Thursday 23 February 2012
Sunday 19 February 2012
Sampling Project Pt.2
In this project I will look at constellations and the mapping and relationships of stars in the satellite images. As the colour is limited from these images I will reference the dark colours from crystals and gems. From this I plan to create samples of flat drawings on paper and manipulated fabrics that can be displayed as a one off piece. These samples will be constantly influenced by ongoing artist research such as Alice Kettle, Carolyn Saxby and Gwen Hedley and my theme of ‘regular’ and ‘irregular’. So I will be creating contrasting repeated patterned shapes and free flowing ‘handmade’ patterned images. The techniques that I will include in this project are hand processes, manipulation of fabrics, utilising the dye lab and machine embroidery.
Evaluation
I think I was successful in completing a range of samples to my brief of regular and irregular patterned samples on fabric. They consist of indigo dyed backgrounds and stitch manipulated surfaces. These were produced with a range of supporting drawings, drawn with a variety of media. I have chosen to draw with hair rollers, tape, wire, string and sticks along with the different dry n wet medias as I wanted to fully expand the range of marks I could archive.
Taken from sketchbook development samples
I particularly felt that this piece above was most successful, as I think it captures the natural shapeliness of the original sample I based the it on (right). The original sample influenced a lot of my samples because of the I faded halo like effect that linked back to the lights and stars theme I had. This became an important characteristic during my project, because that is what I looked for when editing and selecting samples to develop. Also I was successful upon learning new skills on the domestic sewing machine to broaden my vocabulary of stitches archived from four different feet. This included the cording foot, embroidery foot, pin tuck feet, and the tailor tack foot, these new skills are invaluable for any future projects that I will do. I think I could have exercised my colour skills more as I still feel like I struggle with colour proportions. However, clearly the best way to overcome this is to keep going about the different methods of creating colour charts and wraps to find one that I am comfortable and most successful with, and don't be afraid to try to create accurate proportions.
If I was to start this project again I would do more visual research to broaden the inspirational influences, and challenge myself more by being more spontaneous in taking risks with experiments with my samples. For example, I would develop this piece (below) further by combining it with the laser cutter and stitch, to produce more samples in which I can combine any successful elements with my existing samples.
Through my contextual research it helped me to see mark making differently and made me see the comparisons between other artists work. It caused me to use a lot of black bold lines, but I worked from these with my grey and muted blues colour palette. My colour palette was derived from the photograph of black crystal, which was successful in adding colour to my project. Through looking at work from artists such as Eileen O'Rourke that produces pieces for art galleries, it made me decide to create a short series of close ups of the above sketches into stitch. As I have been evaluating my samples it made me realise that they could also possibly be unique patterns that can be applied to a garment, in a bespoke manner so each garment can be individually different.
Evaluation
I think I was successful in completing a range of samples to my brief of regular and irregular patterned samples on fabric. They consist of indigo dyed backgrounds and stitch manipulated surfaces. These were produced with a range of supporting drawings, drawn with a variety of media. I have chosen to draw with hair rollers, tape, wire, string and sticks along with the different dry n wet medias as I wanted to fully expand the range of marks I could archive.
Taken from sketchbook development samples
If I was to start this project again I would do more visual research to broaden the inspirational influences, and challenge myself more by being more spontaneous in taking risks with experiments with my samples. For example, I would develop this piece (below) further by combining it with the laser cutter and stitch, to produce more samples in which I can combine any successful elements with my existing samples.
Through my contextual research it helped me to see mark making differently and made me see the comparisons between other artists work. It caused me to use a lot of black bold lines, but I worked from these with my grey and muted blues colour palette. My colour palette was derived from the photograph of black crystal, which was successful in adding colour to my project. Through looking at work from artists such as Eileen O'Rourke that produces pieces for art galleries, it made me decide to create a short series of close ups of the above sketches into stitch. As I have been evaluating my samples it made me realise that they could also possibly be unique patterns that can be applied to a garment, in a bespoke manner so each garment can be individually different.
Wednesday 15 February 2012
Sampling Project Pt.2
Drawing Workshop
Mark making with self-made tools
I picked out one close up photograph that I liked from each drawing:
Sticks stuck together and rolled with acrylic. Wires stuck on the end of stick and ink.
Scrunched up tape on the end of short stick with paper on wall.
Black Brusho, then washed and sponged.
Black Brusho and sponge attached to tips of fingers.
Hair rollers attached to stick with acrylic.
Mark making with self-made tools
I picked out one close up photograph that I liked from each drawing:
Sticks stuck together and rolled with acrylic. Wires stuck on the end of stick and ink.
Scrunched up tape on the end of short stick with paper on wall.
Black Brusho, then washed and sponged.
Black Brusho and sponge attached to tips of fingers.
Hair rollers attached to stick with acrylic.
Sampling Project Pt.2
Visual Research
Manchester Art Gallery
Oil on canvas
Closeup
I could recognise almost straight away that this piece was influenced by microbiology and chromosomes, because of the distinct shapes that Francis has used. I like how there's a lot of suggested movement in this piece like as if I was observing the micro-organisms under the microscope.
Acrylic on canvas
Closeup
I like how simple this piece is yet it is so open to the viewers interpretation because it is so plain. When I first saw this I dismissed it as a block of colour, however upon closer inspection I felt the piece almost pulled me in because of the way Leapman has applied the paint. It reflects the light in a way that seems like there's a lot of depth in the painting.
Manchester Art Gallery
Mark Francis
Oil on canvas
CloseupI could recognise almost straight away that this piece was influenced by microbiology and chromosomes, because of the distinct shapes that Francis has used. I like how there's a lot of suggested movement in this piece like as if I was observing the micro-organisms under the microscope.
Edwina Leapman
Acrylic on canvas
CloseupI like how simple this piece is yet it is so open to the viewers interpretation because it is so plain. When I first saw this I dismissed it as a block of colour, however upon closer inspection I felt the piece almost pulled me in because of the way Leapman has applied the paint. It reflects the light in a way that seems like there's a lot of depth in the painting.
Sampling Project Pt.2
Visual Research
Cornerhouse
Closeup
I liked how Barraclough has created these sketches by combining a variety of depths and shapes of marks to create a complete piece. This concept has always intrigued me as I am fascinated by the possibilities of seeing a smaller image within a piece.
(from left to right) I'll Miss You John Doe 2011. In Between 2011. Point Of Reference 2012. Sampler 2012.
I like how delicate these drawings are and how they have been brought together as a series by the shape of the canvases. I am also taken by the fact that this has been created with human hair, as I have tried to work with hair before and I realised how fragile and frustrating it can be to work with.
Cornerhouse
CloseupI liked how Barraclough has created these sketches by combining a variety of depths and shapes of marks to create a complete piece. This concept has always intrigued me as I am fascinated by the possibilities of seeing a smaller image within a piece.
(from left to right) I'll Miss You John Doe 2011. In Between 2011. Point Of Reference 2012. Sampler 2012.
I like how delicate these drawings are and how they have been brought together as a series by the shape of the canvases. I am also taken by the fact that this has been created with human hair, as I have tried to work with hair before and I realised how fragile and frustrating it can be to work with.
Sampling Project Pt.2
Reflection of work so far
This sample of tie dyed in indigo dye is quite a prominent part in influencing my samples so far, as I think the shapes created reflect my stars and constellations idea quite well. I like the halo effect that tie dye creates, and on this sample it is particularly made more accentuated on the Ice Wool fabric.
Update:
I tried to test out how I could combine this with a tailor tacked surface. However, it gathered it instead, as the lose surface wasn't ridged enough to keep the stitch shape, and I didn't like this outcome.
This sample of tie dyed in indigo dye is quite a prominent part in influencing my samples so far, as I think the shapes created reflect my stars and constellations idea quite well. I like the halo effect that tie dye creates, and on this sample it is particularly made more accentuated on the Ice Wool fabric.
Update:
I tried to test out how I could combine this with a tailor tacked surface. However, it gathered it instead, as the lose surface wasn't ridged enough to keep the stitch shape, and I didn't like this outcome.
Sampling Project Pt.2
Machine Embroidery Workshop
Before and after photographs of machined colour chart strips.
I found it interesting to see how you can change the surface and texture of a fabric, just by simply sewing over the surface. For example, you can create a different surface effect by stitching rows of tailor tacks onto a plain cotton fabric. I particularly liked the broken tailor tacks on the reverse of the grey faux leather, because it worked well with the suede-flocked-like surface and emphasized the characteristics of the surface.
Before and after photographs of machined colour chart strips.
I found it interesting to see how you can change the surface and texture of a fabric, just by simply sewing over the surface. For example, you can create a different surface effect by stitching rows of tailor tacks onto a plain cotton fabric. I particularly liked the broken tailor tacks on the reverse of the grey faux leather, because it worked well with the suede-flocked-like surface and emphasized the characteristics of the surface.
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