Weave Samples: Unit X

I struggled with my initial weave due to my warp. Initially, I had cotton surrounding my monofilament warp, which soon turned into a disaster when it couldn’t handle the pressure of the weft. This resulted in breakages. As I continued, leaving extra weft to create a fringed edge was essential in order to stop it from snapping, which stemmed to my weaves looking very messy. I managed to get into my weaving as soon as I decided to take the cotton off, making it much more manageable and allowing it to look neater and more professional.

 

One problem that I now faced was the sliding of yarns on the monofilament warp, something which unfortunately couldn’t be helped. I resolved this in the best way I could by manually condensing the yarns. My weaves turned out much like my embroidery samples, containing the same cords and yarns so that I could truly start to build a similarity for my ‘edges’ collection.

 

I really love this sample as I have managed to use the weakness in the warp to my advantage. Where the weft is slipping on the monofilament, I have manipulated this into some of the shapes seen within my drawings, taken my photographs. Adding the extra strands of mixed yarns into the cotton weft accentuated the merging of colour, which was my main concentration.

 

 

 

In terms of finishing my weave, I have decided to keep it as one long strand as I love the blocks of colour clashes throughout, and the techniques I've used really compliment each other. In the image above, you can see that I've added part of my embroidery sample to the top edge to finish it off. This is highly relatable to the work of Luisa Cevese for Wallace and Sewell, where cut-offs have been used to form a new part for something else (in her case, bags, bibs and belts).

 

I feel that overall, I have managed this project reasonably well. I have overcome problems logically, and used some of the weaknesses to my advantage to push forward with my ideas. I feel that my time management could have been better, as I felt rushed towards the end of the project- but this was purely down to all my work coming together to look like a collection. In future, I will know to think about this beforehand, so I can plan my final ideas better. An aspect that I have loved is the use of colour, something that has not highly featured in my work throughout the whole year.

 

Embroidery Samples: Unit X

My embroidery samples mainly consist of dip dyed fabric and cording in my chosen colour palette. My initial embroidery samples (shown in a previous blog post) were the main inspiration for the shapes formed; box pleats, cording using hair-pinning and ruffles are all dominant techniques within. I feel that there is a complimentary contrast between these shapes and the linear lines. In terms of attention to creating a collection, the fabric, cottons and yarns are all reasonably the same, in order to keep a running trend throughout.

Relating to my design development drawings, I have managed to incorporate a merging of colours throughout, with the intentions of responding to the merging of memories and surrounding colours of the fairground. I also managed to portray this by using a selection of mixed yarns, twisting between contrasting colours (also used in my weave)

The layering of samples was important as I feel it gives them much more interest. Again, the dissimilarity of ruffled shapes juxtaposing the linear lines commends my latest drawings. The 3D aspect may be something I want to continue when displaying my exhibition. I’ve thought about pinning them in such a way to make them stand off the page. This would add an extra dimension to my work, and hopefully make them much more exciting to look at.

 

 

 

I can see my embroidery samples within interiors, potentially used as eccentric edges for decorative cushions, or curtain ties, much like the work of Osborne and Little (noted in a previous blog post).

Design Development: Unit X

  

 

 

 

 

My drawings started to really develop once I’d refined my colour palette, enabling me to concentrate on reflecting my work thoroughly. Linear lines are prominent; taken from my initial photographs. My drawings illustrate some of the shapes made in my photographs, with a really light and fun feel, something that I wish to portray vividly when creating my samples. Simple curved shapes also started to appear, although I don’t know how easy this will be to replicate using weave. My main focus was the merging of colours, (an aspect of my previous drawings that was a positive outcome in my tutorial with Nigel) and how this almost reflects the merging of memories and rides within a theme park surrounding. I hope to merge colours in my weave and embroidery samples using a selection of techniques, specifically the dying of fabric and cording.

 

 

 

 

Tutorial: Unit X

My group tutorial with Nigel really helped me to gather my ideas. Constructive criticism was extremely prevalent within the work that I showed; and also seeing the other girls work was enough to push me into getting back into it, giving me ideas and feeling motivated again. One aspect of my work that was picked up on was my colour palette, and how it needed to be more refined in order for me to gain a collection with similarities, which I have taken on board (as shown underneath). I feel that these colours really reflect the theme of fairground, and also complement each other really well.

 

 

Discussions also turned to design development, and talking through where I wanted to go with my visual research. I seem to have a lot of photographs, but further developing these has become a task. The visual research (as seen on a previous post) where I’d used dyes to merge colours was a prominent feature in my work, and this is now my starting point towards finalising my ideas.

As a way of addressing this problem, I reverted to dying/ painting on my new photographs with my finalised colour palette. This was a successful, informative and helpful task as it allowed to me to experiment with the merging of colours (that we'd talked about within my tutorial), whilst also juxtaposing this with the shape and lines within them.

 

 

 

 

 

 

 

 

 

Visual Research: Unit X

 

An extra set of images that I have taken at a fairground in Liverpool. I feel that these images will be able to inform my work more than my initial Blackpool photographs. Extracting colour and concentrating on the perspective lines is my main focus.

 

 

Wallace and Sewell: Unit X

Wallace and Sewell are a highly individual woven textile design studio that create eccentric and innovative fabrics. W&S are fundamentally known for their bright and colourful scarves. These struck me due to their profound linear construction, yet simple structure defiantly being taken over by mass use of colour. A range of yarn is also essential for Wallace and Sewell, demonstrating that texture plays a vital part within their designs.

‘Work is distinguished by a positive and confident use of colour and an intelligent use of yarn properties and standard weave structures, producing exclusive fabrics of discerning appeal.’- Taken from W&S personal website.

 

 

 

When scouring through the works of W&S, I found that the company had started to work with Italian accessories designer Luisa Cevese, where she used their off-cuts of fabric as decoration for her bags, bibs and belts. This concept really intrigues me, and I love how the off-cuts are being recycled into something so beautiful instead of being thrown away. This notion could be highly interesting when creating my own weaves.

 

Luisa Cevese personal website- http://riedizioni.com/

Inspirational Images: Unit X

I keep up my motivation mainly through inspirational images, and finding this inspirational wall in a place in Liverpool came as a lovely surprise. Looking carefully, it upheld many images that were well relatable to the project ‘Fairground’, and gave me that little push to carry on doing the work I was doing.

Embroidery Experiments: Unit X

After experimenting with dyes in my sketchbook, I decided to use them on some organza that I had manually ruffled on the sewing machine. This didn’t work as well as I thought it would due to the dyes not taking to the fabric that brilliantly, getting trapped between the ruffles and drying very uneven; however it well reflected my previous visual research in my sketchbook with the blending of the colours. (I also didn't like how the dye settle upon the stitching). I now know I need to find some material and dyes that work well with each other as I would like to continue with this technique.
 

  Osborne and Little trimmings

 

After one of my tutors, Nigel saw these samples in a group critique, he suggested taking a look at Osborne and Little’s new season’s collection of trimmings. This was really helpful and helped me to consider my fabric choice a little bit more, and reflect on ways I could dye the fabric (it may be a good idea to pre-dye the fabric before ruffling, to enable the dye to settle before-hand). Unfortunately due to the timing of the embroidery/ weave cross over, I didn’t manage to experiment with this, although in my final week I propose to come back to it.

Visual Research (Sketchbook): Unit X

In terms of broadening my drawings, I used ‘brusho’ dyes to experiment with my chosen colour palette. I enjoyed using these specific dyes, and found them really easy to mix and blend, resulting in vivid saturations exactly how I wanted.  The form of the colours are reflective of the shapes of my embroidery samples, long in length and thin in width.

When looking through my Pinterest board (link underneath), I wanted to keep some of these images running through my sketchbook in order to keep on top of ideas for final results. The ‘fashion’ element was the basis for this decision, as I love the idea of producing a neckpiece, and would like to use the ruffles and fringing to inspire my embroidery samples. The women’s accessories were my main motive for using the image, but I thoroughly love the juxtaposition in the melancholy expressions on their faces, to the colours behind them.

 

Personal Pinterest link: http://gb.pinterest.com/jenniferkateee/

 

Reflecting on my visual research, I have learnt that I need to follow my colour palette more, and try not to introduce even more colours as I go. This way I can conclude to finish with a selection that look more like a collection, rather than a random set of samples.

Colour Palette: Unit X

 

 

My colour palette has come from one of my initial Blackpool photographs of the patterns on a carousel horse as I thought that the variations in colours really complimented each other. I believe that the colours truly reflect the atmosphere of a fairground being fun, bright and playful, which is something I would like to reflect through my own work. I plan on using the yarns upon my wrappings to create texture, particularly within my weaves.

 

The patterns and shapes within my inspirational image have also been used to form some of my drawings.

Joana Vasconcelos: Unit X

 

 

I came across Joana Vasconcelos’ ‘Time Machine’ in the Manchester art Gallery. Link found here: http://www.manchestergalleriestimemachine.org/

 

 

 

The main exhibition consists of twenty of her most significant sculptures, large-scale and small. Unfortunately I didn’t take the opportunity to take a look around her large pieces on the top floor of the gallery, however throughout the general exhibition spaces were some smaller works that I specifically took interest to. These pieces were beautifully placed around the gallery, blending in with the formation of the building and relating fantastically to the project ‘Fairground’. A combination of knit, embroidery, quilting and some serious embellishment warped around the existing space and art work. Looking closely at Joana’s work, it was well relatable to ‘edges’, the main title for our weave and embroidery project. I specifically loved the pompom trimmings and tassels, some of which gave me inspiration for my own work. The major variation in bright colours is something that I would like to take forward.



 

Initial Drawings: Unit X

 

My initial drawings started off as collages, and consisted of very graphics based features. I proceeded by wanting to accentuate the shapes that occurred within my primary photographs. This was combined with blocks of imagery that I’d either found in magazines/ newspapers, or were taken from my first set of photographs. I love the subtlety of the outlines I’ve drawn myself in contrast with the blocks of shape and colour. Colour was one of the things I didn’t concentrate on when creating these images, as I was still considering my colour palette. One thing I did pick up on however, was the bright and flashy colouration (mostly misrepresented in the colouration of my photographs), something I feel I may want to continue with.

 

I specifically like the drawing below due to the juxtaposition in shape form. I feel that the curved lines against the parallel straight lines particularly complement each other, especially in the way they are picked up within the pattern of the block image and carried on throughout. I plan to start looking at and creating much more compositional imagery that can relate better to ‘edges’, something that I can generate within weave and embroidery.

Mood Board: Unit X

 

Due to illness, I was slightly late when producing my Moodboard and felt considerably undeveloped with my ideas. These images are mainly taken from the 'Fairground Project' I’d previously made on my Pinterest account. Here, I have primarily focused upon bright colourations and shapes within the fairground features, giving me more of a graphical based starting point, but also honed in on the embellishment and finishing within the more fashion based photographs. My Moodboard has also enabled me to start envisaging my colour palette (shown within the experimental wrapping- colours taken from my own Blackpool image below) which is a very essential part of the process.

http://gb.pinterest.com/jenniferkateee/

My personal Pinterest board gives a full indication in the direction I would like to go with my embroidery and weave; concentrating on the shape within the fairground rides, and then looking at embellishment as a finish for on top of this.

 

Belle Vue: Unit X

 

(images sourced from the Internet)

With living not far from Manchester all my life, I was really surprised that I’d never actually heard about this vast, exciting and eccentric place. Belle Vue opened in 1836 and within its heyday, was one of the North’s most popular entertainment centres. Millions of people would travel from all every year over just to visit this gigantic venue.

I didn’t manage to visit the Chetham's Library collection on Belle Vue due to illness, however I did attend the lecture and found it very captivating. The sheer magnitude of the place was something that interested me most, containing a full size zoo, rollercoasters and rides for all ages and the annual circus to name a few.

 

A story that I found particularly enchanting was the first elephant ever acquired at the zoo, Maharajah. The anecdote goes that Maharajah was to travel by train, however (in myth- potentially accidently on purpose) he destroyed the train compartment he was due to travel in and consequently had to travel on foot with his trainer from Edinburgh to Manchester. This was largely seen as a publicity stunt to gain promotion for Belle Vue. Unfortunately, the 70s saw the decline of Belle Vue and then the closure within 1982.

I don’t believe that Belle Vue will influence my fairground project by much capacity, however I really enjoyed listening about this cosmic, exhilarating place.

Blackpool: Unit X

 

 

 

(Images belonging to self) 

 

William Bean founded Blackpool Pleasure Beach in 1986 with the aim to 'make adults feel like children again'. As Textiles and Fashion students, we got given the very special opportunity of an exclusive tour around Blackpool Pleasure Beach and the use of the ice rink. This trip enabled me to envision the possibilities of ‘Fairground’ and where I could take my work within weave and embroidery, whereas before this I failed to see what I could do with the project title. My main attention was brought to the colour and pattern of the older, more vintage rides, particularly focusing on the carousel. As I’ve only ever worked with a very limited colour palette, the nature of ‘Fairground’ has made me realise I would really like to work with a wide range of bright, yet soft colours (very much like the work of Wallace and Sewell).

 

PE Task

The Sampling unit gave me the opportunity to experiment in art mediums that I had never tried before. Doing Weave and Knit was two very different experiences. I found that I really enjoyed weave (eventhough I may not have worked to my full potential after feeling like I didn't have much time to progress my work), and that knit definitely isn't for me. I struggled with knit to get my head around the techniques and generally the way that the machines worked. I also found that I didn't enjoy it as much; which was more than likely down to the fact I wasn't very good at it. An opportunity that knit did give me was to introduce colour into my work, which was a first after choosing a monochrome palette for weave, and having to use black and whites within my first unit Embroidery.

 

 

My first artist that influenced me with my initial drawings was Claude Heath. I love Claude Heath (previously referenced within my blog) due to the nature in the way he draws. His blind drawings was something that I was specifically interested in, and based my feedback week drawings on. I loved the idea of not knowing what my drawing was going to turn out like, which is exactly the technique that Claude uses. I continued to use this process of drawing until I progressed to the concept of audio waves. Another artist that influenced my drawings right the way through was Tim Knowles (earlier referenced in my blog), and his tree drawings. I loved using the varied yarns to create the small ‘dot’ which is seen often in my drawing.

 

Bridget Riley became a massive inspiration within the progression of my audio wave inspired drawings. In an important tutorial with Lesley she noticed that my drawings were becoming quite optical and asked me to look at some ‘Op Art’ (a craze for a short period of time in the sixties); specifically Bridget Riley. I love the work of Bridget Riley initially due to the black and white colour palette and the way that your eye moves around her work. After looking closely at some of her work I decided to experiment by layering some of my initial drawings in Photoshop and inverting the colours. This gave a beautiful effect where the lines crossed over. I struggled however, to incorporate this visual research into my weave.

 

 

 

 

 

 

My final influential picture comes from a company called Jet8. Jet8 first came to my attention through them recently producing a new collection at Harvey Nichols. The first aspect of their work that caught my eye was the patterning of the knit, and how closely related it was to my visual research. In my knit sample (on the right), I have incorporated some very simple stripes and 'hooking up' which I feel relates perfectly when compared with my visual research.  I can see my knit fitting in well with the fashion industry. I have really enjoyed using colour for the first time within my artist research and my knit, and I’m excited to use a lot of colour within Unit X- ‘Fairgrounds’.

 Overall, again I feel that my timings could have been better, as I feel like I’ve rushed a lot of my work. Doing knit has made me realise that I didn’t enjoy it as I much as I thought I would, and I am thoroughly excited to get back on the weave looms for Unit X. I plan to use a lot more colour within the next project also.