M2 Chapter 10 - 'Piecing' A Method of Cutting & Seaming

These exercises are based on Seminole piecing, not quite as traditional though! This reminded me again of the 'disintegration' work in Module 1, particularly when moving from paper to fabric. I started with the paper exercises.

 

Samples 10.1 to 10.4

 

Samples 10.5 to 10.8

 

I experimented with the cut pieces on a white background, without sticking. The effect is quite different from a black background. As with previous design exercises you could make sets of cut outs to explore different design ideas. This method of design would work well with contrasting colours.

 

 

Mosaic Pattern Using Fabric
This was a good challenging exercise which I enjoyed, not sure about my sewing machine though. I started with two strips, one black and one white, measuring 6 x 30 inches each. I cut vertically, horizontally and diagonally. I started by pressing the seams open until it became too fiddly and probably could have managed a bit more cutting and sewing but my machine had started to protest. I worked the middle section a bit more, and with some more practice I can blend the three sections together more.

 

Sample 10.9 Seams front facing

 

Sample 10.9 Seams back facing

 

I much prefer the effect of the seams front facing. This would work well using the tones of my coloured fabrics as well and it would be possible to cut a larger piece into shapes for use in a 3D object.

Wire & Form Workshop With Lynda Monk

I attended a great workshop with Lynda Monk at Craft Arena, Billericay. Lynda was a great tutor and we had lots to try and get on with over two days.

Most of the first day was spent playing with Thermofax screens, Xpandaprint and lutradur, among other materials. We covered 10 different techniques - well I did 9 - and included embossing, foil and the hot press. The hot press was very popular, and I think I may invest in one myself!

 

Some foil negative patterns I bought home to play with.

 

Lots of leaves!

The second day we spent stitching our leaves onto wire and putting some of our bits together on a canvas, the frame was provided by Lynda.

 

It doesn't look like I finished much, lots of works in progress! I did want to get on with the canvas/frame construction before the end so my leaves aren't put together yet. I have a whole heap of bits in a box awaiting further work.

 

Lynda shared some great ideas about colouring the leaves which I will try soon, I do have quite a few of them.

So a great weekend, hard work and good fun. looking forward to the next one.

M2 Chapter 9 - The Fibonnacci Sequence & Golden Section

I found I had to concentrate on the work for this chapter until I got the hang of it! I was aware of the Fibonnacci Sequence and Golden Section and its connection to nature, and it is a very interesting subject so it was good to apply it to design work. It gave me some good ideas for future work as well, for example cutting a piece of work into Fibonnacci proportions before framing rather than say 3 equal strips would give more balance and harmony.

Fibonnacci Sequence

 

First tonal column.

 

Sample 9.1

 

 

Sample 9.2

 

Sample 9.3

 

 

Sample 9.4 & 9.5

 

Sample 9.6

This was my favourite design sample and can see lots of possibilities with fabric.

 

 

Sample 9.7

 

Samples 9.8 & 9.9

These samples were more random. It would be an idea to make a couple of sets of strips from card, maybe different colours and tones, to have on hand to play about with every now and then. You could make many, many different designs cutting and rearranging.

 

 

Golden Sequence

 



 

Samples 9.10 & 9.11

Again there are many ways to cut and rearrange the golden sequence for new design ideas.

 

Samples 9.12 & 9.13

I like that the rearranged blocks still form a spiral whichever way they are placed.

 

I liked the idea of disintegrating the golden sequence back to its separate parts, these could be stitched as separate pieces or each component cut into strips, rearranged, overlapped and so on.

 

 

This has been a very useful exercise and has thrown up many options and ideas for further design work.

M2 Chapter 8 - Not What It Seams!

This was a really fun chapter, decorating seams and making trimmings. I could have gone on and on!

 

 

Samples 8.1 to 8.8

 

 

 

Samples 8.9 to 8.16

 

 

Trimmings

 

Ribbon Samples 8.17 to 8.19

 

Cord Samples 8.20 to 8.23

 

Button and Toggle Samples

 

I made this motif as the wrapping of the toggles reminded me of the Shelley Rhodes workshop at summer school. I've been thinking of using something like this sample in my final assessment piece, along with decorated seams.

M2 Chapter 7 - Traditional Piecing Methods

In this chapter I looked at the traditional piecing methods of the Log Cabin method and the Seminole method. I have 'pieced' quite a few quilts in the past, and wasn't particularly looking forward to this chapter, but I really enjoyed using my own printed and dyed fabrics and also playing with seams.

Log Cabin Method

 

Samples 7.1 to 7.3

 

 

Samples 7.4 to 7.6

 

 

Sample 7.6 without additional stitching.

 

 

Samples 7.7 & 7.8

 

 

Sample 7.9

 

 

Samples 7.10 & 7.11

 

 

Close Up of 7.11. I am pleased how the seam insets and stitching livened this sample up.

 

 

Seminole Method

 

 

Samples 7.12 & 7.13

 

 

Samples 7.14 & 7.15

 

 

Samples 7.16 & 7.17

 

 

There are many, many ways of cutting and piecing, for example I could cut up the log cabin samples and pieced together with the Seminole method. I found by adding extra fabric as in Sample 7.16, and re cutting and re piecing you can enhance a your work into something much more pleasing. This was Sample 7.16 before I re cut and added insets of black fabric.

 

The back of the samples are often as interesting as the front, even with this quite simple design the back shows to good effect.

 

So I have a few new ideas now for quilts!

Sonia Delaunay Exhibition At Tate Modern

I visited the Sonia Delaunay Exhibition at Tate Modern last week, here.

It started with her early work and moved through abstract, time spent in Europe, textiles and fashion and how she used poetry in her work. She was born in 1885 and died in 1979, aged 94.

 

I particularly liked her early paintings and her paintings of flamenco and ballet in Portugal and Spain, in particular Le Bal Bullier. Obviously it is difficult to appreciate the painting from a picture, but it really captured the rhythm and movement of the dancers. The colours were fabulous.

 

 

Her move into textiles and fashion, around 1921, was interesting and there was a vast array of samples, sketchbooks and finished pieces. The hand stitching was lovely and there were many examples on display. Delaunay also designed many fabrics.

 

 

Another intriguing aspect of Delaunay's use of poetry in her work. she collaborated with other and produced an interesting series of dress poems. But the element of her work which stood out most was her use of colour. There was colour in everything, only a couple of small pieces in black & white (not of use for my current module, so I'll save for later) She said in 1972, 'Everything is feeling, everything is real. Colour brings me joy.'

 

This is one of the most interesting exhibitions I have been to and is well worth a visit.

Summer School 2015

 

I had the best time at the summer school, met some lovely people and learnt lots and lots. I came away very much inspired by the tutors and other students. I attended the workshop 'From Outside In' with Shelley Rhodes and I thought I would make a record of my reflections.

 

It's always difficult to look back and remember everything you have learnt. So although I learnt many techniques, gelli printing amongst others, I'm trying to reflect on the 'bigger picture'.

 

Firstly, I picked up a lot about colour, but in particular how to build up slowly and thoughtfully, building and layering. By adding only one colour to begin with, to black and white, it meant I really thought about that colour and the effect it would have on my work. When it came to choosing a second colour - not until the second day - I again really gave it some thought because of the limitation of choice and felt it all came together much better. I'm really going to carry this through in future work, rather than having a huge choice and spending hours choosing and changing my mind.

 

Secondly, I picked up a lot about actually looking closely at what is nearby, what I can observe and what I can use in my work. To make a careful collection of meaningful things so I have a good choice, and to add to it whenever I can. Also, to make good quantities of printed and coloured paper and fabric which allows you to explore different ideas and themes without having to stop to produce more supplies and sometimes gives coincidental results.

 

Thirdly, I gained more confidence in myself and the confidence to push myself forward to try new things. To that end I've set myself a sketch a day challenge to improve my drawing and mark making skills.

 

I'm aiming now to complete the pieces from the workshop and then spend a couple of weeks exploring the general 'feel' of the workshop, obviously this will be influenced by Shelley's work but I'm hoping it will help me develop aspects and skills of my own in the future. And for anyone who was working alongside me, I will obviously be keeping lots of sketch books from now on!