Evaluation of unit Intentions

Evaluating Practice 

 

I have developed my way of working in this project by making connections between practice, practical work and visual research. I mainly gather inspiration from my sketchbook drawings and looked for related artists. I also got inspiration from my surroundings, for example buildings that I see and people of my everyday life. 

 

Whenever I run out of ideas, I look back my samples, it opens my mind to ideas and seeing ways of making them differently. With introduction on both Embellisher and Irish embroidery machine, I was able to break away from using only one technique.  I am happy to run straight into stitching after my initial sketched because I am confident in my abilities with different stitches.

Figure 1: Embellisher and Irish embroidery machine

Over this unit, I have been exploring how to draw in response to earlier study where I was told what to draw. This unit develops ‘still life’ drawing and allows me to use these skills into imaginary drawings. These Drawings have become my blueprint, which makes me feel more confident using the machine to draw free stitch. I know feel as one with the machine to create these pieces.  This is more fluent and allows my creativity with sketches be reflected within the fabric. The samples are now equally as good as the sketches.

 

One of my strengths is composition and how I can transfer that into drawings. 

In terms of composition, in this units I did not forced myself to experiment more with different approaches. I did not had enough risk taking, I want to explore more new techniques, but at the same time I knew what is my strengths and I practice on it.

Figure 2: Sketchbook Drawing

Figure 3: Machine and hand stitch

This unit forced me not only to experiment but also to put more time into the making and designing.

However, I realised that I have not done enough new research using my own interests, and this is something I need to improve.

 

Even though my embroidery are figurative more like a drawing, like Alice Kettle’s, the similarity of the elements within the composition makes me think about the marketing area and both private and public commissions that I could be involved with.

Figure 4: My email to Ms Kettle

Dear Ms Kettle,

My name is Kelly, I am studying at MMU Textiles in Practices, second year.
After my tutorial with my special tutor, Lynn Setterington she reccommended that I contact you personally for your advice on my practical work.

 

I would be interested in discussing the development of my work into a career based on your experiences as an MMU graduate and your successful commissions.

 

Please find attached a sample of my work.  I would greatly appreciate your advice.  

www.kellychun.blogspot.co.uk

 

Kind regards,

 

Kelly

 

 

 

Furthermore, the relationship of my colour mood, designs and process could be displayed as a series of works in an art gallery as I related my project with urban influences and adopted Tilleke Schwarz’s way of thinking by making connections between my drawings.

My designs are flexible in relation to different types of audience, but I would focus on illustration, as objective drawing and observational are my strong point. I want to be able to use my print, illustration and embroidery passion within this work. I have used inspirations from Kettle and Schwarz to influence the direction of my work. I wish to work as an independent artist and illustrator so have used these artists as my research base.

 

I would place myself as an exhibition artist, specialising in textiles, print and embroidery. I also see myself as an illustrator for both hand-made and digital work.  I am currently working with Sandra Johnson on a project that overlaps print and embroidery and patchwork. This project develops the company profile to work with textiles.  The charity will benefit from sales of goods and in return, I am able to work with the charity, in their studio space and we can collaborate on works that will benefit the charity and also enhance my reputation within the Blackpool area.

 

 

Presentation Boards

      Research and Concept

                Figurative & Narrative

 

- Developing my drawings to textiles.
- Developing people, buildings to storytelling from strangers to people that I know.

I am hoping to create my future work in the textiles direction and transfer it from illustration to embroidery.

Risk taking and Experimentation.

 

 

New techniques: Embellisher and Irish machine

Using colour fabrics to collage.

Comparing the previous work and what I developed after.

Learnt to use different techniques for different subject matter.

Ability to Contextualise the Practice.

Developing my own landscape drawings using imaginations, words, and my surrounding environment. 

 

Connections between the artists and my own practice.

Urban influences – brief.

 

The 62 Group Textiles Artists is something that I am interested in and I want my work to be open for anyone, i.e. ‘’Art for all.’’

Tilleke Schwarz

 

 

 

Urban Influences & Artist Research

Figure 1: Irish embroidery machine

I had my introduction on the Irish embroidery machine, it allows me to free stitch zip zap and gives different quality of line to my drawings. This was my first attempt.  I experimented with different types of threads, for example, see figure 1, I have use variegated thread as it changes colour for this thread that I used, it has different shades of blue, not only it gives me different quality lines but also creates an interesting effect.

Because the Irish machine is so powerful, it built up layer on the fabric with threads, I had to be careful with what types of thread that I use. Therefore, I had to work my way round with the circumstances. Such as I cannot stitch onto pieces of fabrics that I stitched together, it has to be one whole piece of fabric. The texture this builds mimics 3D.

 

Figure 2: Machine and hand-stitch

 

After putting together a scene / story line, I have taking apart and putting different subject matters back together. I have moved to personalising the portraits into someone I know rather than a stranger in order to be able to add more detail into the storyline.

In there I have focus on a story telling with my boyfriend, I have done his face separately on two different types of fabric and re-join them back together with the work I have previously done.

Using free stitch for the words, I chose to allow the letters to stand out clearly.  The words represent my narrative to the story.

The original piece has been added into this composition and purposefully does not follow the golden or photographic rules.

 

 Figure 3: The flat

This is a piece I had developed previously and realised its potential to add into this storyline. The work is produced on straight feet stitch. The flat is my own flat and is stitched into the storyboard. I pick my subject matter carefully to match the static. Portraits are free stitch, buildings are straight stitches which is harder to do. Using a piece that had been previously developed links past and present but allows me to speed up my work. It demonstrates my developing skills with different feet and my ability to link the two into one composition.

 

Figure 4: The building site

This is free stitch. As the images show, those are my unsuccessful samples, but in order to save time I have put them together and re work on the colour, scale and recreate a new story telling through fabric, about my boyfriend surrounding, that he lives in that flat with me, that he was working in that building site.

With strangers it is hard to create such a story telling drawing when I know nothing about them, therefore I thought it is useful to create stories about people that I care about and then I thought of myself.

Figure 7: Multihead

I have found the methods of making that is best for myself, for example, the mulithead get my design done and beautifully, but it miss the hand craft textures, what I did was, instead letting the machine do all the work for me, I have skip the second layer, so it shows the understitch. However, this technique it is not for me.  This technique is not necessary for my work.

 

Figure 5: Machine stitch

I compare this to my previous work in black and white and can see my techniques improving and my confidence withy using colour and collage is also developing.

The blue lady is a self-portrait. This is a natural progression from working with strangers, to friends, to the self. The composition blends roads and plays with perspectives.

Sometimes, I experiment with fabric that I have saved previously in order to make new links.  I am confident to use different fabrics together and know how these materials and stitch can work together for different effects.

Figure 6: Marc Chagall (1887-1985)

I have made some connection with Marc Chagall’s work, the imaginative.

I enjoy experimenting with the narrative within my work, sometimes the messages are obvious, other times they are hidden within the work.

I guess I have spent a lot of time thinking, day dreaming, that’s why I like the idea of imagining and be inspired of the realist but put into an imaginative way.

I have used inspiration from narrative and urban and adapted my work to encompass words, images and this helps me communicate with others in a way that is the most common form of expression.

 

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.

Creative Suite workshops

Figure 1: Machine Stitch

This is a drawing that I have done with machine stitch, but to make it look more interesting, I have used Photoshop.  Photoshop has some potential in embroidery especially when building up scenes with patches.

I like to base my Photoshop design on my work, drawings and embroidery.



Figure 2: Photoshop

  

I have used Magic wand to select the area that I wanted on my sample and pasted on several area so that the image look more like a crowded housing area.  From using Photoshop I have begun to stitch together different fabric offcuts with different stiches and qualities on them.

 

 

Figure 3: Second attempt.

 

For my second attempt, I have used my sketchbook drawing instead of my embroidery sample I  did not only use magic wand only, I also bring in the techniques I have learnt in the past as well as magic wand.  This looks like a new sketchbook drawing with blending lines and brushes. I was able to stamp in the floor using the brush tool.

 

Figure 4: Sketchbook drawing

 

This is my original drawing from my sketchbook, I have used paintbrush tool in Photoshop to continue to draw and testing out colours and tone.

However, I enjoy the feel of the fabric more then the look of a digital design. Photoshop is a great tool for me when I was in print, however, now that I am back in embroidery. I do enjoy using Photoshop, but I am sure I can find the middle point where I combine digital print and embroidery on top. At the moment I like the texture of the stitches on the fabric more than design.

 

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.