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:
Thursday, 29 November 2012
Wednesday, 7 November 2012
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?
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.
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!
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.
Subscribe to:
Posts (Atom)