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.