M5 CHAPTER 3: TEXTURE AND RELIEF IN PAPER

I chose to do the collages in this section on black backgrounds as my subject matter was primarily white or bluish-white. I tried to experiment with different materials and manipulation techniques in my work. Some were more successful than others, partially due to the limitations of the techniques and the materials as well as my skill. However I was pleased with some of the results and can see the possibilities for translating these into textile samples later on.

Sample 1

In this sample I tried to reproduce the rough, angular surface of a glacier. I started with two layers of tissue paper which I machined together with wavy lines. I then gathered the stitching to create a ruffled effect and made cuts in the top layer to simulate the rough, angular shapes. I liked this result and think with more work it could make an interesting textile piece.

Sample 2

In this sample I tried to recreate the impression of brash ice which is an accumulation of small bits of floating ice. I used pieces of foam packing to represent the ice. These pieces were folded in half and gathered by hand with a running stitch which was pulled up and the pieces twisted to vary the shapes. I liked the effect of the distorted foam pieces and think this idea could also have possibilities for future textile samples.

Samples 3 & 4

The next 2 samples show attempts to recreate the rippled and indented effect I observed in the following photo of an eroded iceberg.

In sample 3 I tried to pleat tissue paper with a smocking pleater and then pad it underneath with a wad of butchers paper. This was only partially successful, so then I tried passing thin cardboard through the smocking pleater to get better definition of the ripples. The ripples were certainly better, so then I tried to achieve a raised effect by cutting, layering and buckling the cardboard (sample 4). It wasn't possible to pad it underneath due to the thickness of the card. I think this was moderately successful, but I think I could probably achieve a better effect later with pleated and padded fabric.

Samples 5 & 6

These show two approaches to recreating the textures observed on the surface of an iceberg. The challenge was to use a mixture of materials to show 2 different textures, the rounded fluffier looking ice on the left (though it's not really fluffy) and the striated or grooved sections on the right.

I think sample 5 was more successful than sample 6. In sample 5 I used crunched tissue paper for the rounded areas and pleated gift wrap for the grooved section. In sample 6 I used crumpled butchers paper for the rounded area and pleated tissue paper for the grooved area, but it was a bit too static.

Sample 7

This is one of my favourites. The starting point was a section of the dimpled surface of an iceberg, which reminded me of a pile of fluffy balls (or maybe suffolk puffs?). The sample was made with circles of tissue paper which were gathered and stuffed with crushed paper or plastic bags. The outside surfaces were pushed in to give the dimpled effects. I can definitely envisage this sample translated to fabric.

Sample 8

This photo of an eroded iceberg top with gravel embedded into it is also one of my favourites. I experimented with ways to achieve the 3D effect. This sample was done using the domes of an egg carton to give a relatively stiff form. The domes were covered with layers of Kleenex tissues, then strips of ordinary tissue paper rolled and looped around to simulate the eroded rings. Overall I think this effect is reasonable but may be improved with more experiments with different types of fabrics.

M5 CHAPTER 2: PAPER RELIEF INVESTIGATIONS

a) Tearing and Folding Different Types of Paper

Samples of several different types of white & brown paper and card were collected and tested to determine how they tore & folded. Each sample was treated in 3 ways: (i) random tearing into small pieces, (ii) attempting to tear along a line using a ruler to hold the paper in place, (iii) hand folding a piece into pleats. Some observations are noted below.

Gift wrap, shiny on one side: easy to tear in a line and to pleat.

Kleenex Tissue: gave wispy edges when torn, did not give crisp folds, but stayed in place moderately well after folding.

Cream textured card: difficult to tear evenly, folds stayed in place but card tended to spring open.

Brown paper gift wrap: easy to tear in a line and to pleat.

Thin brown cardboard box: Tore in a line moderately well and pleats stayed in place.

Brown paper parcel wrap: easy to tear in a line and to pleat.

Baby wipe: very wispy edges when torn, slightly rounded folds, but stayed in place quite well after folding.

Handmade paper: difficult to tear evenly, reasonably easy to fold and folds stayed in place quite well.

Butchers paper: easy to tear in a line and to pleat.

Tissue paper: easy to tear in a line and to pleat.

Cartridge paper: easy to tear in a line and to pleat.

Polythene garbage bag: Tended to stretch and distort before pieces could be torn away, moderately difficult to pleat evenly, but bag stayed in loose folds when glued.

b) Scrunching Different Types of Paper

Various types of paper were torn into sheets roughly A4 size and then scrunched up to fill a rectangle about one -ninth of an A4 sheet. Some observations are noted below.

1. Polythene bag: easy to scrunch but tended to spring back and only retained its shape with glue to hold it down.

2. Butchers paper: easy to scrunch, stayed in place fairly well, though a bit bulky.

3. Baby wipe: did not scrunch very well, tended to go into loose folds and had to be held in place with glue.

4. Tissue paper: easy to scrunch, squashed down readily and stayed in place fairly well.

5. Handmade paper: moderately easy to scrunch, some tendency to fold, stayed in place quite well.

6. Textured gift paper: moderately easy to scrunch, stayed in place quite well.

7. Cartridge paper: easy to scrunch, stayed in place fairly well, though a bit bulky.

8. Gift wrap, shiny on one side: easy to scrunch, squashed down readily and stayed in place fairly well.

9. Kitchen baking paper: easy to scrunch, squashed down readily and stayed in place fairly well.

Conclusions from sections (a) and (b): Thinner papers are easier to fold, and tear more accurately and can be manipulated very easily. They also scrunch readily and stay in place longer. Thicker papers/card tend to be more springy and do not stay in place as well. Synthetic "papers", such as polythene or baby wipes are more springy, hold their shape less well, and cannot be torn very accurately. Nevertheless some interesting effects can be obtained with the torn edges and crumpled forms.

c) Manipulated Tissue Paper

Tissue paper was manipulated in different ways to learn more about the effects that could be created.

10. Strips folded over several times and knotted.

11. Torn strips held together and one end twisted to hold the strips together like a broom or duster.

12: Small sheet folded into pleats in 2 directions.

13. Small sheet folded, pushed together at one end and fanned, then holes punched randomly into some of the folds.

14. Small sheet loosely and roughly gathered, then twisted in the centre to create a bow.

15. Torn strips pleated in different directions from the middle and then twisted around each other.

16. Circle torn with a hole in the middle, then gathered with a running stitch around the inner and outer edges and folded in half.

17. Four half circles placed on top of each other and gathered together with 2 rows of running stitch. Some of the outer edges were then partly cut away to give a ruffled effect. I thought this result was quite pleasing.

18. Tissue paper gathered with a smocking pleater then cut into thin strips. Three strips were bundled together and one strip wound around the middle to hold them together.

19. Five rows of thread using a smocking pleater were gathered up horizontally and the bottom half of the paper was left ungathered. The plain area was then torn into strips vertically and each strip was twisted around to give an interesting decorative edging.

20. Tissue paper was gathered with a smocking pleater and cut into strips at 90 degrees to the stitching.

These strips were then twisted around each other. Some of the small pieces of thread fell out during the process leaving some holes as decoration.

Conclusions from section (c)

Thin papers which hold their shape when folded or pleated can be used to give crisp or more formal effects. If gathering is used, as in example 17, a more flowing, informal result is obtained. Thin strips of  pleated papers can be bent and twisted into more interesting shapes (e.g. examples 18 & 20), whereas wide sections can be used to give undulations and ripples (e.g. sample 19).

MODULE 5, CHAPTER 1: TEXTURE IN LANDSCAPE

For my research in this module I have selected the theme of "Texture in Glaciers & Icebergs". I have been lucky to visit both Antarctica (2008) and Alaska (2013) on my recent travels and have a good collection of photographs to draw on for inspiration. Glaciers are slow moving bodies of dense ice, often flowing between mountains, like a river. Icebergs are formed when bits of the glaciers break off, or calve, and fall into the sea. I am fascinated by the endless variety of shapes and textures that can be found in these icy bodies. These shapes and textures reflect the journey that the ice has taken. The ice often deforms due to its weight, creating deep blue crevasses and peaks. Rippled areas are common, due to erosion from movement of the ice between mountains and rocks. Glaciers may pick up small rocks and gravel along the way. These become embedded, adding colour and texture to the surfaces. The appearance of the icebergs also changes as they melt. They may become top-heavy and rotate in the water, revealing new eroded surfaces which were previously below the water line.

In my mind, many of these textures lend themselves to interpretation in textiles. I can immediately picture layers of manipulated fabric, with folds, creases, peaks and troughs, combined with stitching to embellish and hold the fabric in place. Although I think this may be a difficult challenge, it is something I have wanted to tackle for some time. So here is the start of my "Glaciers & Icebergs" series.

I have selected five of my favourite photos as starting points for this section. it was a difficult choice as I had several others that were equally fascinating. The ones I chose illustrate a range of shapes and textures observed in the ice. In each case I have shown the original picture and then a cropped one beside it, focussing on one textured area. In some cases I have experimented with manipulating the photo further, by rotating it 90 or 180 degrees, converting to black and white or sepia, or enhancing the image by increasing the contrast, reversing the black and white areas or applying a drawing feature. These were done using the program Paint.NET. All of these manipulations change the impression conveyed by the image, offering interesting possibilities for development of a textile piece.

Image 1: Antarctica, glacier meeting the sea

1.1 Original photo

1.2 Cropped image focusing on the icy pillars and crevasses. I chose this area because the shapes were unusual and interesting.

1.3 Image converted to black and white, increasing the focus on the shapes and contrasts.

Image 2: Antarctica, iceberg with rippled sides

2.1 Original photograph

2.2 Cropped photo with added "oil painting" special effect to bring out and soften the ripples in the ice

2.3 Photo in 2.2 cropped again to focus on the bottom right area. This shows the textured detail of the ripples more clearly, revealing that they are quite uneven and lumpy.

2.4 Pencil sketch feature applied to photo 2.3 using Paint.NET. This suggests some stitching which could be added to manipulated fabric shapes, to bring out some of the contrasting surfaces.

Image 3: Alaska, glacier flowing into the sea

3.1 Original photo

3.2 Image cropped and rotated. Note the different textures in the ice in this picture compared with image 1. The contrast between the rock and the ice, and the gravel trapped in the folds of the ice also add interest.

3.3 Ink sketch feature and increased contrast applied to image 3.2, using Paint.NET. This enhances the textural impression of the various surfaces.

Image 4: Antarctica, iceberg with oval erosions and embedded gravel

4.1 Original photo. I chose this one because the shapes were were very interesting and totally different from any of the other icebergs.

4.2 Photo cropped and converted to black and white. This gave an interesting image which would be ready for interpretation in fabric and stitch without any further changes.

Image 5: Alaska, iceberg

5.1 Original photo

5.2 Cropped photo focussing on one interesting textured area

5.3 Different effect created by rotating the picture 90 degrees, converting to sepia tones and increasing the contrast a little. This image lends itself to interpretation in a natural or unbleached fabric, perhaps with quilting and padding added to create the 3D texture.

M4, Administration

1. EVALUATION OF EMBROIDERED ITEM MODULE 4

Task: construct an embroidered panel related to media, utilising some techniques studied in Module 4.

Finished Item: The completed piece for module 4 is an embroidered handmade silk paper wallet suitable for holding memorabilia relating to my daughter's wedding held at House for an Art Lover, Glasgow, which was designed by Charles Rennie Mackintosh. The wallet features several stylised roses inspired by Mackintosh designs from the house, either as inserts of withdrawn thread work or surface embroidery, and embellished with couched cords. A booklet of my favourite wedding photographs is stored inside the wallet. These have been embedded into handmade silk paper and joined with a cord and tassel.

How do you feel about the resulting conclusion?

After finding it easy to select the theme and basic structure for the piece, I had a lot of problems translating it into the finished item. When developing the design, I was initially too constrained by the idea of being pure to the Mackintosh theme. However, after discussion with my tutor, I relaxed and was able to let go more, adding the couched twisted cords to create additional texture and give a more free flowing feel to the work. Overall I am fairly happy with the result, but can see that I could have explored lots more possibilities if I had the time over.

Is it fit for its purpose - give reasons?

The finished piece is clearly fit for its purpose since the photographs and other memorabilia, such as the wedding invitations fit neatly inside. It is easy to carry around and show off to friends and family. The embroidery fits well with the selected theme.

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?

If I were making this piece again I would still use the handmade silk paper as the basic construction material. I think the wallet format is fine, but a box would have been suitable as well. However the main thing I would do would be to explore more design possibilities for the embroidery - perhaps more (all?) roses in different sizes worked in the withdrawn thread style, and perhaps a wider inserted panel on the front flap, with a central rose and other decoration around it. I would also try to integrate the closure system more closely with the design.

2. AUTHENTICATION: The photographs below show me making the silk paper and then stitching the piece.

The  authentication sheet signed by Judith Muller is below.

3. TIME LOG

 

DATE CHAP-TER ACTIVITY APPROX HOURS SPENT 6/3/12 - 30/7/12 1 Photographs of Mackintosh designs, sort/edit; consult books; sketches 7   1 Collect stationery items 2   1 Lettering research 8 1/6/12 - 31/7/12 2 Drawing with inks 5   2 Blocks of writing 4   2 Letter making with computer 5 1/6/12 - 19/8/12 3 Collect grid samples 5   3 Make own grids on soluble film 2 1/8/12 - 21/9/12 4 Initial paper making experiments 4   4 Trials with adding texture, embedding embossing, fringing, laminating 12   4 Trials with multiple colours 5   4 Silk paper trials 6 15/6/12 - 20/7/12 5 Collecting & colouring fabric 6   5 Samples - Pulling, weaving and looping threads 7 1/7/12 - 10/10/12 6 Hand stitched samples 22   6 Machine stitched samples 13   6 Combination samples 9 25/9/12 - 23/10/12 7 Wrapped frames, hand & machine stitching 12 10/10/12 - 22/11/12 8 Samples with paper pulp 14   8 Samples with silk paper 15 25/11/12 - 11/02/13 9 Stitched samples with paper pulp 9   9 Stitched samples with silk paper 22   9 Stitching on dipped grids 5   9 Edges on pulp paper 9   9 Edges on silk paper 8 1/2/13 - 16/3/13 10 Examples of different types of book structures 17 12/1/13 - 18/3/13 12 Internet research re 3 artists 12 11/3/13 - 7/7/13 11 Design final piece and construct trial samples 20 23/5/13 - 27/9/13 11 Make silk paper and embroider final item 50

Date design work started for final piece: 11/3/13

Date design work finished for final piece: 7/7/13

Date final embroidered item started: 23/5/13

Date final embroidered item finished: 27/9/13

Total hours spent on design work: 20

Total hours spent on embroidery for final piece: 50

Total hours spent on research work: 17

4. COST OF MATERIALS

Detailed list will be emailed separately and is summarised here.

CHAPTER	ESTIMATED COST AUD$
1	$5
2	$14
3	$5
4	$64
5	$26
6	$14
7	$19
8&9	$54
10	$38
11	$74
12	$5

TOTAL COST FOR ASSESSMENT PIECE: $74

TOTAL COST FOR MODULE 4: $318

5. HEALTH & SAFETY CONSIDERATIONS

Consolidated List for Modules 1 to 4 follows.

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.

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

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.

6. STORAGEOF WORK, MATERIALS, TOOLS & EQUIPMENT

Consolidated List for Modules 1 to 4 follows.

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 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, 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. 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) 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. 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

M4, CHAPTER 11: FINISHED ITEM

The picture above shows the front of the finished wallet. I decided to couch around the large withdrawn thread roses on front and back with the grey-green twisted cord, to add texture and emphasis, and to provide continuity between the two. I also decided to trail the cords across the work in a simple wavy manner so that the finished item did not appear too fussy and the cords did not overwhelm the roses. I was pleased with the final colour combination that I used. The cords were continued onto the inside folded flap of the wallet to link the inside and outside.

I incorporated a simple looped closure into the couched cord on the front panels, designed not to detract from the central roses. A painted wooded bead held in place with a small brass bead was stitched to the top and bottom panels, so that the loop would pass over the top bead and hold the two sections together.    The following two photos show the lower half of the front – here the looped closure is quite clear- followed by the back of the wallet.

 

The picture above shows the opened out panel, revealing the continuity of the pattern as a whole. Below is the inside of the wallet with the photo selection embedded in silk paper and a wedding invitation. This clearly shows  how the design of the wallet suits its purpose.

Composite Sheet : The assembled composite sheet is shown below. This explains how the design concept was inspired by my daughter’s wedding at the Mackintosh designed House for an Art Lover in Glasgow, and shows some of my attempts to capture the roses in various pulled and withdrawn thread stitched samples, as well as experiments with colour combinations for the twisted cords and couching around the roses. A photocopy of the wallet mock up finishes the panel.

M4, Chapter 11: Work in Progress

I am now well into my final piece  for this module, so wanted to give you an update of my progress with the work and some of my design decisions.
Roses: All of the roses are now stitched. Apart from the 2 withdrawn thread insertions discussed in a previous blog, I have used stem stitch for the rose outlines and Cretan stitch for filling the shapes, with lots of colour variations for interest. The centres feature a mixture of random cross stitches and French knots. I mainly used silk threads for the stitching, but had to resort to stranded cotton for a couple of the colours.

The two photos below show the front of the wallet and the entire panel unfolded (left to right: bottom
 flap, back, top flap).

    

Cords: As discussed at Summer School, I was going to overlay some coils of twisted cords to add interest to the empty background and provide some connection between the roses.
The first photo shows three colour combinations of twisted cords overlaid randomly on the  embroidered silk paper. These were:

1. grey green/deep green combination (bottom left),
2. grey green/pink combination (top centre)
3. leaf green/deep green combination (top right).

I have decided to go forward with the first combination because it gave a greater contrast and also the grey green colour provided some continuity with the drawn thread rose on the front panel.  The final picture shows what the overall effect will be like with several grey green/deep green cords overlaid on the panel.
 

Please note the placement of these cords is just to give an idea of the overall effect and does not reflect the final placement that will be used. This will be more in line with the design drawn during Summer School (below left), although on reflection I think there are too many curly lines on the front flap and I will simplify this a little for the final piece. Next to the drawn design is a small sample with a twisted cord sewn into place. However this one has been done with the brighter green cord, whereas the final piece will have the darker one, which I think will look better.