ATV Part 3 Exercise 3.4 Collage studies

This exercise is to build on collage skills which I previously explored in Part 1 of the course. However, the focus is to be on the exploration and presentation of colour and composition.

I initially took a picture of a corner in my studio.

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Using this photograph as a reference I created three collage studies, that capture its colour and composition.

Part 1

A simple colour combination 

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The second collage was to be an unusual colour combination. I chose a mix of very vibrant colours for this and a palette I would not usually choose.

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The third collage was required to have a complex colour combination. Complexity suggested to me, a wider range of colours and detail.

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Part 2

I chose the unusual colour combination to make three further collages as I wanted to use the simple shapes I had picked out in it.

I had some really nice black and white patterned papers and decided to use them to complete a monochromatic study.

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I chose to work with a range of blues for the single colour study. As I am blue-green colour blind I thought this might present a challenge for me. I hope I managed to effectively represent the tonal values of the original collage.

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The third version required us to be bold and adventurous using a large number of different colours and papers.

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ATV Part 3 Project 2 Exercise 3.3

Watercolour studies

The aim of this exercise is to help us gain an understanding of opacitities of colour through observation and recording of transparent and semi-transparent objects.

To do this I collected a range of empty glass jars and a vase and presented them as a small still-life display. I then created a series of striped palettes based on the colours I could see within the glassware with watercolour crayons as I did not have watercolour paints with the colours I needed.

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I’m not sure I did this entirely successfully as looking back on the requirements for this exercise I feel I created more of a colour palette rather than a striped interpretation of the still life. Re-reading the exercise I don’t think I correctly represented the proportions. This is an exercise I may need to repeat especially if the striped designs are required for future projects.

ATV Part 3 Exercise 3.2 Translation through yarn

This exercise aims to help you work on ways of interpreting colour and colour proportions from an image and to present these as a yarn wrap.

I chose ‘Supper at Emmaus’ by Caravaggio as my Old Masters painting.  I found it quite difficult to buy a good quality postcard size of the image and in the end chose to purchase an A3 print from the National Galleries website.

Finding yarns, ribbons, threads and lace that fitted with the colours was more difficult than I expected. Modern colours have a brightness to them which didn’t accurately convey the colours of the painting. I mainly used embroidery threads, some leather, ribbon and wool.

I made three wraps by using card mount and wrapping the materials around it. The wraps are supposed to convey the colour scheme from horizontal, vertical and the centre of the painting.

I found this exercise to be interesting and challenging. It certainly increased my appreciation of the painting as I studied the play of light and shadows within it. The colour matching went fairly well and I hope I made a good representation of the colours within the painting.

ATV Part 3 Research Point 2

Digital colour resources research 

Adobe Colour CC

This allows you to build colour palettes digitally by selecting from a colour wheel or using an image to pick out colours from.

I experimented with this app by using a photographed image of my Old Master’s painting ‘Supper at Emmaus’ by Michelangelo Merisi da Caravaggio.


I created these three palettes from isolating sections of the painting. You are restricted to five colours per palette which is probably better if you are creating a logo or branding but not so useful if you are looking at a painting. I wasn’t that impressed in terms of interpreting the palette of the painting. It wouldn’t pick up the turquoise blue of the vase or the necktie and several of the colours don’t look like the same shade. However I can see the value of this app if you were trying to create a palette to choose colour for a design. It allows you to use a slider to alter the brightness and values of the colour allowing you to personalise the palette. It also gives you the levels which would be useful for printing purposes. The colour wheel lets you create a palette based on single colour by choosing themes. I think this app could be useful as a starting point to create some ideas or if you were creating digitally printed textiles.

Mudcube Colour Sphere 

This software isn’t available as an app but you can use it directly from the web. It allows you to generate colour gradients, colour palettes and colour blindness tests, which I found amusing. I failed colour blindness tests before and through this app and a little further research I have discovered I have tritanopia and apparently this is quite rare about 1 in 30-50,000 people and generally only 8% of men and 0.5% of women have a colour vision defiiciency! Rather than tests it indicates the colour scheme which someone with the different types of colour blindness would see, which made me think mine must be a mild form of it.

So this software allows you to choose a colour and then form colour palettes based on it such as complementary, neutral, split complementary, tetradic etc. It only chooses colour that have the same saturation and brightness though so while giving some varied palettes they lack depth and tone which would make an artwork more interesting.

Shade

An app I tried which was rubbish and didn’t work properly.

Colourhunt

This is an open collection of colour palettes which can be used as a resource by anyone.

Color Hunter

An online tool to find and make colour palettes from images. This works very basically choosing random parts of the image. It might be useful if you zoomed in on a section prior to uploading the image. There are no options to change proportions or pick your own palette.

Colour Lovers

An online forum for sharing created palettes and patterns. It allows you to choose images from Flikr but not from your personal image library. It generates six palettes and gives a chart of up to 48 colours from the image. It looks interesting but wasn’t the simplest to use. I had several attempts at finding an image it would import, then couldn’t find the saved palette. I produced it again and screenshot it as I couldn’t find another way of saving it and sharing to WordPress. This looks like an interesting and advanced tool provided you have the time and patience to learn how to use it.

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ColorViewfinder 

An interesting little app where you can either take a photo or choose from your library and it will give you multiple layouts of the colour palettes it produces, you can reproduce Hex codes and save to your own image library for sharing. However recently it is only showing photos from my library which I have used elsewhere online so I’m unsure if a recent IOS update has affected its productivity. You can add up to 11 colours in the palette and display them in varying layouts on the image. It’s fun to use and quite simple, but like the other apps it didn’t pick up the correct shades in the Caravaggio painting.

 ATV Part 3 Exercise 3.1 Gouache studies

The aim of this exercise is to help me collate, observe and record colour palettes from a series of textiles.

Part 1

I chose three printed samples with colour and two neutral textiles with texture or patterned surface. Using these we were required to use gouache paint and produce colour matching tests. I had not used gouache paint before and did not have a wide selection of colours therefore quite a bit of mixing and experimenting was required. Occasionally when I felt I had a good match only for it to dry and not be quite right. It left me wishing I had purchased a much bigger tube of white (a little hint for future students!)


Part 2

The second part of this exercise required choosing one printed sample and cutting a piece approximately 10cm x 10cm and extending it’s design. Then colour match the design using the gouache paint. I quite enjoyed this part and it was fairly successful but it is very difficult to reproduce the digitally printed colours accurately.


Part 3

This time choosing a neutral sample colour matching and extending the design. The sample I chose had a creamy white fabric with semi-transparent circles. The circles picked up the white of the background paper and when I initially started painting I was going to use the creamy colour then go back in with the white to pick up the circle design. I quickly realised this wasn’t going to work as the white gouache paint was not the same white as the paper, so I then painstakingly painted between every circle to make the sample work.

ATV Part 3 Project 1 Research point 1

Part 3 of A Textile Vocabulary is primarily focused on colour mainly through observation, analysis and examination of physical media. Initially we are asked to research the work of some textile artists and designers.

Voyage Decoration

The company Voyage Decoration creates soft furnishings and wallpapers etc. They have a number of collections which portray different designs and colour palettes. The company has a signature watercolour look running throughout their work. They have a number of collections each one taking a small palette of colours and mixing it with a specific style of prints. The colour ties to the look of prints for example muted colours with traditional prints and vibrant colours with modern abstract designs or using more traditional prints and modernising the colour scheme by using a variety of shades.

Natural History Collection

This depicts botanical types sketchbook drawn pictures on a background of muted, natural colours.

Boutique Collection

This collection has a much more art and crafts feel, using much more vibrant colours with bold patterns depicting flora and fauna from the British countryside and Scandinavian folk art. The way the colour is used gives the designs a much more modern feel, modern checks and neutral wovens are also featured in this collection complementing the bolder pieces.

Couture Collection 

Taking inspiration from the catwalk this collection continues to draw on influences from the natural world. These are conveyed in modern fluid pieces blending shades of colour with metallic and embroidered sequin embellishments. I particularly liked the Alchemy Lustre Collection. It uses shades of sapphire, amethyst and moonlight and I loved the mix of colour and prints, especially the Galatea print which is a dreamscape of irregular horizontal stripes digitally printed on velvet capturing the original painting.

http://voyagedecoration.com/fabric-collections/couture/alchemy-lustre/galatea/

http://voyagedecoration.com   Accessed on 12 February 2018

Mary Katrantzou 

Is a fashion designer who studied architecture before graduating in textile design and fashion. Her graduation show in 2008 which featured trompe l’oeil prints of oversized jewellery on jersey-bonded dresses took the industry by storm and immediately secured a place for her in this field becoming known as “The Queen of Print”. She has had an enormous influence in this medium using digital printing to experiment with print in a way that fine arts and other methods can’t.

The complicated prints often take days to create, she uses a very varied and daring mix of colour and pattern. Vibrant, multi-coloured, bold prints. Geometric prints, bold florals and nature-inspired shapes mixed with stripes, polka dots or checks.

Her Spring Summer 2018 Collection is inspired by childhood, an idealised view on it but a child’s imagination is the only limit. Her collection is a creation of bold, vibrant colour like a child’s colouring pen collection mixed with shapes, fabrics motifs and designs summoned from remembrance of childhood, she uses digital printing techniques enabling her to engineer a three dimensional quality. The colour and design being interdependent to the desired outcome.

Key piece Look 37 from her Spring Summer 2018 Collection 

This piece was obviously inspired by painting by numbers. It is a voluminous dress with bold, oversized florals which are coloured brightly with some sections of the design left uncoloured. It is a fun design, not something I would choose to wear, it is a little bold for me! 

https://www.marykatrantzou.com/collections/spring-summer-2018/ Accessed on 12 February 2018
Ptolemy Mann

Ptolemy Mann is a contemporary textile artist and designer known for her unique and colourful hand woven artworks and textile designs.

She emphasises her work is underpinned by colour theory. Her collection of flat weave rugs explore geometry and colour inspired by the Bauhaus movement. Her signature hand dyed and woven techniques have more recently inspired commercially produced furnishings and her unique approach has brought her craft into the 21st century. She uses her trademark ikat techniques to blur the edges of the vibrant colours in her Copper and Silk light shades, but her ability to branch into more commercial industry is underpinned by her profound understanding of colour interaction.

www.ptolemymann.com Accessed on 14 February 2018
www.ptolemymannrugs.com Accessed on 14 February 2018

ATV Part 2 Research point 1

Ian Berry

Ian Berry works solely with denim he receives donations from all over the world as well as neighbours leaving bags of them outside his door. He uses the washes and fades in the denim to create the most amazing pieces. Each piece within his work is cut from the gradient of the shade within a pair of jeans and this is what helps create the painted, hyper-realistic look. He also has to acknowledge the direction of the warp and weft as he cuts his pieces, following these lines and the direction the texture of the denim takes. In all, a very time-consuming process.

His work often depicts a lonely or less glamorous side of city living.

Fig. 1. Ian Berry (2015) Searching for the Faith and Hope (Soap)

Often even when viewers are within touching distance of the work they don’t realise they are looking at many layers and shades of denim jeans.

Fig. 2. Ian Berry (2016) Behind Closed Doors

Hannah Streefkerk

While looking for artists that used mending in their technique I came across Hannah Streefkerk, her work really resonated with me especially after using bark and leaves in my last pieces.

Her work is nature-oriented, she finds inspiration within her natural environment from water and land formations. She uses her understanding of these natural structures and patterns and uses her own stitching and crocheting style to create awareness of environmental problems by ‘mending’ nature.

She often exhibits in the great outdoors which brings its own challenges having to carry her equipment and walk some distance to the place. She also says although she enjoys the challenge of working like this she feels sometimes in awe of her surroundings and feels that her work will never be able to compete. However she states, “When I’m long enough in that place something will show up in my head, and that feeling is fantastic. But to really create site-specific work is the best and hardest work I know.” (Daniel, TextileArtist, 2016)

Fig. 3. Hannah Streefkerk (2015) Reflection

Daniel, Textileartist. (2016) Hannah Streefkerk: Mending Nature. At: https://www.textileartist.org/Hannah-Streefkerk-mending-nature (Accessed on 26 January 2018)

Fig. 1, BERRY, Ian. (2015) Searching for the faith and hope (soap). IanBerry [online] Available at: http://www.ianberry.org/home/searching-for-the-faith-and-hope (Accessed on 20 January 2018)

Fig. 2, BERRY, Ian. (2016) Behind closed doors. IanBerry [online] Available at: http://www.ianberry.org/home/behind-closed-doors (Accessed on 20 January 2018)

Fig. 3, STREEFKERK, Hannah. (2015) Reflection. Textile Artist [online] Available at: https://www.textileartist.org/hannah-streefkerk-mending-nature/hannah-streefkerk-reflection2015-plastic-sheets-sewed-together-with-yarn-the-kristals-are-placed-around-a-small-pond-on-the-island-ameland-the-netherlands (Accessed on 26 January 2018)

ATV Part 2 Written reflection

I’m really enjoying the course so far, my main issue is fitting in the time to do it as I definitely spend more than eight hours a week on it.

I’ve enjoyed the paper manipulation I had no real concept of the possibilities of this prior to starting and I spent a bit of time on Pinterest looking at what was possible. To some extent this led me to choose the techniques I wanted to try out more than the original drawings informing the pieces, although I tried to keep bringing myself back to the drawings in an effort to stick to the brief. On reflection they probably did have a influence on my thinking on a subconscious level as when I returned to the drawings I could see where it was linking together.

My use of bark was something I decided to try as my tutor encouraged thinking quite broadly about materials and being experimental.

I find I spend a lot of time thinking about my projects and how to develop them in my head rather than in my sketchbook. This is something I need to work on. I have enrolled on an Art and Design course at my local college and I hope this might help my understanding of sketchbook development and let go of the fear of putting down ideas that are not fully developed.

I enjoy the research aspect of this course but I need to document it better and record more of it in my learning log. I intend to go back and review the research I have already undertaken and present a better record of it.

My technical abilities are somewhat lacking and I find I also have to research these as I go along. However this was a reason for starting this course as I have no excuses to stop me from getting on and doing something when I have a deadline looming. I am quite lucky as I am generally quite a practical person and can usually pick up skills quite quickly my issue is concentrating on the technique I’ve researched and not getting drawn into all the other possibilities I come across. I am looking forward to exploring them all!

Reflection based on assessment criteria

Demonstration of technical and visual skills

I am probably a little under skilled in my knowledge of materials and techniques but I am building on them all the time. I’m not afraid to try being experimental as I have no previous knowledge or assumptions to constrain me. I think my observational skills and visual awareness are good and my design and compositional skills are increasing.

Quality of outcome

I was quite pleased with the overall finished pieces as I had tackled different aspects of the brief with each piece. I chose very different base textiles for each piece and also used a variety of stitching techniques. The course encourages you to concentrate on the development of a process that allows you to create original work and I feel I have made a clear move away from the original source material. I have consistently used the previous work to inform my thinking on my next steps and I hope I have successfully managed to communicate my ideas and thought process. My presentation is more coherent than in Part 1.

Demonstration of creativity

I feel I have successfully shown imagination, experimentation and invention in at least two of the final pieces. The piece with the leaves is slightly more of a picture and if I had more time I may have added to this with layers of fabric. As for the development of a personal voice I feel I may be in the very early stages of this. I see too many interesting techniques I want to experiment with to feel I have a specific process yet.

Context

My research and critical thinking skills are fairly well developed and I may just need to show this better by my official recording of it. I need to improve on my reflection skills as I sometimes feel uncomfortable voicing my thoughts and opinions.

ATV Part 2 Assignment 2

Stitching: Placed and spaced

As the final section of Part 2 we are asked to develop three stitched textile works building on from the paper explorations. I wanted to further experiment with the bark I had stitched into before, but I wanted to explore different ways of merging it with my stitched work. Upon considering the stitches I used to embellish the origami crumpling flower I wondered if I could work this type of stitching to create a work with the bark.

My initial thoughts in my sketchbook.

I used a piece of heavy upholstery felt that I had held onto after a bed delivery. I then glued the bark in layers leaving a section empty where I would stitch into. My idea was to build up a moss and lichen surface as you would find growing on the tree. I actually purchased a little florist moss which I was going to use to build it up but in the end I preferred using my stitches to build up texture. I used a mixture of french knots of varying number of loops, I cut through stitches to create fluffy, hairier types of moss and I used a mixture of greens and greys to build it up. Where there were some splits in the bark I added a few sections of brown cut stitches. It was fairly labour intensive and took longer than I had expected but I haven’t really done embroidery before only cross stitch. When I was younger the embroidery kits bored me as they didn’t give much space for doing your own thing! However I really enjoyed doing this piece and I was quite pleased with the work. I’m afraid I didn’t stick to the suggestion to stick with material that possess relatively traditional qualities for this piece but I do think this piece could be used as a basis for a wall covering if it was manipulated using digital means it could be repeated and stretched.


Moving on with the natural theme when I had originally taken leaves in the Autumn from the Japanese maple I had decided to try and preserve some with the possibility of using them in my work at some point. I preserved them in a mixture of glycerine and water which meant they held a slight flexibility to them and didn’t dry out to much. They didn’t quite retain the bright red colour but had dulled down to a purply brown colour. My composed paper sample of the leaves blowing from the tree worked quite well and I wondered how I could transfer this to material. 

I took white cotton and tried to watercolour it with my Caran d’ache neocolour II pastels. I wanted the sky to have a muted colour scheme. I was trying to replicate the colours you get in a wintery skyline when there is a break of sunlight through the grey clouds and a glimpse of the blue sky. I wanted to use stitch to create the wind trails and applique my leaves into the picture. I initially thought I would use a sewing machine to accomplish this but after a bit of experimentation I realised I would need to learn more about machine embroidery techniques. I was actually glad this happened as hand stitching it meant I had more control and could play with the length and density of the stitch, giving the desired effect of the wind blowing and changing strength. I used white and grey threads to give the impression of cold. I stitched the leaves onto the piece after considering placement using a stitch that followed some of the veins much like I had in one of my paper samples. I used a similar shade so the stitching blended in.


My third piece was inspired by the paper tesselation and the geometric patterns within the dress drawing and my subsequent paper pieces.I was quite interested in this and the shapes that could be produced. I had continued some research into this and wondered about the possibility of fabric being manipulated in this way. I was interested to find the fashion designer Issey Myake had produced collections using this style, (Issey Miyake Origami Fold 132 5 Eco-fashion line Reality Lab, 2011). This inspired me to find out how I could try this in some small way. I discovered a piece of footage (Get Fabric Pleated, 2015) where a company called Ciment Pleating explained the process in how they pleat fabrics by using a steamer.

I first had to make two molds from Kraft paper which I had several mistakes but eventually produced two pieces.


I then sandwiched a piece of white polyester between the two pieces, refolded and clamped the three layers together.

I put it in my oven at 160 C and put a dish of water in the base of the oven and left it in for 15mins. After removing it I waited till it had cooled totally before holding my breath and unfolding it. I was delighted with the result.


My stitching on this piece was very simple. I tried a couple of different ideas firstly stitching floral patterns and also using shiny embroidery thread which didn’t work well with the fabric or the drape. I settled on a basic line of stitching to highlight the zigzagging lines. I then stitched it into a tube, I liked the way the fabric draped. I think this could be developed it would make an interesting cuff on a blouse or similar. I like how it distorts the traditional floral pattern on the original fabric it gives a very different appearance to the fabric.

Issey Miyake (2011) [user-generated content online] Creat. Cliklab, 19 Feb 2011 At: https://youtu.be/4gdxhNnytSs

(Accessed on 1 December 2017)

Get Fabric Pleated (2015) [user-generated content] Creat. Stitchless, 6 June 2015 At: https://youtu.be/TtgaQhNDSxw

(Accessed on 30 December 2017)

ATV Part 2 Project 2, Exercise 2.4

Exercise 2.4 Developed and composed samples

Moving on to create two more developed and composed samples of stitching into paper. I firstly decided to take the layered tissue paper. I liked the way the creases in the layers looked like movement and I was considering the drawings of the leaves and how I could make a textural piece portraying the movement of leaves blowing in the wind.

My sketchbook work up

First I created a new base to stich into I used tracing paper as a backing then layered tissue paper I then sandwiched some rough twine and layered with more tissue paper this gave me a nice rough quality that looked like a tree swaying in the wind. I then stitched leaf shapes in various ways  to make them look like they had blown from the tree.  I was going to stitch lots more below the tree but this would have been too time consuming so I stitched in a piece of paper gauze making shapes to give the impression of a pile of leaves.

I was quite pleased with the way this worked out however it is a slight digression away from the brief to use our original drawings. This was more an idea that built up from the drawings through the process of the paper manipulation and onto the stitching.

My second piece was further to my previous interest in the dress detail. I wanted to create a geometric design with floral shapes intertwined. I drafted a rough design in my sketchbook and then proceeded to choose the sample of layered kitchen paper which was very lightly patterned already.

I used some of these markings to pick out and pierce through before stitching the floral shapes. I used a thin long stitch to make a hexagonal honeycomb design. I decided to keep this design black and white which brought focus to the stitch and pattern. I was fairly happy with the result however the amount of stitching detail is not quite balanced and could either do with less or more. If more of the white space was filled with a variety of florals or it was scaled back to include just one central floral shape. I think it would have been interesting to add an insect shape but I didn’t consider this at the time.