Module 1 - Making your Mark: Chapter 1.

Research for design: Seeds, Pods & Leaves

My initial thoughts for research inspiration narrowed down my choices to focus on seeds, pods and leaves.  I have a collection of images from the internet on my pinterest page https://www.pinterest.co.uk/stitcherpenny/find-me-seeds-leaves-pods/ .  

I have a small collection of dried seed heads, pods and leaves for use in original  sketches and photographs, such as changing the angle of view, lighting or perspective.  As well as those in culinary cabinet such as star anise, these include poppy seed heads, teasel heads, honesty, various skeleton leaves and, lotus seed heads.  My aim in this chapter is to use a combination of primary sources (my own objects) and secondary sources (the digital images and books from my collection) as I work through the exercises in the module.

	I selected two particular images of poppy seed heads for initial investigation from pinterest because they have features with potential to be interpreted in many different ways in both 2D and 3D.   One advantage of using images found on the internet is that there is an almost infinite variety of different objects within my theme that can be studied and manipulated with digital image processing; they offer ideas for different shape and form, as well as colour and texture.

However, these sources can only be viewed as a flat image, they cannot easily be seen from a different angle, nor can they be touched or felt to experience the texture and structure.  

In the book "Creating Sketchbooks for Embroiderers and Textile Artists” (Kay Greenlees, 2005) there is an example of sketching a poppy seed head in a notebook by Rose Horspool.  This image is useful because it uses a simple pen & ink outline then sketches in some details.  It uses fine line shading to suggest texture and infers the 3D form of the poppy seed heads. The sketch shows interesting ways of overlaying enlarged sections of the image.  From this I can see how to use line and shadow to distil the idea of the poppy without having to draw a perfect replica.

Laura Kemshall often includes stylised poppies and seed heads in her work. Several examples are shown in the book “The Painted Quilt, paint and print techniques for colour on quilts” (Linda and Laura Kemshall, 2007).  In her examples colour and free machine stitching emphasise the profile of the poppy seed head.

A quick internet search for ‘poppy seed head in textile art’ brings up many more examples.  My challenge now is not to be side tracked by those, but to be selective with digital images and consider different ways of interpreting my own seed heads using a variety of mixed media.

For my first set of image manipulation I used the two selected images (above) as they have different texture from my own seed head.  For image manipulation I use the free GNU software package Gimp 2.8.   The first stage manipulation was to make the backgrounds transparent so they could be printed directly onto fabric or paper.

 

What I like about the images above are: The seed heads have many qualities, their form suggests potential for creating 3D vessels;  they have a lot of texture to be explored in 2D; they have line to define and suggest spaces in between different parts and exploring negative space.

		Compared to the two images above my own seed head is quite plain, it has some interesting speckles and indentations so it will be a useful addition for some sketching from different angles and light for image manipulation.   I now have a small heap of photos that can be manipulated.

Sketches, Photos & Tracings from different angles:

First attempt! sketching from different angles	Trying to identify shape and line	Trying to pick out more detail

The first sketches are very simple to show the basic shape and features (I definitely need more practise!).

A small selection of photos to show monochrome lighting, change of perspective and close up detail.

Tracing multiple outlines through a glass plate	Tracing with additional shading from close up	These two tracings show there is a lot of potential to play with the images, to create different patterns and shapes.

Image manipulation using the smart phone built-in light effects:

The seed head was placed in front of a bright light to cast a strong shadow on paper.  I traced outlines around the shadow to allow for different visual effects to show up.

Original view with traced outlines	Negative  effect	Gothic Noir effect

Impressionist effect	Cartoon effect	Sketch effect

Pop Art (1)	Pop Art (2)	This smart phone digital enhancement is quite fun, but at present I am unsure how this could be progressed to my satisfaction in a piece of textile work. I have used digital enhancement with Gimp and this is something to explore further.

Exploring texture with mixed media

I spent a few days experimenting with different techniques to explore the potential of the poppy seed head using neutral tones or a very limited colour palette.

(in no particular order of preference):

·        Making marks on papers

·        Gesso on scrim, making holes and stems

·        Tissue crumpled and glued to base layer (fabric, paper),

·        Straws covered with scrim and stitched

·        Threads whip stitched to fabric

·        Machine stitching on soluble fabric

·        Broken egg shells

·        Glue gun dripped into patterns

·        Layers of fabric or papers cut / torn away

·        Hand stitching: stem stitch, French knots, bullion knots, blanket stitch

I used the transparent image of the skeleton seed head to print directly onto different papers and fabric.  Some images were single, others overlaid to build up compositions, some with stitch.  I cut stencils from card and acetate to experiment with printing on paper and fabric.

I used different media (charcoal, soft pastels, graphic sticks, wax crayons, colour wash) on cartridge paper to draw stylised shapes.  Using cut out shapes to create pattern with added piercing and stitching.   

Examples of mixed media results:

1)	2)	3)
1) Quilt sandwich with neutral fabric on front. Image printed onto backing cloth, then stitched from the reverse with running stitch to show outline (could have been machine stitched as an alternative). 2) Brown wrapping paper and Thai silk paper (both waxed), pierced to highlight line, torn to shape. 3) Digital image printed onto paper, then colour washed, waxed, and crumpled to add texture. 4) 5)  6)  4)  Layers of waxed coloured papers layered between waxed tissue paper (ironed to seal), ink outline, pierced then stitched with French knots.  5)  Stylised poppy seed head, layered papers, cutaway black cartridge paper, soft white pastel block, black wax crayon, hand stitching. 6)  Stylised poppy seed head, drawn with graphite block, wax candle, wax crayon, charcoal, hand stitching, then washed with brusho. I am quite pleased with these results and have mounted them in my sketch book.  I could get carried away with further experiments using these techniques.   An attempt at cutting a stencil from card to print on to fabric and paper.  This worked better than the acetate which kept curling up at the edges allowing fabric paint to leak where it was not supposed to go.  I will try more experiments with the printing onto cloth, perhaps using markals and inktense blocks.       The least successful technique was the layered torn papers and scrim stuck onto a backing of gluey tissue on card.  I couldn't get a very good torn edge to the brown paper.   In this photo it doesn’t look too bad, but I made it even worse by putting a murky wash over it!

In terms of time, these exercises took about seven days to complete.  Writing up the notes an afternoon.

So far, I have mostly been interpreting the poppy as a recognisable image, I now need to experiment by taking small elements from my images and sketches to create pattern and texture.  I could also investigate the spaces between the overlaid sections.

This was my progress on the Diploma to January 2017.  Other stuff happened and I lost sight of where I was going.  Fortunately I had kept the sketchbook and notes,  Sian has been very encouraging in getting me started again.  I have booked my summer school place and have planned a dyeing session with a friend ready for the next chapter.