COLLECTION PROGRESS

I won’t lie, this project has been extremely tough for me. It has opened up a new avenue in which I thought I would never feel comfortable to work in, but as the time has gone on I realise how incredibly valuable digital technology is to me as a Textile Designer. That’s not to say that at times I have felt like throwing my Mac through the window, but fortunately coffee has seen me through.

There have been elements of my collection that I knew I wanted to use but was either scared to or unsure of how to incorporate. I decided to just ignore the thoughts of failure, putting my procrastination to one side, and just have fun with my explorative studies.

I wanted to find out what worked and what didn’t work within my collection. Initially, some of the drawings, paintings, and motifs that looked the most obvious to include, at times would be the designs that would not offer an organic and fluid pattern. Take for example the little oil¬†painting on canvas of Peonies I created; organic, rich and kinetic, but when trying to create a reflected pattern an obvious problem presented itself.

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If this pattern was to be repeated in a reflected layout the overall aesthetic of the pattern would form unsightly blocks of the flowers travelling horizontally and vertically. However, when forming this pattern I inadvertently created some incredible motifs which could be extracted via the PEN TOOL or POLYAGONAL TOOL and juxtaposed with other elements from a different design.

Next, I began working to resolve how I would incorporate my beautiful Cyanotype motifs into my collection. Looking back through my notes, and with the help of Charlie, I began to manipulate the image by removing the scanned background and creating a new coloured one. I then shrunk the original motif design via the FREE TRANSFORM TOOL and began creating both a standard and half-drop repeat pattern.

 

Although the colour is not which will be chosen from my collection I wanted a good initial contrast between the motif layer and that of the background. I am over the moon with this pattern, and will definitely be focusing it somewhere within my collection. My next step was to explore with scale and colour.

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I chose one of the cyanotype motifs specifically as I was drawn to the shape and style. The first sample I created using a green background with the blue motif, paying particular detail to a soft colour palette and manipulating the motif opacity down to 20%. I flipped the colour palette, although not exactly, to a blue background with a green motif layer, again reducing the opacity to 55% and manipulating the motif via the Hue/Saturation slider bar. The results are beautiful, and I would be proud to include them as part of my collection.

My next step to bringing all the design elements together will be to tackle ongoing issues I have in finalising my HERO Design. However, I now feel confident to undertake this task after the wonderful Intensive Digital Workshop run by Charlie and Matt on Thursday 24th May.

 

FLORAL STYLISATION

Continuing on, I decided to utilise some of the skills I had acquired during my previous floral explorative studies; now was the time to incorporate colour, line and pattern.

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This study used a stylised approach to flowers you would see in a garden, specifically within my Mum and Dad’s garden. Poppies have been stylised, and the Forget-Me-Not’s and Viola within the rockery section of the garden have been described with Derwent INKENSE pencils and a Derwent Water Brush, with a particular use of the pencil and brush to create texture. Faber Castel PITT Artist Pens were also used to suggest the quality of grass/fronds/leaves. This was an enjoyable experience in mark-making, but more than that it gave me the confidence to use these new instruments, having never used them before.

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Having applied the principle of vibrant and exploratory mark-making with the INKTENSE pencils and FABER CASTELL pens, I decided to draw directly from life. I ¬†picked up a reduced bunch of flowers from Aldi (only a few were still in the land of living, but considering I only paid 5p for them I couldn’t complain) and spent no more than 10minutes on this ‘sketch’. I was really bowled over by how fantastic and descriptive these instruments could be when used in conjunction with each other; a dynamic texture, colour and pattern has been created. A cohesive, fluid mark-making exercise turned out to be really successful.

Creating surface pattern/background with simple INKTENSE pencil shading and Derwent Water Brush. The image on the left is the original design, whilst the image on the right has been enhanced in my Mac ‘Photoshop’ via the Enhance tool. I absolutely love the colour and texture of the design and will experiment with applying some of my designs over the top of it; printing directly onto the surface and cutting out shapes and adhering them to the surface will allow me to explore the possibilities of the proposed final digital design.

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Playing around with stylisation and motifs; layering and mark-making. Additionally, I have incorporated a kineticism within these designs which draws the eye all over the page…allowing the viewer to choose favourite elements and interpret patterns, which would be incredibly useful when researching for a future client/s.

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Observational studies of one leaf at various different angles. The skill of observational drawing will be essential to me as a practitioner as it will differentiate me between the designers who cannot draw. Drawing is paramount to an artist!! It allows ideas to be conceptualised and carried through to a full and thought out design.

SELF DIRECTED STUDY: FURTHER STITCH SAMPLE EXPLORATION

Had arranged with the girls….KAT, AISHA and KELSEY….to meet up today. The idea was to discuss ongoing ideas, share best practice and gain inspiration from each other, and that is exactly what we did.

I had prepared my own materials before travelling to Uni, using a range of synthetic fabrics to manipulate, embellish and deconstruct/reconstruct.

I began by experimenting with the Felt Embellishment Janome machine, and decided to test out how Polyester Chiffon fabric would react to a process reserved normally for Felt:

The results were rather surprising!! The 2-D fabric transformed into a sculptural 3-D cloth; fibres became evidently broken and distorted, which only made the experiment even more fruitful. This gave me the idea to manipulate fabric with the use of a Wing Needle, which strangely enough I have ordered already!!

Layering loose threads and yarns onto the Polyester Chiffon fabric and fusing together with the use of the Felt Embellishment machine. Subconsciously I had picked up the threads and yarns that encapsulated the essence of Mulholland Drive. The process of punching through thread and yarn was extremely satisfying, not to mention created an abstract interpretation of the real painting. I LOVE IT!! I learnt that the more sheer the fabric, the more the fabric would distort; a thicker fabric may retain it’s shape better? Could you imagine this as a rug? WOW.

Juxtaposing colour via the use of Felt manipulation and free machine embroidery. The layers of felt were strategically placed and punched into the fabric to mirror the layered blocks of colour in my chosen painting. Felt is an incredibly versatile material, it can be moulded into many shapes and patterns; perfect for this project.

Once the felt was punched into the fabric, I embellished the surface with cotton thread (punched into fabric) and free machine embroidery was used to embellish. The colours chosen were purposely picked either to harmonise or contrast against the colour of the felt.

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My final sample of the day involved an already pre-prepared screen print (produced before Christmas). Although I love the simplicity and vibrancy of the print, I wanted to jazz it up with the use of untrue contrasting thread and harmonising pearl cotton. I used my imagination to capture the energy of flora in real life and combined it with the stylisation of Hockney, resulting in a kineticism expressed within my own visual handwriting.