CONSTELLATION CHOICES

I had to choose 5 subject choices from 11, which I would feel comfortable studying for my First term Constellation element of my Degree.

The 11 choices were as follows:

  1. MYTH MAKING IN ART & DESIGN
  2. AFTER MODERNISM
  3. SMELLS LIKE TEEN SPIRIT: SUBCULTURE & STREET STYLE
  4. HOW THINGS ARE
  5. LEARNING TO LOOK AT: THE BODY
  6. NEO-FUTURIST ARCHITECTURE
  7. SUSTAINABLE PRACTICES
  8. THE MESHWORK OF OBJECTS
  9. THE PHILOSOPHY OF ART & DESIGN
  10. CRITICAL PRACTICES IN ART & DESIGN
  11. MY LIFE AS A SPACECRAFT

My 5 preferred choices have been written in bold. Trying to choose these 5 was incredibly difficult, I was only drawn to 3. The process of elimination entailed a detailed read-through of each subject content and how the visual handwriting worked in context with the written material.  I pray that I can study either HOW THINGS ARE, SUSTAINABLE PRACTICES or CRITICAL PRACTICES IN ART & DESIGN.

The choices have been made, now it is time to wait. I will find out within the next 7 days what I have been offered as a Constellation subject to study.

THE LONDON TRIP

Up at 6am to get ready for the London trip. Although the trip had been arranged to primarily visit the V&A, I was strongly counselled to take the time to imbue myself with other venues and exhibitions.

Updating my blog became my task for the 3-4 hour journey down, I thought it sagacious to get as up to date as humanly possible. The exertion is evident, hopefully, within my ongoing blog.

Arriving in London, I decided to document all of my best-loved works of art by photograph. Having had a stomach bug for the previous 24 hours I did not have the energy to stand/sit and draw from observation. I customarily draw from observation, it gives a greater perspective of depth and detail. Hereafter, I will aim to document as much first hand as I can.

One of the most exciting initial features of the V&A Museum were the resplendent Marble pillars situated in the foyer. I could not help but cognise the intricate shapes, patterns and tones. Most people would simply walk past. I will be looking to study these incredulous natural forms.

(Above) HANGING – Cotton, mordant dyed/resist dyed (‘chintz’). Coromandel Coast, South-East India. 1700-25. ‘Square pieces like this were popular with the Dutch market, and several survive with Dutch coat of arms in the design. This one gives space of the central field over to exotic birds and flowers. Hybrid style typical of the period, with a mix of Chinese and western motifs’

Looking at certain areas within this hanging brings light to the simplicity of design, yet when looking at the overall larger hanging, the sheer detail and hard work that must have gone into such a magnificent textile is mind boggling.

Research into pressed and dried flowers will be an edifying and pragmatic manner to aid me within my ongoing creative practice. Indication for artists using pressed/dried flowers/flora?

(Above) Part of Hanging. Cotton, mordant and resist-dyed (‘chintz’). Coromandel Coast, South East India, for the Western Market. ‘Chintz bed or wall-hanging is an impressive piece due to it’s quality of design, draughtsmanship and dyeing. The red designs on a white ground would have required the expert use of an alum mordant or fixative. The fine white motifs against a coloured background were drawn in wax-resisted lines with a simple bamboo pen’.

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(Above) Beetle-Wing Embroidery. Cotton net embroidered with metal-wrapped thread and beetle wings. Hyderabad, Deccan. 1855. ‘From early 19th to 20th centuries, the iridescent wing cases of Indian ‘jewel battles’ were popular with Western women both in India and Europe. They were pierced and stitched to the fabric with gilded silver-wrapped thread, and made gowns and accessories sparkle. Designs sketched and stitched onto sheer net could be cut out and applied to garments whenever desired’.

Incredible Islamic design, replacing glass with the most intelligent and beautiful linear structures. Looking in to symmetry and design.

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(Above) Man’s Waist-Cloth. Cotton, mordant-dyed. South-East India, for the Sri Lankan market. 1850-1900. ‘South Indian textiles were widely used in Sri Lanka as there was little local tradition of weaving and dyeing. Mordant dyed cottons like this were popular for Men’s wrapped garments. Unlike pieces for the western market, they were often made without the accompanying resist-dyed indigo’.

I absolutely treasure the shapes and pattern within this garment. I aim to create an interpretation of this design within my own study.

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(Above) Evening Coat. Elsa Schiaparelli (1890-1973). Autumn 1937. London. Silk jersey with gold thread and silk rose embroidery and applied decoration in silk. ‘Elsa Schiaparelli’s designs were characterised by their witty, Surrealist-inspired details. This coat depicts a profusion of roses in an urn which can also be viewed as two faces in profile. The double image held a particular fascination for Surrealists such as Salvador Dali. The embroidery is by the Paris house of Lesage, after a drawing by Jean Cousteau’

(Above) Riding Jacket. Messrs Redfern and Co. 1885-86. London. Wool with mohair braid.

I principally chose this garment for pure aesthetic reasons, it is simply stunning. The colour contrast is simple and so effective, but the intricate workmanship and bespoke tailoring is magnificent. Contemplating nature within Fashion is genius.

(Left & Middle) Tiles from the Tomb of Buyanquli Khan. Uzbekistan, Bukhara. c1358. Ornamental Frieze. Set horizontally above doorway. (Right) Upper section of Column and Capital. From left side of doorway. Carved earthenware under coloured glaze.

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(Above) Lengths of Velvet with Flowers. Iran, c1600-1700. Silk velvet. ‘When Shah Abbas I made his capital shortly before 1600, he developed the city as a centre of luxury textile production. Silk velvets were made in abundance both for local use and for export. Many had floral patterns, some composed of fantastic blossoms, others of flowers closer to nature.

Absolutely stunning. Simplification and incredible contrast of flowers.

(Left) Large storage Jar with Iranian decoration. Isfahan, Iran, c1600-1700. Fritware painted under glaze, with later brass collar. ‘This jar is one of the few blue and white vessels decorated with a local Iranian pattern – a trellis set with large blossoms. Yet even in this design there is a strong Chinese element, as the highly stylised flowers were originally derived from Chinese lotus motifs’. (Right) Tiles with repeat pattern. Iznik, Turkey. c1580. Fritware painted under the glaze. ‘Tiles with this design are associated with the shrine of Eyup, which stands just outside the walls of Istanbul. The pattern is not self-contained but can be repeated endlessly, like a textile design. Each group of four miles has the complete pattern, which is symmetrical on the vertical axis.

(Above) Lehti. Sheet brass, photo etched and powder coated. London, England. 2004. Designed/made by Maria Jauhiainen. ‘Leith’ (Leaf). The silversmith confounds expectations of metal to create a delicate, seemingly weightless fruit bowl. She photo-etched her drawings of a decomposing leaf onto a thin metal sheet and dissolved the remaining areas with acid. Red powder-coating has given the owl great strength and flexibility’.

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(Above) Sideboard Cloth. Linen ground embroidered with floss silks in stem and satin stitches, with couched and drawn thread work. Made by Frances Mary Templeton (1867-1946). ‘This sideboard cloth shows aspects of the techniques and designs associated with Jessie Newbury and Ann Macbeth, whose embroidery classes at the Glasgow School of Art left an important legacy to the craft of embroidery. They used coarse fabrics and simple, speedy stitching to emphasise the structure of their bold designs. The make of this cloth attended classes given by Ann Macbeth in Helensburgh, to the west of Glasgow’.

Two textile/embroidery artists to research and discover more about, whilst delving into the past of the salubrious history of the Glasgow School of Art & Design.

(Above) ‘The Day Lily’ Wallpaper. 1897. Colour print from wood block. Designed by Walter Crane (Liverpool. 1845 – 1915) for Production by Jeffrey & Co. London. Walter Crane was the first president of the Arts and Crafts Exhibition Society. He developed his figurative style through illustration books, but became a prolific commercial designer, working for many different manufactures. He designed more than fifty wallpapers for Jeffrey & Co. from 1874′.

I was immediately drawn to the incredible line and detail within this wallpaper; since a youngster, I have always wanted to create the most original and aesthetically pleasing wallpapers. Dreams can become a reality. Time to look into wood-block printing.

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(Above) Wallpaper sample. Colour print from wood blocks, on paper; the dado, flock on paper. Designed by Bruce James Talbert (Dundee. 1838 -1881) Printed in London for Jeffrey & Co. ‘By 1880 it was fashionable to decorate walls in 3 horizontal sections: frieze, filling and dado. Although this specimen panel was printed in one piece, usually three parts would be produced as separate papers. They were combined according to the choice of the customer’.

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(Above) Decorative Paper printed in Germany. c1800-1850. Maker Unknown. Gold embossing from engraved copper plates. ‘Since the early 16th Century, decorative papers printed with small scale patterns have been used variously as endpapers and book covers, lining papers for trunks and deed boxes, patterns for the backs of playing cards, and occasionally as wallpapers. Gold-embossed papers like these first appeared in the early 18th Century and production continued to the mid 19th Century. German printers in Augsburg, Nuremberg and Fuerth were renowned as producers of such papers. As well as decorative patterns, sheets with images of figures like saints were popular. These so-called ‘picture sheets’ were divided into separate frames, suggesting that they were designed to be cut out’.

The colours utilised are celestial, contrasting the beauty of gold and indigo blue is nothing short of genius. Investigative work into colour contrast will ensue as soon as possible.

The V&A Museum is a treasure trove of design, inspiration and history, but alas I had to move on. My Mother had informed me, a couple of days before my London excursion, of a Matisse exhibition currently on show at The Royal Academy of Art. Having never been overfond on Matisse as a long student, I now established myself discovering a new found respect for him. I am not quite sure if it was the arrogance/ignorance of youth, but I had completely overlooked the textile/textural/linear qualities within his work.

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(Above) Safran Roses at the Window, Oil on Canvas. 1925. Henri Matisse.

“Here and there, Matisse’s work finds reflection in marble, in gilt wood, faience, Oriental cloths – a whole euro shop for some daily magic: apparatus of a fantastic laboratory of visual alchemy” Georges Salles ‘Visit to Matisse’, Art News Annual 21 (1952): 37.

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(Above) Still life and Heron studies. 1900. Henri Matisse. Watercolour and Ink on Paper.

This work is effortless, yet so salient. It is a working exploration into colour; working from the same image but applying over different colour can construct a positive outcome for planned future work. Could I disentangle my stitch ‘writer’s block’ by using a fabric paint/ink first?

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(Above) Still life with Red Carpet. 1906. Henri Matisse. Oil on Canvas.

Sumptuous textiles within a rich and colourful still life/textile study. It would be counterproductive for me not to explore the textile constitution within a lot of his work.

SELF DIRECTED STUDY – MARK MAKING

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A trip to Re-Create was much needed; a treasure trove of another’s trash. I procured all this for £6!!! I had decided that my mark making in yesterday’s session was uninspired to say the least, I knew that I could have done so much better. Whilst not completely disregarding what I had completed on Monday, I took my ideas back to basics and began a explorative exercise using ink, paint and a mixture of hand-made and already prepared tools.

Using one of the most obvious and simplistic mark-making tools…..my fingers. Using Black Indian Ink gave mixed results, the initial ;print’ was extremely saturated and gave little pattern or texture. The ink dried out pretty quickly, in hindsight I should have used a screen printing ink, which would allow a crisper and more textural print.

Employing a sole willow reed, I snapped it into 3 parts and bound it together with masking tape. Dipping the reed into black indian ink and dragging the implement across the paper gave birth to some incredibly strong and purposeful marks. Little did I know that this new tool could be manipulated to create other wonderfully diverse marks too.

The 3 separate tips of the willow reed could construct circles, lines, zig zags, cross hatching and poignant lines.

Using straws for a range of different marks, the tip and side of the implement were used.

Having these repeated onto print would result in some sensational designs. I am finding the Stitch workshops a little narrow and constrictive, I think I will aim to find an evening course to explore stitch a little more creatively; second hand books via Amazon always help in times of ‘writer’s block’.

Purchased THE MAGIC OF FREE MACHINE EMBROIDERY – Doreen Curran on Amazon. Spent £4.96 on a Hardback!! Will strive to learn some exercises myself, hopefully will allow me to build a catalogue of samples ready for next couple of weeks.

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Using  both ends of the willow reed; flat end and broken/rough end. Referencing the wonderful mark making brief on Moodle, I attempted a quick ‘sketch’ using the idea of Pointillism to build up a pattern. More ink equates a darker and intense mark, whilst less ink generates a subtle and background mark.

Cardboard concocted 2 totally divergent marks, This piece of cardboard cost 10p!! The character it has left is priceless. Another tool I will explore in far more detail, stitch perhaps?

(From left to right) Round brush/side. Ink blown quickly through straw and blown across page. Ink gently blown through straw at close range. Ink flicked from paint brush and dribbled on page.

(Above) Direct prints from natural forms. Dried Physalis and Sycamore seed.

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(Above) Cut a part from Bicycle tyre and printed with coloured Gouache. Progression next to use screen printing ink. Multi layer? Colour upon colour? On fabric and then free machine stitch?

Experimenting with colour and block prints. Extremely happy with my mark making enquiry.

WEEK 2 – DRAWING: WET & DRY

 ADZ4771 Subject: Material Matters

Taught drawing lesson 2: Monday 2nd October 

‘The aim of your next drawing session is to experiment with wet and dry techniques on to various surfaces to create a body of individual pieces, to suit your own personal themes and styles.

Basic core materials will be provided, but please bring in watercolours, gouache, coloured inks, Quink ink, coloured pencils, pens, oil, wax and chalk pastels/ crayons where possible.

Also, a selection of thin and wide brushes, a variety of scrap papers (such as recycled paper, tissue, brown wrap, envelopes, hand-made and tracing papers) Plus any recycled non-patterned plain fabrics and masking tape/ fluid.

Remember to bring in your A3 sketchbook and any other resource material!!’ Sasha.

Advised by Keireine and Helen to reaffirm confidence when navigating Moodle, looking especially at the Career Module. Ess George is available to book a 121 career appointment. I will view the module tonight and arrange an appointment ASAP.

Week 2 of the drawing exercises was again run by Sasha and Helen. Helen introduced me to a range of brushes and encouraged me to construct a technical file for future use. This library of brush mark knowledge could then be called upon when needed.

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Before I started using a brush, I thought it prudent to begin a few simple mark making exercises using the information I had found on Moodle; included a vast and comprehensive range of ‘Drawing Techniques’ to find our own visual handwriting.

Using a range of different brushes and brush strokes to crete wildly different and expressive marks. Using Blue again, my favourite colour. Fascinating to realise so many different marks can be made with one drawing tool.

Tools used were:

ROUND BRUSH, FLAT BRUSH, SPONGE, CHARCOAL PENCIL, INK, BLEACH, STRAWS, CARDBOARD,OIL PASTEL and FINE BRUSH.

This was what I had created within the designated studio session. I felt a mixed emotion looking over my work, I know that I can do better. The task I have set myself for the coming week, to really immerse myself within my sketchbook and find my own creative identity…..again. Watch out for lots more exploratory mark making.

I will research definitive books I have at home and make use of the sublime Library @ Cardiff Met.

WEEK 1 – STITCH: FREE MACHINING

First day studying Stitch; initial session demonstrating Free-Machine Embroidery. Maggie Cullinane is the TD for Stitch and gave me some incredibly useful information before starting on my Stitch journey:

  1. BE INQUISITIVE WHEN USING THREAD & FABRIC & CHANGE MEDIA TO EXPRESS DIFFERENT MARKS.
  2. BE PREPARED. SOURCE A STITCH BOX TO KEEP ALL CORE & ESSENTIAL EQUIPMENT IN. BRING EACH WEEK TO CLASS/TUTORIALS.
  3. ALWAYS FOLLOW THE INSTRUCTIONS SET WITHIN THE TECHNICAL INFORMATION PRINTOUTS.
  4. WHEN MACHINE THREADING BOBBIN, ALLOW 2″ LENGTH THROUGH THE HOLE AND HOLD SECURE UNTIL ENOUGH TENSION IS VISIBLE, THEN CUT.
  5. BOBBIN NEEDS TO BE TURNING ANTI-CLOCKWISE
  6. THREAD ALWAYS WITH MACHINE FOOT UP
  7. TEETH DOWN FOR FREE MACHINING, ALWAYS CHECK BEFORE STARTING.
  8. ALWAYS KEEP ALL TECHNICAL INFORMATION IN FILE, IT IS A BIBLE OF WEALTH AND KNOWLEDGE.
  9. THICKER THREADS DO NOT WORK AS WELL WITH SHORT STRAIGHT STITCH, BUT EXPERIMENT WITH A RANGE OF THREADS.
  10. USE EMBROIDERY HOOP WHILST FREE MACHINING, OTHERWISE PUCKERING WILL OCCUR.
  11. UTILISE WAXED PAPER (WAXY SIDE UP) WITH FABRIC TO CREATE A STIFF AND STRONG SURFACE TO STITCH ON.
  12. LENGTH OF STITCH IMMATERIAL IF MACHINE TEETH ARE DOWN.
  13. SLOW AND STEADY SPEED TO GAIN CRISP AND VIBRANT MARKS.

Maggie gave an introduction to Stitch and delivered a Health & Safety induction. She gave a demonstration in how to use the sewing machines and began a tutorial to instruct us on our first task.

I have a Bernina 330 at home, so seeing these machines did strike a little fear into my heart. However, I discovered that the simplicity of these machines, JANOME, was a welcome find. After I had threaded the machine and bobbin, I began experimenting with stitch width, length, shape and pattern. Utilising a thick and more rigid thread to use in the bobbin does come with a risk of jamming, as evidenced below. I gained valuable insight by my mistake to use thick/rigid thread within the bobbin, going forward the thread can be thicker, but far more flexible. Fluffy or fibrous thread can easily jam the bobbin……avoid.

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It is amazing what modern machines can do, the stitches available are incredible. The machine I am using is a basic model, but there are machines that can undertake the most  incredibly intricate and complex stitches. Certain stitches have a certain function, I will make a comprehensive technical file detailing what is what and how it can be readily available when I need it.

I was instructed to begin using samples of my drawing/sketchbook to transfer the image from paper to fabric/stitch. I have always loved linear quality within any artwork, so decided to use a very simple line drawing of a section of bark on a tree. At first the process of free-machining using an embroidery hoop seemed alien and restrictive, but after a few minutes of free-stitch I actually began to really enjoy myself.

Building a simple linear quality by straight stitch. I think that either the tension was a little loose or the bobbin had been inserted with a clockwise action, this made the stitch look/seem a little off/weak; in future this will be carried out before I begin to stitch.

I began to incorporate another colour to add contrast and to describe a more 3-D image. I incorporated straight stitch, zig-zag and half mood stitch. Looking at this sample it seems apparent that this application would be far more effective when used in conjunction with Appliqué, which is what will be demonstrated next Friday.

WEEK 1 – DRAWING: MARK MAKING

I was introduced to our new Associate Tutor, Sasha Kingston. Sasha is a Paper Artist. I would highly recommend visiting her homepage @ http://www.sashakingston.com. She would be teaching us a range of drawing exercises to deconstruct preconceived ideas, flex our creative muscles and start us on our journey of mark-making, visual interpretation, print & dye, stitch and Fine Art.

Sasha asked us to form a group. The group would then choose an individual to discuss their work and what they had been up to over the Summer. A specific piece of my work was chosen for an exercise looking at working with monotone dry point materials; 15 minutes was given to capture as much of the images’ essence. It was fascinating to hear and watch all of my contemporaries busy creating their own interpretations of their own work, myself included.

 

My 15 minute sketch is the image with the darkest black diagonal running from top right to bottom left. It is an explication of tree bark. I get really animated seeing other artists work. Taking inspiration from one another is what it’s all about.

The image (right) is of a tree I had photographed @ St Fagans. This image was then studied to create 2 continuous line drawings of a section. Using a viewfinder, I was asked to draw an observational study within a 3 minute time frame; the pencil was not to leave the paper. The (middle) image using a 2B pencil felt fluid and effortless, I really like it. The (right) image using a brown fine liner felt stiff and resistant, I actually drew with my left hand. Deciding upon which drawing implement to use can not only alter your work but can also alter how you feel when making it.

I wasn’t given homework as such, but knew that the self-directed study days are a perfect opportunity to transcend the knowledge, gained from the previous day, into new and exciting avenues.

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Investigating different ideas and thought processes; photocopy, photograph, print and observational drawing. Compressed charcoal pencil and graphite pencil.

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Considering new angles of mark marking. Observational drawing and print. Red biro, compressed charcoal pencil and fine liner.

I will begin to incorporate these marks within fabric and mixed media samples. I will take a trip to Re-create, a most fantastic arts and crafts store specifically designed for Children…….quote (by Re-Create):

‘A Scrapstore: a wide variety of re-usable waste and surplus material donated and collected from firms around South Wales to re-use in children’s play. Arts and Crafts shop: to stock a wide range of cut-price arts and crafts materials’.

The Start of My Professional Career

The time has come. I am now on my own professional journey to the career I have always wanted.

Today marks the day. Work hard, listen and take advantage of every single opportunity.

Introduction to the course leaders and staff:

KEIREINE CANAVAN – Programme Director/Principal Lecturer/Constructed Textiles

kcanavan@cardiffmet.ac.uk

HELEN WATKINS – Level 4 Director/Senior Lecturer/Print/Dye Textiles

hmwatkins@cardiffmet.ac.uk

SASCHA KINGSTON – Associate Tutor/Paper Artist

kingstonsasha@yahoo.co.uk

MAGGIE CULLINANE – TD/Stitch

STEVE MURRAY – TD/Print

Was told that there are to be 3 main areas of study within my BA TEXTILE DESIGN Degree.

SUBJECT, FIELD & CONSTELLATION. The tutors gave their best attempt to try and break down what each subject area would entail, but the information was so broad I could only vaguely get to grips with a few aspects of each.

SUBJECT – My Discipline/Own area of study

FIELD – Coming into contact with other artists/disciplines within the creative industry. Assimilate. Accommodate. Transform.

CONSTELLATION – Theory/Research/Contextual studies. Learning to look. Learning to know. Learning to do.

How do I find more information about all these 3 areas of study? Martin Woodward gave a welcome lecture to discuss ways to manage and comprehend each area. The information that we would require to familiarise ourselves with each of the 3 areas of study could be found on MOODLE. Moodle is an online an interactive hub of information related to all studies for the upcoming 3 years; timetables, briefs, technical information and Library resources can all be found here. I must admit, the prospect of having to manage and become proficient in all my creative work, essays, disciplines and navigating a new and unfamiliar online hub is extremely daunting. Nevertheless, I will do my best.

I did manage to hear some exciting news today, I am able to see the Library 24/7! It is open to students as and when needed. I think this will be fantastic in the coming months/years, especially when I’d dire need of research material. Keireine strongly urged my year group to come in early and take advantage of all tools readily available to us; coming in early to appropriate these tools would put us in good stead for future endeavors.

CAREERS

ESYLLT GEORGE – Careers Advisor/Support.                                        esgeorge@cardiffmet.ac.uk                                                                                                                  Student Facebook: Es Creative Exchange                                                                                       Set up a LinkedIn account

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My first attempt at looking at Moodle, I really thought an extremely important to document the core objective of my creative journey. Breaking down, long and often confusing briefs, into more poignant, manageable and bite-size pieces really helps me to comprehend the task at hand.

I will begin my contextual and research journals within the next 2 weeks. Having a broad knowledge bank of interests, hobbies and pastimes will influence heavily towards my choice of creative artists/designers I wish to reference and Use as inspiration. I have previously mentioned a few artists/designers that I am currently/due to work/working with and will make a visual diary to gain a bank full of creative wealth and knowledge.

TRIP TO ST. FAGANS

 

This was the brief set by Kereine & Helen. The brief was devised to take the group back to basics. Drawing is fundamental to any designer. I was encouraged to be as experimental and creative as possible , but to make sure that the brief and it’s core was adhered to.

THURSDAY 21ST SEPTEMBER

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I thought a map of St Fagans would come in extremely handy, knowing where to go and sites of interest could cut down wasted time. A group of us decided to check out the Chapel

 

I absolutely loved the wonderful shapes and angles within the chapel, I decided that I would incorporate a few quick linear drawings of specific areas of interest. I especially liked the small square window within the Chapel and completed  one of my six mandatory 5 minute sketches.

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I absolutely love Trees! They are so beautiful and full of rich shapes, textures and tone. I really enjoy looking at the trunk and have tried to sketch an interpretation of it using line and collage.

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I thoroughly enjoyed these 6 x 5minute descriptive sketches. Looking over my work, it is evident to see I really enjoy working within a simple and effective colour scheme, namely black, brown, green, yellow and blue. The purpose of this exercise was to build a selection of monotone drawings that focused on close-up, detail, line, scale, tone and shadow. I had quite forgotten how wonderful drawing is using fine liner pens, the visual handwriting produced could be exploited extremely successfully within Embroidery. Free Machine Embroidery could be an incredible way to describe these images. This is something I will be learning within the next couple of weeks.

 

More descriptive sketches of natural and found objects within St Fagans’ grounds. (Left) Shows very experimental/observational sketches of Sycamore ‘helicopter’ seed pods, incorporating scanned/drawn images. Learning that a simple line/mark made can be far more effective than spending more time over complicating an idea. (Right) 20 minute sketch of a wondrous tree in the foreground and the Stryd Lydan Barn behind a tree in the mid ground/documenting marks views within the overall scene.

 

Experimenting with ink, charcoal and direct leaf printing. I learnt a valuable lesson whilst printing direct from the leaf; surface pattern and texture is vital to create a detailed and wildly imaginative print. It is no good using a flat and uninspired type of leaf/flower, the print will result in a flat and description less image.

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45 minute composition of Y-Garreg Fawr Farmhouse, incorporating texture, collage, perspective, line, surface quality and tone. Really pleased with this drawing, although I could continue to work on more studies utilising the textural and tonal qualities of slate walls. This could then be interpreted into stitch, possible hand stitch or machine embroidery. Drawn with Stitch; which brings me back to an artist I have recently discovered. DRAWN TO STITCHGwen Hedley (Using as one of my influences/Research), contains some of the most incredibly imaginative and tactile images I have had the fortune to discover. As previously mentioned in my blog, I have at times over burdened myself with way too much information stimulus. Her book strips back the preconceptions of not being able to draw and starts with the basics of line and mark making, something I am keen to explore much further.

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Whilst on the trip at St. Fagans, I began documenting, by photograph, visual stimulus for further study. Looking at specific areas of items/materials/forms has always been a favourite hobby of mine. One can gain such information from such a small observation. I was reminded of one of my first notes I made when entering Room B1.06 (My First Year Study Room), I came across a ‘leaflet’ created by a Professor @ Cardiff Met University. The ‘leaflet’ introduced me to a few images of substances/materials under magnification, the research material named as ‘MICROSCOPE IN WAITING’ – Professor Richard Weston. I have e-mailed Professor Weston and am currently awaiting a response.

 

 

MONDAY 25TH SEPTEMBER

Module Briefing. Keareine and Helen introduced the group to the Module – MATERIAL MATTERS.

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I won’t go into too much detail, on my blog, with regards to how I will begin to break all of this information down (there is so much of it!!), I will begin  specific folders/sketchbooks that will deal with contextual/research element of my course.

My group was given a wonderful introduction, by Martha Lee (Academic Librarian), into how we can access the Academic Library/Library Resources. I can access the Library Resources through the Student Portal and gaining admittance via MetSearch. The process to source a book, journal or article is extremely simple, the best way to get to grips with the site is simple trial and error. There are important aspects to look out for when sourcing research material; GET IT = Location & Availability, when found the research material can then be saved to the eShelf for a later date, should it be required.

An A-Z Database search would access focused collections of key publications for specific subjects. Publications such as:

ACADEMIC COMPLETE, ART FULL TEXT, ART BIBLIOGRAPHIES MODERN/HUMANITIES FULL TEXT, CAMBRIDGE UNI PRESS, DESIGN & APPLIED ARTS INDEX, INTERNATIONAL BIBLIOGRAPHY OF ART, JSTOR, OUP JOURNALS, VOGUE ARCHIVE and WGSN, should all be heavily utilised. Image Databases hold a treasure trove of high definition imagery for research and dissertation purposes; something I will arrange explore with Martha. It is of paramount importance that ALL images are to be referenced. If WGSN is to be utilised, they will not allow images to be referenced, but rather a link to the image is to be adopted. CITE THEM RIGHT online is another fantastic website to use.

Academic Skills workshops  are run on a Wednesday between 12-1pm, I am scheduled for workshops on a Wednesday morning every other week, so I will most definitely attend when I am free. All knowledge is power.

Martha mentioned that it could be useful to subscribe to a few magazines and journals of my own volition. I already subscribe to SELVEDGE, ELLE DECORATION and WALLPAPER.  Books that have come highly recommended for the course are as follows:

Clark, S, 2011, Textile Design, Laurence King Publishing, London

Colchester, C., 2009, The New Textiles, & Textiles Today, Thames and Hudson

Dunnewold, J. (1996), Complex Cloth: A Comprehensive Guide to Surface design, Martingale & Co.

Fish, J., 2005, Designing and Printing Textiles, The Crowood Press

Quinn, B, 2009, Textile Designers: At the Cutting Edge, Laurence King Publishing Ltd, London.

Steed, J. & Stevenson, 2012, Basics: Sourcing Ideas, ava. publishing

Wells, K, 2000, Fabric Dyeing and Printing, Conran Octopus Ltd

Wado, Y., 2012: Memory on Cloth: Shibori Now, Kodansha, America.

Drawing

Drawing from the Modern 1975 – 2005, Museum of Modern Art, New York

Vitamin D, 2005, New Perspectives in Drawing,

Riegelman, N, 2006, 9 Heads, a guide to fashion drawing, 9 heads media.

Kuky Drudi/Tiziana Paci, 2012, The Pepin Press, Amsterdam.

Downs Marshall et al, 2009, Drawing Now, between the lines of Contemporary Art, I.B Tauris&Co Ltd, London.

Stobart, J. 2006, Drawing Matters, A&C Black, London

Kaupelis, S, 1980, Experimental Drawing, Guptil Publication, New York

Martin, R & Thurstan, M. 2008. Contemporary Botanical Illustration with the Eden Project, Batsford, London

Szabo, Z, 1987, Painting Nature’s Hidden Treasures, Advanced Techniques in Watercolour, Watsill-Guphil Publication, NYC

Evans, J, 1987, Chinese Brush Painting, William Collins Sons, Glasgow