Both Monday and yesterday were dedicated to garment production; cutting pattern species, attempting to sew seams, more pattern cutting. I made the body and sleeves of my first jacket, but since I don’t have the level of skill to put in sleeves, that’s something that will have to wait for another day.
Yesterday evening however, was dedicated to making a few new designs that I could then take into print and experiment with for the rest of the week. i decided to be a bit experimental with my designs, using a piece of charcoal, I took some of the shapes from my original photographs and turned them into quick marks, along with translating a bit of knit which was on my board, into a a few curved marks, which turned out to be quite interesting. I then spent the night scanning these in and turning them in designs/patterns. I’m looking forward to experimenting with these designs in print, especially using Devore.
Something I touched on earlier was about taking a step away from thinking about what I will be producing for my degree show, and just focus on designs and experimenting and making samples of my textiles.
I’ve started with paintings of general ideas, which I turned into a dye sample. The one painting is much more expressive and organic, while the dye sample is much smoother and I don’t know, I feel like something is missing. I created a smooth ombré from one colour to another and then another but I don’t know what to do with that. I like the expressive marks of dabbing with a sponge to create the illusion of bricks, so maybe I can do this on to of the dying? I honestly don’t know. I created these painting so that I had an idea of what I wanted to do on the actual fabrics but it’s turning out to be a bit confusing to me because the results that were so quickly made with the brush isn’t easily replicated on fabric – it’s much less natural and organic once it’s something I’m trying to purposely make.
The design for my sheet wrap happened to be a happy accident. I was playing around with samples, layering and then bam! There was a result that I liked. A white pattern printed onto film work, with black organdie on under and white organdie over it. The result was a very tonal wrap design that was quite soft, which worked really well as a contrast to my roll wrap design.
While it was great to find a design I liked that easily, I still wanted to experiment with adding more tones, or maybe a contrasting stripe like in my roll wrap.
I used slices of film-work for thinner stripes and tape to create larger spaces, trying out a few different combination.
I experimented with closer stripes, overlapped stripes and stripes that were quite far apart.
Two of my designs had very structured lines that contrast really well with the more expressive lines of my grid design. the other however has overlapping designs that are a bit more similar to the foreground pattern which I think makes the designs look a bit busy and doesn’t have a good as contrast of the more regimented stripes.
I think I prefer the design without the added tonal elements/stripes. I think by adding in extra elements its taking away from the simpleness of the design which compliments the business of my roll design. I like that both of the designs play off each other in both print and colours, I think this makes my collection more complex and well thought out.
While I was walking through town earlier, I saw a window which had a painted ‘closing down’ sign on it, only it wasn’t the closing down that interested me, but the paint that had been used on this glass.
The paint that had been used, had tried and cracked into a strange but interesting pattern, sort of grid like definitely, which I suppose s why I found it so interesting to begin with. safe to say I snapped a photo of it.
I was really intrigued by these marks that have seemingly at random, been formed. like the paint had fractured when it had dried. I wanted to recreate this, so I grabbed a acetate sheet and started to paint streaks on it with different pains, but I wasn’t really getting the effect I wanted. So what did I do when faced with a problem I could solve? I asked my dad. Because lets face it, dad’s have all the answers, and he did.
Into the kitchen we went, grabbed the oil out of the cupboard and slathered it over the acetate before painting on it with acrylic, a water based paint. *high-five dad* the paint didn’t stick to all the acetate, where the oil was stopping it, it created some really lovely marks, which I will be taking into print later this week to try out as a surface pattern designs! yay.
Sat, 17. September 2016 – Sun, 6. November 2016
After being told about a drawing exhibition that was currently on in Craft in the Bay, I went down there to get some fresh inspiration, and to see what other styles of drawings are being explored by artists today.
What I found was a lot of mark making. I always forget about mark making, which annoys me, because some of the most beautiful images/drawings can come from marks.
There was one artists there that really experimented with marks, using them in his ceramics, which were gorgeous. Their work book was laid out along with some mark-making samples which were just beautiful. They were limited in colour, using only black and washed out grey which really helped bring attention to the marks that were being made.
From looking at these samples, it has inspired me to thing about mark making. Different tools and methods, looking back into my own samples to see what marks I could pull out of them to turn into new designs.
Im planning to have quite a few surface patterns that were made from looking and experimenting with marks.
Another Tuesday, and another day in which my designs have been influenced and changed; for the better. Today I had a tutorial with Keireine. During this tutorial I was able to really think on what aspects of my experiments I liked the best, and from what Keireine said, I needed to tweak my designs so that they had more soul in them.
It’s all well and good creating loads of designs but if they don’t speak of me and my style then they’re not really relevant are they?
So what I really loved about these croquis samples was the focus on the form of the minerals, and the marbling effect. I think that these two element together create a better sense of the overall mineral than they do apart.
I was given ideas on how I could further develop my existing designs, and I plan to do just that. On my hand printed designs I agree that the blunt line down the middle needs to be softened and I plan to do this by machine embroidering the dendrite pattern on top of the printed designs. I think that it will close the gap with the embroidery and I will be able to see how this effects that outlook of the design.
Again I agree that the samples that have manipulated edging where too plain and generic. Somehow I need to find a way to incorporate a sense of the minerals I’m working from, and a sense of myself into the designs. I plan to experiment with adding more threads and different textures into the cording samples, as suggested by Keireine, to see if they better emulates the inner structures of my minerals.
As for my digitally transformed fabric manipulation, I’m really pleased with how they look, and was glad to see that when Keireine saw them, she reached out to touch the manipulation only to find it was a flat design. This is exactly the reaction I was looking for, that illusion of manipulation mistaken for the real thing. I really loved working with hand-crafted manipulation and then digitally transforming tem, and the effect that they have afterwards. I plan to experiment with this further with both these techniques.
From here I set to work on incorporating the effect of marbling into my croquis designs. I was able to keep the graphic nature of my motif, and mix them with the free-flowing effects of marbling.
I used different coloured inks, along with different ways of dropping and mixing the inks into water to elicit different results. The black ink was by far the most prominent ink, floating on the top of the water whereas the other coloured inks dropped to the bottom of the dish. This effected the way in which I experimented because I was conscious that the black wielded the best results, therefor it was in the fore of most all my experiments.
Once the samples where dry, I scanned them into the computer, and started to manipulate them in Photoshop, where I was able to change the scale and colour to better suit the production of my designs. I took the layout from my original designs and mixed them with the marbling samples I has created. The mineral structures are still the prominent feature within these designs, but instead of looking like flat designs, I believe that the marbling effects gives them much more life and texture, making them more interested and better suited to my client.