I'm glad that Trisha (my tutor) thinks I'm beginning to get the hang of the design process and I think it's very fair to say that I need to start to become experimental. I'm still finding it difficult to not to restrict myself in my work. I'm so used to disciplines being separate so sewing paper on to fabric seems very alien to me. I realise how important it is for me to start looking at areas beyond the vintage scene. I think that because this area is of such great interest to me and because it inspires me creatively I've stuck to it. In order to move my work forward though I must make a conscious decision to focus on other areas, especially as my theme book is based on vintage/antique textiles. Overall though I'm pleased that there has been some improvement and glad I've been given such supportive yet focused aid.
"One tip for selecting which drawings to work from is to look at them in a mirror, either on the wall or a small handbag one, or even through a camera lense. This often removes the work one step, so you can look at it with more of an objective eye, it feels less like yours and you tend to worry less. Look for strong lines, good movement, sections of colours you’re drawn to – either focus in with the camera if you can, or use a frame made from card or even a small picture frame. Isolate sections you like and work from those, so that you really bring out the qualities that are important to you."
"Unless the piece is meant to be functional, you can try working big stitches in bold, thick threads as a decorative element – maybe with contrasting thread. Bondaweb the fabric first if you wish, also try a big running stitch some way from the edges. Experiment with other stitches as well and just see what happens. Another element, which might make it more interesting for you, is to work with a wider range of materials. As I’ve mentioned before, start now to incorporate papers, plastics and other materials in your work. Layer them up, overlap and so on and have fun. Don’t worry about making acceptable looking samples to send in – you don’t even have to like all the effects, just try and see what happens. Experimenting with different materials is an important part of degree level work, so I urge you to start trying some soon. I do think you will enjoy working this way too. "
"Try tearing fabrics, slashing with scissors or a fabric unpicker or knife, try different fabrics again. Try slashing through plastic sheeting, different types of paper – magazines, newspaper, whatever you can find. Fray different fabrics, thick ones, thin ones, and loosely woven or tight weaves. Quilt fabrics, plastic and papers and see what happens. Try different things as “wadding” from conventional quilt wadding to tightly screwn paper. Stuff with buttons, tap washers, things you find around the kitchen or garden. Moulding fabric around bottles is always good fun, use PVA glue from the supermarket or bargain bookshop. This level of work is all about experimenting like this. You will find that personal voice partly through drawing (and that is coming along) but also through doing lots and lots of experimenting with materials and techniques. I cannot say this enough. "
Further Reading-
1) HYPERLINK http://www.kapitza.com www.kapitza.com – have a look its fantastic and their new book called Organic is wonderful. The bird feather pattern reminds me of some of their designs.
2)Have a look at Artists' Textiles 1940-1976 a wonderful book, not long out with lots of novelty and other prints for fashion and furnishing. I’m sure a search will find lots of other books.
3)Floral Frocks if you can get hold of it is good background material.
4)Marnie Fogg has written some books not to be missed about fashion prints from various eras too.
5)Tapestry Weaving, by Joanna Soroka would be a great help to the next module.
6) Craft Council Website.
7) Kimono design
Notes to myself-
Look at crafts council for textile makers near me.
Look for art shows close by and GO !!!
