Nina's Textile Trail

My OCA Textile Tales


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RE-THINKING and REINVENTING the Final Piece – Supplementary to Assignment 5 in response to Tutor Report

As previously posted, my Tutor Report for Assignment 5 included some suggestions as to how I might re-think my final piece and consider some more areas of relevant contextual research to improve my submission.

I wondered just how far I could/should go and decided to begin the suggested areas of research with the tutor’s comments in mind and see where it lead.

To summarise, I looked at

  • Sonia Delaunay whose work was interesting but not exciting to me.
  • El Anatsui whose work was incredibly exciting and will be revisited but not relating to this assignment.
  • Contemporary Patchwork; the work of Matthew Harris, Dorothy Caldwell, Mandy Patullo, Junko Oki and darning & patchwork for mending.  I was most drawn to Harris & Caldwell’s work.
  • Gees Bend Quilts, enjoyable research and agree some ‘superb composition’.  Could relate aspects of these quilts to my piece.
  • Boro Patchwork, the characteristics of which are very appealing to me.

Tutor’s Comments: Looking at these three, what struck me was the freedom and the liveliness of the rough patchwork sketch on paper (page 4 book 2), which was lost in the other two more finished pieces. Thinking about this, I came to the conclusion that the white base was significant; Some patches freely move out and away from the mass, out of the boundary – almost escape – allowing the white to play a positive role. The white background is much larger than the mass of patches, allowing a margin of white space around the composition. This earlier composition has a dynamic quality which was constrained in the two later ones by the rectangular outer edge which reinforced the static nature of rectangles. This encloses and confines the composition.

Considering the Tutor’s comment that the “freedom and liveliness of the rough patchwork sketch on paper was lost in the other two more finished pieces”, I can see there is more movement in the paper and fabric sketch on the left (below) and think the outline shape against the white is interesting, particularly along the bottom edge.  Also the simplicity of the plain colours with no printing adds to the contrast.

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Tutor’s Suggestions: Before assessment, try to re-look at this final piece.

  • Consider, possibly re-think, the number of patterns, colours, stitches you combined in the piece. You organised the blocks of colour well in relation to each other, but when you tried to increase dynamic quality with diagonal rows of stitches these were lost against the heavy dominant colours of the rectangles.
  • You also might need to think about reducing the different types of stitches, the different print patterns.
  • Consider, if it is to be a hanging, if it needs a larger plain background.
  • Don’t forget, this is patchwork – taking off, adding, unpicking has been part of this craft since people began to wear clothes.
  • You did look at some artist/makers during this assignment but the assessors will expect you to have looked at contemporary patchwork and that of other cultures where it has become an art form. They will also want to see if you have gone beyond the merely decorative.
  • Ask yourself about the need for patchwork in some societies, the significant place it has in some cultures, and the symbolic use of pattern.

I  began by laying out my original piece on a white background, which did nothing for it, the intensely coloured piece just looked like a block of colour in the middle of the white, there was no interaction at all between the two.

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I tried covering all the multi-coloured and printed patches with white patches which improved it a little but not significantly.  I then covered the multi-coloured and printed patches with plain patches in a mix of the colours already used (Green, Orange, Claret & Petrol Blue).  This was more pleasing on the eye, removing the orange was also interesting.

So, re-thinking the number of patterns, colours and stitches combined in the piece, I concluded that limiting the palette to the plain dyed patches, green, orange, claret & petrol blue or, even further, to green, claret and petrol blue was worth pursuing.

I decided to produce some samples.  The first was on a single piece of white cotton sateen with petrol, red brown and chartreuse patches machine stitched.  The cotton sateen was horrible, too limp, no substance to sew into, a bit shiny, the machine stitching on the patches was too straight and even, making the patches look like badly cut out squares, not adding any character at all.  I subsequently unpicked the patches for re-use and omitted to take a photograph first.

The second sample used a single layer of base cloth of white 55% linen/45% cotton which I scoured first in the washing machine with synthrapol and washing soda to remove any sizing and give the fabric a softer, worn look to create properties similar to fabric used in Boro patchwork.  Raw edged patches were hand sewn onto the cloth.  This sample was a pleasure to sew, the background suited the different weights of hand dyed soft cotton patches, felt good to sew, had more substance than the cotton sateen but still some drape.

The hand stitch and textures married together with the patches becoming more a part of the cloth.   Running stitch was used so as to be comparable to sashiko used in Boro textiles, initially in thread to match the coloured patches.  I wondered how it would look with white thread and if running stitch was enough or would a freer Dorothy Caldwell stitch be more dynamic?  I concluded that I liked the simplicity, rhythm and harmony of the running stitch.

As the sample was successful I decided to develop it further by adding a small piece of 80% cotton/20% polyester batting and another layer of the linen/cotton.  I am not a quilter and haven’t made a quilt before but thinking about the Gees Bend Quilts and the Boro patchwork wondered if I could combine ideas from both.

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The packaging for the batting suggested it might shrink up to 5% if washed.  Hoping this would add to the character, I decided to wash the sample again once it was hand quilted.  I had also looked closely at samples of Boro patchwork to determine how the edges were treated and in the main, the futon covers had raw edges enclosed either in blanket stitch, oversewn in a vertical whipstitch or edged with two or three rows of running stitch.   Knowing that the fabric was inclined to fray heavily, I added backstitch to the list and edged the sample with all four stitches.

I concluded that running stitch was useless at preventing fraying, the other stitches reasonably successful, but the backstitch was preferable.

Boro patchworked futon covers are created with layers of fabric and do not contain any batting so, for comparison, I stitched a similar sample with two layers of linen/cotton and patches, held together with running stitch.  I used white thread horizontally and vertically at varying distances apart.  The contrast between the intensely coloured patches and fairly dense stitching on some was distracting, particularly when the stitches were horizontal.  I preferred the bigger wider spaced stitches in the white thread.   The two layers of fabric were also lovely to stitch into, but when they were both washed I preferred the sample with the inclusion of batting.

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Just to be sure I was developing the right sample, I briefly investigated improvisational quilting and made a sample with white cotton sateen and dyed strips to consider if I wanted to take more inspiration from the Gee’s Bend Quilts rather than the Boro but I disliked it intensely, it was too clean, crisp and lacked character.

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Everything about it repelled me in comparison to the soft, loosely woven hand stitched sample.  I pieced a small sample using the linen/cotton fabric but wasn’t drawn to the neat, machine stitched seams.

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I panicked a bit at this point.  I had re-thought the piece in response to the tutor’s comments and concluded that the limited palette definitely looked better on a white background like my original sketch.  I also considered various colours, paler than the patches as a background, but decided if I was intent on using green, petrol green and claret, white was the best option.  Having considered my final piece in detail, i felt it was not worthy, but how far could I go?  Should I cut it up and use some of the original pieces, should I dye some more fabric?  Was I seriously considering hand stitching a quilt three weeks before assessment with my other assignments still to tidy up?  I re-read Rebecca Fairley’s blog post “How to use your Tutor Reports”and decided that I would proceed and use the opportunity to make improvements to the assignment which would involve re-making the piece.

I looked again at the original piece, to decide whether to ‘patch’ over any offending areas or cut it up.  I did remove the backing and all the hand stitches, cut away the coloured machine stitched areas  and laid the remainder on the white background, it just didn’t work, the patches would be too small if I cut them all up and in their current blocks didn’t allow for any interaction between the white background and the coloured patches.

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So I set about arranging newly dyed recycled fabric onto the newly purchased, scoured and washed linen/cotton mix.  I had intended to use the three colours, green, petrol blue and claret, but retaining the orange from the original piece definitely added value.  I considered whether I was making a wall hanging or a quilt and decided that the materials, samples and research had led me to a quilt.

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Once happy with the design, I hand stitched the patches onto the background.  Although I had washed my samples, I decided to machine wash the top layer of the quilt to be certain the colours didn’t run and to assess the extent the patched fabric frayed.  It was a good move as the recycled curtain fabric frayed out of some of its stitching and was repaired with backstitch.

I then added a layer of batting and another layer of scoured and washed linen/cotton fabric and hand quilted it from the middle in vertical lines, back stitched the edges, trimmed away the fabric and machine washed and tumble dried the finished piece, which measures approximately 65″ x 50″

quilt

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REFLECTION ON HOW THE PROCESS OF RE-THINKING THE FINAL PIECE IN RESPONSE TO THE TUTOR REPORT HAS HELPED TO IMPROVE THE ASSIGNMENT

This process has been hugely beneficial.  Researching  patchwork in different contexts really helped me to plan, sample and develop my idea in an informed and considered way.  The benefits of good research, combined with careful sampling influenced my choice of materials which led to the final outcome, which in turn was very satisfying.

I think the result is a far more considered piece of my own, influenced by the boro patchwork and colours from my theme book (pages 4 & 18), my tutor’s observations and research suggestions, investigations into other artists’ work and techniques and the quilts of Gees Bend.

In addition, I learned the importance of really narrowing down ideas and considering the value of each mark or action so as not to over-complicate the final outcome.

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A Creative Approach – Part 5 – A piece of your own – Stage 3 Developing your Design & Stage 4 Making your Textile Piece

Following a review of all coursework to date and my theme book, I identified a number of ideas to take forward, but am still really keen to develop the idea of collaging hand-dyed plain and printed fabrics, in particular the tile spacer block originally based on a sketch of footprints in the sand submitted in Assignment 1 as a Sketchbook sample.

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In addition, I have identified a vital need to ‘loosen up and let go’.  My angst about doing the right thing and my subconscious or learned ‘neat & tidy’ tendency is inhibiting me, so I am keen that this piece should fight against that a bit and be big and vibrant with visual texture provided by printing and visual and actual texture added with stitch.

From my Theme Book, I am looking to use colours inspired by page 10, heuchera collage, page 16, some hand-dyed velvet and page 60, a magazine cutting of Mark Hearld’s work.  The following colours were mixed using gouache paints

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As mentioned I am looking to develop the following from Assignment 2:

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Inspired by the colours mixed above, I gathered different types of plain cotton from my stash (cotton sheeting, cotton percale, muslin nappies, calico bandage, heavy curtain fabric, medium calico) and dyed them using procion dyes. The specific colours used are listed bottom left of photograph.

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Having stuck the small samples randomly onto the page, I arranged out fabrics in various ways and decided that I would work on a similar scale of pieces to the following in a similar layout

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I intend to make a piece approximately 100cm x 60cm on this basis definitely including the grid like block.  This will be the background fabric and will be further enhanced with stitch and possibly other printed fabric.

In considering additional prints, I explored the fern and calla lily work started in the theme book.

First looking at printing ferns using transfer dyes:

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The above were all interesting developments, but the synthetic nature of the tyvek, lutrador, sheer and the evolon didn’t seem suitable for the hand-dyed cotton, collaged background.   However, I was really taken with the possibility of stitching the fern and considered different soluble fabric approaches.

I determined that the pattern of the fern could be transferred to soluble paper with transfer dye and stitched a small sample in green, orange and aqua, which were successful.

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So I embarked on a larger fern, which was less successful.

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It was quite a feat to produce the stitched fern on soluble paper and I might well revisit it in future, but I rejected it as unsuitable for the planned background on this occasion.   It was less successful as I had added a soluble fabric to the paper which made it considerably easier to stitch but much more difficult to wash out.  After three attempts there was still a residue of paper which affected the colour of the thread which wasn’t as good a match as I’d hoped.  Also I used a different fern for the pattern  (it needs replacing each time you iron it to transfer the design), the fronds weren’t as delicate as the first sample and I didn’t stitch them as neatly, I also used different bobbin threads throughout which showed through and affected the overall look.

I continued to explore the calla lily leaf shapes as started in the Theme Book on pages 66-69.

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Having waited for some bigger easy cut lino arrive, I was a bit disappointed with my efforts, much preferring the smaller section of a a leaf with some background lines inspired by Mark Hearld’s work.

I also revisited discharging colour as introduced in Assignment 2.

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Whilst I was very pleased with one of the prints, the discharging didn’t add value and I felt the same when considering the leaves in conjunction with the grid print, they didn’t work together.

I had also really appreciated the texture produced by printing with bubble wrap and experimented on fabric with ink and discharge paste.

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Although quite pleasing the fabric discharging to cream/white didn’t match the chosen background, with the exception of the hand dyed fabric which contained turquoise dye which discharges to a paler turquoise rather than white.  This is included below with the prints chosen for the piece.

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MAKING THE FINAL DECISION

After trialling the leaf designs and the grid print, I concluded that the piece could include either the grid or the leaves but not both.   I am still really keen on progressing the grid like print, the attraction is that is that it is an ‘open’ design which lends itself to being continued in stitch.

Also, exploring the different ways I can stitch or echo the grid of the pattern feels like unfinished business.  I have chosen to combine my hand-dyed, recycled fabrics and applique them to calico, then review and consider how the fabric can be used at that point.

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Auditioning fabrics. Poor quality photograph but gives an idea of the decided layout after much rearrangement, deliberation and revisiting.

The fabrics were then cut, pinned and machine stitched to calico.  The edges were left raw and the pieces stitched and overlapped by eye.  Some areas were further embellished with with hand and machine stitch before the piece was reviewed to decide how it would be used.

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To really appreciate the stitch and piece as a whole, it lent itself to a wall-hanging.  It needed a little more added detail in print and stitch and different combinations were considered.

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I even checked the leaf again to be sure it wasn’t suitable.

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I looked at some artists who add stitch to layered fabrics and trialled some stitches.

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The more I looked, the more I realised that there was a need to keep it relatively simple and based on lines, crosses or diamonds.  Running stitch, herringbone, cretan and cross stitch all looked well together.

Hand stitch is time consuming and I trialled many stitches on the final piece, unpicking them if they were unsuitable.  I understand that separate samples may have been preferable.

As the piece was nearing completion and I was trying to decide how the stitches could lead the eye, I completed a quick sketch to plan out the remainder of the work.

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When I was happy with the stitching, I felt it needed more weight as a wall-hanging.  As it also needed to be posted, I decided to back it with black felt which would give it a bit more substance but be easy to fold for posting.  The felt was stitched to the reverse.  To hang, two small rings were stitched to the felt.   For the photograph, a clothes hanger was used.

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The final piece, above, and some detailed shots (a little over-exposed), below.

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Looking back over the assignment, I can see a continuous thread of development from my original idea and the final designs. I felt I made the right decisions at each stage of the design process and was easily able to interpret my ideas within the techniques and materials chosen.

I am pleased to have made ‘a piece of my own’ and think it is successful in terms of being inventive within the medium and coherent as a whole.


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A Creative Approach – Part 5 – A piece of your own – Project 10 A design project – Stage 1 Reviewing your work so far

The instruction in this section is to think about how different techniques could combine to create a further development of ideas.  To look for shape and form in samples and drawings for ideas for a larger more defined piece of work.  To generate lots of ideas and make a selection of the strongest and most interesting to take forward.  …   its all about selection, development and evaluation … Explore the full potential of an idea and evaluate to determine the direction to pursue.

It was interesting to revisit all the work completed so far and ascertain what interested me.  From Assignments 1 & 2; free machining, black thread on white; markal paintsticks on paper drawn or brushed, then rubbed with finger;

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colour collages of papers, fabric magazine, thread etc;

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envelope scrap books, really helped me work more freely;

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stitch samples; discharging complex dyed cloth; using textured wallpaper for printing;  multi or 2-3 coloured tray dyed fabric; stencil discharge; printing on paper; monoprints off glass; printing with thickened procion dyes.

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Most inspirational work to take forward from Assignment 2 was the envelope scrap book covers, using printed, tray dyed fabric randomly pieced without much thought to present other assignment samples.  Using this type of fabric, printed and/or discharged, combined with hand and free-machine stitch is very exciting to me.

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From assignment 3, the mixed textural paper, linen, newspaper, hessian final piece is quite appealing

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From the Sketchbook Foundation module; printing on fabric with acrylic paint to give texture, black on white/white on black?; print block created with tile spacers; layered printing; crumpled paper as a background painted and stitched; black quink bleached back.

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Assignment 4.  Enjoyed image transfer; daisies stitched on crumpled paper joined with stitch,

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combining natural cotton, linen, silk yarns and colours; the combination of magenta & turquoise textured paper/hessian weave,

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wrapping; orange/blue weave with worsted wool as warp;

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colours of following painted papers;

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Conclusion:

Preferred Techniques: free machining, hand stitch on cloth & paper, textural printing on cloth, discharging, dyeing art cloth for that purpose, printing on paper, mixing paper and textural fabric, painting using roller on fabric to give texture.