Evaluation of Origins Unit

There have been many techniques within the Origins Embroidery Unit that have been new to me, but I have enjoyed the challenge. I can now use these techniques in the rest of my degree work and continue to develop them.

In one of my tutorials after the hand embroidery part of my Origins unit, I identified a grid-like pattern appearing in the majority of my work. This led me to research into artists that also use the same type of patterns and grids. I looked into Mondrian and Michael Brennand-Wood who both work in different ways but with the same ideas in mind through line and grids. This has influenced my work through developing the patterns of line and grids within my work. I have identified that I enjoy working on patterned materials and manipulating the pattern to look different at the end. I created a sample that incorporated stripe and thread in sections on the fabric that all have a different effect - some parts of the thread look raised and give the fabric a different texture and some other lines manipulate the pattern such as satin stitch. I have realised that I generally over-think ideas and in the next projects, I will endeavour to be more experimental and just 'go with it' sometimes. I have used my independent study time well and I have continued to develop samples in my own time. I have been organised, I have planned my time in order for it to be used as effectively as possible, and I have consistently met the deadlines and produced what was asked of me. I have enjoyed both the hand and the machine elements of the Origins embroidery unit although I feel that I can do more on the Bernina machines than by hand. I like to mix the hand and machine techniques in order to encapsulate my own hand-stamp on each sample I create. I have discovered areas which I could develop more within my samples and I will consider this is future projects throughout my degree.

If this piece was to be developed I would take one of the techniques from the smaller squares and do this all over the striped fabric so that it looks more sophisticated. I like the patterns that I have sewn, however I feel that the sample would look better if I had only chosen one and done this all over instead. 

This is one of my favourite samples from the Origins unit. I enjoyed working with the pin-tucking foot because the outcomes can be so different. I like the simplicity of the sample and the staggered lines as well as the choice of fabric - due to it having a pile it worked most effectively.

This piece was produced using only the taylor tacking Bernina foot. I like the texture of the sample, but I feel it would be better if some of the threads were cut in order to reveal some of the patterned fabric underneath and create layers. I would also use a different fabric to develop this piece such as a stripe so it is more fitting with the stitch.



Machine Stitch - Origins

Pin-Tucking.
This sample is simply velvet that has been pin-tucked. I chose a fabric with a pile so that the pin-tucking was most effective and the fabric could be manipulated more easily. I would use a fabric with a pile to do this technique again because of this as it is generally more effective than a fibric without a pile. I also like how the fabric has wrinkled at the edges and been pulled in by the pin-tucking foot.



Pin-Tucking.
Although the stripes don't look to have been changed by pin-tucking an already patterned fabric, the texture of the fabric has changed and the stripes are now raised. As a result I have added a set pattern stitch between the stripes in order to change the appearance of the fabric. I like how the lines have become darker in places and the white lines have stayed the same. I would use the set pattern again in order to manipulate the appearance of a striped fabric in future as it has worked well this time.



Pin-Tucking.
In my opinion, the simplicity of this sample makes it effective. I feel that if I had added much more to this it wouldn't have had the same impact. Also, by using velvet ,which has a pile, the pin-tucking has been most effective. I particularly like the texture of the sample and, once I ironed it, the pile flattened slightly which gave it a sheen and a holographic effect.

Dissolvable Fabric.

By using a dissolvable fabric to create this sample, it is purely made up of stitch. I used a thicker cord in the bobbin for one of the stripes so that the stitch was thicker and gave a different texture to the sample. I would have liked the sample to have a checked effect rather than stripes, but it is still effective in this way.

Pin-Tucking.

By layering fabric and chenille cord together, I could cut away sections so that the cord came through to the front. I chose a cord with a fluffy texture so that it would make tufts ontop of the fabric and burst through more dramatically. I have chosen a simple pattern to leave emphasis on the technique and the cord coming through.

Pin-Tucking.

By bondawebbing a velvet stripe onto a plain black viscose,I created a break in the fabric and a new texture. Also, with velvet having a pile, the machine foot pulled the fabric more in these areas which varied the height of the tucks. The rubber cording underneath supports the structure and makes this sample more interesting to touch.

Pin-Tucking.

Similarly to the previous image above I bondawebbed velvet onto viscose to vary the texture of the sample. I sewed in a grid-like manner as inspired by Mondrian's work. The tucks within the squares of velvet are more subtle than on the viscose which softens the sample.



The aim of this sample was to alter the pattern of the fabric. I continued to use stripe in order to do this and I used a satin stitch to cover parts of the white lines on the original fabric. To develop this piece further I will select sections of the stitch I applied and do an all-over sample to change the layout of the lines.  

This sample was created using the cording foot on the Bernina machine and a variable thread. I like the linear quality of the sample mixed with the subtle hand stitch because it breaks up the neatness of the cording. If i was to do this sample again, I would sew the cord onto a different material with a more interesting texture rather than calico.

This sample was an experiment into the set patterns on the Bernina machine. I particularly liked the pattern with the steps in it because it broke up the monotony of a straight line with the little turrets in it. I then cut away sections to create transparent sections which contrasted with the thick sections of the wool fabric. I think the hand stitch could be neater and as a result the sample would be of better quality.

The aim of this sample was to create an 'all-over pattern' sample using either gingham or stripe. I wound embroidery thread around the spool to create a thicker thread which I like the most about this sample. I would change the pattern of the fabric if I was to do this sample again and I would change the composition of the gingham squares to make it more interesting.

Cording.

I experimented with the set patterns on the Bernina Machine. I prefer the more complicated patterns over the simple zig-zag and straight stitch, however, I would use a different material next time.

Cording.

I prefer this sample over the white calico one because the texture of the fabric and the colour is richer and more appealing to touch. The types of cord used vary and I prefer the grey double cord and the medium weight cords rather than the heavy strings and the thin papers.

Hair-pinning.

I enjoyed hair-pinning because the way in which you can create different outcomes is diverse. I have mixed similar textures in this sample with the flock paper and chenille cord which compliment each other as both are soft to the touch. I would like to create a sample bigger in scale using the same materials to see what the outcome would be. I could also create different compositions and experiment with creating patterns.

Hair-Pinning.

Again, I used similar fabric and cord that compliment each other. Although the lighter grey cord and the darker grey flock paper are in the same colour pallete, the tectures are very different - the cord is crispy and the paper is soft. The white stitched outline emphasises the cording and finishes the sample off.

Taylor-Tacking.

You can do so many different things with this machine foot. The linear quality of the sample makes the different stitches stand out. I particularly like the ladder stitch that it can create which leaves small diagonal lines on the fabric. My least favourite stitch in  this particular sample is the one that leaves loops on the top of the fabric because it looks to me like a machine has not worked properly. However, I think this stitch would look more effective if it was covering a large area of the sample instead of one line alone.

Hair-Pinning.

I have used a light linen fabric and heavy wool cord on this sample which contrast each other. However, I would use a thinner cord in future on linen because it pulled the sides of the fabric into the centre which made the sample look messy. The Taylor-Tacking ontop works well with the wool because of the similar textures.

Taylor-Tacking and Hand Stitch.

This is my favourite taylor-tacking sample because the machine stitch and the hand-stitch are similar which links them together. I also like the staggered lines that the grey cord creates next to the thicker white lines. The fabric is also light which allows the attention to be on the stitch rather than the fabric itself.

Drawings

Drawing using Kinder Egg toys - 15/11/13
I thoroughly enjoyed this task as it opened my mind to new ways of drawing. I didn't realise that something so simple could produce a mark that was as effective as it was. These marks were created using the capsule that the toy comes in which was dipped in ink and smudged on the page. 

These marks were made using the wheels of a toy car which was also dipped in ink and I smudged it across the page with the mechanism dragging between the wheels to create the thicker line. The marks remind me of a running stitch on a sewing machine. 

These marks were made using a fully-built toy car which moves forwards on its own after you pull it backwards. The car was released and it freely made some lines with the ink on the paper. The effect is, again, quite linear and like a grid which links to the majority of my recent work. 

The initial marks made onto this drawing were drips of ink applied with a plastic component from the toy car which were then allowed to semi-dry and then were smudged which left the fainter marks behind the smudges. The whole exercise was experimental which I enjoyed and the outcomes were not expected and couldn't be predicted before I tried them.

'Drawing from a sentimental object - iPod' - 15/11/13

The first task was to create a drawing using only words that described the object. I chose the words 'scratched' and 'mirror' in particular because the reverse of the iPod is a mirrored surface but it is slightly scratched which gives it a strange texture.

'Describe your object through a series of drawings'.

The first drawing represents the flat, black surface of the iPod using gouache. The second drawing eludes to the iPod being scratched on the reverse using ink and a tool made by myself. The third shows the shape of the iPod using thread.

'Make a composition and draw it'.

Myself and other members of my group collated our objects in the centre of the table. The above image is my interpretation of the objects using ink and marker pens. I have, again, used ink to create a scratched surface for the iPod. I used marker pens for the lines of the other objects because the lines on the objects were clearly defined. The image is abstract which is slightly out of my comfort zone.

Image and Cut-Up - 1/11/13

This drawing session forced me to work outside my comfort zone and push myself to be experimental. I'm pleased with the compositions I produced and I like the mix of colours on the paper. The way that the images are arranged on the page is subtle enough to show shape but the pattern also stands out. I would not immediately choose this way of drawing but in some forms it could be more effective than in others.

The images above were created with several different types of media. The image on the right was drawn blind using pencil, then gouche paint to colour the boots at the bottom. I like the effect and the abstract feel of the painting because of the subtleness of the lower pair of boots. However, I feel that the white boots stand out of the page too much and could do with a subtle colour over the top of them to relate more to the other pair. 

The image on the left was drawn using ink and coloured using gouache. I chose to select sections of each shoe instead of the whole thing so that each shoe looked unique. I like the emptiness of the page and the simplicity of the drawings. 25/10/13

Drawing Blind - 25/10/13

This was the first time that I had drawn an object without looking at the page I was drawing on. I enjoyed the session because it opened up my way of drawing and allowed me to draw more freely and forced me to work in an abstract way instead of representationally. 

More blind drawings above.

 'Working With Colour' - 18/10/13

The colour wheel is the most basic way of learning about the spectrum. I was tasked to mix different colours and gradually get to another colour at the other end of the line. Although this was a relatively simple task I found elements of it difficult such as the amount of paint to keep adding each time - the colour changed too quickly. 

'Mushy Peas'

We were asked to mix what we interpreted the colour of mushy peas to be and bring it to our crit the next week.
The results interestingly showed that people from the North (like me) all mixed a radioactive light green colour, whereas people from the Midlands mixed a deeper green colour. The people that lived in the South of the UK mixed a deep green. This demonstrates that we are influenced by our memories of what things are like and that where we come from affects our perceptions. 

Hand Stitch and Cornely Samples - Origins

Most of my samples so far have been fairly representational and linear. Here are some of my latest works...

The above sample was created with consideration to my visual research and was constructed with the texture of the original picture of railings in mind. I used moss stitch on the cornely machine in order to create the textured lines which I feel has worked effectively. This sample triggered further ideas which incorporated the idea of linear qualities and grid-like structures...

The above images are from a sample I created with the idea of grids along with maps using tracing paper, cornely and a photocopied map of the area where I grew up. I like the transparency of the sample and the way that the cornely trapped the papers together. 

Blind-folded drawing of a shoe - Friday Drawing Day. I enjoyed working in this way because it meant I didn't have to worry about the drawing looking exactly like shoe that I was trying to draw.

I took the same idea of grids and I used the organic shape of the shoe (see image above) and cut it out again using the same map. The sample also includes hand-stitch, couching and cornely. I particularly like the layers of sewn lines on the sample.

Basic hand-stitch techniques. I'm drawn to the way depth is created in this piece of work.

Cornely sample of drawing of the Arndale Roof. Although this sample is only simple, I like the control of the linear marks. However, I believe it would have been more effective if the fabric had not wrinkled up when I worked into it - this is something I would endeavour to improve in future. 

Grids: I developed the idea of grids into a sample using empty teabags with map paper inside them - I was influenced by Michael Brennand-Wood's work. I could develop this by using wax onto the teabags in order to give a transparency to the piece.

I took the idea of maps slightly less literally for this sample. I used the lines from the roads as the base for the hand stitch and used line to create this piece.