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.