Tutor Feedback and my reflection for ATV Assignment 2

Formative feedback

Course/Unit A Textiles Vocabulary Assignment number 2

Type of tutorial Video

Assignment 2 and 4 Assessment potential

I understand your aim is to go for the Textiles Degree and that you plan to submit your work for assessment at the end of this course. From the work you have shown in this assignment, providing you continue to commit yourself to the course, I believe you have the potential to pass at assessment. In order to meet all the assessment criteria, there are certain areas you will need to focus on, which I will outline in my feedback.

 Summary of tutorial discussion

Sensitive paper manipulation with varied and playful exploration of media. You said you struggled with how to translate the drawings into manipulated paper but that effort to source new papers and employ different approaches is clear in the work. You have thoughtfully developed the marks and qualities of the drawings into creases, folds and patterns. Keep this new learning in mind even when you approach exercises which feel easier – keep searching for ways to do things differently.

The stitch enhances and extends the paper textures well. Occasionally the interaction between stitch and texture could have been more sympathetic – e.g. black thread overpowered the white-on-white texture below – but generally the stitch was sensitively applied.

Sketchbook vs. learning log

– The sketchbook is the place to document the process in depth. From looking through the sketchbook and samples we should be able to see the development of your ideas, what media and materials you’re testing, what you think about them and how you could develop them as well as how you actually develop them. You can include small swatches of materials and samples too. (Any chunkier samples can be kept separately.)

– Integrate your artist research into the sketchbook: Include small images of work which is inspiring and directly informing your own, followed by notes and drawings about how you could develop from it.

– Use the sketchbook as a place to have a conversation with yourself – to explore a range of options, test ideas, think through problems etc. It being a bit messy is fine – it should be an organic document. Use brief notes to evaluate the strengths/weaknesses in the work.

– You feel you’re spending much more than 20% on the learning log, in part because you have both a physical book and blog, but also because you are writing what you have done step by step. In the learning log entries, review and evaluate your work at the end of an exercise or a project (see notes below). You can write up your evaluation of the artist/ designer work in the log more fully. The log is where your academic writing skills are assessed, so whilst we want the discussion to feel personal, it will be more formal in tone than the sketchbook.

Improving evaluation

– Spending less time writing up what you did in your learning log will naturally focus your energy on summarising and evaluating.

– Your evaluation of the samples created in the assignment is good – you are specific about what you like and why.

– When evaluating, consider different perspectives: your own intuitive response; what the brief asked you to do and the different aspects within that (in the case of assignment 2: scale, placement, repetition); what others may think. If you really like a sample force yourself to analyse what could be improved; if you don’t like it, make yourself consider the strengths or areas which have potential. This will help you be more specific about exactly what you like and dislike, and build your ability to communicate your own work.

Strengths

Thoughtful translation of drawn marks and details into paper and stitch qualities.

Sensitive selection and manipulation of materials.

Great that you include yarn wraps / material samples with the details of where they were from – this technical information is good to refer to in future

Areas for development

Evaluation – build on huge improvement made in Part 2 by differentiating the development and evaluation done in the sketchbooks and that done in the log.

Review use of learning log as above. (Don’t have both paper-based and blog.)

Your drawing is really strong so keep drawing in the sketchbook to think through your ideas. Draw from your samples to propose alterations or new versions.

Suggested reading/viewing

Context

Now is a good point to consider presentation for assessment, so you can keep on top of this as you go. E.g. the paper manipulation samples could be simply collated into a series of folded paper wallets with an image of the original drawing to start each section. Look at: https://weareoca.com/student-work/textiles-presentationassessment/;

https://weareoca.com/subject/textiles/textiles-organising-work-assessment/;

https://weareoca.com/education/textiles-presenting-work-assessment/.

Great that you’ve been engaging with the Facebook group and other students’ blogs. The key to not feeling worried about work other students are producing is to see more of it so you can be inspired by the range of different approaches, rather than how different theirs is to yours. Well done for getting your Instagram account started. Read: https://weareoca.com/education/mimicking-studio-experience/;

https://weareoca.com/education/finding-your-own-place-within-the-oca-community/

Pointers for the next assignment

• Reflect on this feedback in your learning log.

Tutor name Cari Morton

Date 29th March 2018

 

Reflection on feedback

This was my first video feedback session and I feel I gained more from this than just a written feedback as I was able to explain my thinking on certain samples and more fully understand the context of the feedback given by Cari.

I did struggle somewhat with translating the drawings into manipulated papers, but still keeping the link to the original piece. I understand that each project moves you forward from the last but I feel it should still be cohesive, you should still be able to see a link from the original piece you are working on, no matter how thin that link becomes as you move forwards. I could have made many different paper samples but they would not have been based on my drawings, so I had to work hard to push the boundaries and find new papers and methods to develop my pieces. Overall I was pleased with the outcome.

We discussed the black thread on the white textured sample and I could see once it had been pointed out that using white thread would have been more sensitive to the original drawing, a thought that had not occurred to me at the time of making the sample. This I will take forward as more experimentation needed on sampling.

We had a good discussion about the sketchbook and learning log. I was keeping a sketchbook, a separate book for the learning log with all my notes and annotations in and all my ‘messy’ thoughts, and also writing up more extensively the learning log book onto my learning blog. I feel I have a better understanding now of the different methods of recording my progress.

I still need to build on my evaluation skills and I have printed off some of the suggested articles to read through. I will also go back and arrange my samples into paper folders to make it easier at assessment.

Written Reflection for part 2 ATV: Surface and Stitch

I started this project by brainstorming a list of different types of papers, techniques and tools that I could experiment with. I then looked back at my drawings to select 6 to work from. I looked for drawings where I had captured interesting lines, marks and textures and chose ones that I felt would give the best scope for further development. For each of the works I chose, I wrote lists of descriptive words to help me translate the qualities into paper samples. I wrote notes on papers and techniques I could employ to create effective paper samples, experimenting and logging the results and evaluating the successes and failures.

I took on board what I had learnt in 2.3 to develop my larger considered pieces for 2.4. I now had a better idea of the properties of different papers and how they might react. Using a viewfinder was very beneficial in selecting interesting areas of work- a part instead of a whole can give a whole new perspective on a piece of work and it’s something I will definitely use again. I feel I chose works which allowed for the criteria of scale, repetition and placement.

I feel I have gained new knowledge on how different materials will react to manipulation. Also using stitching in new and different ways and combining the materials and stitch to create a ‘feeling’ or tactile representation of a drawing has given me new ways to work which I may not have considered before. I feel I have opened up a bit more in this project, trying not to worry so much about whether something is right or wrong and experimenting and not worrying if something doesn’t turn out right- if it doesn’t work I have still learnt something and these failures often lead on to something that does work. I have made comprehensive notes detailing all the experiments which will be useful to look back on and have researched different artists, created Pinterest boards for inspiration and looked at several books on manipulating materials and going from drawing to stitch.

I need to still learn to push the boundaries a bit more and not be afraid to experiment and developing skills to enable me to move a piece of work forward, taking it in a new direction with different materials but still having it embody the essence of the original piece.

Assignment two Stitching: Placed and spaced

Brief: Explore the creation of a series or small collection of stitched textiles inspired and informed by your drawings and your stitched paper explorations.

Develop a series of three stitched pieces showing

  • A sense of repetition
  • variety of scale
  • A placement design

Project11 (Small)

These are the three pieces I chose to work from; the tyvek paper and stitch samples based on the chard leaf, the paper sample based on the collage of the moth damage on the child’s blue velvet dress and the paper sample from the collage of the lace veil.

Piece one: From tyvek samples

Project4 (Small)

I had enjoyed heating the Tyvek paper to make samples and wanted to take this a step further to see if I could get a similar effect with heating fabric. I knew I would need a man made fabric, something with polyester or nylon that would melt. I rummaged around my supplies and found some green satin lining fabric. It did say to not introduce any new colours at this stage but, this was the only piece of this fabric I had and the green was a similar colour to the original chard leaf that the tyvek samples were inspired by, so I felt it was justified. I cut a small square to experiment with. I used a heat gun and placed the fabric on a teflon mat to heat it. I used scissors to hold the fabric in place as I didnt want melted fabric sticking to my fingers. The fabric heated really well. Heat from a distance took longer and created larger bubbles, up close created more dense, clustered bubbles and really close and concentrated heat melted the fabric creating holes. I moved on to bubbling a larger piece. I worked on small sections at a time from a distance and then I went back into areas with more concentrated heat for smaller bubbles and holes. The fabric retained a soft silky quality but had an added ‘crispy/crunchy’ element to it. Before the fabric was soft, silky,shiny, slippery, loose and flowing, now it was smaller, crispy/crunchy, hard around the hole edges where the fabric had melted, it still retained some drape but had lost a lot of its shine and slippery surface.

I decided to combine the free motion machine stitch from one sample and the cosmic shimmer ‘feathery’ wool from another sample onto this bigger piece.

I started with the free motion stitching. I used a variegated polyester sewing thread and a pink sewing thread. I sewed around the bubbles and circles creating areas of stitch which was quite intense in places. I really liked the overall look when i had finished, the pink and green together and the bumpy texture ( the back of the piece looked like some kind of bizarre random smoking which I loved!), but felt it may have been a bit basic so I decided to continue on with my original plan of adding the cosmic shimmer wool. On the tyvek samples I had couched the wool on but as the machine stitching had taken a good couple of hours already I decided I would use the machine to sew down the wool as well.

Evaluation: Although I had liked the cosmic shimmer wool on the white tyvek sample, once I had completed my fabric piece I really didn’t like the wool colour against the green. The orange part of the wool clashed with the green and it also covered up a lot of the machine stitching. I liked the feathery/vein affect the wool gave but I think the two together was too much. The piece felt like it had lost a lot of its bumpy texture. On the bright side, the reverse of the piece still looks good and captures the effect I was trying to create.  Although the machine stitching was repetitive in its nature, because it was applied around the bubbles of texture it gave the piece a very organic look before the wool was sewn on.

Project5 (Small)

Piece 2: From the paper stitch sample of the moth damage

Project6 (Small)

I used just the middle part of the sample for the inspiration for this piece. My original thoughts for this second piece were to sew calico patches onto blue velvet but when I placed some calico circles onto the velvet I didn’t like the contrast of the fabrics very much. I wasn’t too keen on stitching them on either as this would mean they were raised slightly whereas from the sample piece the patches sort of meld with the blue underneath, its the knots that stand up. I found some muslin and decided to try needle punching that onto the velvet with my embellisher machine. It worked really well but was quite stark white so i did another sample with muslin I rubbed some tea over. This was ok but was still quite white. I then noticed the back of the velvet fabric where the muslin had been punched through and the reverse was just the texture I was looking for. I tried the next piece working from behind, still white, so I added some brown and fawn coloured wool tops under the muslin before punching through. This effect was great, gave me good colour and contrast of texture.

I cut a large piece of the blue velvet (Again, I know it said no colour but I could not find any White/cream velvet and the sample I was working from was coloured blue, so it wasn’t a new colour added in). Working from the reverse I layered the wool tops and the muslin into circular type patches and used the machine embellisher to punch the fibres through to the front. I kept going over it until i had the texture I wanted on the front.

On the sample I was working from I had couched on some blue velvet wool to represent the creases. I decided to see if I could needle punch the velvet wool onto the fabric. This worked extremely well and although the wool was embedded it was still raised enough to add dimension to the piece. The french knots were the final part. On the sample I had used chunky wool, 6 ply and 3 ply embroidery thread. I started off with using the chunky wool. Because everything else had been scaled up the wool knots looked too small so I started doing one knot on top of another to make them bigger and so they stood really proud of the surface. I then used a fawn coloured wool to do single french knots and finally 6 ply embroidery thread to do even smaller french knots.

Evaluation: This was my favorite piece to make. I love everything about it, the plush softness of the velvet, the french knot texture, the randomness of the cheesecloth and wool tops needle punched through to the front, the neutral colours against the deep blue. The wool tops and the muslin is really embedded into the fabric, in effect creating a whole new fabric in those patches. I could see this as a much bigger piece, like a wall hanging or maybe an art quilt. I enjoyed the techniques I employed- the machine embellisher and working from the back of the piece and sitting and hand stitching french knots upon french knots- I thought that might get quite boring as it was very repetitive, but sitting in the evening with the TV on, hand sewing was very relaxing. I also like the fact that the original moth damage on the blue velvet dress was such a very small, hardly noticeable part of the item and now here it is translated and transformed, scaled up into an art piece in its own right. It is a very tactile piece with so many textures.

Project7 (Small)

Piece 3– from stitched paper piece sample of collaged lace veil

Project8 (Small)

Working from the larger considered sample I had done in the previous exercise, I decided to just chose the bottom part of the piece with the black swirl. For the previous exercise I had stated that each segment could be a piece on its own merit so I thought I would put that to the test. This section of the sample also gave a really good placement piece with the swirl.

First I experimented with bleaching some patches on black cotton drill. I was expecting the colour to go to beige/fawn like it did on the black card but it went red, later fading to an orange colour. I looked at using calico and brown cotton but I felt I would have to hem the patches before attaching them to give a neat edge so I decided on felt as that wouldn’t fray. At first I was just going to use the seed stitches to hold them on but then i thought I would try the embellisher again so I could embed the felt into the cotton drill. I was really happy with the result, even the needle mark holes from the machine just added to the texture.

For the base I used calico. I wanted to use white cotton but I didn’t have any and didn’t want to wait to order some. I wet the calico and crumpled it, wrung it out and repeated this process several times to really crumple the fabric. I then put it in the tumble dryer. The calico came out with the crumples dried in but I had not allowed for any shrinkage so my piece was a little smaller than I started with!

I cut out the swirl from black cotton drill. I used this as it was quite thick and firm like the cardstock on the sample piece. I added Bondaweb on the back to stiffen it up a little more. I attached the swirl to the calico with a machine applique stitch. This gave it quite a ‘clean’ edge (although it has frayed a little since). I then cut out the felt patches and used the machine embellisher to embed the felt into the drill. I embroidered little seed stitches onto the felt patches with embroidery thread.

I then needed to do my loose scribbly stitches, inspired by Hilary Ellis. I used 2 ply black embroidery thread for this. I found it a bit easier this time to create the random scribbly look and I am please with how the stitches turned out. They are so different from the other stitches on the piece or from any of the other stitches I have used in this assignment.

Evaluation: I am happy with this piece. It combines a good range of different stitches. The loose stitches really contrast with the placement of the stark and graphic swirl and the neat applique stitch. I think my evaluation that this part of the paper sample could be a design in its own right is correct, it stands alone as a bold piece. I would have liked to have been able to achieve a more crumpled finish in the calico, so if I were to further this piece I might look at different fabrics and ways of maybe heat setting creases into fabric.

Project9 (Small)

Project12 (Small)

20180306_123855.jpg

  • More notes, ideas and samples are included in my sketchbook and learning log such as the sample above which I ended up discarding.