2.2.1 (LIVE) Wallace Sewell

The Wallace Sewell Brief

We all began this project with a trip to Wallace Sewell’s studio and Shop, in London. This visit give us the opportunity to experience the fabrics first hand, feeling the finish and observing the structure up close. From this visit, I found myself particularly attracted to the London Underground collection mainly due to its felted finish, something I would like to explore within my own work. Another collection I was attracted to was the double cloth wool throws, simple in appearance yet complex through construction. The silk single cloth made up of satin and sateen also caught my attention, its ability to create extra colours by mixing the warp and weft yarns was truly inspiring.

Wallace Sewell Collections

To gain a better understanding of their work I chose create painted copies, by using this method I was able to identify the warp and weft colours and proportions. Alongside making the colours present in the warp and weft, I also mixed hues generating new colours that appeared when different yarns overlapped. This ability to create new colours from existing yarns is something I am keen to develop into my own weaving, both with end on end placement and weaving structures such as twill, crepe, and plain weave.

Images of my artist copies

2.1.7 Final Collection and Evaluation

Final Collection

This project has been a huge learning curve for me, being my first fully dedicated unit to weave. Learning to use the Scotweave and the loom itself has been as much a part of my project as designing the composition and patterns themselves. Now that this unit is over and I have had time to reflect, I now feel more confident with choosing weave as my speciality. Also with the research I have undertaken into weaving designers I have a clearing goal for the future of my career and practise.

Throughout this project my aim has been to develop a collection that, naturally, relates to my initial visual research yet shows considered development. I wanted each piece to embody detail, texture and space in there own way while relating harmoniously as a collection. I feel I have meet these specifications with my final collection.

Composition Design Plans

I have thoroughly enjoyed this projected with both my brief, future past, and weaving. Constantly experimenting from the very beginning with the visual research, I attempted to use different media for every study in order to create different textures that I could then develop into weave. I continued this exploration of media while designing compositions as I was unsure how to tackle composition design, it took a number of different strategies before I found a method that worked for me, but by exploring them all I felt more and more confident with my personal design process. I feel there is still more experimenting that can be done to improve this area, I would like to find a method that is fluid to me and allows me to design with little thinking or effort, as I believe this is the best and natural may to work.

Margo Selby

Research has also been vital in this unit; as this has been my first sole weave project finding designers that work in a way I would like to has been key in creating my collection. Building up my knowledge of weavers will be a continuous ongoing project, the more I find out the better I can place myself within the weaving world and direct my designs. Initially, for this project, I was working towards a soft furnishings outcome, by using wools and creating compositions that would suit products such as blankets, as borders or all over designs. However after my collection was finished I found there were some pieces that would be well suited to fashion, due to there dense and soft qualities, Ideal for coats and scarf’s.

As there was a range of suitability within my designs I found a connection forming to, my favourite weave designer, Margo Selby. This connection is not due to the designs of the fabric itself but to the wide range of potential end products, Selby as I have said in a previous post has designed fabrics for nearly everything from shoes to scarf’s and quilt covers to carpets. I am very happy with this connection, as I am only just staring to weave seriously and the only direction I had for my work at the beginning of this project was for it to be commercial, a connection to both soft furnishings and fashion is a success.

Potential Products

I would in the next and future projects like to develop my understanding of weave; both in technical construction and knowledge of requirements for commercial fabrics. After a visiting a number of mills with MMU peers I was fascinated with the factors designers had to consider while creating fabrics, elements such as colour, yarn and pattern have to be suitable for a specific purpose.

2.1.6 Design Developments and Artist Influences

Design Plans

At first when designing compositions I struggled, I was unable to embody both the intricate detail and space of my drawings. After discussing this problem with one of my peers we found a way to create quick designs using blocks of patterns from throughout my visual research. By constantly flicking through the pages and jotting down simple ideas, compositions came to me much quicker, and there was less pressure to draw a design that would need to be used within my weaving. Also by drawing many designs on one page it gave me better insight into a collection, how certain shapes and patterns could be extracted to link all the pieces together.  

Jan Shenton

Another aspect of my weaving that I was struggling with was my colours, not the pallet but the way they were applied within my weaving. In my initial studies there was lots of gradients and mixtures of colours, whereas my first samples contained only block colours contradicting all my visual research. After looking at samples from Jan Shenton I saw how complex colours colours could be; with constant changing in every weft, using highlights and lowlights, and subtle gradients.

My new samples I feel reflect my research, exploring detail, pattern, space and colour. I am very happy with the outcome, but there are still areas I would like to develop; I would like to investigate different ways to use my pique, both as a main feature and combine with my base.  

Developed Samples

2.1.5 Initial Samples

Initial Samples (felted, shrunken, hand washed)

For my initial samples I chose to purely experiment, playing with both pattern and texture, I did not consider composition as I found it to be a distraction while trying to learn to use the floor loom and Scotweave. Within my first sample I have tested different ways to use and combine my pique warp, the result has been an accumulation of floats and figuring. Once I cut off my sample I wanted to experiment with finishing techniques; thus I washed all the samples, shrinking one and felting another. The felting was not very successful as a lot of the detail was lost, the shrinking was also unsuccessful as the long floats did not produce enough texture.

Eleanor Pritchard

From this weeks tutorial session, I gained a lot of guidance in relation to how I should tackle composition. My tutor highlighted to me the weaver Eleanor Pritchard as her work contains high amounts of figuring yet keeps a sense of space, factors that were evident in my earlier drawings. While developing pattern and focusing on shapes for my weaving, I had begun to loose elements of my initial visual research. From this tutorial I have been reminded to look back to early work as a means of inspiration, I am keen to develop new composition utilizing the figuring I have mastered though my initial samples. I am also eager to develop new weaving patterns that capture the texture of my drawings and interoperate Pritchard's sense of space.

Previous Drawings

2.1.4 Defining Colour

Initial Colour Pallets

To being my colour refinement I made a number of yarn wraps inspired by my drawings and Photoshops, I considered proportions, texture, and pattern. My initial selection of colours was rather bright, and during a tutorial it was highlighted to me that more subdued and earthy colours would reflect my theme of natural texture better. My final colour pallet contains a mixture of calm natural colours alongside a few brighter more vibrant hues. This resolved pallet has been made from lambswool yarn due to its speckled multi-tonal appearance, this appearance also matches my visual research with high amounts of tonal change and constant subtle texture. During my weaving however I would like to incorporate mercerised cottons or shiny synthetics to brighten certain sections and to add depth to my work.

Final Colour Pallet

Warp Yarn Wraps

Feedback from my tutorial has also guided my in my warp design; as there was lots of clear space and multiple varying colours in my visual research I was recommended to develop a plain warp. Once again using lambswool I develop a number of different warp compositions, but settled on a consistent pinstripe half and half warp (bottom image). I feel that this slight amount of colour will be very effective and give subtle pattern to all my woven pieces.

2.1.3 Pattern

Hand Drawn Patterns

As I have chosen to specialize in weave pattern will be an important element within my fabrics. Inspired by the intricate simplicity of the Downing Archive and MMU Special Collection printed fabrics I have produced some of my own patterns. I have simplified chosen forms and naturally reoccurring patterns from visual research studies, in accordance with those of the achieve prints. These patterns I believe can be translated into my weaving though a combination of floats and traditional weaving structures. Some will take more time to develop than others, but I am confident that by the end of this project I will have successfully designed my own weaving pattern and incorporated it into a sample.

Digital Pattern Designs

Another way I have attempted to derive pattern from my studies is with the use of Photoshop. In the past I have found repeating and altering the scale of a drawing can completely change the way it is seen and can highlight consistent elements that may otherwise go unseen. I have constructed these patterns (above) by tiling a single image that has been reflected, both horizontally and vertically. To experiment more with my studies I have cropped down or selected interesting areas and as a result it has given me many different patterns and forms to work with.  

Developed Digital Designs

My final means of experimenting and creating pattern have been to combine designs; during this process I have altered the hue and saturation, giving me vibrant colour ways that I am keen to use in my wefts, and I have begun layering designs. By layering and utilizing filters while editing my digital patterns it has widened my colour range while also providing me with possible warp layouts. I have also integrated my hand drawn designs, by doing so I have gained a better understanding on how to construct them and, naturally, how to use then within samples.  

As my colour range has now grown rather large and I have begun to consider warp and weft layouts my next area of inquiry will be to solve this; to find a defined colour scheme and to develop a suitable warp. I would also like to further develop my patterns; by working with my digital designs and extracting shapes from them, alongside more visual research delving into the idea of natural texture. By doing this I can create more individual and original patterns.

2.1.2 Archive Research

Manchester Museum Pieces

For me this week has been a defining week; I have been able to develop and refine my concept and gather ample amounts of visual research. At first I was confused by my chosen brief, 'Future Past', and was unsure how I should integrate my summer work, after discussing with a tutor I was informed that the main focus of this brief was to use archive and historic collections as starting points to fuel the ongoing project.

As I've begun to direct my work towards nature and the natural world I chose to visit the Manchester Museum and its multitude of collections. My visit was rewarded with many areas of possible enquiry; I am particularly spellbound by the minerals, rocks, and fossils on display. The variety of colours, forms, and patterns is overwhelming, and after I produced some fist-hand observations I see potential for translations into weave through both pattern and texture.

Observational Drawings

Along side my visit to the Manchester Museum I have also been researching natural textures with the help of the library and the internet. The books 'Fossils in Colour' by J. F. Kirkaldy, 'Fossils: The Key to the Past' by R. Fortey, and 'Rocks, Minerals & Gemstones' by W. Schumann have been tremendously helpful in both the scientific identification and presentation of natural objects. I have also found the website of the Natural History Museum, London to be a useful tool in discovering the ways in which rocks and minerals were recorded in the late 18^th to early 19^th century. All this research has influenced my work though the use of media, grounds, and compositions.

Artefacts from the Downing Archives and Special Collections

During this week I have visited a couple of specifically textile related archives, the samples of which I am highlighting are from the Downing Archive and the MMU Library Special Collections. Even though my project has evolved into a rock, mineral, and fossil focused venture I was still intrigued by the archives. Seeing all the different patterns; with unique colours, compositions, and textures was truly exciting, I plan to use my favourites as guidelines when designing my own patterns once I enter weave and as starting points for further visual research.

2.1.1 Inspirations Workshop

Summer Drawings

I found the peer review I received in response to my summer work the be highly formative, key themes and direction was highlighted in my work and many possible areas of exploration. I was told there was a good variety of techniques within my drawings, but areas to develop and venture into could be; experimenting with different grounds, combining techniques, and producing some drawings on illustrator or photoshop with focus on line. Also exploring different scales when I draw was recommended, zooming into past drawings really changed the feel of the piece and displayed new textures, colours balances, and gradients, all aspects that could be redeveloped into my work.

Form in Nature and Life, A. Feininger

The most important feedback I received, I feel, was direction on my overall concept. Even though I had centred on Stacking for my summer work I did not feel confident enough to continue with it, my peers upon assessing my work felt that my nature inspired drawings were the most successful, containing the most colour, pattern, and texture. Guided by this new subject I went to the library to discover more about the possibilities and found 'Form in Nature and Life' by A, Feininger, a book filled with nearly all the artistic elements from nature. This book alongside my new Pinterest boards has inspired a new line of enquiry for my oncoming project.  

http://www.pinterest.com/brontemorgangeo/natural-texture/

http://www.pinterest.com/brontemorgangeo/aerial-nature/

2.0.2 Influences

Margo Selby

Margo Selby's designs and products appeal to me in every way; the colour, pattern, and texture are all unique and versatile at the same time. Her products are vast ranging from wallpapers to rugs and shoes to bedspreads, this immense list of creations is so inspiring. Trying to specify what I would like to specialize in is awfully difficult, skill-wise I am choosing weave. Selby has opened up the floodgates to where weave could take me; rugs, upholstery, clothing the list feels endless. Selby's designs are made on both 24-shaft and Jaquard looms and with the help of her extensive training in woven textiles, as an admirer of her work I thirst for the same skills and the ability to create contemporary initiative designs. Once I graduate I would love to take a similar adventure, experimenting with many different options for my weave designs, alongside selling to or designing for major retailers. Margo Selby has created her own brand but also sells and designs for retailers such as John Lewis, Achica, and Habitat and is considered not only a weaver but an entrepreneur and business woman.  

www.margoselby.com

Maggie Levien

Although I am not a huge fan of Levien's designs or use of colour, I do admire the way in which she became a designer and the steps she took. Nearly straight after graduating from Manchester Metropolitan University she worked for Osborne & Little, working for a well developed firm is what I would like to do once I leave uni. By doing this I believe it would give me the chance to develop my skills within the work environment and it would allow me to learn about the ins and outs of industry. Levien has also worked for prestigious companies such as John Lewis and Sanderson, after setting up her own brand, I long to work for brands such as John Lewis and develop a distinctive and desirable collections like Maggie Levien has.

Lucienne Day

Lucienne Day for me is truly inspirational be it her designs, social influence, or work ethic. Although she is widely known and very popular there is no better example, for me, of a designer. She was hugely influential; an original designer, in a time when many women didn’t work, she made modern designs for mass markets, and experimented endlessly. Specializing in print Day used aspects from weave throughout her work, and some of her designs were later made into woven fabric, it is this close relation with woven and printed textiles that interests me. Although I am specializing in weave I would like to continue to make printed designs along side my collections and Day's work expresses one possible route for this practice.

2.0.1 Cultural Activity

Manchester Gallery

During my Brake from university I have visited a number of museums and galleries, to give me both a varied understanding, and the ability to experience contemporary and classic practitioners. I have visited; The Museum of and Science and Industry, Manchester, Museum d'Histoire Naturelle, Le Havre, and The Guggenheim Museum, Blibao. But have found the most inspiration closer to home in the Manchester Gallery, I was really inspired by the different ways artist had grouped materials and objects together and the massive difference there choices made. I have chosen these images (above) as I was particularity attracted to the care and detail taken with each component combined with precise mathematics, it has made me think about the ways in which materials can be selected and interoperated into my work, whether it be using typical or modified components.

Lisbon

While on holiday I visited many different countries but Lisbon stands far above the rest. Finding a few key images form Lisbon is impossible, being one of the oldest cities in the world and the largest in Portugal with important roles in finance, entertainment, art, and trade there is food for the eye everywhere! There are no buildings or streets the same, each building be it new, old, or falling down is beautiful in its own right. While walking round the city I felt that each building was complemented by the neighbouring structure, space, or even the decorative footpath. Art flows through the capital, with street art redefining the wasted skeleton buildings and tiles that lighted up even the most sinister alleyway, colour and pattern are rife in this land. Lisbon for me was an entirety of inspiration. Revelation, enthusiasm, and incentive was received at every corner. Seeing how one could never find the 'best part' of this city artistically, shows me how important each and every piece that is inserted into any kind of artwork is. This enlightenment on the combination and use of materials is something I am keen to monitor while I design and make in the future.

Guernsey

Amidst my travels I visited St. Peter Port the capital of Guernsey part of the channel Islands. Although the architecture was delightful it is not what I wish to highlight Guernsey, although not part of the united kingdom, it is a possession of the British Crown and thus shares a lot of similarities with England such as it telephone boxes, post boxes, and currency, but with a slight twist. I was rather fascinated and excited by the different colours Guernsey used and also how its currency looked different (but was that same) to England’s. It is this 'twist' on comment objects that has captured my imagination, it has made me think of all the 'ordinary' ways pieces in art, interiors, weaving ect. are selected, and how they could be changed. Even the slightest change, such as colour, makes a huge difference. What if the texture, finish or pattern was slightly altered, I am mesmerized by this way of thinking and am eager to interoperate this experimentation into my work.

1.3.11 Concluding Samples

Concluding Samples 

These two final responses, to the Unit X Fairgrounds project, embody collaboration using aspects from both stitch, weave, and print to create there structure, texture, and pattern. In conveying my theme collaboration have been vital due to my multi-themed direction; looking at both thrill rides and the reactions experienced. Stitch has been the foundation for my structural side creating both flowing and robust designs mirroring that of the elaborate thrill rides. Although initially I struggled with weave once I began to experiment with off-loom techniques I immediately saw the potential for texture that resembled symptoms of fear such as itchy, stiff, and Piloerection (Goosebumps).

By having this focus on collaboration within this unit I have learnt a lot about both weave and stitch and the ways in which they can be combined. This focus has been liberating in many aspects, as it has made me see "outside the box" by becoming more experimental in creating samples; not keeping to a strict method or technique. For example I feel that a lot of my textural work contains off-loom weaving through straight line embroidery that reassembles that of a warp and/or weft. I would like to develop this use of collaboration into future projects as it gives me the ability to diversify my work while remaining close to an initial brief.   

Final Inspiration

Above is a collage of my inspiration for these concluding samples; gathered from throughout this unit and all well developed; with influences from designers Matthew Shlian and Mika Barr. 

1.3.10 Finalising Designs

Three Dimensional Samples

In my final week of Unit X I have chosen to focus on the collaboration aspect, combining both weave and stitch. I would like to use my final samples as a means of concluding my theme by brining together all my key elements; sculpture, texture, and pattern.  I began this process by looking back through my work and finding shapes and formations that could be translated into three dimensional structures, I have also incorporated Matthew Shlian and Mika Barr's work thorough the repetition and movement I have created in my samples. 

Developed Stitch Samples

After looking back at my work I wanted to re-introduce the liner element that I used to record my initial research, I did this through stitch by working into a screen print and experimenting with quilting. I chose quilting as it related well to my textural aspect, reminding me of the symptoms of fear; goosebumps and erect hair.

Developed Print Designs

My final area of development was pattern, I looked back at Andy Gilmore's work and his overlapping and incorporated into my final sample (far right image). Using aspects from all these developed areas and some of my effective initial samples I will concentrate my theme and designs into a harmonised response.

1.3.9 Introducing Three Dimensions

Sculptural Samples

After creating my flat textured stitch samples I was eager to progress into the three-dimensional side that was recommended to me during the group crit. I have begun this process by looking at darts, pleats and simple folds, all of which consist of the shapes I have used in my research. Although I am very happy with these samples I feel that they could develop into something more sculptural, referring back to the work of Matthew Shlian, adding variation in the scale and a slight discrepancy in the form of each shapes may add more excitement and movement to my passementrie samples. 

1.3.8 Discovering Pattern

Various Drawn Patterns 

The first task I embarked upon was to create a good bank of drawings, using my new colour scheme and inspiration form my found artists. I focused on developing the liner patterns I found from my initial Blackpool research; I began by adding colour though only the lines but expanded into using colour in block background colours, I did this due to both the inspiration from Andy Gilmore and from the hectic busy composition of the Pleasure Beach.

Initial Print Samples

The inspiration of Andy Gilmore has lead me into the print room to create fabric that contrasts the fine lines of my drawings yet follows there geometric shapes. Although the outcomes of my print session are not amazing I feel they are a good starting point to develop, by adding more layers of colour and designing more intricate patterns that mirror those of my studies the prints will become a vital component in the structural side of my work.

Sample Responses

As I translated my drawings into stitch samples I found the twin needle especially effective in converting the dense constructional patterns I've designed. Moving onto stitch samples has made it easier to harmonize the two themes of structure and texture. The twin needle technique has been invaluable in converting the "fear factors" such as hair standing on end, prickly, and itchy. My original desire to use the random style up of Sue Hotchkins has changed to using her component of yarn that is added through different means, such as couching and contrast from loose to solid masses. The ability to use and alter fabrics has also been extremely useful, I have been able to create strong stiff fabrics and the use of PVC has been great in interpreting the another thrill ride theme of Illusion; a feature I was previous baffled on how to incorporate.

1.3.7 Colour Development

Colour Samples

One of the hardest aspects of the first half of this unit was my colour scheme, I really struggled to get to grips with the consistent bright hues. After the group crit I’ve been working on my colours, extracting colours from some of my favourite images; the pallet I settled on was one from a picture I took during the visit to Blackpool Pleasure Beach that has proved to be a heavy influence on me entire project. 

1.3.6 Group Crit

Feedback Post-It

Before we began our second half the Unit X project we participated in a group crit, during which we were able to see everyone else’s approach to the project and what to expect in the stitch section of the unit. Being able to see others work was helpful as it gave me an indication of collection variations and sizes. The most useful aspect by far was the feedback from other pupils and the tutors (above image); as written I was advised to define my colour pallet, explore three-dimensional forms, and define the liner quality of my work.

Matthew Shlian

My first response to the feedback was to do more research into three-dimensional and liner artist/designers, I directed my research to find designers that kept to the geometrical pattern of the thrill rides. Matthew Shlian is a fabulous artist and fulfils my desires of form, structure while also adding an element of movement. This element of movement is a feature perfect for my theme of thrill rides and reactions as naturally they rely on movement to create the thrill; stitch techniques that I could use to implement this movement are darts and pleats.

Mika Barr

Another three-dimensional artist I found is Mika Barr, she uses the same structural aspect but less defined; I chose this designer, not due to the subtleness but the combination she applies to her pieces, because of the way she creates her fabric means the pattern works as a print and as the bases for the structures. Implementing this dual purpose in something I would like to investigate in my samples. 

Andy Gilmore

After the all-over patterned work of Mika Barr I began to look into flat designs, keeping to the geometrical theme, I would like to explore print/surface designs in my samples to add another edge of movement and construction. Andy Gilmore was one of the most exciting artist I found using intricate liner designs alongside features I have already used; layering, scale and repetition. Moving onto print design is something I am eager to do as I believe it would be very effective to tie together two themes of texture and structure.

1.3.5 Weave Samples

Weave Samples

Unfortunately I have found the first half of Unit X, weave, rather tough. When I designed my warp I chose to make it natural and add colour through the weft, I also chose to make it wide with five different width sections to add variation to my work by using all or only some of the warp. As I began to work on samples I encountered my disappointments with my colour pallet and patterns.

Coloured Weft Samples

My first set back was my warp, as it refused to stay tightly woven near the spaces (above left-hand image), to rectify this I worked on a maximum of two section of the warp. This did not effect my work much as I was still able to add subtle textures through the weave pattern and textures through the yarns. However I was bitterly upset with my colour pallet, I found it extremely difficult to add the bright fairground colours to my pale warp while keeping the design effective. Again I found a solution to this problem, Dying (top images). I found this to be quite effective as the ombre colour reminded me of the flowing of the thrill rides.

1.3.4 Creating the Warp, Finding the Weft

Weft Components and Warp

For the first half of Unit X I have been placed in Weave, the first job in weave was naturally to make our warps; mine consists of natural colours and a spaced and cramped composition. I have chosen this as the spaces links to the precision structure of the thrill rides as well allow me to have great variation in my passementrie sample widths. Also I have begun collecting different yarns to use for my weft, all of them link to my textured theme of Thrill Ride Reactions; from the goosebumps, hairs standing on arms to the metallic taste and stiffness of muscles. 

1.3.3 Developing Ideas

Structure Inspired Images

Here are some of my initial drawings, based around my theme, they are directly inspired by the robust structures of the towering thrill rides found at Blackpool Pleasure Beach. In these examples I have experimented with layering, repeating and distorting sizes, I chose to do this as the dense accumulation of rides at Blackpool Pleasure Beach was lively and repetitive, with parts of rides overlapping and multiple sizes alongside one-another. Now that my option choice of Weave and Stitch has been confirmed, I can develop these patterns into my weave samples by using them as subtle decoration within the weave and as bold embroidery backgrounds in stitch. 

Sue Hotchkins

Within this project I would like to have two meaningful and connected sides to my work. One being the pattern and structure of the samples, that will naturally be inspired by the form of the thrill rides themselves. The other will be the texture, reflecting the reactions to thrill rides through all the signs of fear I have discovered. One artist that has triggered ideas and designs for this side of my work is Sue Hotchkins, I chose her due to the worn appearance she uses, which has been done extremely well; displaying both uncontrollable natural wear along side controlled embellishment. This avenue of continuing to work on a samples finishes is an area I am eager to experiment with. After researching artists and designers work on Pinterest I have been able to extract many ways I can translate my signs of fear into my samples that will make them tactile and meaningful.