Sunday, 12 September 2010
Friday, 20 August 2010
Friday, 9 July 2010
Ruth was fantastic, we all learned so much about mixed media mark making, mono-printing, masks, and the use of selective colour.
It was lovely to meet Sian and all the other students, some whom have attended many Summer Schools in the past. Everyone was so friendly and it was great to meet a group of people who are equally as mad about all things creative and 'stitchy' as I am!
View of the kitchen garden from my attic bedroom window.
Wednesday, 30 June 2010
Spacing between stitches used to control the tone. The first few rows are overlapped.
Different thicknesses of threads used to create darker/lighter tone.
This is an example of blackwork that I created in a previous course, showing a combination of methods to control tone.
Sunday, 13 June 2010
Tuesday, 8 June 2010
Wednesday, 2 June 2010
Monday, 31 May 2010
Sunday, 16 May 2010
Wednesday, 12 May 2010
Sunday, 2 May 2010
This was OK, it simplified the thought process because it was just black and white, it enabled me to think about the layout and not about colour. However, this became difficult when I wanted to try out the designs in multi-layers, so I did the rest in colour.
COMPUTER THUMBNAILS, DESIGNS AND NOTES - 2 HOURS
DYEING, PRINTING & PREPERATION OF FABRICS - 5 HOURS
STITCHING, CUTTING & EMBROIDERY 20 HOURS
APPROXIMATE COST £16.75
EVALUATION OF COMPLETED WORK
I am very happy with my finished design.
I think the foiled crosses merge nicely with the gold printing, as if gold leaf has flaked off the surface of the crosses and blown across the design, unifying the foreground, which gives the impression of an ecclesiastic grid-worked partition with a warm, bright, gold iconic light shining from behind.
Although I planned the design very carefully from the outset, it evolved slightly as I progressed, so, for this reason, there are not really any changes I would wish to make.
I feel it is fit for the purpose. It is a simple design showing growth and disintegration. I have used many of the methods of embroidery and decoration explored in the exercises leading up to this chapter - ripple effect and chenille applique, bondaweb and gold foil, and trapunto. I have also included hand printed fabric using my rubber stamp design and completed the project with machine and hand embroidery.
HOWEVER, viewing the design objectively, I feel perhaps that this is too much of a pattern, and should have been more of a composition. Is it too regimented and geometric? I should probably have tried to achieve something more fluid and spontaneous. Some of my samples in earlier exercises were more random, but I still struggle to feel confident about whether an irregular, unconstrained design is aesthetically pleasing. Maybe I wouldn't feel this way if I had pursued the 'crossroads' and the gnarly crossed twigs designs from my original source images in chapter 1, as I think Sian was trying to encourage.
I am slowly working through 'Drawing on the Right Side of the Brain' and admiring work of other students, such as Catherine Slater, Maren Fischer, Leanne Boughner and Jenny Marty, and also becomming aware of the work of artists such as Kandinsky with his 'shapes and swirls that fly across the canvas'. Hopefully, as I work throughout this course, my work will develop more natural fluidity.