Art · ATV - Part 5 - Building a collection · ATV - Reflections · Feedback from tutors · Textiles 1: A Textiles Vocabulary

ATV – Assignment 5 – Capsule Collection – Feedback

Rebecca’s comments came as a huge relief after I’d really felt that I’d sent my capsule collection off unfinished. 

I’d aimed high with my intentions without enough thought to timescales, in hindsight I could have reined in my ideas but I’m still glad I didn’t, working on the garments was very interesting and they felt full of potential. 

Overall Comments

Well-done Sally for getting this work to me even though you feel this assignment is not yet complete. The first thing I want to advise you is that you shouldn’t make anymore work for this course. The final pieces you have made along with the development work are more than adequate for this level. The work for level 1 courses should be experimental and developmental and what you have sent is beyond this going into pieces ready for sale or exhibition. I suggest you conserve your time and energy – preparing the work for assessment and planning the next course. Remember you are only at the very beginning of your degree with two more units at level 1. I understand your feelings of knowing when a piece is finished and when to let go of a project, these are common amongst creative practitioners and why time frames are so important.  

 This section gave me the confidence to go ahead and officially enrol onto the next unit Mixed Media for Textiles.

The work you have sent me is professionally and cohesively organised. There is evidence you understand and use research material, drawing, reflective thinking and sample making to come to textile solutions. Your blog is well organised and articulate with analysis of both your research material and your own creative output.

I’ve highlighted in bold the comments from Rebecca that I’m focusing on as I go forward into MMT. 

  Demonstration of Creativity
This assignment clearly demonstrates you have understood and digested the previous four parts of this course. There is evidence you understand the value of using drawing and research material to inspire fresh work. The drawings and the textile samples are experimental with evidence of regular risk taking. They also show your ability to compose pleasing and meaningful compositions in adventurous colour palettes. The work shows you are able to make skilled judgements when deciding which samples to take forward. For example the design with a central yellow circle in print and collage. You go onto develop this in various fabric-stitched versions playing around with creating line, texture and form. This follows your line of thought as you reflect and adapt your ideas for future use. I suggest you continue to work in this way using reflection and the analysis of your out put to develop ideas and come to solutions. You have used many textile techniques and materials in this assignment in a consistently sensitive way. This attention to detail is very pleasing with interesting combinations like the putting together of soft and harsher materials. I suggest in future projects you consider using more unconventional textile materials. You will be introduced to some in the next course Mixed Media for Textiles

I better get over myself and my reluctance to draw more often. I do love using a thin pen but I’m going to have to expand my repartee and it’s not for lack of implements.

Drawing

Demonstration of technical and Visual Skills, Demonstration of Creativity

You have used drawing to inspire and develop ideas in this assignment using a range of media. These link beautifully with your developmental textile samples and the final more resolved work. I suggest you continue to work in this way and also add in using drawing as a tool for reflection by sketching your textile samples and final outcomes. Continue to broaden the range of drawing media you use and consider drawing at a much larger scale – especially when you intend to make large scale stitched work.  

I shall continue working with my research as before but I do need to develop my descriptive vocabulary, my range is very limited. I tend to think in pictures and without emojis and cartoons I’m a bit lost. I have tried some critique building exercises but they were looking at ways to make arguments for a view point. I don’t think I need to go that indepth yet I just need some better words. 

Research

Context, reflective thinking, critical thinking, analysis

For this assignment you have looked at a wide variety of research material that is well organised on your learning log and your workbook alongside your creative process. This has assisted you in shaping the direction of your creativity and demonstrates the links you make between your sampling and the work of others. I suggest you continue to work in this way – making your research material work for you by analysing it carefully taking from it what you find interesting or useful and developing this in your own work. 

After peaking with my blog being highlighted in the 2015/16 Student Handbook I’ve had a love/hate relationship with it. I’ve really got to admit that it’s a brilliant tool and when I don’t blog I miss it and I never get the satisfying feeling of completion when I don’t review what I’ve done on here.

Learning Log

Context, reflective thinking, critical thinking, analysis

Your online learning log is well set out and easy to navigate. There are a good number of images of your own work along with the work of others. I feel that you could develop the way you discuss and reflect on your own work more. I understand that self-criticism can be quite difficult but if you try to look at your own work the way you look at others this will give you the distance to be more detached. My feeling is you are very hard on yourself and that if this work belonged to someone else you would be more impressed. It is good to push yourself but also give yourself some praise and a pat on the back when you have made something pleasing. For example when you have created a pleasing sample or drawing go further than saying “I love these shapes”, attempt to understand why the shapes are so attractive and how you can develop this.  

So am I going to put my work in for assessment? It’s nerve wracking but I think I’m going to. I better get looking at the guidelines.

Pointers for assessment
Reread your feedback forms to check you have used all the tutor suggestions

• Look at the learning outcomes and the assessment criteria to judge whether your work has met the requirements

• Refer to the assessment guidelines on the oca website, Research ▷ By Course Area ▷ Textiles ▷ scroll down to page 2 ▷ Assessment Guidelines: Textiles

• Aim to organize your work so that the assessor can see the five parts of the course clearly, that samples can be handled easily and your strongest work first

 

 

Art · ATV - Part 5 - Building a collection · ATV - Part 5 - PJ 2 - Building a Response · ATV - Pt5 - PJ2 - Develop textile concepts · Textiles 1: A Textiles Vocabulary

ATV – Building a Response – Develop Textile Concepts – Pt3

It’s been a while since I made these pieces but I’ve been out of sync with the blogs for this part of ATV so I’m sorry if this blog sounds a little stilted. I decided today that if I didn’t get this blog up to date then I wouldn’t be sleeping tonight.

For this batch of ideas I decided to work with a lino print, I’ve never made one before, even though I’ve had the equipment for years (typical!). I found the cutting surprisingly easy and I’ll definitely be making more.


I’m really pleased with the print that I get from the stamp, it works well on flat/smooth paper and more textured paper and I especially like it when used to make blocks of print. I’m hoping it will also work well on fabric.


Sticking with the idea of repeated prints and keeping to my black, white and yellow colour palette I started to put together some ideas. They aren’t as simple as I had originally planned but I’m not going to force myself to keep to my original guidelines if my instincts start to take me in another direction. 

I used the base print and a print of one of the original textile archive photographs and added an almost transparent organza and some simple stitches.


I wanted to keep the black blocked shapes from before even if I wanted to go with more detail so I used a couple of paper cutouts to frame the composition.


I’m really loving these black solid shapes, they are perfect for framing and every one I cut is slightly different. This happens because although I set out with a sense of curving I’m not always sure what I’m cutting, my hand eye coordination isn’t brilliant and often I just have to run with it, letting instinct take over. I’m never going to be able to cut like Matisse!

This next piece is a much simpler composition and although the circle is an often used focal point I just felt I wanted to have a go and add one.


Eszter Bornemisza often uses a circle in her beautifully delicate and expressive pieces. It works to draw the eye into the piece exactly where she wants your journey as you view her work.


In the first 2 concepts I used screen printing paint to make the print so with the next one I chose a different medium and used Indian ink to print onto white and white acrylic paint to print onto black. These I added together and drew in some detail to test out where I might add some stitches if I was working with fabric.


As I often do with my last piece of work of the day I had a little bit of fun with the bits of paper left over on my desk and randomly I threw in a bit of green.

Art · ATV - Part 5 - Building a collection · ATV - Part 5 - PJ 2 - Building a Response · ATV - Pt5 - PJ2 - Develop textile concepts · Textiles 1: A Textiles Vocabulary

ATV – Building a Response – Develop Textile Concepts – pt2

Continuing to work with the sweeping shapes that I had previously manipulated and played around with.

The black bent shapes I cut by hand and I particularly like these shapes. I think it would work well in appliqué using Sheila Frampton-Cooper as an influence. Sheila works in far brighter colours, I’m wondering if I could work a slightly bigger composition with these shapes as a focal point as she has done with Kelp.


I’m a great lover of happy accidents and reusing stuff that has been cast off so the next 2 compositions are made with the carbon paper I had left over from making a couple of tracings of the original sketch.  

I’m very drawn to the first composition of thin lines on the black, although I do not particularly like the paper translation. I can see it worked on chiffon or organza. I looked through some of Maggie Grey’s work because I know she likes to work with these types of fabric but I think her work is too detailed for what I’d like to do. I am more drawn to garments and gowns, like these Art Deco dresses.


When I think of these textile concepts I think of drape and soft handling. I think of flowing lines and naturally folding material and I could well be getting towards a way to translate these ideas. 

Now the paper version of the 3rd composition is much nicer than the 2nd but I’m not sure if it can be translated to keep the qualities that I want of softness unless! I could use nuno felting, now that would work. Very light, gentle wool tops worked into light black chiffon. Now that I like the idea of that! 


I haven’t done any nuno felting for a long time and it would be lovely to do it again.

This white layered piece reminds me of the wonderful dress design I saw at Manchester Art Museum by Xenia Telunts. She had made a simple but very moving design called Restriction. Xenia took her inspiration from the women who during WW1 because of mental distress found themselves committed to asylums.


I don’t want to copy Xenia’s fabric choices but I would like to test recreating the layering with heated synthetic fabrics and black felt.  The base layer could be similar to Emily Sladen’s work.


I think the black shapes would be best made out of felt or boiled wool because that will ensure that it is very opaque like the black card. 

For the black dotted piece I can see tambour embroidery but can I do this? Can I stitch with beads like this? I really like the simple and elegant beautiful work of Narciso Rodriguez.


If I used this technique then I could continue using light chiffon type material that is starting to become a theme running through my designs. I like the way that Chanel stretch the base fabric on frames, I never studied tambour embroidery so I would only be doing an approximation but that would be interesting and exciting in itself.


The third composition I made with the concept of ‘near and far’ in my mind. I really like the layering and it reminds me of the work of Holly Fulton in the Fashion and Freedom exhibition at the Manchester Art Museum. I spent a lot of time looking at this beautifully structured garment. It’s so very different from anything that we would wear now.

 I love the layering and the attention to detail and I wonder if I could use elements of Holly’s construction techniques.

Art · ATV - Part 5 - Building a collection · ATV - Part 5 - PJ 2 - Building a Response · ATV - Pt5 - PJ2 - Be inspired by an artist or designer · Textiles 1: A Textiles Vocabulary

ATV 5 – Building a response – being inspired by an artist/maker – pt2

When on the search for artists to focus on for this section of ATV5. I love this quilt and it’s very likely that some of the influences work it’s way into my work. Unfortunately their is very little information about the maker Jayne Larson.


After Jayne I looked at the work of Helen Parrott, I love her book on mark-making and I’ve always been in awe of her ability to use repetitive marks.


In my previous post on ‘inspiration from an artist maker’ I talked about Diane Firth. Her work is so simple and it’s going to be a challenge for me to work in a similar way.

Art · ATV - Part 5 - Building a collection · ATV - Part 5 - PJ 2 - Building a Response · ATV - Pt5 - PJ2 - Identify & present a colour palette · Textiles 1: A Textiles Vocabulary

ATV 5 – Building a Response – colour palette – pt2

Once I’d decided on my colour palette I started to think about materials and proportions.

First I selected some paints that I felt matched the ones I had in my head.


A lovely friend had reminded me that my choices had a very Mondrian feeling to them. 

I found this particularly interesting quote from the man, Piet Mondrian, himself:

I construct lines and color combinations , in order to express general beauty with the utmost awareness. Nature (or, that which I see) inspires me, puts me, as with any painter, in an emotional state so that an urge comes about to make something, but I want to come as close as possible to the truth and abstract everything from that, until I reach the foundation (still just an external foundation!) of things…

I believe it is possible that, through horizontal and vertical lines constructed with awareness, but not with calculation, led by high intuition, and brought to harmony and rhythm, these basic forms of beauty, supplemented if necessary by other direct lines or curves, can become a work of art, as strong as it is true.


And, it looks like not only his colour choices appeal to me. I love his views on abstraction coming from truth and his ability to create simple beauty from complex forms like nature.

My colour palette comes from very simple sources; the black and white from the shadows on the smocks, then the blue and yellow from smocks made from denim, or serge. A fabric very similar to denim from France. In Belgium the walloons wear blue smocks as part of their national outfit.

After deciding on the colours, I looked at proportions and selected the bold, contrasting white and black as the main colours with blue and yellow as a smaller elements to add interest.


My time completing Part 4 of ATV and making yarn/linear concepts has left me with an interest in reusing old materials, especially in the form of thread. Either as recycled yarns or threads that I have pulled from fabric and weaves.

I chose some provisional materials and then ordered some beautiful recycled yarns from YarnYarn

Art · ATV - Part 5 - Building a collection · ATV - Part 5 - PJ 2 - Building a Response · ATV - Pt5 - PJ2 - Be inspired by an artist or designer · ATV - Pt5 - PJ2 - Identify & present a colour palette · Textiles 1: A Textiles Vocabulary

ATV 5 – Building a Response – Colour Palette – pt1

This was a relatively easy decision. I already knew that I wanted to work with colours that make a striking contrast between light and dark. I didn’t want colours that had too much range and were likely to be miss read.  Think of all the different shades and tones of pink! At some point I think my hair has probably been most of those!


When making colour choices I often look to the subject matter for inspiration, but with the smocks I had already done that in Part 2 and after looking at colour palettes in far more detail in part 3 I thought I might look further for inspiration. 

This I duly did until it just became evident to me that the best colours to create the perfect contrast were black and white.  Not the most exciting but it feels right. 

So I had a little look round Pinterest and found 3 that I think use black and white to great effect:

Firstly Dianne Firth, this master art quilter lives in Australia and makes beautiful quilts using very limited colour palettes and strong solid shapes.

I’m also very taken with Marina Kamenskaya and this beautiful quilt of horizontal lines, they make me think of Kandinsky and the mighty Joan Miro. Such wonderful artists that were able to make sense of their worlds by stripping back to the bare lines, highlights and shadows. 


Finally I’ve been drawn to the work of Elizabeth Barton and particularly this piece that uses black and white to great effect. I really like this but I do think it’s drawing me back into a more detailed approach and not the bold repetitive effect that I am looking for.


Red and yellow are often used as the contrasts for black and white and they work very well being good primary colours. So just to bring a little variety I have decided to use blue, the other primary colour with yellow.

I’m going to be working on my capsule collection during the winter months and black, white, blue and a flash of yellow feel like the perfect colours for dark nights and short days of frost, blue skies and sharp sun.

Art · ATV - Part 5 - Building a collection · ATV - Part 5 - PJ 2 - Building a Response · ATV - Pt5 - PJ2 - Develop textile concepts · Textiles 1: A Textiles Vocabulary

ATV 5 – Building a Response – Develop Textile Concepts – pt1

Today I am well and truly sick of blogging, I’ve had a lovely week looking after my nieces up in the wilds of Scotland, well Glasgow actually – more sophisticated than wild! And I shall miss them dreadfully once I’m back home but I can’t wait to get back to exploring and experimenting, to the messing with paper and paint. I’m never going to divide the work and the blogging into too such big blocks again …. my nerves just can’t take it!

So this is one quick last blog in this batch, this should get me well in the mood for trying out some more ideas once I’ve touched base back with my kids, dogs and friends!

Working on from the influences of Diane Firth’s wonderful quilts and my project one drawing I have decided to have a play with this simple pastel sketch.


I made a very simple trace of the lines and cut out some nice bold black shapes.


Then I had a play with placement.


I decided I like the movement in this layout best.


And then made it up into a textile concept with some other shapes and some thread.


And me being me, this wasn’t enough so I had some fun manipulating the image with some of my iPhone apps.


Oh yummy yummy! Lots of inspiration here, I did have a little play with these images but I can’t blog those now, there is a hungry 4 year old to fetch and spoil with Haribos.

Art · ATV - Part 5 - Building a collection · ATV - Part 5 - PJ 2 - Building a Response · ATV - Pt5 - PJ2 - Be inspired by an artist or designer · Textiles 1: A Textiles Vocabulary

ATV 5 – Building a Response – Be Inspired by an Artist or Designer – pt1

This is one of the times when blogging and the actual working starts to become quite difficult to match. Both the course materials and blogs are best written in a linear fashion but working, especially like a mad scientist just doesn’t work like that.

I am, at the moment trying to load these blogs in the order of the course work headings but I’m sure that throughout the completion of Project 2 – Building a Response I will be jumping back wards and forwards; maybe to Inspiration from Artists/Designers and to adjusting my colour palette, or maybe trying out need designs and concepts. 

In an attempt to make this easier for navigation I will tag posts (below the heading) if I feel that they refer back to earlier tasks to show that they include actions that demononstrate what (I hope) is required. I am also thinking that I should add in links back to my previous work when I openly refer to it. I hope this does not make my posts too confusing and clunky.

Throughout this part of ATV I have been drawn to the work of Dianne Firth and I’ve been happily filling up a Pinterest board with posts of her amazing art quilts. There is very little information about Diane online but I have a Masters: Art Quilters Vol2 book which has a small biography. 

I love the way that her work has a beautiful simple quality that still evokes imagines of deserts and fields, of landscapes seen up close and from far away.


The abstract forms imply so much but you are allowed to use your own memories to decide what the images remind you of.

Sometimes the lines are bold and smooth and sometimes there is a gentle wavy to the edge, but always there is a sense of repetition, of gentle change. And evidence of a controlled approach to placement of shapes.


Even when the lines are broken down there a sense of the mathematic, scientific, no spacing or sizing is left to chance they all flow in a beautiful and perfectly formed way.


The colours are bold and the contrast is strong and exciting. I am in awe of Diane’s ability to make the simple so compelling and full of energy.

There will more on Diane and a couple of other artists that have caught my eye when I get home and have access to my sketchbook again.

Art · ATV - Part 5 - Building a collection · ATV - Part 5 - PJ 1 - Developing Visual Research · Textiles 1: A Textiles Vocabulary

ATV 5 – Strengthing a Theme – Light and Dark

Looking back through my textile archive sketchbook I was drawn to the shadows and the contrast in the shading. So I decided this was what I am going to focus on for the 8 to 10 drawing required for this first project. 


This will allow me to meet my own brief of working towards a series of more parred down simple designs.

I started with some nice broad lines and added some detail in white.
I really can’t help myself, the lines on their own were just not enough and before I knew it I had  added the little dots!

This was almost physically painful, but I did it. 

Clean lines, I know I know, there is some texture from the paper but I can work with that!

I can see lots of potential to work with these lines.

Flump! I just couldn’t help myself, I tried to draw some of the dog tooth shapes made by the stitching on the smocks and I soon found myself adding more detail.

But if I give myself a break I quite like this, it’s not one I’m going to take forward in this form. The shapes deserve some more attention but I’m not mad about their placement in this design.

Back to the sweeping lines. I used a softer paper here.

I’m working on a variety of different papers for these drawings and then putting them into the sketchbook rather than working directly onto the pages.

This design could be very easily translated into stitch but will it be interesting enough, would it give you a ‘wow’ moment? 

And then I went slightly off track!

I’d used a circle in one of my collages of the smock coat so I had a circle moment. 

These are very, very me but I want to try something new and challenge myself, so this will stay where it is!

The folding was interesting because I was trying to copy the folds in the clothes, this is okay but still very reminiscent of the work I’ve already done.

Okay, I’ve put this in but I’m not sure about it at all.
It’s just plain weird. It does have a bit of photo negative about it which I like but overall I’m calling it a dud. 

So that’s the first block of 8 drawings. I decided to take a break at this point and to come back the next day to work on the next couple of drawings with a fresh eye.

Art · ATV - Part 5 - Building a collection · ATV - Part 5 - PJ 1 - Developing Visual Research · Textiles 1: A Textiles Vocabulary

ATV 5 – Strengthing a Theme – alternative shape

Whilst I agree with Bert Dodson in his book Key to Drawing with Imagination when he says that creativity works best with constraints I still like to have a plan B. So far my drawings have focused on curved lines and I have a completed one that I want to work on further so Ive decided it might be a good idea to try something different with the last couple of drawings. 

I had already had a play with these dog tooths and I thought they might make a good motif to work with in the clean simple way that was my original intention.


I also thought it might be a good time to bring in a little bit of colour, so I cut out some shapes and worked them into a couple of designs that also include the curved lines and the strong contrasts that I liked from before.


It’s amazing how far you can go with a single motif, constant repetition would be interesting and could form a piece using the Japanese stitch technique of shashiko.


Nice, but it’d be boring if I didn’t work it into a more interesting composition, thought I still like the idea of repetition. I’ll keep that stored away!


Um, then I started to work more at keeping the triangles on the curved lines and finding different placements, to look for how this changed the feel and energy of the spacing and final composition. 

I like the bottom sketch most; is this because it looks like the triangles are defying gravity by remaining upright when they are only just holding on by their tips. Also, somehow despite the fact that the sketch is only simple lines it has a feeling of depth.


I had a little go at developing the idea further but the colour and solid blocks seemed to drain away the essences of the original drawing. Maybe it would be best just as it is? 

Could it work well as something similar to the work of Debbie Smyth? Not sure how I’d get the finished article into the poly bag to send it for assessing though!


In the past few parts of ATV I feel I have worked in the 2 extremes of either having loads of sketches – textile archive sketchbook or hardly any – Part 4 and I am hopeful that in this part I am striking a healthy balance. 

My intention, after Rebecca’s last dose of feedback is to not restrict my drawing to the preliminary stages and to keep drawing all the way to the end.