Module 5 EVALUATION & RECORDS

EVALUATION OF COMPLETED WORK

The completed embroidered assessment piece for Module 5 is a

resolved sample based on the design topic of icebergs and glaciers in the landscape. The sample was required to convey texture through fabric manipulation and stitching.

Do you feel satisfied with the results? YES

If yes, which parts in particular?

I was pleased with the combination of three different fabric manipulation techniques to demonstrate the three different textured areas. I was also pleased with the value contrasts I achieved in the final piece although the colour palette was restricted to blue, silver and white.

Is it fit for its purpose? YES

If you were asked to make it again, what changes would you make?

1. To the way you designed it : I could have experimented with variations to the overall wedge shape of the design as perhaps it was a bit smooth - maybe try some jagged peaks.

2. To the way you made it: I could have experimented more with padding different areas. I did couple of trials which were not particularly successful this time round. I would also have liked to get the lines at the edges a bit straighter - need to work at the technique, although I did tack the fabric before applying it to the background.

STORAGE OF WORK, MATERIALS,

TOOLS & EQUIPMENT

CONSOLIDATED LIST FOR MODULES 1 TO 5

ITEM	MY STORAGE PLACE	IDEAL CONDITIONS
Design work in progress	In folder, box or on bench in workroom, or on pinboard depending on size, away from sun, liquids, interference. Don't have pets to worry about and children visit rarely.	Away from sun, liquids, dust, children, pets
Completed design work	Stored flat, in folder or box in workroom, depending on size, away from sun, liquids, interference.	Keep flat, away from hazards.
Fabric samples in progress	Bench, bag or basket in workroom away from sun, liquids, interference.	Accessible place, away from usual hazards.
Completed fabric samples	Box or other suitable container to keep flat until photographed. After photography, transfer to work folder. Kept flat, mounted on paper or thin cardboard.	Keep flat, away from usual hazards, in suitable place for reference or assessment.
Embroidery work in progress	Bench or basket in workroom away from sun, liquids, interference.	Accessible place, away from usual hazards.
Completed embroidery	If a flat piece, mount as necessary, roll and store in tissue. If 3D, display on a shelf or cover/wrap in tissue if necessary to protect from dust and store in a box.	Wrap in acid free tissue paper.
Dyes, Inks, Paints, Textile Medium and Other Chemicals	Labelled containers with tight fitting lids. Stored in cupboards in bathroom or laundry or sealed plastic storage tubs in workroom.	Store chemicals in secure area away from children. Ensure containers are clearly labelled, tightly closed and stored in a cool place.
Fabrics	Cotton & synthetics: Flat, dry, sorted into plains, prints, colours, papers etc and stored in plastic tubs. Silks - dry, rolled and stored separately, may be wrapped in tissue.	Dry, away from sun. Flat or rolled in colour or fibre order. Acid free tissue paper.
Threads	Dry, mostly grouped into colours, untangled or wound onto cards, in plastic bags or lidded containers. Some in thread types e.g. silk threads kept separate.	Dry, away from sun, untangled and in colour or type order.
Metal threads	Wrapped in acid free tissue and stored in a separate box. Ones used more often are wound onto felt rolls to prevent bending and preserve the sheen.	In acid free tissue, not plastic bags
Beads	In small plastic tubs with screw caps. Some wrapped in tissue.	In acid free tissue, not plastic bags
Fusible fabrics (e.g. Vlisofix) & Wadding	Rolled, away from liquids & strong light.	Dry, away from sun. Flat or rolled.
Metallic foils:	Flat in resealable plastic bags, away from heat or moisture	Flat in resealable plastic bags, layered with non-stick paper, away from heat or moisture
Tools and electrical equipment	Items involving heat (e.g. iron): Keep unplugged if not in use. Allow to cool before storage. All: Store on shelf or in cupboard or drawer to protect from dust and interference, depending on expected frequency of use. Wind flex lightly around item.	Dry place with flex lightly wound. Store away only when cold.
Sewing machine	Turned off when not in use. Kept upright on work desk and covered to protect from dust.	Normal room temperature & humidity. Keep upright. In working position for easy use.

 

ACTIVITY	APPROX HOURS SPENT
1. Texture in Landscapes	10
2. Paper Relief Investigations	16
3. Texture in Paper Relief	8
4. Fabric Investigation	35
5. Quilting , Padding & Stuffing	23
6. Tucks, Pleats and Gathers	26
7. Tactile Contrasts	11
8. Paper Relief into Fabric Relief	17
9. Threads and Stitchery	19
10. Stitch to Translate	12
11. Design from Landscape - Texture - Shape	22
12. Stitch Trial Samples Using Extreme Contrasts & Resolved Sample	26
Study 3 Artists	11

Date design work for final piece started: 15/01/15 Date finished: 05/05/15

Date final embroidered item started: 20/04/15 Date finished: 04/06/15

Total hours spent on design work for final piece: 32

Total hours spent on embroidery for final piece: 16

Total hours spent on research work: 30

 

 

MATERIALS COST SHEET MODULE 5

ITEM	SUPPLIER	COST AUD$	AMOUNT USED	ESTI-MATED COST AUD$
Chapters 1 to 11
Printing and photocopying	Home printer	$8.00	100%	$8.00
Thin card X 8	Eckersleys	$4	50%	$2.00
Nil
Habotai silk	Silksational	$12	40%	$4.80
Rayon, elastane, silk & polarfleece samples	Vinnies op Shop	$15	50%	$7.00
Synthetic wadding	Lincraft	$8	30%	$2.40
Silk organza	Silksational	$15	30%	$4.50
Matilda's wool/poly batting	Quilters store	$30	5%	$1.50
Calico	Lincraft	$7	50%	$3.50
Silk satin	Silksational	$12	30%	$3.60
Miscellanous fabrics from home stash	Lincraft, Material World, Spotlight	$7 (ave)	100%	$7.00
Machine threads x 6	Lincraft	$30.00	30%	$9.00
Perle threads x 6	Threaded Needle	$24	20%	$4.80
Assorted wools	Spotlight	$60	5%	$3.00
Quilting thread	Spotlight	$4	10%	$0.40
Synthetic cord	2 Dollar shop	$2	50%	$1.00
Black cotton fabric	Spotlight	$8	70%	$5.60
Black tissue paper	Crows Nest Newsagent	$4	70%	$2.80
White Shiva stick	Eckersleys	$12	10%	$1.20
3 X Acrylic Paints	Eckersleys	$24	20%	$4.80
Inks X 3, assorted blues	KraftColour	$30	25 %	$7.50
Pastels X 3	Eckersleys	$9	20%	$1.80
Thin card X 8	Eckersleys	$4	30%	$1.20
Stranded threads X 7	Threaded Needle	$7	10%	$0.70
Photocopier /printer paper	Officeworks	$5	20%	$2
Glue	Newsagent	$6	50%	$3.00
Cartridge & coloured paper	Eckersleys	$16	40%	$6.40
Chapter 12 Resolved Sample
Procion MX dyes X 3	KraftColour	$18.60	25%	$4.65
Silk organza	Silksational	$15	50%	$7.50
White cotton fabric	Spotlight	$16	100%	$16
Calico	Lincraft	$7	50%	$3.50
Polyester sheer	Spotlight	$8	50%	$4.00
Felt padding	Spotlight	$8	100%	$8.00
Stranded threads X 3	Threaded Needle	$3	40%	$1.20
Perle threads x3	Threaded Needle	$12	30%	$3.60
Variegated hand-dyed stranded thread X 1	Colourstreams	$8	50%	$4.00
Silver metallic machine thread	Punch with Judy	$5	30%	$1.20
Machine thread x1	Lincraft	$4	25%	$1

TOTAL COST RESOLVED SAMPLE = $54.65

TOTAL COST CHAPTERS 1 TO 11 = $154.15

Health & Safety Considerations

CONSOLIDATED LIST FOR MODULES ONE TO FIVE

Note that after completing module 5 more points have been added to the sections on Safety of electrical items and handstitching, and a new section added on working with wax.

Powdered Inks, Paints, Dyeing Fabrics & Discharge Dyeing

· Wear rubber gloves and protective clothing so skin does not come into contact with paints or dyes

· Protect working surfaces with plastic sheeting or newspaper

· Work in a well ventilated area away from food

· Choose an area which can be cleaned readily in case of spills

· Use utensils and containers reserved only for this purpose, not containers which may be used for food

· When measuring powdered inks, concentrated dyes or other powders (dyes or paints), wear a mask suitable for preventing inhalation of dust, mist and fumes (e.g. Australian Standard P2GV)

· Dilute waste solutions with lots of water and dispose of in an appropriate manner

· Ensure all containers are clearly labelled with the contents to avoid mistakes.

· Some chemicals may be mixed or diluted and stored for future use; if so label with the ingredients and proportions so contents are clear.

Safety of Electrical Items

· Items involving heat (e.g. iron): Keep unplugged if not in use. Allow to cool before storage. Baking paper kept near iron to protect ironing surfaces if using fusible items. Rajah cloth kept near iron to protect fabrics when ironing.

· Other items e.g. sewing machine, blender: Turn off when not in use.

· If using a shredder or blender to make paper pulp, make sure fingers are kept clear of the blades and do not open the container until the blades have stopped whirring.

· Ensure loose cords are secured (e.g. by taping to floor with masking tape) so they are not a potential tripping hazard.

· When using a heat gun or soldering iron make sure you have something suitable to place the hot implement on or in while it cools down. Protect surfaces which can be easily damaged. Take care not to touch the hot end of the tool.

Cutting Implements

· Keep scissors and cutting implements in a dry safe place away from children

· Rotary cutting tools, paper knives etc - ensure protective guard is engaged when not being used.

· Cut away from you as much as possible to avoid accidental injury. Use a cutting mat to protect other surfaces. Store cutting mat and guide in cupboard when not in use.

· Cutting a metal can - Wear safety glasses/goggles to protect the eyes as small metal pieces can fly off. Wear thick rubber gloves to protect the hands while cutting the tin as the edges may be sharp. Carefully cut the tin with kitchen scissors into a shape a bit larger than required, then use some smaller scissors to cut the rough shape into the final shape you require. Carefully smooth the edges with sandpaper so they are no longer sharp and dangerous. Also use the sandpaper to roughen the flat surface of the metal,

Use of Sewing Machine

· Oil regularly and maintain in accordance with instructions in the manual

· Turn off before clearing jams or changing needles to avoid damaging fingers

· Keep fingers away from sewing line when operating the machine (e.g. place hands at front and back of work)

· Follow instructions for electrical items (above).

Hand stitching, Beading & Machining

· Work in a well lit area

· Pay attention to sitting position so that you do not put undue strain on your neck and shoulders

· Take a break to stretch your neck, shoulders and arms every hour or so, or go for a short walk

· Use a thimble to protect fingers e.g. when quilting or stitching through thick or layered fabrics

Book Making

· Follow safety instructions for cutting tools as above.

· If using punches, awls or similar items to make holes, ensure there is a suitable surface underneath before proceeding.

· Keep fingers away from any areas being punched or cut.

Working with Wax

· Protect working surfaces with plastic sheeting or newspaper

· If working with a melted candle - hold away from the body and protect skin

· Batik implements - keep molten wax away from naked flames. Hold implements away from the body and protect skin.

CHAPTER 13: STUDY THREE ARTISTS

1.  JENNIE RAYMENT

Jennie has a background in patchwork and quilting. She started experimenting with ways to create texture in patchwork and this led her to try lots of fabric manipulation techniques. She is internationally known for her quick, simple, innovative and original designs with manipulated fabric, particularly basic calico. Interestingly some of her fabric folding techniques have been derived from a study of origami. She is known for her quirky nature and has published seven books on fabric manipulation techniques as well as teaching extensively in person and on TV. The emphasis is on quick and easy ways to achieve intriguing effects. Her work is exhibited internationally in various galleries, shows and exhibitions and can be adapted for many textile applications including quilts, wall hangings, 3D items, clothing and accessories.

I find this work interesting because it shows how some effective textural effects can be achieved by simple folding and stitching of fabrics. However some of it is a little too static for me because it reminds me of patchwork. Nevertheless it is a great source of inspiration and encouragement to experiment. I chose two images by Jennie to illustrate this section. They both show some interesting effects achieved by folding, cutting, pleating and quilting.

Part of "Texture into Sudoku" by Jennie Rayment

"Magnolia Dusk" by Jennie Rayment

References

www.jennierayment.com/

http://www.quiltersguild.org.uk/members/page/jennie-rayment

http://www.burwashquilters.org.uk/workshops-iii/4585874011

2. MICHAEL BRENNAND-WOOD

Michael Brennand-Wood is at the forefront of contemporary textile art. He constructs elaborate, eye-catching wall-hung pieces that are part sculpture, part textile. Michael chose to explore embroidery as an artistic medium as he thought it was the area closest to fine art, seeing stitching as drawing in thread.   He is well known internationally, having exhibited and taught in many different countries, including Australia. He was visiting artist in textiles at Australian National University, Canberra, in 1991 and has visited several times since then, lecturing and exhibiting his work. He was artist in residence for Craft ACT in 2013. Examples of Michael's work can be seen in major public, corporate and private collections worldwide, including the National Gallery of Australia.

Michael's work references historic and traditional embroidery sources, but these are extended into the present day by exploring and developing ways to innovatively and imaginatively integrate textiles with other media. For example the piece below, a section of "Crystallised Movements" created in 2004, combines computerised machine embroidery, acrylic paint, wood, glass and collage to give the final result which is based on floral imagery. Michael's works are colourful, dramatic and rhythmic in feel, often exploring three-dimensional line, structure and pattern. Characteristically, the pieces are intensely detailed with strong optical effects that become apparent at a distance as well as having a tactile quality.

In an artist's statement on the website of the University for the Creative Arts, UK he explains that he constantly revises his ideas at all stages of the evolution of a work. He aims to construct a personal ground, which allows him to integrate the machined units creatively with other 3 dimensional materials. Recent works have also tended to have a kinetic dimension, with elements extending into space. He finds it exciting for artists to put themselves in unfamiliar territory, push things ahead and ask questions. These words strike a chord with me because they are the things that I have been focussing on in my recent embroidery studies - experimentation, allowing the work to evolve and combining different techniques.

 

Section of "Crystallised Movements" 2004

Flower Head- Narcissistic Butterfly, 2005.

References

http://brennand-wood.com/

http://soa.anu.edu.au/visintartists/michael-brennand-wood

http://transitionandinfluence.com/gallery/statement.html

http://www.themaking.org.uk/content/makers/2011/02/michael_brennand_wood.html

3. SVENJA

For the third task in this chapter I have chosen to study a textile artist, known as Svenja, who is based in Brisbane, Australia. Her work is often inspired by nature, in particular the intricate forms of lichen and fungi, and she enjoys the challenge of creating garments that blur the boundaries of art and fashion. She has won several major awards for wearable art and sculptural leather.  Amongst these are first and second prizes in two sections of the prestigious 2013 World of Wearable Art Awards (WOW Awards), an international competition held annually in New Zealand. This was for her work ‘Hakuturi, a group of three garments (shown below). The Hakuturi is a mythical Maori creature that is the guardian of the forest. The front and back tooled leather pieces have been dyed, painted and waxed. They rest on a background of dyed and painted silk organza that has also been used for the ruffles on each piece. I saw this work late last year at the Wearable Art Museum in New Zealand and was fascinated by the use of different materials and the way they had been manipulated to create the work.

Svenja has studied Fashion Design, Drawing and has a BA in Art History. She uses a range of techniques in her constructions, including silk painting, shibori shaping and dyeing, embellishing with free-motion machine embroidery, felting, leatherwork and manipulation of fabrics, plastics and fibreglass. In a recent article she stated: "I look at my work as sculptural pieces that can be worn and enjoyed, by both the wearer and the viewer" and also "The human form provides a great framework for these works which often straddle the realms of fashion and art". In her view "Textiles has it all - complete control of colour, shape, and texture that you can build into a sculpture."

 

Inspiration can come from many unlikely places. For example, the piece above, Fimbria Figura, was inspired by an electron microscope scan of a fallopian tube. Latin for "fringe", the fimbria sits next to the ovary and sweeps the egg into the fallopian tube. The dress is constructed from vibrant pink, purple and red silk organza screen printed with the image and layered over a metallic foil jersey base. The fringe was represented by distorting the dress with fishing line and stitching it into a circular pattern, with shibori-bound lame representing the finger-like cilia.

A few more images of Svenja's work are shown below. The examples in this section illustrate the wide variety of fabric manipulation techniques that can be used to create these impactful designs - ruffling, pleating, gathering, folding, layering and cording. The choice of material is also an important element in the final visual effect. If only I was so skilful and creative!

  

“Isolda” by Svenja

References

http://intocraft.com.au/blog/world-wearable-art/#sthash.bz5sMFRr.dpuf

http://inhalemag.com/wearable-art-awards-2013/

https://frockontheblock.wordpress.com/stall-holders/fashion-accessories/studio-svenja/

http://www.brisbanetimes.com.au/queensland/dress-inspired-by-fallopian-tube-goes-on-display-in-brisbane-20141007-10rk06.html#ixzz3kGYyfS4K