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22 Nov 2017

Chapter 14 - Developing design ideas


At the end of this module I want to develop my belt idea to make an item for my first Diploma assessment piece.
The words 'enforced restrain', 'parallel straight lines' from Siân's feedback made me realise that I would like to work much more freely and try to look further than straight lines placed within bands of parallel lines. Therefore I tried to explore some other possibilities.
Some pages of my informal sketchbook about the project:
Informal sketchbook - Page 96
 
Informal sketchbook - Page 106

Informal sketchbook - Page 100
Informal sketchbook - Page 105


Informal sketchbook - Page 101
Informal sketchbook - Page 102

I could make a strip of connected faces (the commuters I keep on drawing) stitched with metallic threads. The faces would not be inserted within parallel lines. I would enjoy to use some of my previous drawings in a textile piece. It would make sense of the research done in module 1.
Informal sketchbook - Page 104
Some surfaces could even be coloured and intensely stitched like I did in my resolved sample. 
Informal sketchbook - Faces
 
Informal sketchbook - Faces

A possible option to simplify the biro drawings of faces

Informal sketchbook - Page 104


# 1 - Some mark makings evoked by rails on a meandering strip

# 2 - the same strip but doubled and entertwined and faces
# 3 - Beginning of the mock-up for a metallic belt (would have more sections)

The metallic belt could be a very long one, with several different sections. I am not so sure about making a functionnal belt, I'd rather think about a decorative big item evoking a trip, a metallic item that would have the shape of a belt.

Colour scheme explored in Module 1
Informal sketchbook - Page 98

# 4 -Sample
Informal sketchbook - Pages 107/108
# 5 - Sample with two contrasting colours
Organdie backed with old linen - lutradur painted with acrylic iridescent rich copper
Transfoils - tarnished mica fragments - copper foil - strings wrapped with wire - zip
Running stitch with lurex - zigzag stitching with metallic threads - automatic cross-stitching - couching
Informal sketchbook - Pages 106/107


Surfaces could be coloured and intensely stitched with metallic threads like I did in my resolved sample in Chapter 13. The white wax line could be left without any stitching at all. I could also add some metallic surfaces of copper foil.


# 6 - Sample with a thick metallic thread on a dyed silk background
I could add some metallic surfaces 
#6.1 - Sample with some more metallic surfaces of copper foil


3 Nov 2017

Chapter 13 - Resolved Sample

I looked at my previous designs to find and select a small area that would inspire me to make a resolved sample. I cropped pictures of  my design faces of previous chapter with Photoshop.
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I  finally choose to work with this series of linked eyes and decided to slightly enlarge it .
Left area
Right area
The final paper design measures 36 cm x 8 cm. I liked the idea of not making a standardized A4 or A5 sample but  a long and narrow one.  I traced some contours to help me to evolve to a fabric sample (curiously the simple thing of thinking in term of evolving instead of translating does the trick. Thank you Siân).
Surfaces
I decided to do some dense stitching with metallic threads like I learnt to do in Alchemy keeping in mind the following considerations:

- what is my colour scheme, maybe try some stronger colours
- can I use metallic threads but also cotton threads for contrast (shiny/matt)
- directions of lines (not always the same)
- always use a metallic thread (either in the bobbin or on top) and work on the fabric from the front as well as from the back 
- leave some voids
Traced and painted with Ko-i-Noor on cotton organdie



Work on process
Threads that I used:
- Mettler Aman metallic gold 2108 (in the bobbin)
- Gütermann cotton yellow 1661
- Gütermann cotton orange 1576
- Corrente cotton light blue 531
- Gütermann Sulky  silver metallic 7009
- Au Chinois metallic light blue 190
- Au Chinois metallic dark blue  265
I backed the cotton organdie fabric with a white linen (from an old sheet) and used a hoop.
Finally I sew the six pieces together and couched a metallic thread to make a link.


36 cm x 9 cm, mounted on a woolen fabric
 

23 Oct 2017

Chapter 12 continued

Design development from silhouettes


1- First view

I glued together two sheets of brown paper (re-cycled), then I crumpled and painted them with gold and bronze acrylic paints. I cut three double silhouettes into this brown paper and stitched them (with a fold) on a piece of coarse linen.
2 - Second view
I cut four other silhouettes into white thin card and stitched them on a negative shape of brown paper (crumpled and painted). This second piece was stitched next to the first one.

3 - Third view
4 - First view

5 - Second view
For this second sample I used decorated papers, white thin card and brown paper. I made three frames in thin card and wrapped them with a strip of coarse linen. I also used a negative shape of decorated paper. I put together the frames and silhouettes trying to find a balance in the composition.


2 - Shapes within the face
6 - Looking at shapes within the face

7 - Calder

8 - I made this wire sculpture to study the work of Calder
Artists who have subdivided the outline shape in their works

Pages of informal sketchbook - first attempt from a drawing I made from a photograph
9 - First series of designs based on the internal shapes within the face
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I had chosen a smiling face but I had not distorted the outline shape to exaggerate the features so I made another attempt. 
Informal sketchbook - With an elongated chin and more hair
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12

13

Drawing exercises based on the sections of the face
- Self-portrait looking in a mirror, without looking at the paper and working quickly (from 5 to 10 sec for each drawing)

A white wax crayon as my drawing tool and a wash of acrylic ink
- Draw my own portrait several times looking for different lines and shapes and make a design series. I reworked some of the above drawings with wax crayons, cut or weaved some of them and added some stitching to connect the drawings.
33 cm x 20 cm
43 cm x 21 cm
38 cm x 20 cm





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