ATV Assignment 4 Review point- Demonstration of creativity

Review point- demonstration of creativity

I am happy with how I have demonstrated my creativity so far within the course. The course assignments have pushed my creativity, making me think outside the box to come up with new and inventive ideas- these are new to me, not new innovations. I have tried lots of new techniques that I have never used before such as spinning, weaving, French knitting, photo editing software, drawing archive clothing in a museum. I also have used a range of materials that I have not used before such as Tyvek paper, plastic bottle yarn, dental floss, plaster bandage. I am enjoying the creativity of my sketchbook- making notes, drawing out ideas, storing samples- I know these will become a valuable resource for looking back on.

I do need to be more questioning of my work and outcomes- why I did what I did and why I liked or disliked it. I know this sort of self-analysis will develop more the further I go on the course. At the moment I still find it a little difficult to put my thoughts onto paper and explain why I did or liked something. Also the very real fear of ‘Is this right?’ continues to haunt me. Maybe not so much now whether the techniques or samples I have produced are right but whether I have fulfilled the brief, which can be quite difficult to understand sometimes as in what is being asked of you. Developing my personal voice is something that can only come with time and experience but I will find my way there.

I need to find a more creative approach to some of the research. Some of the research points I have found quite tedious and time consuming, like the research for part four links 15-21. This was all online research, some of the links didn’t work and it was a lot of wading through stuff to find relevant information. Any suggestions or tips from my tutor would be most appreciated!

I do read a lot of textile books and pin a lot of information on Pinterest- I have 31 boards dedicated to OCA Textiles covering a range of topics, tutorials, artists and inspirations. This has widened my knowledge on a large range of subjects and techniques which can be applied to my work.

I do have to be quite creative in sourcing my materials as I live on a small Island which has 2 fabric shops! I have sourced stuff from charity shops, friends and family (collections of different coloured plastic bottles), the recycling bin, swaps and online. I am a member of the Facebook OCA textiles page and the Instagram page both of which are good resources for all manner of things, especially fibre shops and articles. I also follow a lot of universities and textile students and groups on Instagram, again great for inspiration and sourcing of new shops/products to try.

ATV Assignment 4 Yarn and linear exploration. Ex 4.2 Experimental yarns and concepts

Ex 4.2 Experimental yarns and concepts

Brief: Look at the work you developed in 3.1. Referring directly to that work you’ll now focus on colour experimentation through the making of a series of yarn designs.

1.Colour placement and composition project8 (small)I chose to work from the green patterned paper. I made some notes in my sketchbook about the colours and composition: Some shapes bigger than others but looking at the whole they seem quite equal in size due to the space they are in. Shapes and colours are grouped together. Quite an equal ratio of shape and colour. Bold, bright, childlike so look at kids craft materials- pipe cleaners, felt( reminds me of fuzzy felt from when I was a kid), foam shapes. A lot of colours- main is Bright lime green, then purple, magenta, cerise, cornflower blue, light blue, pale pink, white, dark green. Black outlines.

I started with cutting a strip of green felt and smaller strips of coloured felt to represent the coloured shapes.(photo 1 top left) I needle felted the smaller strips onto the base. This looked a bit basic and although I was happy with the proportion I didn’t feel it represent the ‘fun’ of the fabric. I put that sample to one side and started playing with the green pipe cleaners. I wrapped coloured embroidery threads tightly around the pipe cleaner at intervals. Small length of wrap and more blocks= smaller, denser shapes on fabric and longer length and less blocks = bigger shapes on fabric. This piece turned out well and was very tactile. The ratio I used worked well to represent the colours and composition of the fabric. (last photo on right).

I went back to the felt as I knew there was a lot more potential there. I decided to cut out the shapes from the fabric in felt and attach them to a strip of green felt.I used a variety of sizes to represent how much room that shape took up on the fabric and grouped them, some 2 or 3 shapes together, some singular to represent the composition. I needle felted the shapes on. The felt gives a much softer form than the pipe cleaner but it translates the childlike feel of the fabric very well. (bottom left photo).

I moved onto the kids craft foam sheets I had bought. I cut out the shapes in the foam and threaded them onto a green pipe cleaner. This time I placed the shapes in repeating patterns of groups of three to represent the fact that the overall fabric is very balanced in appearance even though some shapes are bigger than others and some shapes have more than others in their groupings. This sample was very bold and 3D and had a childlike simplicity to it.

Expansion ideas for these samples

Make shaped buttons out of polymer clay to represent the shapes- paint the clay to get accurate colours.

Wet felt a long piece of green wool for the base then needle felt 3D shapes and attach.

Stitch black thread around the shapes to represent the black outline of the shapes.

2.Materials exploration

project9 (small)

Describing the fabric: Stiff, course, net, squares, lines,slub lines, shiny, looks medical. Possible materials to use: Bandages, plaster cast, slings, dental floss (shiny), Interfacing (the glue dots are shiny on interfacing), cheesecloth.

I bought some plaster bandage to play with for this part. The material reminded of medical fabrics like slings and plaster and gauze so I went with it. The plaster bandage had a wonderful texture like 3D graph paper or old fashioned clocking in cards where segments are punched out. It was rough and course, like the fabric sample. I wanted to make definite lines through it like the slub lines on the fabric so I decided to use dental floss because of its shine. I threaded lengths of the dental floss through the square holes of the bandage then I wetted the whole thing and spread and smoothed the plaster about. This made the plaster bandage go very thin and the plaster covered up the dental floss- it really just made a bit of a mess. I started again and this time I only gave the bandage a spray of water and then left to dry. This worked much better as I didnt smooth the plaster around so it retained its shape on the bandage. You could still see the grid like pattern and the dental floss showed up nicely, replicating the slub lines really well. (top line last 2 photos)

I then threaded rough spun wool tops through the plaster bandage. This made the lines a little bulky so I wetted the bandage. This made the bandage twist up which gave a nice, course texture. (bottom left photo).

I cut a strip of the plaster bandage and wetted it then laid on strips of bondaweb, dental floss, vintage button thread and rough spun wool tops. I rubbed the wet plaster over these strips to try and embed them into the plaster but it didn’t really work. When the plaster dried the strips just came off (bottom row third from left photo). I tried a few other samples with the plaster bandage-wetting it and twisting with bondaweb (bottom row, second from left photo) and twisting it up on itself, but they were not successful and I didn’t feel they replicated the look or feel of the fabric sample. I am glad I had a play with this medium though as I had never used it before and it’s all about experimentation.

project13 (small)

I tried dyeing some cheesecloth and paper string with tea to change the colour up a bit. It didn’t work as well as I had hoped and the colours were not right for this work but I have put them to one side to maybe use on another project.

project10 (small)

I went back to the dental floss and decided to plait it with some wool tops and vintage button thread. The sample that this created looks like the slub lines in the fabric and I like the way the thicker areas of wool curl into S shapes when plaited. (2nd and 3rd photo). I then added strips of Bondaweb into the mix to represent the white of the fabric. The glue dots on the Bondaweb are shiny and create a grid like pattern like the fabric sample. The wool tops give it a bit of coarseness and the dental floss makes the shiny lines. I think this sample works well as a representation of the sample due to the colour, shine and coarseness. (last photo)

The last sample I did for this part used strips of cheesecloth knotted with dental floss with strips of Bondaweb tied on. Although simple in its creation, its effective because of the mix of textures together.

Expansion ideas 

Experiment more with the plaster bandage and threading different textures through. Experiment with it wet and dry.

Spin strips of Bondaweb,cheesecloth, wool tops and dental floss together on the spinning wheel.

3.Texture and tonal qualities

project11 (small)

Description of the fabric: Texture- soft, lines of stitches create a raised feel, closely woven, the stitches are raised and not as soft. The stitch has a sort of twist to it. Colour- neutral, with tones of slight orange, green, beige, cream. The stitch is lighter, whiter and shiny.

For this part I refered to my Pinterest board where I had been pinning different ways of making yarn. 

I decided to make a french knitting loom out of an empty toilet roll and 4 lolly pop sticks. I had never done french knitting before. I wanted to translate the stitch pattern on the fabric sample, not just the fabric. I rough spun some wool tops, making really tight coils in places to represent the stitch while the looser wool tops would represent the softness of the fabric. This turned out to be one of my favorite samples. Its soft but the tight coils are coarser and stand out well, the pattern of the french knitting creates a wavy type twist reminiscent of how I interpreted the stitch lines in my sketchbook. and although it is just one colour the coils make the colour denser therefore creating a slightly different tone. (far right photo)

I then tried a friendship braid using a circle cut out of cardboard and 7 different threads- 6 tones of embroidery threads and a length of dental floss to add the whiteness and shine of the stitches on the fabric sample. (Instructions on how to make the braid can be found on my Pinterest board above and I have written them up in my sketchbook). The tones blended well together and gave the full spectrum of colours evident in the fabric sample when viewed in different lights, especially the touch of green and orange. I matched the colours using the colour chips from the last assignment. The dental floss has not really shown up in the finished piece. The braid pattern is tight like the weave of the fabric and the stitch lines can be represented in the twist. This was very time consuming. My threads were just over 70cm long and it took about 1 1/2 hrs to create a cord which has turned out 25cm long. (photo bottom 3 on left, above).

project12 (small)

I next made some yarns using plaiting. The first was using 2 colours of bias binding tape and a piece of satin ribbon. The colours may be slightly darker than the actual fabric. The plait works well. The binding strips are darker and stiffer and the satin ribbon gives the shiny look of the stitches. (2nd from left photo bottom row). I then tried to plait some craft rope with paper string and white glittery fun wool but the thinner threads got lost next to the rope so I decided to twist them together instead. I used the paper string that I had earlier dyed with tea as it was a good tonal match. I twisted the paper string around the rope at every third twist. I then wrapped the white fun wool around, once, then at the next twist I wrapped it three times, then once, then 3 again until I ran out of the wool (I only had a scrap of this). This was to translate the white stitches which occur in groups of three on the fabric sample. The fronds of the white fun wool stand out away from the rope, raised like the stitches on the sample. (bottom left photo).

I moved back to the french knitting to explore this method further. I made a sample with 5 different colours of tapestry wool together. This produced a thick but short yarn but the colours I used blended well together in this piece. (2nd from left photo top row). I then used the same colours as separate strands that were joined together with a magic knot. This made a longer yarn with a gradual tonal change rather than the tones being all mixed together. (1st left photo middle row). I then added more prongs to the french knitting tool so I had 12 prongs in all. I used a mix of soft tapestry wool, rough jute string and white paper string. This made a hollow tube of yarn. The wool gives a very defined ‘V’ shape stitch whereas the string gives a more rounded stitch. The white paper string stands out like the raised stitches on the sample. I like this sample as it has a real mix of textures, soft, coarse and stiff and the white paper string really stands out.

Expansion ideas

Plaits with more than 3 strands

French knitting with more prongs

ATV Assignment 4 Yarn and linear exploration. Project 1 Exploring lines. Ex 4.1

Exercise 4.1

Brief: Exploring lines is the first stage of yarn development. Just as you worked to translate drawn line and mark qualities from marks on a page to stitched textiles, you’ll now work to translate drawn and stitched lines into three dimensional lines in the form of yarns.

Original source- Chard leaf drawing and stitched samples project1 (small)

I started this exercise by looking back at the words I used to describe the chard leaf drawing.

Puckered, bumpy, curly, holes, folded, knobbly, bubbly, veins, feathery, soft, rounded, scrumpled, raised, sunk, organic, contours, crispy, gathered.

Types of lines present- curved lines, straight lines, broken lines, continuous lines, and various thickness of lines

Different shapes and hollows

I sketched out ideas for yarns in my sketchbook first, considering a wide range of different materials I could use that worked with the words above, before trying them out.project1a (small)

L-R top line: Green jute string with pink hemp cord using macrame to create twists. Green embroidery thread with pink embroidery thread tied in knots. Green embroidery thread knotted around curly mohair wool. Green wool twisted with curly mohair wool caught in the twist. Florist wire bent with curly mohair wool. Green jute with fun wool twisted and knotted around at intervals.

L-R bottom line: Silver net ribbon with pink embroidery thread threaded through it. Polyester satin bubbled with a heat gun. Polyester satin bubbled with heat gun and gathered with embroidery thread and running stitch. Polyester satin cut into strips and knotted at intervals.

My samples started off quite basic; embroidery threads and knotting, moving onto curly mohair wool locks twisted into thread.. The mohair and florist wire worked quite well and could be bent into any shape. If I had expanded on that sample I would have made lots of pieces and then joined them all together creating a net like effect. I used a heat gun to ‘bubble up’ some polyester satin strips. I liked the bumpy effect but that is how I made one of my stitched pieces before so I didn’t want to develop that too much as I felt that I had already used that technique.

project4 (small) L-R top line: Sketching out ideas using florist ribbon and netted ribbon in my sketchbook. Pink and green layered florist ribbon melted with a soldering iron. Various experiments with florist ribbon, melting it, knotting it and threading through it. Homemade cardboard loom for weaving. Red and green ‘unspun’ and coiled wool woven together. Sketch of the woven piece in my sketchbook.

I enjoyed melting the florist ribbon and fusing it together with the soldering iron. It gave a really crispy, holey effect and was very pliable and easy to work with. It appears a bit stiffer than the Tyvek paper used in the original pieces but it brings that crispness to the sample. I had never done any weaving before so I found instructions on Pinterest of how to make a small cardboard loom. The textures on the weaving were great, curly, bumpy, knobbly, soft, scrumpled, and I felt they translated the lines really well. The colours of the weaving were more true to the original chard leaf but I must admit I prefer the pop of the spring green and fushia pink of the florist ribbon. I would have liked to develop the woven piece in the next exercise but I was limited with my cardboard loom and the small piece took me 2 hours. (The ‘unspun’ wool, came from my first attempts at using a spinning wheel. My tension was all wrong and the wool I was using as the leader thread was coming untwisted or coiled up all the time.)

Developed piece 1

project5 (small)


This piece was developed from the sample of wide green florist ribbon with smaller, narrower strips of pink florist ribbon knotted around the green and then the pink ends tied together to create ‘continuous’ lines. I liked the sample piece as the green piece created larger ‘bowls’ and the pink pieces created the mix of continuous and broken lines. To develop it I wanted to go softer. The florist ribbon is quite stiff and crunchy so I wanted to contrast that and go back to a softer feel, more like the stitched samples. I used what was left of the ‘unspun’ wool and red wool tops that I had attempted to spin (obviously my spinning needs a lot of work but it did leave me with lots of lengths of tightly coiled or un-spun scraps!) I tied pieces of the coiled and un-spun wool tops to long pieces of the green unspun wool. I then joined some of the wool tops together to create continuous lines and left some undone to represent the broken lines. The effect was a lot softer looking than the sample and it seemed more organic and natural.

Developed piece 2

project6 (small)

The second piece was developed from one of the melted florist ribbon samples. I wanted to pay more attention to the lines and holes rather than just randomly melting like I had in the sample. I layered the pink and green florist ribbon together and then drew the lines/veins gently giving more thought to placement and depth of those lines. I then went back and made holes, in some places melting through just one layer, in other places both layers. The developed sample definitely has more structure to it. The curvy lines are more prominent and truer to the stitched pieces. I like the crispiness of it as  the stitched sample using the heat bubbled polyester was quite crispy before all the stitching on it.

Developed piece 3

project7 (small)

I chose this next sample to develop as a contrast to the crispiness of the 2nd developed piece. Although the green net ribbon is quite stiff, threading it through with the pink fun wool really softens it up, both in looks and touch. The sample was quite basic with one continuous line running through it. In the developed piece the pink wool has been threaded through with more attention paid to the lines of the original drawing.

I am happy with the samples and developed pieces for exercise one. I used a large variety of different materials and techniques to create considered pieces which I feel really represent the essence of the original work.

ATV Assignment 4 Yarn and linear exploration. Research point one.

ATV Part four, Yarn and linear exploration

Research point one


The Wool Lab issue a seasonal guide twice a year (Autumn/winter & Spring/Summer) that showcases samples of commercially available fabrics which are “aligned to the seasons macro-themes”. The guide is used to inspire the textile industry on the different uses of merino wool. The guide includes mood boards, swatches and colour cards for each theme. This is a good tool for designers and can help them to source new materials and see what is current. It has over 100 spinners and weavers involved in the guide. It is presented at trade shows such as Ideabiella Moda In, Intertextile, Ispo, Premiere Vision, spin expo, Pitti Vomo and Pitti Filati.

Themes for 2018 included sustainability and fashion tech and were presented at Milano Unica.  Merino wool garments with open weave structures to lend cooling to the cloth, crease resistant and resilient with natural strength and moisture absorption.

“100% wool was imaginatively used in original designs by Dashing Tweeds, who had called their imaginative cloths after romantically-named sea areas intoned musically each night in the BBC weather forecast. Said Founder Guy Hills: “For the summer months, we have found that little beats a fine Merino wool cloth for easy, crumple-free suits.” Adding more open weave structures has led to an element of cooling to the cloths – “wool is a surprisingly cool fabric to wear. The threads actually absorb more moisture than cotton, dry faster than most yarns, and act as a full ultraviolet sun block.”” [1]

I also found on this website a very useful page about the latest innovations with Merino wool. Here are links to the articles on 3 new innovations.

OPTIM- Wool OPTIM technology. The fabric is constructed at very high levels of thread density in warp and weft using fine merino wool yarns that have been stretched, but not set, during OPTIM processing. When the fabric is wet finished the stretch is released causing yarns to contract leading to an extreme tightening of the fabric structure and the creation of an immensely dense fabric. After optimising the spinning, weaving and finishing processes the fabrics made from these elastic merino wool fibres have enhanced water and wind resistant properties but are still breathable and machine washable. Full article here

Wool footwear- Shoes that enhance the fibres natural properties and constructed in a way which aids performance and are resistant to odour. Full article here

Seamless garments- technology being advanced by Karl Mayer, Santoni, Shima Seiki and Stoll- full article here


Campaign for wool was launched in 2010, initiated by the Prince of Wales. It is a global cause set up to raise awareness among consumers about the unique, natural, renewable and biodegradable benefits of wool. They encourage collaboration between an international community of wool growers, major fashion designers, retailers, manufacturers, artisans and interior designers. In 2010 they launched wool week and in 2011 they launched Wool Modern- an exhibition showcasing the best in fashion design in wool. 2012 launched Wool House, the world’s biggest celebration of wool featuring 10 days of interior design, fashion and craftsmanship. In 2012 they launched Wool School, an educational innovative where 12 top retailers joined with design students at leading universities to create wool sweaters which were sold in stores with 5% of the profits being put back into educating the next generation of designers about wool.

UK Wool week-08/10/18 will be the 9th year. Events, exhibitions and activities designed to educate, inspire and promote the benefits of wool.


There is a lot of info on this site about new innovations for treating cotton fabrics such as Moisture management, including Trans Dry®- making cotton faster drying and moisture wicking like other synthetic materials and Storm Cotton™ -water repellent technologies. Fabricast™ is a fabric information system about cotton and cotton rich fabrics developed by the product development team each year, where fabrics are developed to inspire companies that utilise cotton. It highlights new and interesting yarns, unique weaving and knitting constructions, dyeing and finishing techniques and fabric performance technologies.

Cotton Incorporated was founded in 1970 with the intention of helping cotton to regain market share which had been lost because of the arrival of synthetic fabrics. Ongoing areas of research include ways of enhancing drought tolerance and resistance to pests and to enable the cotton industry to secure a sustainable future while “developing new innovations in cotton performance technologies that do not create additional environmental burdens” [2]


Invista make chemicals, polymers, resins, fabrics and fibres. They mainly work with nylon and polyesters.

One of the key products made from INVISTA adiponitrile (ADN) is nylon 6,6. As a versatile thermoplastic, nylon 6,6 can be melted and shaped to serve many applications, from heat-resistant auto parts to consumer electronics and kitchen appliances. But nylon 6,6 pellets can also be melted and extruded as continuous fibers. Due to their high strength and flexibility, these fibers can be used for everything from pantyhose to tough automotive air bags and durable sportswear.” [3]

They have developed different technologies such as Coolmax© and Thermolite® which allow for the heat and cold and provide comfort for whatever element you are in. One of their newest technologies is Thermolite® Far Infared

“THERMOLITE® FAR INFRARED technology uses lightweight hollow fibres embedded with permanent ceramic pigments to harness the body’s far infrared* energy to generate gentle warmth. In our independent wear test, feet wearing socks knitted with 50% THERMOLITE® FIR yarn showed as much as 1.5°C increase in temperature than those wearing 100% cotton socks. The fibre structure also provides relief from sweaty feet. Socks dry by transporting moisture to the surface of the fabric where it evaporates three times quicker than cotton. In addition, consumers can say goodbye to thick socks and layering to keep their feet warm. This breakthrough technology enables you to create versatile, everyday socks that are lightweight and offer all-day comfort suitable for any activity.” [4]

Link 19

Lurex® can refer to the yarn or the cloth made with the yarn. The metallic yarns are made from synthetic film onto which a metallic aluminium, silver or gold layer has been vaporised. It was the first metalised polyester yarn and revolutionised how people knit, weave, sew and embroider. It is popular for movie and TV costumes as it has a sparkle. The company has developed a 6-micron film which has given a softness to the yarn whereas before it was quite rough and scratchy. Lurex® was created in 1946.


Pitti Immagine is an Italian company devoted to promoting the fashion industry worldwide. They organise international fairs and promotional events in all areas of fashion. Their goal is to show high quality products and innovative styles and highlight cultural and social relevance and their research content. “For us, innovation means that it is not enough to keep in step with the times, but we have to be ahead of them” [5]

Pitti Immagine Filati, held in Florence in January each year, is an international trade fair for textile fibres. Over 100 exhibitors showcase the latest products and developments in the industry such as; yarn from organically grown raw materials, environmentally friendly production, fair trade promoting sustainable development, and using biodegradable and recycle raw materials to promote an eco-friendly fashion industry.

Some exhibitors include- Knoll yarns-Yorkshire UK, The wool mark company, Stoll, Alda Santini, Fashion Mill, Electrolux and Miss Deanna.

Link 21

Heimtextil is an international trade fair for home and contract textiles. It is the first trade fair of the year and has more than 2,700 exhibitors from all over the world.

Here is a link to the website that has a video of the 2019 show.


Other yarn/textile shows

The British wool show, held in York, UK. The aim is to raise the profile of British wool and products produced by the British textile industry, cottage industries and craft workers. From what I can tell from looking at the exhibitors list it’s not so much about promoting new innovations, more about showcasing the industry.

The Knitting and stitching show is held at Alexandra Palace and is the largest textile event in the UK. They offer over 250 workshops, 300+ exhibitors and 30,000 visitors. They also have a graduate showcase area.

The Yarn Expo was held in Shanghai in March 2018. Promoting current industry trends, sourcing options, innovative synthetic and speciality yarns and eco-friendly products. It offered 430 exhibitors from more than 10 countries.

Texfusion is held in London and in New York and is hailed as “The textile sourcing show for the UK”TEXFUSION  IS THE FIRST TRADE FAIR WITHIN THE UK CATERING EXCLUSIVELY FOR INTERNATIONAL FASHION FABRICS AND ACCESSORIES, FUNCTIONAL FABRICS AND GARMENT MANUFACTURERS. ” [6] It has over 100 companies attending.

What sort of companies present at yarn shows?

From my research there seems to be a huge variety of companies that use these shows to promote their businesses, new technologies, new trends. At the British shows exhibitors include craft companies (mainly independent companies), sewing machine companies, book publishers, Guilds like the Embroidery and spinning and weaving guilds, other craft group organisations, Universities may have graduate areas showcasing their textile/fashion graduates work and of course larger companies selling textiles, yarns, interior design.

Trends and themes

Many shows and fairs will have a Trend room/gallery based on one or several themes for the coming year. Trends could be colour based, environment based or new technologies based, or a mixture of all. For example 2 of the trends from Pitti Immagine June 2018 were – Eco sustainability- an intelligent outlook for the planets future and Jewels steeped in mystery- new opalescent yarns, clouds of precious yarns intent on inciting emotion.

From my research it seems that sustainability, environmental awareness and innovation in yarns and textiles are becoming just as, if not, more important than colour/theme trends, which can only be a good thing. Working towards sustainability and environmentally ethical products is leading the way in discovering new innovations in how we source yarns and grow fibres and how those yarns and textiles are put together and treated.

New innovations for yarns

“Newlife™ is a unique, certifies yarn platform engineered from 100% post-consumer bottles sourced, processed and spun into yarns exclusively made in Italy. Newlife™ process is the first of its kind as it boasts a unique supply chain approach and offers an extensive high calibre portfolio including fashion, sportswear, underwear, technical workwear and furnishing textiles”  [7]

Newlife yarns have a range of innovations including; flame retardant, odor control, easy dye, thermal cotton touch, micro (micro filament yarns), UV resistant, skin sun protection and moisture management. Their website has lots of articles on new innovations including a Russian material with chameleon like properties that can adapt to the colour of the environment making it ‘invisible’.

Pyratex® smart fabric technology combines protein from organic agricultural vegetation with 17 different kinds of amino acids to create an innovative yarn. The company’s technology uses natural fibres such as bamboo and seaweed, these are then transformed into wearable yarns which can provide unique health benefits such as muscle relaxation, improved blood circulation and even skin cell regeneration.

Other innovations for yarns and textiles include ‘Smart Textiles’

 “Smart Textiles are defined as textile products such as fibers and filaments, yarns together with woven, knitted or non-woven structures, which can interact with the environment/user. The convergence of textiles and electronics (e-textiles) can be relevant for the development of smart materials that are capable of accomplishing a wide spectrum of functions, found in rigid and non-flexible electronic products nowadays. “  [8]

I have included some smart textiles on my pinterest board as I was quite interested in some of the things I read, especially the Chameleon fabric. It reminded me of the T-shirts that came out when I was a kid- Global Hypercolour- they changed colour with the heat of your body. I had one and thought it was so cool- until it changed colour under the armpits when you were sweating!

Medical textiles is one of the fastest growing sectors in the technical textile market. Innovations in yarns and fabrics include antimicrobial textiles,  wound healing fabrics, pressure garments,  and implantable devices.

 “Nano-fibre based products as well as nano-coated materials are present innovations in the field of medical textiles.” [9]

I have not been to any yarn/textile shows in years. I attended a quilting show at Sandown Racecourse about 15 years ago and when I was at college I attended Paris fashion week. I would like to attend the knitting and stitching show if possible this year as I feel these events have so much to offer, from the inspiration of looking at other peoples work to seeing new products, demonstrations and workshops, new trends and colours for the next season and of course meeting and networking with people.

(Edited to add-) Overall with this research, I found out a lot of information on new technologies in yarn processes which was very interesting. Although I am unable to apply such processes or innovations to my own work, it is good to know and understand what innovations are out there and how textiles are being used and advanced in fields you might not realise, such as medical areas. Reading about the different trade shows, although interesting, didn’t really lead me to any inspiration for this part of the course. There were a few photos of the shows but nothing close up that showed me new yarns or techniques. I went to the list of traders and clicked on some links there but again nothing that really informed my work for this part of the course.










Formative feedback ATV Assignment three

Formative feedback
Summary of tutorial discussion
Strong crafting skills evident throughout.
Ex.3.2 highlights a sensitive translation of colour into yarn and thread. The mix of textures and surface qualities reflects the materiality of the painting nicely. The four smaller wraps translate the colour particularly well, with the crossing threads optically mixing the colours and creating lively constructed patterns.
The crafting and composition of the collages (ex.3.4) demonstrates an attention to detail. The hand-coloured papers have created unique compositions, with the varied textures creating lively aesthetics. A couple of the compositions could have been more different but the papers ensure they have a different aesthetic quality. Different background colours could have drastically changed the composition and could have been explored
more. Test and evaluate alternative compositions more regularly – either through drawing quick compositions, or in writing.
A systematic, methodical approach is evident in this submission. Your perfectionism meant that the work took more time than allocated, so consider exploring faster methods offset with more careful approaches could help speed the work up.
Learning log:
– Continue to refer to feedback from assignment 2 about the nature of the learning log.
– When evaluating your work, give more detail to explain the statements. E.g. “I feel I have chosen the right design for each collage and feel that they explore the exercise given for each one.” What does ‘right’ mean? Can you describe the qualities of the composition more descriptively to communicate why the piece feels ‘right’?
This will also help you unpick why something feels ‘right’ or ‘wrong’, and develop your use of subject specific terminology (like composition or terms relating to colour theory).
Research Points
– Good structure to the analysis which helped you respond to the questions posed with a sense of objectivity.
– But do you like it? The analysis lacks a more personal response to the work. Whilst the research points require you to demonstrate your academic writing and research skills, there also needs to be some personal commentary to communicate what you think about the work and how the research could influence your practical work.
– Use the ‘Reflection’ summary to discuss what you’ve learnt and how the research will influence your approach to the practical exercises. You could also compare and contrast the designers you’ve looked at, if appropriate.
Gouache: Good quality gouache paint should create a more consistent, ‘flat’ colour. Purchase better quality gouache for more exacting colour mixing in future. (We also discussed that acrylic isn’t ideal as its shiny, plasticky surface reflects more light and alters the read of the colour.)

Sketchbook is used well to explore ideas and make
Evaluation: Be more specific in explaining your
Good use of drawing to test ideas in the sketchbook

Sensitive colour translation.
Strong crafting skills; attention to detail.

Areas for development

Use drawing more extensively to explore ideas
and make visual notes.

Research: Include more of ‘you’ in your analysis.
Balance the subjective and objective analysis.

Drawing compositions to test various options (not just
to visualize one idea). This might have helped you
explore options

Challenge your perfectionism sometimes by trying
quicker or rougher approaches, especially earlier in the
project when the emphasis is on exploration. You can
then refine these in a more time-consuming sample.
Suggested reading/viewing
This is a good blog post about a strong ATV assignment 4 submission:
Pointers for the next assignment
• Reflect on this feedback in your learning log.
• Evaluate the next assignment against assessment criteria (or start with this assignment) to develop your awareness of what the work is being assessed against.
• Apply the same sensitive use of colour in the yarns. Evaluate how to optically mix different coloured threads / fibres to create different hues.
• Explore some quicker approaches along your naturally more careful and time-consuming methods. Perhaps challenge yourself to, for example, produce 5 quick yarns in 30 minutes and see if interesting
ideas emerge.
Tutor name Cari Morton
Date 8th June 2018

Reflection of feedback

I am pleased with the feedback given and I find the skype tutorials very valuable in better understanding the feedback given and expressing reasons why I did, or did not do something.

I am pleased I experimented with making 4 smaller yarn wraps, using different wrapping techniques, weaving and stitching as I feel they translated the colours and textures from the painting better than the straight forward wraps.

I agree that I could have done some different compositions with the collage as they were all the same, I really don’t know why I didn’t as it seems so obvious now but at the time I felt I had to keep them close to the original image. I should have experimented a bit more with the layout like I did with the papers I used, for a better range.

The work always takes me so much longer than the 10 hours a week. Maybe some of it is down to my perfectionism but I do feel that 10 hours a week is not enough to produce a good enough standard of work. If I stuck to the 10 hours I know I would not get half the amount done. Maybe I am just a slow worker!

I agree I need to give more reasons why in my work. I find this quite hard as I can be quite intuitive and sometimes just go with something as it feels right or is pleasing to me and there is no other reason. I do struggle with worrying if my work is right- in terms of what the brief is asking for- as in some places I don’t feel the brief is written that well and it can be difficult to work out what you are expected to be doing. I have been happy with what I have produced but my worry is it does not meet the brief in some areas.

I do need to include more ‘me’ in my research. Some of the research is very fact based but I will try a more personal response.