2.2.8 (SELF) Weaving inspiration

Liliya Sotirova

Sotirova have influenced me in this choice. Although both of there work done not inspire fully there are strong elements that I am keen to incorporate and consider while making my samples, for example Osterkamp's use of proportions is delightful (Below). I am fond of the way she uses concentrated sections of texture which is balanced by even larger sections of plain weave. When making my samples I would like to focus on this textured “busy” section and then add the plain section during the visualization process.

Liliya Sotirova's work its self dose not appeal to me, what dose makes her work so inspiring is her use of yarns and most importantly her presentation. The way she uses monofilament and thin fine yarns to make the most of her samples is truly amazing (Above). Exhibiting most of her pieces is a natural environment, the fine yarns makes them seem almost part of the surroundings yet foreign at the same time. The piece that stood out most for me was "Whenever" as its constant interaction with the atmosphere makes a new piece appear almost every moment, this interaction with surroundings through either placement or simply yarn is something I would like to explore within my own sampling.

Peggy Osterkamp

2.2.7 (SELF) The Face

Initial Image

When beginning the self initiated project it was recommended that we create connections to the live brief (Wallace and Sewell). The connections I have made a quite subtle; firstly I have chosen “The Face” as my theme, inspired by the small figures in Feininger's painting and secondly I plan to use a single image to fuel my entire project. The image I have chosen is one of my own, a simple line drawing of an emotive face.

Luke Dixon (far left), My Inspired Image and strips (all others)

After settling on my main image, my next task has been to dissect it; I have begun this by researching artist that studied the face, and then impose there style on my initial image. As my drawing consists heavily of line elements I first found Luke Dixon, an artists that used line in a different way his work was much more textural than that of my own. I began my response by producing numerous mark making strips and then Photoshoped them onto my original image. The image that had been created by this editing was one I could relate easily to weave. To help me analyze this image further I cut it up revealing only small segments, which gave me an even greater indication to possible structures and weaves.

My Inspired Image and strips (all others), David Szauder (far right)

The next artist I researched was David Szauder, his work starts with realistic images that have then been distorted by code. Although I could not distort mine with code, Photoshop worked very well, I morphed and stretched the image and used a technique that burred the image in a coded fashion. Once again to help me break down the new images I cut them up, the resulting fragments have inspire me to incorporate warp distortion weaving and texture creating techniques such as seersucker into my samples. Also after studying his work I have decided to introduce colour some how, probably through the warp, as I believe this will create stronger visual connections to the face.

2.2.6 (LIVE) Final Samples

Final Samples

Within my final collection, consisting of three samples, for the Wallace Sewell brief I have responded sensitively to colour, structure, and composition in order to create my own original designs while maintaining enough of Wallace Sewell style to be incorporated with there other collections. While keeping a connection to Wallace and Sewell's work I have also managed to relate to the initial painting Barfuesserkirche I (1924) by Lyonel Feininger. I feel that the success of this collection is thanks to, firstly, my use of colour that I rigorously developed at the being of the project and, secondly, the assemblage of simple structures and Compositions that I incorporated into my work through research into Wallace Sewell, “Barfuesserkirche”, and other designs such as Nancy Middlebrook.

As I designed this collection for Wallace Sewell's fashion range I have created a visualization of my design as a scarf. By doing this I am able to sow how the design changes throughout the main body of the scarf.

Photoshop products

2.2.5 (LIVE) Composition and Sample Development

Composition Designs

When designing my compositions for this project I have put more emphasis on Photoshop, as it gives a clear indication of colour and how the warp and weft will react with one another. Within this project I have been focusing on colour and colour merging (such as the Wallace Sewell silk scarf's) Photoshop had been essential in the investigating and experimenting process. For the overall composition and proportions I have found it easier to simply work on graph paper. By using these two new methods I have been able to create compositions quickly and with accuracy. I would like to develop this use of Photoshop into my next project and see if it helps in other ways to create designs.

Although I am happy with the current range of samples that I have is still development that can be done. The colours need some reworking, looking back at Wallace Sewell's work and rereading the brief I will, in my final samples, increase my weft colours to the maximum of eight. The dominant colour I have been using so far I brown but after researching I have decided to change it for brighter colours such as blue or green as this will match much better to other collections by Wallace Sewell. In the tutorial it was highlighted to me that I need to start thinking contextually, thus I will make my final samples bigger in order to give a better projection of, not just the bordered of the scarf as I have at the moment, but the rest of the scarf too. 

Developed Samples

Another factor that I have experimented with is the finishing of my samples. Initially I wanted to felt all my samples but as I dyed all my own yarn my attempts were fruitless. I then moved on to simply pressing, then washing and pressing but still the finish was not quite right. After a tutorial I was recommended to pin dry, this technique has worked very well as it keep the sample tight and thus helps to stop shrinking distortion. Next I chose to brush all my samples as this gave them an overall subtle soft feel, that makes it feel like a fashion fabric especially a scarf.

2.2.4 (LIVE) Initial Samples and Research

Initial Samples

The first stage of weaving for me has been to lean how double cloth works and to test different four shaft structures, the results have been interesting; I have learnt that less is more, as too many structures combine with the complex warp give a haphazard and messy look to the design. I have also learnt the different ways of alternating the warp, horizontally, vertically and the alternate patterns the warp can be brought up in. In conclusion to my testing I have decided to use only plain and twill weave while making my samples and experiment with the combinations of double cloth to add an element of complexity.

Nancy Middlebrook

To help me design my samples and stretch the technique of double cloth I have researched a number of artists and designers; two of which stand out for me are Nancy Middlebrook and Melintre Gwynt. I really like how, in both their work, the general structure of the fabric is very simple and the detail is created though the use of colour and proportions. The way both the designers use kind of geometric/ block patterns link back wonderfully to my initial painting and inspiration source (Lyonel Feininger's Barfuesserkirche I). I am eager to interoperate Middlebrook's use of graduating blocks into my designs and Melintre Gwynt's use of odd yet patterned blocks.

Melintre Gwynt

2.2.3 (LIVE) Creating The Warp

Inspiration for my Warp

When designing my warp I reviewed all my research so far, contemplating both Wallace Sewell's samples alongside the colour strips I had created from Feininger's painting. One Wallace Sewell warp that I was particularly inspired by was one from there silk square collection, the random accumulation of stripes differing in width constantly alongside blocks of colour. The advantage of this complex pattern, as shown by Wallace Sewell, is that only simple weft colours are needed, large blocks of colour are overpowered and embellished by the warp. 

A Painted Plan and Yarn Wrap of my Final Warp

My final warp plan (above), I feel has embodied all the elements I highlighted. There is an uneven yet controlled variation of stripes, the colours appear random yet are carefully planned to relate directly back to Feininger's Barfuesserkirche I and Wallace Sewell's use of highlights, lowlights, and tones. To get these perfect colours I have chosen to dye all my yarn, the yarn I have selected is Pure Wool 2/36's as it is natural and its fine quality. After studying Wallace Sewell's threading and taking Barfuesserkirche I's use of blocks into account I have chosen to make my warp double cloth, and thread up on straight blocks (below). 

Threading and Warp Plan

2.2.2 (LIVE) Lyonel Feininger

Lyonel Feininger, Barfuesserkirche I, 1924

Following Wallace Sewell's brief I searched out a painting, I settled on this one, (above) Barfuesserkirche I by Lyonel Feininger. I chose this specific painting as it has many appealing properties, its use of highlights, lowlights, and tonal shades harmonised perfectly with that of Wallace Sewell's pallet while maintaining interdependence. I found it also held great colour combinations the way they were placed together and the proportions was something I am keen to extract. Also the dominating straight lines and sectioned composition of this painting are features I can see easily and effectively translating into a woven sample.

Colour Strips

To help me analyse this painting and pull out all of its colour combinations as well as its proportions I decided to paint numerous colour strips. I cut a printout of the painting up; lengthways, widthways, and diagonally, to gain different perspectives of colour. The result of this undertaking has been very fruitful as I now have ample amounts of colour work to inspire both my warp and weft.