Chapter 8: design exploration with hollow line

Developing Ideas from Option A (chapter 8) Looking for edges and lines around shapes

The aim of this section is to use a linear shape to explore layering and pattern.  For this I chose and cut out 12 of my simplified shapes from the previous design exercises.     

The first exercise patterns were made directly on my scanner plate so I could explore the patterns different layouts made and immediately have digital images to play with.  The first three were arranged along a curved strip of paper, the fourth a simple arrangement without the strip.  Five and six used the painted lutradur with cut out shapes (left over from exercises in chapter 7) as a mask for arrangements of shapes underneath it.

Series of shapes arranged on a curved strip, black background	Series of shapes arranged on a curved strip, black background
Series of shapes arranged on a curved strip, black background	Linear arrangement of shapes, on black background
Lutradur mask over series of shapes, black background	Lutradur mask over series of shapes,coloured paper background

The three images below present different patterns.  The first I drew my simplified shape in many different sizes overlapping each other, this became very complicated to find lines and spaces that were interesting.  Unfortunately I used an HB pencil so the scanned image is very paint (perhaps a 6B pencil would have given a darker line to use).  The second image was an arrangement that I enlarged on the photocopier to about 400%  this have resulted in some very interesting lines and spaces (showing up as grey), the third is an enhanced image using a MS Word artistic effect 'glow edges'. 

Overlapping shapes of different sizes

Enlarged arrangement to find interesting lines and spaces

Image enhanced with MS Word 'glow edges'

For the next exercise I like the arrangement of lines and spaces in image 2.  I cropped the image and enlarged it, printed, then traced it onto a fresh sheet ready for colouring:

Image cropped to find spaces

Spaces with added colour

 I enjoyed this exercise as it has shown how different arrangements can provide potential for developing the enlarged sections to find spaces for colouring.  

Stacking and Unstacking:  Linear Shapes into Solid Shapes

For the exercises in this section (stage 3) I used some of the papers from my stash that I painted last summer (when the weather was fabulously warm and they could dry outside...) and some gift wrapping paper. 

Image with line of interest	Line of interest cut and laid on top paper
Further lines added ready for serration	After serrating through all the layers of papers with the sewing machine, and separating the individual strips I tried different arrangements. Pair 1:  One layer of paper, strips in order moved slightly apart.  Paper strip rearranged some overlapping. Pair 2:  Two layers of paper, alternate strip removed to show different colourings with no overlap, from front and reverse. Pair 3:  Two layers, similar to above, but with some strips rearranged and overlapping. Pair 4: With a third layer of paper overlapping the previous arrangements. Pair 5:  With a fourth layer of strips added to the composition.
Pair 1:  One layer - in order spaced apart	One layer - rearranged and overlapping
Pair 2:  Two layers - In order, alternate strips from the front	Two layers - In order, alternate strips from the reverse
Pair 3:  Two layers - Some adjacent, some overlapping side one	Two layers - Some adjacent, some overlapping side two
Pair 4:  As above, with three strips from third layer	As above, with three strips from third layer
Pair 5:  As above with two strips added from layer four	As above with two strips added from layer four

This was a very interesting section.  It was fun to play with the different arrangements in paper before thinking about any of the folding stitching etc and how they could be attached to make the arrangements more stable.  

Stage 4:  attaching shapes to create compositions

Having played around with different ideas above, now was time to make the arrangements more stable:

Composition 1:  Using an A3 piece of tracing paper as the background, I used some of the strips as a template to make pierced zigzag marks using the sewing machine without thread (unfortunately these do not show up well in the photo below), then added a line of zigzag (with thread) beside each one.  The centre panel has two strips sewn to the backing on reversed, one pleated and stitched into position.  I then added a further strip glued to either side to provide a bit more colour to the composition.

Composition 2:  A strip gathered with a single thread, attached to a complete background with all the lines of interest and piercings.

Composition 3: Adjacent strips from two different layers of painted papers, machined together without spacing using zigzag, then pierced with needle without thread (on to plain paper background).

Composition 4:  Adjacent strips from two different layers moved apart, stitched to acetate.

Composition 5: A single sheet with all the strips in order, but moved apart to create voids.  Straight stitching horizontally to attach each strip in position, but to allow movement when hung from a rod.

Composition 6:  Three random strips from three different layers, overlapped and hand stitched to a manipulated piece of jute scrim.

Composition 1: Stitching, gluing and pleating
Composition 2: Gathers onto background with the lines of interest
	Composition 3:  Adjacent strips from two different layers fitted together machine stitched to a plain paper background
Composition 4: Adjacent strip from tow different layers moved apart stitched to acetate
Composition 5:  A single layer shapes in order, moved apart, straight stitched horizontally, without any backing	Composition 6: Three random strip from different layers overlaid hand stitched to a jute scrim background

Evaluation:

This was a very interesting set of exercises.  I first thought my simple shape would not produce enough variation for exploring edges lines and further shapes.  There were many other variations from the first section that were discarded before I found the arrangement I liked.  I puzzled for a while to understand how to find the line of interest for stage 1, but once I got it, I was able to move forward quite quickly with ideas of how to make the compositions. 

I enjoyed exploring different methods of stabilizing the compositions, although I  have used some of the techniques before, stitching onto tracing paper and acetate were new to me.  I have not done such exercises with paper, so this too was a revelation of how to plan and practise ideas before moving onto fabric.

I could take this further with fabric stabilised with bondaweb to reduce fraying, or use fraying at edges as part to the texture.  I also think this has potential for the faux chenille technique.   

In all I spent about 36 hours on this chapter.

A diversion - summer school 2018 follow up

I thoroughly enjoyed my time at summer school. Meeting Sian for the first time and the other students who made me so welcome. Bobby Britnell was so inspiring.  I looked at line in a very different way than I had before. Some of the tasks were daunting, but eventually I got to grips with mono-printing onto small pieces of fabric.

When I returned home, I repeated the paper exercises directly into a sketch book exploring some of the effects, consolidating my new skills.  I particularly enjoyed the exercise combining sections from different mono-prints then joining them with a different texture.

My mono-prints directly onto fabric had varying success, but these are four of my favourites:

Mono-print 1	Mono-print 2
Mono-print 3	Mono-print 4

I enjoyed these explorations with line, masks and shading that I then used a similar technique with the shape I have been using in the work for Module One.  At some point I shall use these design ideas with layers of fabric and stitch. 

I think that is me caught up with the extent of work from July & August 2018.  Now it is time to get on with the next section of Module One. 

Chapter 7: colour and texture in stitch

This is a very delayed posting from July 2018.  

Prior to summer school I completed this chapter but didn't get around to posting the work, so here it is...

For working the ideas in this chapter I used fabric and threads that I had dyed in the colour schemes previously described, plus additional threads from my stash of DMC stranded cotton floss etc.  I have tried to include some of the ideas developed from chapter 4.  Some of the samples are better than others.  Some I was very ashamed to show Sian as they were truly awful. They are described below but I have not included photos...

Sample 1:  

1: digital print with hand stitching

Space dyed fabric from the orange/turquoise mix as background.  Digitally enhanced image printed onto fabric, trapped sisal threads, with space dyed threads couched to edges of shape.  A quick and simple technique to get me started with this exercise: I chose the background fabric as it has a strong contrast to the colours in the seed head image used here.   There was a printing flaw in the image, so I cut the image along the lines accidentally created.  An orange silk thread couched to the edges of each section help provide a contrast.  

I like this sample as the shape is broken up, the idea of the seed head is still there but not so obvious.  The trapped sisal provides a subtle texture to the surface.  Two hours to complete.

Sample 2:

2: digital print with machine and hand stitching

Space dyed dark blue fabric, with a digital printed image of the seed head appliquéd to background.  Machine scribble stitch with tapped sisal threads to created texture.  Hand stitching to emphasise segments of the seed head. 

Not as successful as the previous sample; I added the hand stitching as the machine stitching was not as strong as I hoped. However, the stitching is rather clumsy.   Two hours to complete.

Sample 3:

3: stacked rectangles of dyed fabrics

Space dyed fabric rectangles from the mix of turquoise + lemon bag of fabrics and the turquoise fabrics.  Textures from painted lutradur, textured papers, with calico, cotton, scrim, muslin, and velvet.  Rectangles stacked and machine stitched.

The textures are interesting, but the geometric effect hasn't worked! Two hours to complete.

Sample 4: 

4:  Machine stitching over layers of fabric, paper and tyvek

Pre-dyed and printed fabric background using turquoise and orange fabrics. Layers of dyed scrim, organza, silk paper, painted Tyvek.  Machine stitching outlines of seed heads with dyed threads in turquoise and orange hues, stitched from the reverse with coloured threads on the bobbin. Tyvek and organza partially melted with heat gun to reveal lower layers of fabric.  

Sample 5: (Photo not included)

Space dyed cotton fabric from the turquoise bag.  Over printed  using an embossing folder with acrylic paints (cerulean and lemon) for texture.  A mask of shape to centre with Markal paint stick rubbed to edges of fabric.  Hand stitched with running stitch, lemon dyed linen thread. Four hours to complete.

Sample 6: (Photo not included)

Space dyed dark blue fabric background with appliqué rectangles from painted bondaweb and waxed tissue paper with cut out painted shape.  Overlaid with mulberry bark manipulated to form outline shape of seed head.  Hand stitching with running stitch and fly stitch in turquoise and orange threads. Six hours to complete. This sample is such an awful mess it has not been included for display.

Sample 7: 

7: Hand stitching on embossed painted fabric

Calico coloured with markal paint sticks in green, blue and yellow, rubbed over the eggshell rubbing plate (from previous chapter). Dried, then a colour wash of dilute lemon acrylic paint added.  Fabric put through the embossing machine with cerulean acrylic paint added to an embossing folder – a resist of my shape used at the same time as the embossing folder. Black machine stitching added to outline.  One hour to complete. 

Sample 8: (Photo not included)

Orange background fabric and organza, needle felted using an embellishing machine, blue cord added, Blue Faced Leicester wool fibres added. One hour to complete. This sample was such a travesty it has not been included for display and was binned!

Having been so despondent about the experimental pieces described above, I returned to ideas that included hand stitching and cutouts of my simplified shape.

Sample 9:

9:  applique shape with seeding and herringbone stitch

Using fabric from 'bag 3' of the dye mix Emerald & Violet as background and from 'bag 1' of the same mix for cutouts.  Threads from the same bags of dye. Simplified shapes cut out and arranged on background.  Attached with seeding.  The herringbone was supposed to add a layer of texture.

I like the idea of this and it has potential to take further with layers of semi-transparent fabrics. However, the pale green fabric shapes are 'lost' on the background. The herringbone has come loose so the effect is not as it should be.  

Sample 10:

10:  applique shape with blanket stitch and seeding

A similar arrangement with the fabric colour reversed.  shapes are painted lutradur attached with blanket stitch, then background covered with seeding.  

The colour arrangement works better than the previous sample, but the blanket stitch is too heavy for the shape, a small stab stitch may have been better.  I like the seeding as it helps to emphasise the shape outline.

Summary:

This chapter tested me rather more than expected.  My comfort zone is hand stitching, hence samples 1, 9 and 10 are the ones I like most. Taking the abstracted design and using different ideas were not so successful for me.  I have kept them in my folder so I can refer back to them later to see if they can be improved.  My attempt at felting a background with the shape pattern in it using the embellishing machine was so awful I threw it away after Sian had seen it.  However, Sian suggested I use one of the painted pages from my sketchbook to have another attempt at interpreting the ideas.  I am still pondering how to do this – perhaps I will start by printing the page onto calico…

11:  painted page for embellishing trial

During this chapter I spent about 36 hours on the stitching.  I will come back to some of the ideas in due course.  It is now late January 2019, I would like to start work on the options from Chapters 8 – 11 so that I can progress to the end of this module.