1.2.1 Initial Drawings

Another task we have been given during the feedback week was to prepare for the next unit; Sampling. This preparation consisted of using the words Mapping and Measuring to inspire original responses to a gallery/museum journeys and visits. I began this task by making notes on what to map and measure during my visit.

My drawn responses to mapping and measuring

To begin this investigation I went to the Manchester Museum, I chose this museum as not only does it have incessant fantastic displays but also delivers many visual communication examples some of which are mapping and measuring. When collecting my research I endeavoured to be original; the image on the far right depicts the proportions of colour in insects. But I have become very fascinated by ways in which you can record a journey; when walking to the museum I mapped the journey by observing the surfaces I walked upon centre image, I also monitored time spent in certain sections of the museum left image. This recording of almost odyssey is inspiring and something I would like to continue in this project and my textile world.

1.2.0 Group Analysis

One of the tasks during feedback week was to analyze our individual experiences of the origins unit, in a group with girls from each of the other textile worlds. I founds this a great opportunity to observe workloads, styles, and presentation of other textile worlds. It was an especially good insight to my next world Print; Looking through the portfolio of one of the highest achievers gave me a detailed and thorough indication of what was to be expected.

Evaluating what I've seen it has become clear to me that changes need to be made to my work ethic. After discussing with the other girls I have concluded that I need to focus more on drawing, by managing my time more efficiently. I did receive positive response about my development, highlighting that it was methodical and clear, a practice I will continue in print

1.1.9 Evaluation of Origins Unit

This post marks the end of my journey through construct, my mind had been opened to fabric construction and all its wonders; the endless yarns and materials that can be used and the finishings that can change a sample completely

Woollen honeycomb weave before and after hand washing

Throughout this project I have seen my work develop, thanks to guidance from helpful tutors and group brainstorming with my friends, from uncertain sketches to thorough harmonious samples. My research and development have played a huge part in this success; the 'Map the City' task I was assigned at the very beginning of the project has had immense influence over my work, giving me the inspiration that fuelled my colours, patterns and designs.

My best samples

These samples are, I believe to be, some of my best, I feel I have developed both of these well. I began with visual research, taking photos, and investigating different yarn qualities alongside weaving structures identifying pattern in particular. By researching these hand in hand I was easily able to find connections between research and practice during my Photoshop editing; I used Photoshop as a means to explore many ideas, ideas that have been selected due mainly to there pattern quality as colours can be enhanced or changed to suite my theme. When I am developing work I always think of the outcome I am trying to create, in weave especially when I was designing I was constantly thinking of the pattern that I could create on the loom and the textural qualities I could mimic.

Textures in both weave and knit

Upon entering this textile world I did not expect my work and practice to change as it has, my research and development, a key aspect of any project, has visibly improved as I am now quicker at making or creating connections to my chosen brief. Another aspect that this world has changed in me is naturally my understanding of fibres and fabrics, as I have mentioned previously I've gradually matured a keen focus for texture thorough the fibres I use.

Some of my drawings completed in the comfort of my own home

To assist this progression in construct, I have produced drawings in relation to my brief. Time management has been vital in completing samples, drawings and developing sample designs. I believe that I have used my studio time to the fullest and I am very satisfied with the samples I create, especially in weave. My independent study has been focused although I do wish I had produced more drawings that would have been interesting to evolve into weave.

Assortment of sample from both knit and weave

My next textile work will be print, in this area, I plan to use my time more effectively by producing more observations to develop patterns. I am excited to develop the skills I have acquired in construct, and look forwards exploring materials to print upon. Tutorials and samples experienced during construct have opened my mind to the many possibilities of textiles in practice.

1.1.8 Translating a Photo (Weave)

I found these weaving translations a joy to complete, assisted by my tutor I feel I have created exciting and innovative responses to my self-set brief of 'pattern in the city'. I have continued to look at the key elements identified during my Knit workshop; colour, texture and pattern.

My weave translations so far...

In the first sample, that is my favourite, I have used clear monofilament. My choice of yarn is due to my Photoshop development (centre bottom image), by upping the contrast and reducing the saturation the images conveys an unruly textured yet smooth pattern. I recommendation from my tutor to use varying yarn lead me to the monofilament that mirrored my developed image perfectly. My other weaving sample i have looked more at pattern than texture, although still present. The edited image I worked from is compiled of both photographs and draw images, chosen due to there connection to 8 shaft weave structures.

1.1.7 Photo Development

Photoshop has been a key tool in developing some of the photographs and drawings I've collected, using techniques such as layering and repeat have been particularly effective. These new techniques I have been experimenting with have given me ample amounts of inspiration to incorporate into to weaving, the only problem I'll have is to fit them all in.

 Photoshop's inspired by my first weaving samples

The first Photoshop's I made were taught to me by a friend, the technique layering is well suited to weaving due to its ability to mimic the, at times, contrasting warp and weft; this is due to the different colour combinations that can be found when over lapping certain coloured and textured images.

Experimenting with repeating patterns

Margo Selby fabric design

In my latest Photoshop I have experimented with minimising a textured drawing and repeating it. The outcome was very successful; two different patterns were created by merely reducing the size by around three hundred per cent, the larger of the two patterns displays more texture through the vivid white lines an aspect I am interested to investigate further. The flowing aspect of my patterns reminded me of the weave designer Margo Selby and her intricately brilliant jacquard loom designs. I believe that Photoshop will be an essential tool in my continuing weave development helping me to identify features and links such as the one above.

1.1.6 Discovering Pattern

My first samples for weave have introduced me into a world of pattern and colour, much more diverse than that of knit. With my first samples I have merely applied the technique that matched the treading on the loom and even though these were not developed for phones or drawings instantly an intricate busy patterns appeared. I have focused, in these samples, on my colour pallet and the new textures I discovered during the colour proportions activity.

My first weaving samples

After analysing my new work I am already able to make connections to photos I have taken and pattern that have inspired me during my 'Map the City', that was the foundation of this project. My next steps during weave will be to design my own combinations, I will do this on PhotoShop using photos with good colour and pattern focus.

1.1.5 Colour Proportions

One of the first tasks we were set for weave was to make a number of yarn wraps that would help us establish a good understanding of colour proportions. During the making of these yarn wraps I tried to considered the yarn I was using; its characteristics and application, weather I would chose to layer creating a rough texture or neatly align the yarn to create a smooth sample.

Some of my neatest yarn wraps

These yarn wraps were highly useful in the fact that they, there colour, proportions and texture, could be directly inserted to weaving samples, . This technique is very useful and I will use it throughout my time in weave to help me produce perfectly balanced and well developed samples. 

1.1.4 Artist Links (The Boyle Family)

After three weeks in construct I am moving onto weave. We began this second half with a tutorial subsequently our new tutor highlighted the Boyle Family to me, photographers, who like I, have focused on simple found textures and patterns from the ground.

Some of my Favourite Boyle Family pieces

After researching the Boyle Family I feel that the direction of my work has been altered. Originally I had been looking primarily at 'Pattern in Architecture' whereas now I desire to investigate 'Pattern in the City'; as with this brief I will be able to look at text found on roads, sings, and architecture alike opening a whole new world to my project.  

1.1.3 Translating a Photo (Knit)

One avenue that was essential to explore was turning photos into knitting. Discussing this activity with a number of friends helped to identify key features for completing this transition; features such as colour, pattern and texture needed to be taken into account to make a successful sample. Thus in my samples I have concentrated on these aspects.

  My finest examples of knitting photos

 

My first sample that shows this translation is my yellow and grey knitting, base on double yellow lines, I have emphasized the use of small stones from the tarmac and the cracked yellow paint through the knitting techniques lase holes and ladders as they resemble the same kind of texture. The second sample used the same kind of intricate detail but this time in the form of e-wrap, I have used this texture building technique to create a brick style pattern resembling in the centre bottom image.

After making these samples I have discovered how easy it is to convert an image into a textiles sample, even with a technique such as knitting where you do not have as much control over your work as you would with other textile worlds such as embroidery. Due to this I am excited to venture into unconventional with my future work and samples.

1.1.2 Colour Development

During knitting I have found colour and texture to be a keen focus. I have thus made my next task to develop a colour pallet. From the photographs I have collected, which have become the foundation of my investigation, I have experimented with different colour ways. My group tutorial from the previous week helped me to find a focus to my work and therefore I have selected comparable images to aid my activity.

Monochrome Pallet 

This mono chrome pallet is the first colour way I produced, I chose these colours due to all the new architecture I found. Modern architecture suits my theme due to the heavy use of geometrics and bold colours. Although I found it to be impelling, I prefer to work in colours of a brighter nature. Thus I continued my investigation with colour.

Red Brick Pallet

My next trial was the 'Red Brick' pallet, this colour way was more exciting than the previous pallet. However I was still not happy with it as I felt the colours I chose were too natural and as my brief was 'Pattern in Architecture' I wanted my colours to reflect the artificial subject that I was researching. Also in this colour pallet I found the focus to be primarily on texture rather than pattern hence I continued my inquiry.

My Final Colour Pallet 

This is my final colour pallet and is by far my most successful. In this pallet I have combine both natural colours that are found in most architecture, such as stone cream and grey concrete and well as the artificial colours that are often found in cities being high vis yellow and signpost blue. After evaluating the images I have collected in relation to my theme I found that I need a rage of colours that would relate to both modern and tradition architectural patterns, I thus concluded with these colours that harvest both bold and subtle colours.

1.1.1 Identifying a Theme

Identifying a focus in my project has been a priority after entering my first textile world, knitting. I developed and analysed my drawings and photos to assist in this process. Feedback from my group tutorial has also helped me to identify the strongest 'chance card' studies from my sketchbook, and to highlight a theme in my work that is 'Pattern in Architecture'.

Images for my 'Map the City' task that embody pattern

'Pattern in Architecture' became a natural direction for my work as I am attracted to repeating forms and geometric structures. Throughout my project, I hope to develop this theme through drawings, photo editing and of course, through my Textile Worlds, that will be knitting, weaving, and print. Photography will also play a large part in my process, as I will continue to use it as a means to gather references and expand my subject matter.

Highlighted techniques from my sketchbook

These drawing were highlight in my tutorial due to their ability to combine both colour and pattern effectively. I love how all the studies use line in an original way to create new patterns from excising ones. My next steps will be to develop a colour pallet and subsequently integrate these techniques to my contextual references.



1.1.0 Chance Cards

My favourite creation so far, responding to the frame work of 'making a cut paper drawing' influenced by a fire escape staircase

Texture, pattern, and form are essential for me while I embark upon my first university project; a brief ‘Presence of Mind’ intertwined with 16 mysterious chance cards. Fellow MMU TIP students and I are invited to 'challenge the familiar' while looking for interspersion though the streets Mancheste.

'Using Indian ink and different sized brushes' I have focused on a specific pattern from the Piccadilly Station structure 

My first stage of the design process has been to take appropriate photos. I enjoy discovering the small details that are often over looked, either due to their location being right under your feet or up in the sky. Key elements I have identified during my research are line, shape and texture; elements that I have used either as subtle hints or overemphasis in my drawings

Completed in the studio, this drawing effectively uses contrasting colours and a interesting nonsensical 'made composition'

Translating the photos into drawing is the most exciting part for me. Most of the pictures, due to their unique features, have already been earmarked for a certain 'chance card'. I have been carefully selecting media, and after group tutorials, began to experiment with different techniques. Some proving to be especially effective such as the ‘cut work’ drawing (first image), I have expanded the given guidelines by employing multiple layers and frivolous colours. My contextual references are helping me to develop my work via the elements previously mentioned.

Using 'five pencils' to create a representational drawing of towering office blocks

Time management has also been significant in this opening project, especially when selecting ‘Chance Card’ to respond to, as some require time limits it is essential to choose the correct subject and media to complete the task. During independent study I work with no distractions it is a perfect time to produce lots of work. Studio time has been critical as a chance to discuss with other students, considering others concepts and methods is a great chance to further open my mind in accordance with the given brief.

inspiration for the '20 lines' drawing

Another one of my prized drawing using '20 lines' to produce this simple yet impacting study

Throughout my 'chance card' drawings I have considered the brief Presence of Mind, using lateral thinking to influence my composition, media and technique in create inventive responses. Emphasizing the subject though scale has proven to be a key features of my work to date, an effective example of this is the 'drawing on a found object' (below). When choosing media, I have taken into account both the ‘Chance Cards’ and the contextual references. For instance, my ‘2o lines’ drawing that could have been a very simple study has been enhanced by an ink covered etched layer of think emulsion, which mirrors that of the drain cover.

'Drawing on a found object' using fabric as a complementary pattern for the Georgian-style window 

As I continue my responses to the 'Chance Cards' and ‘Presence of Mind’, I will continue to use the elements that I have highlighted in this post to create imaginative and original responses to my contextual references.