Machine Embroidery

Over the past 3 weeks I have been learning various methods of machine embroidery. We were asked to make black and white samples using the embellisher, limited hand stitch, and machine stitch with the standard embroidery foot, tailor tack foot and pin tuck feet. The materials I chose to work with included wool, lace, netting and tracing paper; they all add texture to samples, and can be layered to create delicate, ethereal effects. Some samples were based on directed drawing, while the final batch were based on photographs of architecture in manchester, pertaining to my journeys project.

 

Colour exercises

We were asked to make a colour wheel and mix primary gouache colours together to create a range of tones. The primary shades I had were not as bright as most people's but the effect is quite nice. Because the colour samples were in a single block, they form a cohesive collection, resembling a woven piece.

Colour Stripes

Colour Wheel

 

We were then asked to create proportional colour stripes based on drawings from our Journeys project. I used one, two and three images to make each of the samples above. From the stripes, I would say the colours on the right hand one are too grey and masculine together, but I like the drawings they are derived from; this means that line, texture and form help to break up colour and alter how we see it.

Inspiring artists' work

This week was the start of my first 6 week taster block, and while looking through some books I found a couple of artists producing some interesting Embroidery work. Both show interesting use of the thread itself and splashes of colour that make their work dynamic and exciting.

Lisa Solomon 'Poppy Bed' 2007

Xiang Yang 'Quelqu'un m'a dit' 2010

There were also works from other specialities that are innovative and conceptually and visually pleasing, and instantly drew my attention.

Jaap Van Arkel 'Wallpaper Lamp' 2000

Karim Rashid 'Endless Table'

Jurgen Bey for Droog 'Treetrunk bench' 1999

Monochrome drawing

As a source of inspiration, we were given 15 sentences such as ' draw a black cross' and 'a knitted line crosses the page' and asked to respond by drawing on 12 x 12cm cartridge paper squares, with black oil bar and a range of pencils.

          

Journeys Drawing Day

I chose to focus on images of boats and sweets to draw from, using the style and materials I worked with when sketching in Liverpool. To make interesting backgrounds I flicked watercolour paint onto the paper with a toothbrush, and added some pastel layers. Fine-liner pens made the subject bold and colourful; I aimed to create traditional drawings (representing the traditional theme of the docks) with candy colours (the Tate, sweet shops) to make new and interesting images.

   

                                       

I also experimented with paper weaving, mosaic and cut paper, in landscape and portrait formats. By arranging the finished drawings by colour, and then which looked best next to each other, I put together an irregularly shaped drawing collage. 

Liverpool Day Trip

Albert Docks in Liverpool is a visually fascinating place. Seen in the rain it glows red because of the brick used to build it and its painted columns, and while it contains the water, boats and related paraphernalia  you would expect to see, it now houses a world class museum, shops, restaurants and exhibits. This gives it a lively, buzzing feel, and walking round you don’t know what you’re going to see next.

  

 The ships are the first and largest objects to notice, coming in different shapes and sizes and lending history to a modernised space while implying journeys and movement.

An unexpected barge

Old and new

They contrast with the Tate building’s bold, bright colour scheme and the myriad of small boutiques on show; the patterns of colourful sweets, sparkling gems, and memorabilia draw you in from the harsh weather.  By looking beyond my initial impression of the docks (traditional and symmetrical) I found an exciting blend of surroundings to get lost in. By retaining this curiosity I hope to always find some interesting detail to draw or photograph, and look beyond the obvious to be surprised by new locations.

Jelly Belly sweets

Crystals with reflection of brickwork

Being out in the rain sped up my observation:  I was more instinctive when taking photographs and quicker to focus in on interesting sights and details than when I was inside. By trying to remember how it felt to need shelter, I can recreate this quick impulsivity and produce more dramatic, less careful work.

Also, by looking at contrasting objects and spaces the detail and nature of each is heightened; the Tate seems even more sleek and modern placed in an old setting, while the harbour feels more solid and weathered with new buildings added to it. I could use this juxtaposition technique in future to create a dynamic contrast and emphasise aspects of my work.

Kite Project

Our brief was to create a colourful kite, and I decided to make one with a conventional shape from unconventional materials. I deconstructed leaves and flowers to form the body, and using stems for support and wool for a string, stitched together a 'land kite'. It is designed to 'fly' on the land and in trees, camouflaged against leaves and grass or contrasting with them, depending which way it is placed. It also represents the changing of the seasons; the leaves retain their summer green while the petals take on autumnal shades as they fade and wither.