Module 4: Loosely Lettering

CHAPTER 1: Media Research

Inspirations

The word “media” (plural of medium) can have a number of meanings. In the present context it relates to various means of communication that reach or influence people widely (Oxford Dictionary & others). In art, the word “medium” refers to the substance(s) the artist uses to create the artwork (http://arthistory:about.com).

In this module my inspirations are drawn from the use of cards and other  stationery items as a means of communication. This started with the Christmas cards which arrived at my house during December, some Get Well messages I received in January and February and then various items associated with my daughter’s wedding in March – invitations, cards to wish her happiness for the future, thank you cards, place cards, photographs etc. On my travels I also picked up several post cards that were being used to promote community events such as exhibitions, plays, museums & symposia. I was also intrigued by the use of bags as advertising (communication) tools – ranging from the paper bags containing my bread and mushrooms, as well as larger tote bags from places where I bought clothes.

My other inspiration was the art nouveau theme which my daughter used for her wedding in Glasgow, based on the architecture and designs of Charles Rennie Mackintosh. The celebration was at a beautiful Mackintosh-designed house called House for an Art Lover. I would like to to experiment with the theme of the Glasgow rose and Mackintosh era in some of my work. 

The colour scheme I am thinking of using is also loosely drawn from this sources  - rose pink,  leaf green and mauve – but the pink (red)  and green also reminds me of the colours of Christmas where this journey began.

Photos below:

1. Assorted greeting & promotional cards

2. Wedding themed items

3. Assortment of bags

Items of Stationery

My initial idea for my final piece is to create a wedding album/book containing a selection of memorabilia and photographs. The cover will be decorated with something emerging from this module.

There are a huge number of styles and methods that can be used to create and assemble a book. This photo shows a few examples including a traditional leather bound book made 40 years ago by my cousin, a stitched book of cloth and textured paper (which I made recently in my local Embroidery group), a spiral bound sketch book, a book with pages held together with cord, an old concertina file for recipe cards with a cloth cover, and a folding booklet of postcards.

       I also recently purchased  “500 Handmade Books”  (Editor Suzanne JE Tourtillot, Lark Books, 2008), which is a wonderful source of inspiration and design ideas. I will decide later which style to utilise for my final piece, depending on how the design concept evolves.

Lettering Research
a. Font style variation
There are a myriad of styles of lettering/fonts that are used in the media. I started by taking the word ROSE and printing it out in a selection of fonts from my computer. The word  takes on different personalities or moods depending on the style selected – relaxed and free flowing, formal and stiff, bold and brash, flamboyant and fun (see examples below).

My daughter used a Mackintosh style font for her wedding stationery. This gives  interesting  effects because the letters are a mix of elongated  and shortened forms. When they are shortened ( for example the “O” in rose), a dot is added to fill the space. With the letters A, E & H, the cross bar  is moved up so the appearance is not symmetrical. This gives an interesting rhythm when the words are strung together. Mackintosh used similar effects in his furniture designs, for example backs of chairs were often elongated to change the visual impact.

b. Text size & placement

This sheet shows some interesting effects using letters taken from advertising, such as fitting words to a shape, overlapping letters, varying the font size & placing lines close together with colour changes.

c. Mixing letters (words) and pictures
This is particularly effective for storytelling. The picture shows 3 examples: a short section of the Bayeux tapestry (c1070 AD) with the text in Latin illustrated extensively with pictures, since a large proportion of the population could not read; a small extract from the Book of Kells c800 AD with decorated letters and other small images which add to the story; a modern advertisement for a bank, where the decorations on the letter A add to the overall promotional message.

d. Other languages, different characters
If you cannot understand the words you tend to just form an impression of the shape and flow (rhythm) of the lettering. The pictures on this sheet sheet show some interesting effects seen with Egyptian hieroglyphics on papyrus, ancient Greek carved into stone, printed Russian text and variations of Arabic script. I particularly like the pattern formed by the printed Russian text where the words are hard to distinguish and the Arabic picture bottom left, where the artist has repeated the characters in different ways across the page.

e. A Rose in different languages
These examples show  combinations of the rose image, the word rose and different languages to give varying effects.

CHAPTER 11: Composite sheet and completed accessory

 

The completed accessory (cuff bracelet) largely followed  the key design elements  described in Chapter 10. However one major modification was made during production. After the beading was completed on the flat surface, and the  external and internal panels were applied to the shaped metal/pelmet vilene support, I decided that there was enough beading already on the item and that more would be overkill. Therefore the idea of adding clustered beads to the gold cord on the edges was dropped. I felt that a simple gold border would be sufficient and more beads  would detract from the impact of the main panel. I think that a heavily beaded edge would be more appropriate if the cuff had  a plainer central panel.

The following photos show the partially completed and completed cuff bracelet (various views, including internal surface), including a picture of it on my arm to show how it fits with its intended purpose.

EVALUATION OF ITEM

How do you feel about the resulting item?

I am pleased with the overall design and visual impact of the piece. I think the colour combination works well and I managed to achieve a brighter result on the painted surface of the final piece compared with the concept samples. This then required careful selection of beads to work with the surface – trying to achieve a balance between the different segments, but allowing some of the underlying painted surface and machine stitching to show through. I also had to decide when enough was enough – hence the change of plan with the beaded edges.

I think the impact of the wavy shape was diluted a bit by the embellishment, but nevertheless I thought it added a nice look to the bracelet on the arm

Is it fit for its purpose - give reasons?

I think the result is suitable for its purpose but could be improved further. The bracelet sits on the arm well and is suitable for evening wear as it is quite glitzy. It is not too heavy and can be adjusted to suit the arm of the wearer. The “baby wipe” fabric used as the base is moderately robust and thus suitable for use in a feature piece like this.

If you were asked to make it again, what changes would you make to the way you designed it and the way you made it?

I really like the idea of these types of bracelets and would like to make more. Whilst I managed to work out a satisfactory bracelet base by using a cut up metal can and pelmet Vilene for this assignment, I think it could be improved to make the base slightly stiffer, yet still flexible . Therefore I would experiment with other materials  and also try out some commercially available blanks (though the shapes are limited). I would like to explore other designs, using more hand stitching and fewer beads on the  main surface and more beads around the edges – there are infinite possibilities.

Specifically, with the current design,  I would have modified the placement of the “spokes” so that I had 3 gold beaded panels, not 2, to achieve a better balance and contrast.

 

COSTING MATERIALS AND RECORDING TIME: MODULE 3

COSTING FOR CONCEPT SAMPLES & FINISHED ITEM: CUFF BRACELET

Papers

Cartridge paper, 8 sheets @ 30c $2.40

Tracing paper, 1m $0.20

Photocopying

Colour mockups, 12 @ 30c each $3.60

Fabrics

White cotton, 0.3m @ $5.50/m $1.65

Purple fabric 0.5 m @ $6.50/m $3.25

Baby wipes- 1/2 packet $2

Paints

Gold, aqua, purple & white Lumiere paint @ $11.75 each

estimated 1/4 jar each $11.75

Acrylic wax - 1 jar $15.50, used 10% $1.55

Threads

Machine threads ,1 aqua and 1 purple, @ $4.35 $8.70

Gold machine thread $9.50, used approx 30% $2.85

Gold silk for couching, 1 reel $10.20. Used 20% $2.04

Gold metallic threads, 2 types @$3.40 each $6.80

Perl threads, 2 @ $3.95 $7.90

Other threads from stash

Beads

Seed beads, 2 packs @ $4 $8.00

Seed beads, 2 packs @ $2 $4.00

Spangles - Mauve $2.00

Spangles - Gold (Colour streams) $2.45

Spangles Purple $2.20

Gold bugle beads $2.00

Aqua "petals" 30c each X26 $7.80

Aqua & Cobalt balls 10c each X 16 $1.60

Gold/pearl buttons $2.40

Other beads from stash

Miscellaneous

Gold braid, 1 metre $3.35

Pelmet Vilene, 0.3m @ $14.50/m $4.35

Sewing/beading needles, 3 @ 55c $1.65

Machine needles, 2@ 65c $1.30

Reference book (Effie Mitrofanis Tassel & Trimmings) $15.00

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TOTAL $112.79

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TIMING

Assessment Piece

Date design work started: 20 June 2011

Date design work completed: 27 September 2011

Date when embroidered item was started: 1 October 2011

Date when embroidered item was finished: 24 November 2011

Total number of hours spent on design work: 23 hours

Total number of hours spent on embroidered piece: 16 hours

Module Work

Chapter	Time Spent (hours)
1	11
2	24
3	16
4	23
5	12
6	13
7	16
8	29
9	12
10	23
11	16
12	11

HEALTH AND SAFFTY CONSIDERATIONS

MODULES ONE TO THREE

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 concentrated dyes or 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

Storage of Dyes and Related Chemicals

· Store chemicals in secure area away from children. Ensure containers are tightly closed and stored in a cool place.

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

Safety of Electrical Items

· Iron: Keep unplugged if not in use. May be stored in cupboard if necessary, when cool.

· Sewing machine: Turn off when not in use and cover to protect from dust.

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

Cutting Implements

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

· Rotary cutting tool - ensure protective guard is engaged when not being used.

· Cut away from you as much as possible to avoid accidental injury.

· 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 your fingers

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

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.

AUTHENTICATION

ADDENDUM TO CHAPTER 10: Design an Accessory

 

 

After receiving Sian’s comments I have prepared two more pieces relating to the cuff bracelet .  Firstly, I have done a more detailed sketch of the final concept.

This sketch shows the key design elements as follows:

• Monoprinted background, trying to vary the shading for the different segments;
• Medium weight couched gold outlines for the segments (not too thin);
• Vermicelli machine stitched background in each segment;
• Large central beaded feature;
• Two radiating beaded spokes which complement the central feature;
• Lightly scattered random beading in the non-featured segments, most probably a combination of seed beads and spangles;
• Gold cord couched around the edge of the cuff;
• Multicoloured  seed beads clustered around the edge of the cuff.

Secondly, I have done a section of heavier clustered beading around the edge of  the cuff, using  multi-coloured seed beads. I think this effect is far better than either of the earlier samples and I plan to incorporate it into the final piece (thank you Sian for this great suggestion!).

CHAPTER 10: DESIGN AN ACCESSORY

1. Selecting the accessory
After considering various types of accessories, I decided to make a bracelet. This could have taken various forms - a coil, a series of flat decorated panels joined by a cord or elastic, or a cuff (a curved band which wraps around the arm). I decided to make a cuff because it reminded me of a partial spiral in form and it provided a reasonable sized surface to design and embellish. I found a cheap cuff bracelet in a shop which had a nice wavy shape rather than just straight sides and so I decided to try to use this shape for my accessory (left in first photo).

2. Bracelet construction
I have considered three techniques for making the bracelet.
Technique 1: Adhering the decorated textile shape to a preformed metallic base with glue. I investigated whether I could purchase blank metallic shapes for this. They were not readily available in Australia and I did not want to wait for some from overseas. Also, I was not able to find any blanks in the wavy shape I wanted to use. I could have covered the commercial bracelet I had purchased, but it was fairly heavy. I kept this as a fall back option if I could not find anything else that was suitable.
Technique 2: This involved using pelmet Vilene to stiffen the cuff and then sewing artists' wire around the edge to help the bracelet hold its shape. It worked to some degree but the wire was a bit flimsy and deformed easily, so I discarded this approach (centre sample in above photo).
Technique 3: I found an internet site which suggested using a shaped piece of aluminium cut from a soft drink can as a stiffening for cuff bracelets (www.ehow.com/how_5925197_use-aluminum-cans-bracelet-blank). I tried this a piece of soft drink can, sandwiched between two layers of pelmet Vilene, but this was still a bit light and bent fairly easily, so I hunted around for some thicker cans which could still be cut fairly easily but were a bit more rigid. Eventually I settled on a tin used for a brand of canned tomatoes.

Method and OH & S comments: It is important to take care when cutting and shaping an aluminium 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, then glue a shaped piece of pelmet Vilene to either side of the metal, using PVA glue. Wrap the 'sandwich" around a bottle or other cylindrical object about the diameter of your forearm and hold in place for several hours with masking tape or a wide rubber band, to form the final curved bracelet shape. This can then be covered with your embellished fabric.
Technique 3 was the most successful (sample on right above), apart from purchasing commercial metal blanks. I decided to proceed with this for my piece.

3. Design of Concept 1








I cut a cardboard template with a hole in the shape of the cuff laid flat. I then looked at various samples I have made during the module and laid the template over them. Some of the ones considered as concepts and then discarded, are shown above. I decided to work up a design based on sample 9 (right), which is a root spiral. Forms of it often appear in nature (e.g. ammonite fossil - see Chapter 1, nautilus shell). I chose this because I thought the segments were suited to the shape of the cuff and would allow me to achieve an interesting balance between colour, shape and texture in the piece.

I drew out the selected segment of the design and incorporated some modifications. These included:
- merging some of the segments in the outer circle so that they were larger and less fussy to embellish;
- adding some more lines to complete the inner circle as this seemed to give a better focal point to create something interesting in the centre of the bracelet.
The next photo shows the chosen segment and the simplified line drawing based on it.





















Base fabric: I had recently attended a workshop with Isobel Hall and become interested in some of her techniques for creating interesting surfaces from paper (Reference: Isobel Hall and Maggie Grey, Mixed media: new studio techniques, d4daisy books Ltd, 2010)). I decided to experiment with painted woven paper baby wipes as the base fabric for the bracelet surface because they give a surface which is fairly strong but flexible enough to stitch through. One limitation is their size, making them unsuitable for large areas - but in this situation a single wipe was large enough to make one full size bracelet.

Concept 1 (below) was made with one wipe which had paint applied and then some spiral marks in a blue crayon (these tended to blend in a bit after the fixing). After that I painted on a layer of a sealer called "Impasto Medium" (Matisse) which stiffens the fabric. Another option which was also satisfactory was Modge-Podge (Plaid brand). Gold encaustic wax was smudged onto half of the wrinkled surface, so I could decide whether this was worth doing in future or not. I have also included a picture of some other painted samples which I have prepared, which will be considered for the final piece.



















Embellishment: The photo of concept 1 (below)shows several variations that I trialled for embellishing the bracelet surface. First I tacked the design outline from a tissue paper drawing, then added machine stitching to the painted base fabric, experimenting with different metallic and non-metallic threads in purple and gold in different segments of the design. I used a vermicelli pattern as it was small enough for the little segments and not too intrusive. This was important because I wanted to add beads as the main highlight on top of the stitching. I thought the pattern worked well and will probably use a combination of two colours in the final piece.

After the machine stitching I tested two ways of outlining the segments. The first was by couching a purple-blue gimp and the second by couching a gold thread. The gold thread was more effective, but it tended to buckle a little, so in the final piece I will need to use a slightly thicker thread and place the couching stitches closer together.

Finally, I experimented with some beading options for the stitched surface. I decided that the central part of the spiral should be treated as the focal point and found an effective combination of aqua glass droplets with gold bugle beads. The segments which radiate out need less intrusive beading, but also something to link them to the central feature. I tried a few alternatives, and thought that all had possibilities. Using the aqua beads/gold bugle beads at the end of the two large segments that leading to the edges of the bracelet gave some continuity but would not be suitable for the entire piece, so two of the smaller fillings could be used in the other segments to provide balance and contrast.

Edges: This sample shows some variants that could be used as edgings for the bracelet. One was a plain gold cord, the second was a gold cord wrapped with a contrasting thread and the third was small beads added in clusters or singly to the cord. My preference at present is the wrapped gold thread with single beads spaced along it, however a final decision will be taken when the piece is nearing completion.


4. Design of Concept 2: I was not entirely happy with the way Concept 1 looked on the arm, so I decided to experiment with another approach. I realised that the wavy shape made the design more challenging because the centre of the shape was not a true mid-point or focal point for the bracelet and it needed to be divided into thirds which harmonised. Therefore I explored a design which would have 3 embroidered spirals along the length of the bracelet with stronger beading in the centre third and related but less dominant beading leading out to the edges. This came from the 3 spirals in a row on the shibori-dyed fabric in the top picture.


The base fabric used for this sample was a monoprinted baby wipe as before and machine stitching in random spirals was added to give some texture to the background, before adding the hand stitching on top. I think this approach has possibilities, especially the consideration of the design in 3 sections. However I would need to work up the embroidery further for a final sample and perhaps explore using the dyed fabric or a monoprinted fabric with 3 spirals along its length.


5. Final design for accessory
Although I think both designs have possibilities and could result in attractive final pieces, I have decided to revisit concept 1 because I think it is a bit more impactful. However, I will also incorporate some things learnt from concept 2. I plan to enlarge the central feature of the spiral so it roughly occupies the centre third of the design. I will also simplify the "spoke" segments in the outer ring so the design is not too busy and use a heavier weight gold outline for the segments, with the couching stitches placed closer together, so that it will add emphasis and the lines will not distort. I may add some hand stitching if I think it will add to the final impact.

Authentication: Here is a picture showing me working on the selection of beads for concept 1 and also trying concept 2 on my arm before it was embroidered.

CHAPTER 12: RESEARCH THREE ARTISTS

1. ZANDRA RHODES - FASHION DESIGNER
Zandra Rhodes is a British fashion designer known for her glamorous, extrovert and dramatic designs which are full of vitality. Born in 1940, she developed a major interest in printed textile designs through her art studies and then moved into creating and selling clothing using her own designs, which were considered very avant garde in the 1960s. Since then she has become well known for designing fashion garments and stage costumes for the "rich and famous", including many performers, celebrities and royalty, but in recent years has also designed some more affordable ranges for department stores. In the past 10 years she has turned her talents to designing flamboyant sets and costumes for some opera productions and has also established a Fashion and Textile Museum in London, to feature the work of fashion and textile designers from the 1950's onwards.


The main thing that stands out with Rhodes' work is the cohesiveness of the entire design. There are four main elements that contribute to this. Firstly, vivid colours and bold patterns are used very effectively to create a dramatic effect. The colour palette in each garment is often restricted to two or three contrasting hues and tonal variation is used to enhance the contrasts (for example designs 1 and 2 above).



Secondly, she uses a lot of repeating patterns in her printed textiles, often alternating a couple of pattern repeats. For example the black and white pattern repeats in design 3 are simple, yet very effective photo Vogue. Many designs have been inspired by ethnic themes e.g. North American Indians, Africa, Mexico, Egypt.









Thirdly, many of her garments feature sheer flowing fabrics, and the shapes of sleeves, necklines and hems seem to emerge from the design of the fabric (see design 2 above). Sleeve edges or hemlines may feature unusual treatments, sometimes with added tassels, to maximise the impact of the patterned textile (see for example design 4, below left, which shows a dress recently exhibited at the Mingei Museum San Diego, January 2011 ).






















Fourthly, embellishments such as spangles, studs or beading may be used to complement the pattern (often following the pattern lines) or emphasise the body line and folding, pleating or ruching the fabrics is also sometimes used to add texture. Her punk-inspired evening dress called Conceptual Chic, now featuring in the collection of the Victoria and Albert Museum in London, was considered very revolutionary when it was created in 1977 due to the deliberately holed ("distressed") fabric and the use of beaded safety pins, ball link chains and diamante embellishments(photo 5, above right).

Overall, by studying Zandra Rhodes' work, I think a lot can be learned about using various design elements to complement each other and strengthen the finished piece.

References
Zandra Rhodes' website: www.zandrarhodes.com
Carolyn Benesh: Zandra Rodes - The art of significant loveliness. Ornament 34(3), 2011
Vogue.com.au: Zandra Rhodes Runway Gallery S/S 2007, http://www.vogue.com.au/fashion+shows/galleries/zandra+rhodes+ready+to+wear+spring+
summer+2007
Mail On Line August 26 2011, Big can be beautiful by Jenni Murray
http://www.vam.ac.uk/content/people-pages/zandra-rhodes/
http://www.mingei.org/exhibitions/details/523

2. DEIRDRE HAWKEN - HAT MAKER

Deirdre Hawken is a milliner who trained in Theatre Design at Central Saint Martins college and now uses traditional millinery techniques to design and make couture fashion headpieces as well as a range of quirky, inventive and amusing art hats. These are inspired by modern cuisine and the way it is presented. Every component is hand dyed and hand sewn.

Her high fashion hats seem deceptively simple but have a very stylish and well-balanced look due to her careful combination of shapes, embellishments and colour (top left). Most of the hat bases are fairly small and head-hugging, with the eye drawn to the embellishments, such as feathers, voiles with cut out shapes or flowers which are often used to give height to the piece. The colours are kept simple - either a single colour or two contrasting colours.

Hawken's art hats, on the other hand, are more flamboyant, using a wide range of shapes, colours and materials to depict the chosen fruit, vegetable, confectionery or patisserie. Sometimes the hat base is part of the design feature (for example radish hat photo 2 above and mushroom hat photo 3 below) and at other times is merely a support for the food being represented. The mushroom hat is very interesting due to its use of leather and chamois in its construction.







The broad bean salad headpiece 2010 (photo 4 below), which is in the collection of the Victoria and Albert Museum, London, shows how various materials and construction techniques can be combined to achieve the final result. Dyed silk taffeta, organza and silk velvet have been used to create the hat base, crinkled leaves and cheese shavings. Then the beans and peas were made from epoxy resin which was hand painted and attached to wire and the pea shoots were created from pieces of wire covered in florists tape.



References
http://www.deirdrehawken.com
http://acupofkettle.blogspot.com/2011/01/deirdre-hawken-millinery.html
http://www.saatchionline.com/art/Unknown-broad-bean-salad-headpiece/72542/308647/view
http://www.saatchionline.com/art/Unknown-pavlova-headpiece/72542/308649/view
Turning heads Exhibition, Knitting and Stitching Show 2009?
http://collections.vam.ac.uk/item/O1176974/hat-broad-bean-salad-hat/

3. ARTIST OF CHOICE: KAREN TORRISI - PROFESSIONAL BEADER

Karen Torrisi, based in Sydney, has been beading professionally since 1994. She began her own atelier after training in the Australian Fashion Industry, followed by study of beading and embroidery in Australia, London and with the beading school, Ecole D' Broderie d'art Lesage in Paris. She views using beads to embellish a surface as like a painter filling a canvas. She states on her website: "I love to use colours in my work and the fact that with beaded embroidery you begin with a clear palette and you finish with something that is sparkly, textured and alive, and visually delicious." Karen now focuses on commissions for selected designers & costumiers.








Her work has an international flavour and has featured in several films (e.g. Moulin Rouge, Star Wars II and III, & Superman 2006), and stage productions (e.g. Chicago, Phantom of the Opera (photo 1), The Lion King (photo 2)).












Garments featuring her work have also been worn by several high profile people, such as the gown that Olivia Newton John wore at the Opening Ceremony of the 2000 Sydney Olympic Games (photo 3).









The scope of Karen's work is very broad - ranging from traditional work on bridal gowns and dresses commissioned by well known Australian designers (e.g. photo 4 design on George Gross evening dress) to more edgy designs, such as some of her stage creations and recent work done in conjunction with a final year fashion student, Melissa Smith (photo 5). She has also written a book entitled "The Art of Making Hand Beaded Bags" and has publishes beading designs and kits for T shirts, cardigans, beaded bags and other accessories.

.




































The high standard of Karen's work was recognised when she was selected as an open finalist in the Hand & Lock Embroidery Prize in 2009 and her work was judged the Highest Australian entry in that year. Her piece (below) was based on the brief Modern Goddess, Sunset Jungle. It features several hues of green accented with brightly coloured lush hibiscus. Sequins, glass beads and Swarovski crystals are combined with silk ribbon embroidery, French knots, chain stitching and flat stitches to create a highly textured 3 dimensional appearance.



















Karen also teaches hand beading skills, including tambour beading and is a guest tutor at the NSW Embroiderers' Guild. Earlier this year she ran a workshop titled Craft Punk at the Powerhouse Museum in Sydney, where beads, found objects, shapes and techniques were used to make a creative appliqué shape to adorn clothing, or other items (see photo of sample to right).












References
http://www.karentorrisibeading.com.au
http://www.handembroidery.com/2009/
http://www.powerhousemuseum.com/whatson/craft_punk.php
Steve Dow: Made 2 measure - The beader. Sydney Morning Herald, The Sydney Magazine, 30 April 2009, p34.

CHAPTER 9: RESOLVED SAMPLE

9b: The worked sample



Here is the worked sample based on the design outlined in Section 9a. I followed the basic plan but made a few modifications along the way, taking into account Sian's comments and also some refinements that seemed appropriate as I progressed.The main changes were:

- I added another thin strip of monoprinted fabric in the top left corner as the printed areas seemed a bit sparse when they were applied to the machine-embroidered background.
- I used more machine stitching than originally envisaged and varied the thread colour and thickness, to build up the background and integrate the printed strips with the background fabric.
-I also incorporated some colour change in the background, from predominantly yellows in the top left corner to more blues, greens and purples towards the right. However I did not overdo this as I did not want it to dominate the piece. On reflection, I think I could have added a bit more colour to the bottom right corner.
- I started off making Dorset buttons to insert into the circular area at the top of each spiral cord, but in the end I cut away the worked centres and just left the rings, as I thought the effect was too heavy when the rings were filled in. I then decided to work a small coiled bit by hand inside each circle to compete the spiral effect.

9a: Developing the Design







The starting point for the design was this wrought iron banister photographed at a hotel in Italy. The spiral form used here is the clothoide or cornu spiral.
I had produced a monoprinted fabric featuring these shapes earlier in the module and thought this would be a good place to start.














However I thought using this fabric "as is" gave a background that was a bit too busy, so I came up with the idea of cutting it into strips, which would be placed diagonally across the background of hand dyed lemon cotton fabric. This gave a hint of the banister which was the origin of the design but also suggested movement, as the spirals moved in a line across the page. I did a mock up of the background with paper, using the Fibonacci sequence as a guide for the width and spacing of the printed strips. I envisage that interest and texture would be added to the plain yellow parts of the background by machine stitching more of the chosen spiral shapes in a matching or variegated lemon thread, but taking care to place them in diagonal lines which followed the printed strips.

I then considered what to add on top of the background. After trying various ideas, I decided that I would apply approximately 3 cords which partially repeated the basic spiral shape from the printed fabric. To give a sense of movement, these would be larger, displaced from the diagonal lines of the background and the tails would represent unravelled spirals with trailing ends. However I thought it was important that the basic linear form was retained and not overcrowded or muddied too much - hence the restriction on the number of spiral cords to be applied. The mock up below gives the general idea using cords that I had on hand, but the final ones may be a bit different. The head of the spiral with be embellished by adding Dorset buttons - again the ones shown here were what I had on hand and have been used are to illustrate the concept and are not the final ones for the piece. I looked at other button options, but felt that the open nature of the Dorset buttons fitted with the decision to retain an open feel to the piece and not swamp the basic linear aspects of the design. I will also add further rows of hand stitching to emphasise the spiral outlines formed by the cords.