Chapter 4 Drawing patterns from animal markings

This chapter contains sketches to highlight patterns and tonal changes on enlarged images of animal markings.

The first illustration is the first page indicating sketch tools used and how the images were created.

Samples (1) to (7) are sketches from different animals, with most emphasis on snails and slugs:-

1.  This was a dark image of a real pheasant feather.  Used markers b. to e. and noticed how b. turned out bluey black.  The lines on the feather were beautifully parallel (unlike my copies) and picked up cross marks and two or three dark markings forming feather patterns. 

2.  These moth drawings were from a more balanced black and white image.
There were several different patterns and textures.  The patterns were picked up in the sketches rather than the shadings. 

3.  This is a gray scale image of a seahorse.  It is the only one where shading was done with a 4B pencil.  There is a wide contrast in tone from the black of the eye to white of the dots on the end of the spines.  I chose grayscale to see more of the shapes and patterns.  The black and white image was very like polka dots - no problem, but preferred chosen image, especially the shape of the spines or tentacles!

4.  The snail has many patterns and I was struck as to how many dots form the image.
The variation in pattern was from solid black shapes to subtle dotted lines.

5.  The contrast in tone between black and white in the slug is reflected in how light catches the moist skin surface.  There were an amazing range of patterns and I tried to capture the most distinct, using all felt tips.

6.  This time concentrated on snail shells.  Although there were many dots used line to show pattern; swirls of the shells and fine ridges across them.  Used all felt tips trying to grade tone using spacing and changing the pens.

7.  Snail mouth shown under a microscope.  See comments on the sheet.

Although a technical pen was not used I hope I have captured tone and pattern successfully by varying different felt tips I had available.

Chapter 2 Tonal Column in Stitching continued

This chapter relates to tonal change in stitching from black to white.

The two techniques used are:
Canvaswork
Blackwork

All samples are approximately 4cm x 12cm, using either black or white threads.

Canvaswork
The tonal change is achieved by using cross stitch through out, following recommended techniques where all top stitches go from bottom left to top right.
Each end of the sample are dense colours using thicker threads and smaller stitches.
Both the front and back of the sample are shown

 This sample shows freer stitch work leading to tonal change

Blackwork

Following research on blackwork three samples were worked.
Initial design ideas and patterns were drawn on graph paper.

The first column shows pattern development based on spacing the same stitch and using same thickness of thread throughout
The second column shows pattern development starting with a simple stitch gradually adding another until obtain a final more complex pattern, two rows per stage
The third column uses the same stitch throughout varying the thread, three rows per stage

I feel there is a subtle tonal change with sample 1 (a variation on initial designs).  It may be better to work another sample using the first attempt on Page 19 (see graph work below) 
Tonal change is more evident with the other two. 

Graphwork 

The graphwork shows ideas for the designs with comments:

Simple unit of pattern (Top of Page 16)
Pattern development using spacing of the same stitch (Page 19) with revision for the final sample
Pattern development from a simple to more complex stitch (Pages 16, 17, 18 and 20) using design on Page 20
Pattern development using the same stitch throughout but gradually varying the thickness of the threads (using design on Page 21)

The next illustration compares the back with the front of the three worked samples, showing a freer interpretation of stitch work:

Finally, with my interest in snails growing decided to show, using Holbein stitch, one of my own designs from graphwork to finished piece 6cm x 4cm:

Chapter 2 Tonal column in stitching

This chapter is to show canvas work and blackwork applied to the tonal change from black to white.

The first and only piece of work so far is canvas work using cross stitch varying the size and type of cross stitch and different threads. 
It is 4cm by 12 cm.

The stitch work is denser at both ends not only because smaller cross stitches are used but also thicker threads.

I'm wondering if it needs any further work on it?

Chapter 1 Tonal Study

This chapter is looking at the tonal change from black through to white through several steps.  (Or vice versa)

The samples provided are 6cm wide and A4 length, except for the first six which are slightly shorter.  I particularly think the one using photocopy paper is the most successful.

I produced a fan of different versions A to G with explanations of the techniques used.  I selected three of the most interesting from my point of view.

The final two are 13cms by A4 using mixed media: the first on white cartridge paper the second on black.  I feel that the first possibly works best as the graduation in tones seem more effective.  The second shows a gradual change in mark with similarities at either end of the piece of work.

It is quite difficult to just get that subtle change.

Module Two Animal Magic Introduction

Introduction

Looking forward to this module and enjoyed trying to select the particular animals I wanted to study.  However there are so many beautiful markings feathers, wings, scales, textured skins, spikey shells and so much more.

I started with a topic web, using a wide selection of references; books, the internet, photos and the real thing.  I circled those that I might be interested in going further.

I narrowed it down to six. 
Collected some illustrations and resources and noted some words linked to each

I think I'm going to go with slugs and snails - I can see plenty in my garden!

Board showing illustrations from books, microscopic images from the Internet and I have an empty garden snail shell found in the garden

Bearing in mind work is done in black and white I'll use black and white images for the remainder of the module.

Chapter 13 Study Three Artists

Here are three artists which show some of the techniques used in this module
(The use of the illustrations are for educational purposes and within copyright, with reference to original source material)

Herta Puls (1915-)

An illustration of an example of Mola embroidery found in clothing of the Kuna Indians can be found in the Needlework School book, page 87.  It  shows applique work where layers of fabric are built up, from a background red fabric finishing with final layer of red, cut and sewn to produce frames, slits and cat shapes.

However I was also fascinated by a website that I discovered giving a glimpse into the many designs that can be used selected from original sources: geometric, animals, cultural information and how to make molas

http://www.sciencejoywagon.com/kwirt/mola/molas.htm

This is one illustration from the vast array shown, giving some indication of a design worked in applique:

The following particularly shows geometric cross designs used in Mola textile art from Panama

Kandinsky (1866-1944)

Wikipaedia states that 'he is credited with painting the first purely abstract works'.
Exploring the internet further I discovered another interesting website which discussed Kandinsky's work.

http://www.invisiblebooks.com/Transverselline1923.jpg

Here is a painting called 'Unbroken line' (1923) from this website which I feel clearly shows crossover of shapes

Jilli Blackwood (        )

Jilli Blackwood is a contemporary UK (Scotland) textile designer and fibre artist with an international reputation.
She specialises in hand dyed fabrics using embroidery and woven techniques to create textured one-off designs.
She combines different fabrics, silk, leather and linen.
She is reputed to be the originator of slash and show style.

I first was aware of her work when visiting the Harrogate show, 2011 and was intrigued by the flambuoyant designs especially those using the chenille technique.

There is a wide range of her creations available on her website

http://www.jilliblackwood.com
 
I have selected two from her Art to Wear collections as examples.  Both show the chenille technique, the hat especially clearly, the sporran also shows crosses in the tartan and design pattern. 

I was also intrigued by a kimono she has designed created from the different off cuts of fabric from commissions over the last 25 years.  She is working in partnership with Compass Gallery and Alzheimers Scotland creating awareness of memories translated into reminiscences.  The therapeutic nature of the work aims to help dementia sufferers. 

Chapter 12 Resolved Sample: Disintegration

The following two pieces are resolved samples based on inspiration from telegraph poles alongside railways:

Sample 1 Scarf in turquoise- showing applique, reverse applique, chenille and free machine stitching, indicating development of a repeat design

Sample 2 A4 piece in complementary colours, turquoise and reddy orange - showing applique, reverse applique, padding, soldering iron on Lutrador and voile, free machine and hand stitching, indicating development of the design

Prior to selecting this shape there were at least 12 design experiments in paper with other shapes which could have been developed, showing repeating and/or overlap of repeated design shapes and/or disintegration within a shape. The asymmetrical arrangement of the telegraph pole shape alongside parallel lines for the railway tracks and its application to perspective kept returning to mind.  

Sample 1 Scarf in turquoise

And telegraph pole in the background!

Held up to the light the reverse applique revealed a transparent aspect where shapes were cut away

This side of the scarf shows the first design and reverse of the second design

Free machining through greasproof paper tracing of one of the design sections

Scan of sequence on first side

Scan of same sequence on reverse side



Development of the design:

Materials, method and comments

Scan of page 133

Scan of page 135

Scan of Design 12

Sample 2 A4 piece in complementary colours, turquoise and reddy orange -

Photo of A4 piece

Scan of A4 piece



Development of the design:

Materials, method and comments

Scan of Design 14 with notes page 145