I used Procion Jet Black for cold water dyeing and household bleach. The fixative I used was a mix of soda and salt, approximately 1:3 ratio. I dyed a few pieces black and left them overnight to soak. I used dry fabric and have ended up with a huge amount of fabric, samples below.
Tie & Dye
I used a variety of methods and had some success and some not so successful. I did however achieve a variety of colours and some more plain black!
Tritik Shibori
I didn't have as much success with this. I used beeswax to coat the thread.
I need to do Arashi Shibori when I get my pipe sawn to a more manageable size. The next batch I will also try with wet fabric for a more soft effect.
Monoprinting Using Fabric Paints
I really enjoyed this and liked the fabric I produced.
I intend to have another session of dyeing. I got a deeper black the longer I left the fabric and think with persistence and practice I will get much better results, although I have plenty to work with at present.
Thursday, 25 June 2015
Wednesday, 24 June 2015
M2 Chapter 5 - Make Patterned Papers
For this chapter I wanted to make some patterned paper using some of the methods I learnt in Module 1, especially as I felt I could make some printing stamps from my drawings. So I started with this and made some stamps, used stencils and stamps I had and bubble wrap.
Acrylic Paint and Stamps - Revisiting Module 1
Ink Marks
I then went onto using Quink ink with a range of cut cardboard to make marks. I didn't find this particularly easy to start with but with perseverance I produced some patterns.
Bleach Marks
I really enjoyed this and felt I produced a good range of papers. I used cut cardboard, cotton buds, toothbrush splashes and folding the paper.
MonoprintsI used gesso and multi purpose acrylic paints for this, again I really enjoyed this exercise.
I found this really useful, although not so keen with using ink I can see that it could suit some work. I particularly enjoy patterning paper and made quite a lot - more than is shown here - and I am looking forward to moving onto fabric.
M2 Chapter 4 - Drawing Patterns From Animal Markings
I wanted to choose animals that I had actually seen or own myself. I felt in Module 1 the work that was based on/designed from, something I had actually seen myself worked better and I felt more of a connection to. I can add to my animal 'stock' later in the module if necessary.
For each of the animals I made a list of words and altered the photographs in different ways on the computer using Picasa. I made some line drawings of close up areas and also looked at other media. I added my machine strips to my sketch book pages.
Giraffe
I took this photograph on a trip to Longleat Safari Park. Alongside some drawings I painted some heated Tyvek I had in both black and white, which reminded me of the pattern markings of the giraffe. I had a bought stencil which also reminded me of the markings and made some positive and negative prints. Finally for the machine stitched strip I stitched some random geometric shapes and then filled them with a variety of stitches to show some tonal effects.
For each of the animals I made a list of words and altered the photographs in different ways on the computer using Picasa. I made some line drawings of close up areas and also looked at other media. I added my machine strips to my sketch book pages.
Giraffe
I took this photograph on a trip to Longleat Safari Park. Alongside some drawings I painted some heated Tyvek I had in both black and white, which reminded me of the pattern markings of the giraffe. I had a bought stencil which also reminded me of the markings and made some positive and negative prints. Finally for the machine stitched strip I stitched some random geometric shapes and then filled them with a variety of stitches to show some tonal effects.
Sheep
I took this photograph at a local farm park. I found this one more difficult to produce drawings from and spent more time. The texture of the fleece is lovely and curly and I'm not sure I quite captured it. It will be a good idea to revisit this again and add to the page. I had a pre bought stamp which worked fairly well as an impressionistic view. For the machine stitched strip I tried to find a pre set stitch which would give an appearance of the curls. I think if I layered the stitches more I will get a better effect.
Chicken (Lotta)
This is one of my own chickens, who wasn't particularly keen on being photographed! I found she had quite a bit of scope for finding different patterns and markings. The comb was difficult to get a clear photograph of but gave different markings to the feathers. Again I painted some heated Tyvek I had and tried to tone from black to white to get the effect of the feathers, and include the bumpy comb. For the machine stitched strip there were a variety of pre-set stitches that would give a feathered effect. The white on black gave more of a feel for the actual chicken. I started with more formal rows and then overlapped to give the feeling of the difference in the chicken's feathers.
Bearded Dragon (Norbert)
This is our own bearded dragon. This made the word list quite easy as he (or she) has quite a distinct personality. I found the stamp similar to his scales and I painted a new sample of Tyvek and heated it to give the feel of his skin. I also painted and distressed some Lutrador which is similar to shed skin. For the drawings I tried to get some tonal effects and found there were lots of patterns when his skin was studied close up. For the machine stitched strips:
Top Page 1:
I started with a background of a pre-set stitch and then covered with random cable stitch to represent the raised scales.
Bottom Page 1:
This was a more formal strip to represent the quite geometric and equal scales, with a curved zig-zag to represent the spikes. This could be embellished or used as a background stitchery.
Top Page 2:
I combined whip stitch with pre-set stitches which made me think of the scales and shed skin.
Bottom Page 2:
I used two pre-set stitches but varied the width and length, and layered sections. I could add more layers for added depth.
Overall I feel I can add more to these two pages as new ideas occur.
BD Page 1
BD Page 2
For this chapter I feel these pages are more like composite sheets, which I like because they draw all my ideas together for further exploring. I will put these pages on my pin board to add to and be available quickly while I work through the module.
M2 Chapter 3 - Tonal Effects In Machine Stitchery
I found this chapter need a little more thought about how to produce different tonal effects. This was a good exercise in using different stitches on my Janome sewing machine. I found that by changing the length and width of a set stitch you can produce quite a variety. I noted all the stitch settings for future reference and used two layers of fabric.
Samples 3.1 to 3.4
Samples 3.5 to 3.8
Samples 3.9 to 3.13
Tonal Changes Using Whip Stitch
This was a bit of a struggle. I switched to using my 1960's Brother machine which is a bit of an old work horse. I lost count of the amount of times I dropped the tiny bobbin screw! I consulted Machine Embroidery Stitch Techniques Harding & Watts, and dropped the feed dogs. This worked a bit better, and I found zig-zag stitch was better than straight stitch. I'm not sure I managed to pull enough of the bobbin thread through to the top. Despite the struggle I did like the effect and will use this again.
Samples 3.14 to 3.16
Tonal Changes Using Cable Stitch
I carried on with the Brother machine. This seemed much easier than the whip stitch and I enjoyed producing these samples.
I found these samples good practice at getting more use out of my sewing machines, as well as being able to compare the difference between machine and hand stitching.
Machine Stitched Strips - See Chapter 4 for samples.
I produced some machine stitched strips based on the animals markings and patterns I have been looking at. I tried to use the techniques I have practised to produce these strips and added them to my sketchbook, alongside the pages for Chapter 4.
M2 Chapter 2 - Tonal Columns In Stitchery
A. Tonal Column In Stitchery
This was making a tonal column using a form of counted thread stitching on canvas. The work from Chapter 1 helped with this, for example planning a little ahead to fill the column.
B. Tonal effects Using The Technique Of Blackwork
I have worked very little blackwork in the past and very much enjoyed making these samples. I did some background reading which was very interesting. I found it particularly absorbing looking at how shading can be achieved with this technique, although I find I like the historical stitching best rather than more contemporary work.
This was making a tonal column using a form of counted thread stitching on canvas. The work from Chapter 1 helped with this, for example planning a little ahead to fill the column.
Samples 2.1 & 2.2
B. Tonal effects Using The Technique Of Blackwork
I have worked very little blackwork in the past and very much enjoyed making these samples. I did some background reading which was very interesting. I found it particularly absorbing looking at how shading can be achieved with this technique, although I find I like the historical stitching best rather than more contemporary work.
Sample 2.3
Samples 2.4 & 2.5
I found using coton a broder 20 was a good choice for these samples, although change the thickness of the thread gave good tonal change.
M2 Chapter 1 - The Study of Tone
The first chapter is about the study of tone. I made several tonal columns using a variety of different media. I found some easier than others to achieve a nice graduated effect. Notes are added to the following pages. With the mixed media samples (1.15 and1.16) I found I didn't reach the end of my column base paper. In future I could either add another level or layer or lengthen the width of the media layers I used. I liked these samples and could see the potential for adapting to use with stitching.
Samples 1.1 to 1.3
Samples 1.4 to 1.6
Samples 1.7 to 1.9
Samples 1.10 to 1.12
Samples 1.13 to 1.14
Samples 1.15 to 1.16
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