Unit X - Mid-Point Evaluation

I have learned a lot from my practice unit, which has changed my attitude towards my unit X project. I will refrain from being too ambitious regarding work load, and instead focus my energy into my weaving. This will ensure I am using my time to thoroughly develop and resolve my samples.

Time management plan

The digital designs that I have produced are time efficient, because they will enrich my weaving compositionally, whilst also allowing me to participate in an outward facing project. I aim to produce a collection of digitally printed designs on fabric to enter into the 'Limitless' brief by i-Dott.

My digital drawing designs

I am focusing on my strengths of using unconventional yarns and combining crochet elements. Instead of surface embellishment, I am embellishing the weave from within the structure. This will push the boundaries of my weaving, challenging what is practical, whilst providing me with a structured format to work with.

Lily Tennant

I aim to produce a collection of meter long passementerie weaves, inspired by Rebecca Louise Law's installation consisting of mass amounts of long floral forms hanging from supports. I intended for my weaves to become jewellery or fashion pieces, however, it was suggested that I display my work on bobbins, because it is more practical, similar to how Lily Tennant presents her work.

Unit X - Week 4

I noticed the quality of my weaves improved with the black warp, as they had the dramatic aesthetic that I desired. The varying yarns have resulted in obscure and abstract interpretations of my inspirational images, whilst remaining true in terms of colour and surface texture.

Inspirational photo, my drawing, my weaving (beads & cord)

I developed my drawings in Photoshop to create compositions to help me visualise the structure of my weaves. My compositional skills have improved and strengthened my direction. I noticed they capture a quality of Alexander McQueen's printed fabrics.

Alexander McQueen garment

I would like to create a series of digital fabric prints, using these designs to create a collection for the 'Limitless' brief from the i-Dott competition. This will be an efficient use of my time, because the designs can help enrich my project by informing my weaves, whilst allowing me to engage in outward facing activity.

My digital drawing designs

Unit X - Week 3

I encountered a problem with my white warp, because the majority of my visions required a black warp to allow my weft to stand out. I resolved this by dying my warp on the loom, which would require treating after being woven.

My photographs of insects

The green lurex contrasted exquisitely against the black warp. However, my crocheted green monofilament cord was less successful. It had an interesting aesthetic, but the result was twisted and lacked refinement. I aim to develop my crochet further with regards to unconventional yarn.

My weave (green lurex & crocheted monofilament)

Unit X - Week 2

Elizabeth Asdhown

Instead of embellishing the surfaces of my weaves with embroidery like my last unit, I decided to embellish my weaves from within the structure using different yarns and cords, taking inspiration from Elizabeth Ashdown's weaving style and media.

Unsuccessful yarn testing

I experimented with iridescent yarns to emulate the surface qualities of the beetles I photographed. However, my samples lacked the quality of my inspiration, due to the colour being muted with the white warp. I limited the warp's dominance by utilising floating weft patterns. This mimicked the repeat of form, to highlight how small sections can be repeated to create length, resulting in impact.

Inspirational photo, my drawing, my weave (cord, lurex & twill)

I tested strips of beads, knitted cords, braids, cords and crocheted my own yarns. The knitted cords lack structure, so are unsuitable for large loops, but are appropriate for smaller loops and incorporating into the weave structure. The most successful weave consisted of pale glittery lurex with a flash of red, which contrasted effectively. It had a strong cord, which kept its structure and made my sample robust.

Unit X - Week 1

Continuing from my strengths of my practice unit, I am focusing on passementerie and unconventional beauty found within nature, and the strength in mass of the miniature. I created a narrow 1.5" black and white mercerised cotton warp. This allows me to avoid limitations of colour and focus on the edges of my weaves.

Warp plan based on my photograph of butterfly

My context is influenced by Samuel & Sons lavishly decorative trimmings. I aim to push the boundaries of a trim to jewellery or installation similar to Rebecca Louise Law. 

Rebecca Louise Law installation, Samuel & Sons trimming

I was inspired by John Piper's expressive drawing techniques, so I experimented with wax crayons and inks. The wax successfully captures the hard, shiny surfaces of crystallises, and the ink residue forms the interesting surface patterns. These drawings have inspired me to use unconventional yarns such as lurex and monofilament.

My photograph of crystallises & my drawings (wax & ink)

Practice Evaluation

I initially challenged myself with colour, as I tend to only use neutrals. I extracted colours from flowers. I found it difficult because I struggle to identify tones, however, I improved as I vigorously explored painting out colours and various yarn testing.

I initially used embroidery techniques to interpret floral qualities. However, as my work progressed with crochet braids, I realised passementerie would be a more appropriate route. I decided to focus on weave, which provided a necessary structure in terms of time management and work format. This offered possibilities regarding combining crochet and embroidery.

Inspirational photograph, drawing & weave plan

My choice of yarn qualities and colours were successful, but I struggled because I felt pressure to capture the beauty of the flowers, as they are inherently beautiful, which was difficult to emulate. I was pleased with how flamboyant my pieces looked though.

I noticed an improvement in my embroidery skills during my work placement at a Bridal studio, where I learned processes and machinery required for constructing a child’s dress. This enhanced my confidence in terms of technique, however, the process was very demanding and time-consuming as it required precision. This placement also helped to develop my context: I originally wanted to create neck pieces, but their style resembled wedding garters. A successful part of this project was discovering where my interests lay.

I thoroughly explored my floral theme with my first project, live Bradford competition and my placement, so I wanted a dramatic change of direction. I aimed to explore a darker sense of beauty within my second project. This was influenced by my essay regarding Alexander McQueen, which helped me to gain a deeper insight into unconventional beauty. I found inspiration in the dark atmosphere of the Winter season, contrary to my previous summery themed work. I photographed the outside world on a dismal, ordinary bus journey home. This provided a brilliant contrast to my previous work, and allowed me to explore a completely new concept and allowed me to seek beauty with less limitations.

My final woven collection (project 2)

I focused on texture and mark making, with bold glimmers of metallic colours, which contrasted against the dark background. I was able to interpret these elements into my weaves via foiling. I found this process less stressful, as I was highlighting beauty that I could find, making it more personal and obscure. I felt I could explore techniques more extravagantly, which allowed me to experiment vigorously, resulting in exquisite and refined work.

Submission board for Hand & Lock Competition

I wanted to combine both floral and unconventional beauty to my Hand & Lock competition entry. The brief was about 'celebration' and 'play', so I considered my child’s dress, responding via a birthday celebration theme regarding 'child's play'. However, I was advised innovation was more appropriate than construct. Instead I focused on Vanitas, which holds a realistic view about life, beauty and death. I wanted to celebrate the life of the deceased. I think the concept behind this project is strong, however, I failed to provide myself enough time to develop my samples.

Overall, I have improved my techniques, finding a balance between weaving (which provides an essential structured format), and expressing my ideas with embroidery. I have also noticed an improvement in applying context to my work. Combining specialisms offers me the appropriate freedom required for me to be motivated and inspired.

Practice - Week 16

I revisited my Hand & Lock competition, focusing on hand embroidery techniques instead. I was inspired by previous winner Devi Vallabhaneni, who created a 3D beadwork installation. 

Devi Vallabhaneni

I created a fabric manipulated brooch, influenced by Vanities: incorporating floral inspiration in response to the 'celebrations' brief. My colours gradually fade from bright pinks and yellows to symbolise how life and death is celebrated. I incorporated beadwork and wire to strengthen my reasons for choosing the hand-embroidery category.

Board submission for Hand & Lock Competition

I think my concept was strong, however, I struggled to create a successful final piece because I did not leave myself enough time to develop my work. I was too ambitious with my time, and failed to organise this live project.

Practice - Week 15

The diverse weft qualities created varying structure and scale. My weave and foiling techniques created exquisite results regarding form and aesthetic.

My final weave collection (project 2)

I modelled my weave as a garment, creating a gothic essence.

Modelling weave as garment

I also accentuated my sample that resembled armour, by modelling it as an arm panel.

Modelling weaves as arm panels

Practice - Week 14

My weaving (monofilament, mohair, paper yarn)

I combined the 3D monofilament spiral technique with alternating yarns to develop my work further. I incorporated black mohair and white paper yarn, which created subtle texture, resulting in a refined sample that was successfully resolved.

My photograph, my drawing (foiling) & my weave (foiled)

I also wanted to refine my foiling technique further. I developed this by incorporating it in my drawing, then extending it to my woven samples. The textures I achieved with this technique reflected my photographs of lights appropriately.

My drawing (foiling) & weave (pixelated light photograph)

I extended my focus on pixelated lights, attempting to recreate the pixels with foiling. My explorative drawings allowed me to develop a successful composition. This also linked to my previous photography of pixelating the lights reflecting in my glittery weaves.

Practice - Week 13

I crocheted with unconventional yarns, combining monofilament with lurex, which created interesting braids and developed my crochet skills further. However, I didn't think it was appropriate to this project, so I focused my attention to only weaving.

My photograph & my expressive ink drawing

Instead of wasting my white warp, I wanted to utilise its maximum potential, so I focused on how to incorporate multiple colours into my weaving. I used monofilament as weft, allowing me to dye the cotton segments of the warp, without dying the floats. This kept the structure and resembled frosted glass: a successful link to my inspiration. I used an ink dispersing method to apply ink to my weave, similar to how I produced my expressive drawings.

My weaving (ink & foiling)

To further accentuate the frosted impression created by the layers of lights and condensation in my photographs, I decided to apply iridescent foiling to my weave. Due to the unpredictability of the ink and foiling process, it resulted in effective areas and areas that were unsuccessful. I also noticed improvement of my foiling technique since my first attempt. I aim to refine and develop this technique further with my other samples.

My drawing (pencil) and my weaving (mohair & glittery yarn)

I revisited my peacock image, because I wanted to explore its beautiful glimmers of colour and glittery texture. I used mohair and glittery yarn to capture the wispy essence of the lines. I obtained successful samples with my simplistic alternation of yarns. I became interested in how I could pixelate the way the light hit the glitter with my photography.

My cord weaving & abstract charcoal drawing

I also wanted to abstract and develop the simplistic lines of weave. I experimented with mohair, paper yarns and cord. I think the most successful result was obtained with cord, because it created a bold, structured sample, which resembled a piece of armour.

Practice - Week 12

I diverted away from the red, because it was incompatible with the white warp. I focused on the curves created by the peacock feather in my photograph instead, abstracting the form, resulting in successful minimalistic monotone drawings. The inverted effect created with the white ink on black paper is an interesting theme I would like to explore within my weaving.

My peacock photograph & my drawing

I translated my drawings into weave using black monofilament with the white warp, creating 3D spirals with huge potential. I would like to emulate this vice versa to recreate the same inverted effect that my drawings had.

My spiral monofilament weaving

My weaving related to work by Vicky Olivera, who also obtained inspiration from spiral forms. This inspired me to experiment with other media like wire and pins. However, the wire ruined the quality of my weave, as it was too thin and unrefined.

Vicky Olivera weave

During group discussion it was mentioned that my pieces resembled Elizabethan fashion collars, due to their flamboyant essence. This was a helpful suggestion for my context, and related well to my dark colour palette.

My drawing & woven experiment (pins)

I wove with monofilament and silver lurex to emulate the shimmery effect of the condensation on the bus windows. I experimented by incorporating pins in an attempt to push the boundaries of my weaving and create an uncomfortable reaction to my potential fashion accessory. This relates to the impracticality of the Elizabethan collars, however, the placement of the pins were a safety hazard, so I discontinued the idea.

Practice - Week 11

I began my second self initiated project by photographing the dismal view I had during my bus journey home. I wanted to respond to the weather, as I had done with my first project about florals. The reflections of light contrasted exquisitely against the dark atmosphere, and the condensation on the window created interesting textures. I deliberately pixelated the lights in certain photographs to abstract my results further.

My drawing (acrylic, foiling) & my window photograph

I responded by drawing in a completely different and experimental way, to push my boundaries and create a clear contrast between my two projects. I used black paper and foiling to recreate the textures of my photographs. I was feeling frustrated during this time of year, due to the dark weather and stress of travelling in the unsavoury conditions. This frustration was reflected in my expressive style of drawing: the marks continued past the edges of the paper and the bright red was striking against the black background.

My failed sample with foiling

I was further frustrated with the unsuccessful results I obtained whilst I was weaving. The white warp lightened my red yarns, and the foiling technique that worked well with my drawings, was ineffective and further worsened the quality of my weave. The yarn between the warps was the only salvaging aspect.

My photograph & drawing (acrylic & foiling)

I began drawing again, this time focusing my attention to composition, which improved my drawing and helped to inform my approach to my samples. I tested foiling on bubble wrap and coated my weave with it, which created an unusual result.

My weave (bubblewrap & foiling)

Practice - Week 10

My abstract charcoal skull drawing

For my second self initiated project, I decided to expand on the warp structure I had created for my first project, by doubling the amount of sections. I was indecisive about what colour the warp should be, so I concluded by creating a white mercerised cotton warp, then dying half black. This decision was inspired by my initial abstract charcoal drawing of a goat skull in response to Georgia O'Keeffe.

'Flower of Life' - Georgia O'Keeffe

Practice - Week 9

I began a work placement for a bridal studio 'Sandra's Studio' in London. I found the inspiration boards interesting, and compared them to the final garments. I helped to stitch inserts of a bodice, which required thick, strong thread with small, hidden stitches.

I practiced stitching lace onto fabric and was introduced to new machinery. I learned the importance of ironing seams in certain directions, as it affects how the garment hangs and avoids puckering the fabric. I was also introduced to lace and silk suppliers and participated in a client's fitting, where final adjustments were made to the bride's dress.

Pattern cutting

I was taught how to create my own pattern for a child's dress, which requires careful calculations and proportions. I ensured I cut out the fabric on-grain, to keep the pattern consistent. I attached the underlay to the outer layer using an industrial Brother machine, which allowed me to accurately sew. I found the overlocker difficult to use, as it required precision and excess fabric to work properly. Mistakes would ruin the garment, considering the machine cuts the fabric whilst it stitches.

My dress modelled on baby

I am pleased with the result I obtained, but found the process tedious and difficult. The floral pattern links to the Hand & Lock 'celebrations' brief, as flowers are used to celebrate special events such as weddings and birthdays. It also relates to the idea of "play" mentioned within the brief: my response being 'child's play'. My dress demonstrates technical construction skills, but is not an appropriate entry for the competition, because it lacks an innovative use of these skills.

Practice - Week 8

During my group tutorial somebody noticed my work resembled bridal garters. Due to the nature of my woven samples, Stephy Ann lingerie was suggested as a contextual reference.

Stephy Ann Bridal Garter - Context

I identified my subtle colour blending as a strength in my weaving. However, my peach rose inspired weaves are less successful than my previous weaves, because the wool weft shrunk when I washed them.

Modelling weave as garter

I photographed my weaves in the garter context, which is an improvement to my previous placements and showcased my weaves to their full potential.

Board submission for Bradford Textiles Competition

I produced a woven sample to enter the Bradford Textiles Competition, which focuses on embellishment within the weaving, with use of textured yarns, to comply with the  woven requirements of the brief.

Practice - Week 7

I was satisfied with my white floral samples, and decided to explore something more colourful. I focused on a different flower, dissecting the two tones of pink of the petal. This translated well within my weaving and created a distinct two-tone effect. The wool I originally used was unsuccessful, because it failed to capture the quality and elegance like the mercerised cotton did.

My weaving

I created crochet chains in response to the remaining colours of the flower. The centre of the flower was translated with yellow French knots to capture the rich texture. I altered the placement of my weaving on the body, as the structure makes it more suitable as a decorative cuff.

Embroidered weave modelled as cuff

I reflected on my aims and divided my time for the remainder of this unit in conjunction with my proposal. I aim to finish my first self-initiated project, enter two outward facing projects, participate in a bridal studio work placement and produce a darker second self-initiated project in relation to the commencing winter month, inspired by Alexander McQueen.

Time management plan

I discussed my proposed schedule with my tutor about my outward facing projects. I was advised to participate in work experience for one week, so that I learn essential skills within a reasonable time-frame. I was also advised to extend my time frame for my Hand & Lock project, to ensure I spend enough time developing a final piece.

Practice - Week 6

With each weave, I noticed improvement as my techniques became more refined. I also started to obtain a vision of my context: to produce neck pieces. The space between the two woven structures could offer an unusual element to my fashion pieces.

Embellished weave

I created floral forms that embellished the surface of my weave, which I placed in a repetitive format to create a sense of order. This was a contrast to the opposite side which was an entanglement of embellished yarns to emulate flower buds. However, the cornely moss technique created a more refined result. I also experimented by incorporating fabrics and chains of crochet. I attached sheer, lightweight fabric to the edge to create a ruffle, puckered with the embellisher. This developed my neckpiece to encapsulate the body.

The weave was modelled as a neckpiece, but the result I achieved was not what I desired. The nature of the weave was not appropriate for that surface of the body: the structure was incompatible, because I did not consider the width of the shoulders and shape of the neck.

Unsuccessful modelling weave as neck piece

Practice - Week 5

During my presentation feedback, artists were suggested for further inspiration. Laura McPherson's use of lines of colour relate well to my colour proportion work. Her structures are interesting and offer compositional solutions.

Knit by Laura McPherson

This Is Colossal's website offered a range of contexts I could explore. In particular, Rebecca Louise Law's floral installation could be a potential context for my passementerie pieces. I could create a mass collection of long, narrow structures that hang together to create a large installation.

Rebecca Louise Law

I believe I require the structured format and time-span involved with weaving to use my time efficiently. Although the warp is restrictive, the weave rotation motivates me to produce work to a schedule, which enhances my productivity. I created a warp consisting of alternating white and cream mercerised cotton to allow complete freedom of colour with my weft. It consists of two narrow sections with a central gap to create interest.

Unsuccessful weave

My first plain weaving based on my colour proportion was unsuccessful because it was too bold and had no substance, so I created a series of drawings which inspired me to change my entire attitude towards my weaving technique.

Drawings & design ideas

I used the structure of my warp to represent the composition of my floral reference. I inlayed yarns to create the texture of the floral elements, which gave my weaving life and movement. I then decided to explore this further with embroidery machines, where I refined my idea.

Plain weave & inlay yarns