Sketchbook and Textiles

Figure 1: Sketchbook drawing

I have tried a new method of creating my textiles piece. Previously I would draw the outline and use it as a blueprint, however this time I have created my fabric sample then I drew afterwards.

Figure 2: Machine and Hand stitch

I have used my imagination to create a patchwork background to work with, for example, my subject matter is an old woman, therefore, I imagine she would like vintage patterned fabrics. Then afterwards I have noticed her features blended in with the background as the stiches are not so obvious. Therefore, I cut out the outline of her face to make it stand out more. I also carry on practicing to control the Conerly machine as they create beautiful lines with chain and moss stitches.  These are the 2 main stiches that I use.

Figure 3: Sketchbook drawing

I used one colour in the sketch, so that I can see tones within the drawing. The colour reflects the mood of the character. This gentleman is represented as blue. From my observations he was quiet in relation to the woman who was represented with more vivid colours.

I am finding that people with distinctive faces are more interesting to draw. In this example the aged skin of the gentleman gave more possibility to be incorporated into the stitch work.

Figure 4: Machine stitch

It is easier for me to progress with what to do next. I have trap down thread with stitching as the hair, to create a 3D effect. However, because of the boldness of the line quality, I find them only suitable for decoration. For example, the clothing in my fabric sample, instead of using the same quality line (free stitch) I used chain stitch and moss stitch to represent the sharp edges of the clothing grease.

The next step is to explore, as I find it helpful to case study my work. Repeat the same subject matter in order to study, but by combining different techniques and be playful around it. Such as thinking about instead of using free stitch to create the face, switching around, using Conerly machine to create the face, for the boldness of the line, and use free stitch to creates the details of the clothing, for they are folding up.

During the case study of my own meaning of Urban I come to realize that I am more interested in drawing people. For I enjoy the atmosphere that I will only 

see that person once. This also fulfils the meaning of drawing on the spot. I like to capture the moment and capture movement. The reason why I did not enjoy drawing buildings is that I work better with figurative pieces.

However, instead of abandon the idea of buildings, I would like to bring in some elements.

Figure 5: Tilleke Schwarz In memoriam, 1988.

I am very fond of Tilleke’s work, for it is very figurative in my eyes. I was inspired by the use of colours and blending in the figures with text and this making it meaningful and personal for the artist herself. The whole composition and choice of colour was good.  She is taking her expressionist piece and linking it to the figurative and narrative through text. This is similar to what I want to achieve next. I would like to create bigger scale of textile work and also bring in the text work.  

 

 

 

 

 

Machine and Handstitch

 

Figure 1: Machine Stitch

I find it useful to work from drawings, but after drawing from photographs and drawing on the spot then using drawing as blueprint, I started working my embroidery from photographs and skipped out the drawing. I used stitching as a tool to draw as I think it save more time and the focus is then not about whether the embroidery piece does not match the drawing. This helps promote a sense of space.

After seeing my tutor, I need to explore more of the techniques that I have already leant and not staying in my comfort zone. This has inspired me to combine techniques together.

Figure 2: Hand stitch and Machine stitch

I like the idea of using found material to work with. In this piece I have used my left over pieces of fabric and by stitching them together I created a new surface to work with.

In addition, I like to create story telling pieces, I composition the two persons together as they were waiting for the train to arrive.

However, to improve, I would rework this and take the people apart so that I can create a storyboard for that person only and separate people places and buildings.

Overall, I think keep using found materials and bringing colours into the patchwork.

The next step is to separate the characters into case studies and develop the fabric into an expression of their ‘surreal’ personalities.

Ethos and Multihead

In the tutorial of Ethos, at first I was struggling to transfer my drawings. I started with the subject matter, for I used buildings in the beginning.

 In the program; it has straight stitch, fill stitch and satin stitch.  However,  I overcame my difficultly by treating Ethos as a continual line drawing and use block colours in most of my drawing.  I mainly use line drawing and tone. The machinery is limiting as it has 3 stitches. The satin stich cannot express curves neatly.

As a beginner I started with designing my design with 3 different needles, because each needle represents a colour of my choice for the same colour thread are connected.

Also my tutor reminded me to combine hand stitch techniques that I have learnt in the past.  For I have realized myself that my strong point is to use colours to collage.

I find it useful to not to be precious about my work meaning that I take apart the work that I have done and put them back together. Sometimes  I get too comfortable with using machine stitch only and not doing my best.

After looking at Edward Hopper's work, I had an idea to stop following the city landscape but to make my own. I am finding the meaning of urban influence that is suitable for myself.

Figure 1: Ethos design.

I like the separate colours that the machine picks apart for us. This saves time by doing one colour at once and lets me see the stages of the program. I like to keep the designs simple and limited to three colours.

Figure 2: Ethos Design

Again, I have found working with buildings less enjoyable. The details turn out as blocks of colour. The machine is not able to express the detail I have taken within my drawings.

 

Figure 3: Multi-needle head machine stitch.

I find it more suitable to do figurative designs than to do buildings. This is a finish sample of using three needles.  I am confident to use this to speed up some aspects of the work, but for detailed work, I would prefer to use a Bernina machine to add elements of handcraft into the digital work.  I want to spend more time with the program to develop new techniques and work more with the other stitches.

Embroidery

Figure 1: Machine stitch

I enjoy selecting subject matter out of the city landscape and focus on them. During the process I have discover a new machine feet that I have never came across to – Drawing feet. With free stitch machine feet, I am able to draw through the sewing machine.

For in the past I am only familiar with straight stitch, now I find it much easier to draw with the machine.

I had some positive feedback from my tutor, she has pointed out in my drawings I had the similar atmosphere as Hopper’s work.

I think it is important to always look at other artists work for inspirations, as I was inspired by Hopper’s work, it made me think about a different approach in urban landscape.

Figure 2: Nighthawks by Edward Hopper, 1942.

I enjoy drawing in a sense of space, I like to give my audience room to imagine. For I like to imagining myself.



Figure 3: Landscape drawing.

Leaving space for the imaginative and transferring the drawings onto fabric, using a sewing machine.

Figure 4: Machine stitch.

 

For development I started bringing colours to highlight the object to show what subject matter that I am interesting in. Using my drawing as a blue print for me in order to move on to working with embroidery as always been a helpful way for me to work with. This is an imaginary scene based on the colours and textures I have observed from my drawings.

To continue working in the flow, I must carry on drawing as well as working with embroidery, for I get bored with the same subject matter very easily. I must remain focussed and narrow down my ideas after I have explored large subject matters to find the one that is the most suitable for myself and myself only.

 

 

Intentions Unit

I have carried on looking for different artists for inspiration.  The book Watercolour and Pencil Drawings by Cezanne, 1973.



Figure 1: Heads after various Old Masters, 1876-9.

I have started taken an interest in drawing people, after reading the book. People watching around Manchester has had an impact upon this work.

  

Figure 2: Sketchbook drawing.



 

I find it intresting watching people and drawing them, for everyone is different, but to be able to docment their mood, and personilaty onto paper. I find that intresting and challenging.  Movements of people are an interesting observation, but make it difficult to draw also finding people by chance has an impact upon this work.

Figure 3: Transferring onto fabric.

In comparison to a building it is difficult to draw movement. There is an issue with time as people may leave. I have tried to work from my drawing and transferring it on to fabric with machine stitch. With machine stitch I had to treat the drawing as a continually line drawing.  

The size of fabric has an impact on detail. I find it helpful to continually draw the same thing over and over. For I believe practice makes perfect, so I did the same with drawing and embroidery.

Figure 4: Sketchbook drawing.

 

It is the same person, in a different position showing movement. I find it useful to draw the person first and the surroundings second. As I retained focus on the figure, the drawing took a closer perspective , although I didn’t physically move closer.

 

Figure 5: Transferring onto fabric.

Once again, I have free stitched this piece with a sewing machine, but I found myself copying my own work and getting stressed for the fabric drawing does not look the same as my sketchbook drawing, I need to understand that I am not trying to copy but to create something new, an improvement, that is what I am trying to achieve.  Colour for this purpose would be distracting so in order to know my material properties I am able to recreate my sketchbook atmosphere.

 

 

 

Urban Influences, Part 2.

Figure 1: Painting onto bricks.

After realising that my drawing skills would not improve by just drawing from photographs. I am not just copying but trying to learn how to use more media. I have started drawing on the spot, but I did not start with paper  I have started with a brick  during the process, I have ran out of white paint, so I used yellow to replaced it. I like the texture of the brick it gives to my painting, but maybe, I need to go over that paint again, so that my painting stands out more from the background. This is also quicker than paper as the brick soaks up colour. I would need to mix the colour tone if using paper.

I want to be able to move with my work. 

Figure 2: Sketchbook

  Drawing on the spot, I tend to use blind drawing, because it records what is happening around faster on the page. Afterwards, I would go over it with more planed lines and adding colours.

What I think worked the best for me is that I think using a sketchbook to capture the moment then work on that on another piece of paper. The sketchbook is more of a blue print where I play with scales.

Figure 3: Sketchbook

 

Sometimes, I don’t even stop walking, I carry on walking and draw at the same time. Making myself uncomfortable can surprise myself.

Figure 4: Sketchbook

As I found my subject matter, I concentrated on it, cars.

Figure 5: Ink drawing of a car

 

I enjoy working with colours as well as black and white, I need to divide my colour palette such as try and use white ink only to draw to create a more interesting background to draw on.

I don’t like working with sketchbook because I feel like I am being limited in scale and pushed into filling the pages.  I have just been working on loose papers, to improve I will cut up more papers in hand and carry my pocket sketchbook and record, but look for subject matters, cars.

Urban Influences.

Figure 1: The Printworks, Manchester, 2014.

Instead of selecting drawing buildings at random I have decided to create a storyboard.

I drew all the restaurants and memorable places that my boyfriend and I have visited in Manchester.

At the beginning I worked from photographs and not on the spot, which because camera lenses show everything and I got nothing from my drawings but disappointment. The way I see things is not everything but the way I see things. That is the difference.

I did not try to draw everything I see within the photograph, I have selected the building outline and filled in the details. However, I have blinked out everything else. I do not see why I should draw thing that does not interest me. In a way, I see it as torturing myself. 

Figure 2: Piccadilly train station, 2014.

  In most of the drawings, I used either ink or pencil, I want to keep it black and white, therefore, there is no way of telling what time of the day is it, or the weather. Simply, I just want to draw the building structure design.

Figure 3: Painting onto a street mirror: Step by step.

  After this, I moved on from paper and worked with an urban found object, because I was getting tired of drawing buildings. Subject matter is very important to me, for I have to be interested in the subject matter, to make it interesting for myself. I started with my surroundings, dogs. I painted over the mirror and scratched the paint off in order to draw.

Figure 4: Drawing of Ruby.

 

From working with buildings and mirrors I wanted to draw from a different aspect.

Overall, the drawings that I did, I realised that working from photographs are more detailed. I don’t think I used enough media to experiment, but I have narrowed down my subject matter and decided that I need to experiment more with scales.