been set up. Morocco for example has many examples of living cultural history as a matter of course. This can be for own needs or for trade. This may be due to the underdevelopment of the society as opposed to the west. Life with fewer trappings, as it was in history. It is our link back to the past.

 

Another place is Vietnam. (www.asiaseed.org/wec/weca/workshop.html)

 

E.g. Vietnam generates employment using handicrafts for over 2017 villages. Traditional methods are used and have been for over 100 years, like locally resourced materials like bamboo and rattan. This equates to 24% of the employment gained through traditional crafts. Many women predominantly are involved in the fabric business whether weaving or embroidery.

Employment figures

E.g.     fabric weaving          136000

Embroidery    129000

IMG_5242-290x328[1]

http://theculturetrip.com/asia/vietnam/articles/the-art-of-making-five-companies-promoting-vietnamese-craft/

 

In a country where the people are so poor these crafts feed, clothe and help the next generation to maintain their position in life. This eases the poverty to a certain extent.

The revenue generated by the handicrafts is about 366000 VND a month. This is higher than farm workers and the national average. Much of the crafts, help the economy through export around the world, where traditional crafts are being appreciated for what they are and how they are made. This is also true of tourism, where visitors want something that has been handmade using traditional methods in the region where they visit. However, this can lead to exploitation in some parts of the world. The Fair Trade initiatives are set up to prevent this. This was shown in India, where sweatshops are prolific. Poor pay and terrible working conditions are accepted because of the employment it gives to the poor however hazardous.

I myself have a piece of papyrus from Ethiopia, where a friend of mine brought it back.

Another consideration in using traditional methods is that using natural resources cuts down on pollution and helps the environment in the long term.

The crafts produced by the locals, help to maintain village life and the values that have been somewhat lost today. All the villagers work together to promote the talents they have and that pulls them closer as a unit.

Governments are recognising the importance of the development, both financially and cultural. In Vietnam policies (the master plan of Ha Tay province) are in place to create craft villages, where government funding, technology and support are available. This help should in effect help further generations to become self-sufficient.

Without this help, a lot of people although very proficient in the work they do, would be unable to market the product, in their own country or abroad. Comprehension of the important work created, is difficult for people who haven’t been educated and so don’t understand that preserving it, maintains for future craftsmen.  This intervention by the government also promotes a sense of wellbeing where the craftsman feels useful doing what he enjoys. How many people today do a job they hate? I am sure there is a lot to be said for a simple life.

Tourism helps crafts, where tours to see traditional methods are encouraged. This promotes revenue, both in the tour and the goods bought.

The revenue also helps to restore methods used that are either too expensive, or seen as irrelevant in today’s society. Many of the traditional crafts stem from need.

There were no supermarkets to get food, no clothes shop to buy clothes, in fact no money to buy these things.  So that’s where the need for crafts came about. Useful things were created that were needed around the house. Clothing from furs, killed to provide meat and candle wax. Basket made from willow, these are amongst just a few of the many, many crafts to help in everyday life. Today unfortunately we live in a throwaway society. However, with up cycling many people are reusing previously thought of rubbish. E.g. scraps of fabric can be used for a quilt.

There has been an increase in the amount of craft trade fairs, with a diverse skill range.  Traditional crafts are used however, many artists today although keeping the traditional method has diversified the technique and created a totally new concept Micheal Brennand uses textiles and wood and stems from his grandmothers working practices as a weaver. His grandfather was an engineer.

Using both of these techniques he creates amazing floral displays. (http://www.textileartist.org/textile-artists-inspired-by-flowers). His work shows depth changing the further away you go.

Government incentive for the sustainability of cultural heritage

In the UK cultural identity is being promoted by George Osborne last budget eg made in Britain

‘Britain held aloft by the march of the makers’

Princes Foundation Prince William

There is a move by the princes foundation to encourage a younger people to  embrace traditional methods with apprenticeships

Examples of cultural sustainability

http://www.festival.si.edu/2014/cultural-sustainability-and-traditional-crafts-in-bhutan/

Traditional practices are under threat in the mountains of central Bhutan. Traditional methods are being encouraged by the Choki Traditional Art School in Thimpu Province Bhutan to younger people to preserve the heritage of their ancestors

Cultural methods change little in their methods; however future generations reinterpret these in different ways. Many of these students, through studying the old ways, bring a cultural diversity, restoring historical buildings for example

The ‘old’ methods are critical to retaining the future of the world.

Sustainable fashion and textiles

Traditional shoe making is an art. Today we have mass produced shoes, that we squeeze our feet into. Having delved into my family history my great grandfather was a shoemaker. In years gone by family members, usually sons would have gone into the family business. But many years down the line, I make sheds, not shoes.  This is an example of generations evolving into new careers. This is an example of family tradition.

Two contemporary artists take traditional methods and adapt for their art

Fleur Andreas a member of the society of designer craftsman and the West Surrey of Spinners, Weavers and Dyers. Early influences came from her love of dance, leading to a passion for the creative arts and eventually textiles.

Having attended the University of the Creative Arts in Farnham she specialises in weaving using traditional methods. She takes her inspiration from nature. Where there is vast array of colours, texture, pattern and structure.

http://www.fleurdesign.co.uk/

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Sebastian Cox is inspiring young designers to revive traditional crafts in UK.

He himself uses by-products such as coppiced Hazel that otherwise would be discarded, taken from managed woodlands. Using these old crafts interest is being renewed, especially by Modern designers. In the UK economic growth amounts to £3.4 billion according to the UK’s crafts Council. This is due in part to people wanting individuality, and the need for something different. Also people prefer the simplicity of traditional handicrafts. Inspiration throughout history has drawn on the past, but this retains not only a craft, but also religious, social and other heritage.

Sebastian believes that too many people throw away things, often sent to landfill and this in turns has an impact on the environment. Many crafts people prefer to up cycle rather than dispose of.

He feels that people need to be educated to the possibilities to take from nature, whether aesthetic or as he does taking the by-product and producing a new item. This in turn retains the techniques that could so easily be lost for generation to come.

http://www.dezeen.com/2014/10/30/sebastian-cox-interview-british-craft-industry-coppicing-wood/

 

Another reason for encouraging crafts, is that it is therapeutic and can help people retain a sense of worth. For example within mental health, but not solely for that purpose. http://www.artinminds.org.uk/ is a charity that helps people who have a range of illnesses with encouraging and promoting artwork. I myself exhibited in Worcester University, Cathedral and Worcester Porcelain Museum.

E008

My thoughts on traditional crafts are that they should be maintained for future generations. These simple crafts remind us that life was simple, and helps us gets us back to basics. Hand made crafts have always been given as presents e.g. matinee jackets for a newborn. This gift shows the skill but also the ‘love’ that has gone into it.

In summing up, ‘preserving our crafts gives us our inspiration and hope for the future of design’.

 

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Stage 4 – Raised and structured surface textures

Gathering

029

018

Folding and pleating

041

Here the direction of the pleats went one way and then stitched in a different direction.

053 055

Tucking

023

The results on this piece were disappointing and needs to be practised further.

http://www.sew4home.com/tips-resources/sewing-tips-tricks/how-make-wave-tucks

Tearing Fraying and slashing

049 046

 

Quilting

008007

The quilting above showed the same design with differing results but were extremely effective. This is something definitely to explore.

006 005

quilting that has been slashed (1st picture below)

026

Raised shapes

052

using complimentary material as raised circle is produced with wadding.

050

This second raised shape did not produce the effect needed. Possibly due to colour combination.

 

Moulding

034

Wet voile was used with marbles tied into the fabric and let to dry. This left ‘bubbles’ after being unwrapped

other investigations into structure

058     044           032 031    027

this reminds me of a poppy                      Folded fabric fan

025   022

raised shapes to alter the dimension of the fabric

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Stage 3 – Applied fabric techniques

Hand Applique

012

020

Machine Applique

004

019

Cutaway applique

021

065

Overlays

002

sweet wrappers were sandwiched between voile and velvet. This was then machine stitched to hold in the wrappers.

003

Fragments of material stitched onto cotton.

Bonding

013

Bonding was applied to material and the bonding was painted with fabric paint and stitched.  Fragments  were sandwiched between oversewn.

011

Similar to the previous bonding, but by using a different colour the results were far better.

Tyvek

064 062 047

This was interesting, as was very unpredictable. Something to investigate further.

Soluble fabric

040 038 037 035

Small ‘boxes’ were made using soluble fabric. This was heavily stitched, then washed and moulded onto bottle bottom and left to dry.

Complete project

016

Inspiration from mushrooms previously drawn and adapted.

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