1.12 Towards an Embroidered Item (1)

I decided to continue my theme of looking through layers and to build up the background.  I took some hand-dyed blue tissue paper (approximately A3 size) and applied some Bondaweb which I had painted in three different colours (Autumn Gold, Sundown Magenta and Moon Violet) using Pearlescent Liquid Acrylic.  

 1.12.1

I then layered some translucent fabric pieces across the right-hand side of the fabric (lace, organza, etc) and laid some long strands of cotton floss across the left-hand side, secured under a chiffon scarf.  I bonded all the layers together using a hot iron.  

1.12.2

I then machined stitched some wavy lines across the fabric fairly randomly to provide another layer.  Although not clear in the photograph I using different coloured threads bobbin threads to create a different effect in certain areas of the fabric.  

1.12.3

1.12.4 (Detail)

1.12.5 (Detail)

To show more effectively the layers, the next image is the fabric held up against a window. 

1.12.6

I decided to use one of the abstract shapes I had produced in Chapter 9.  I actually combined two of the shapes together and when moving them about I created a third 'S' shape in the negative space which was quite interesting.   I traced both the positive and negative shape onto tissue paper and machined round the edges so that I could cut out the shapes.  Unfortunately, my sewing machine decided to breakdown after machining three or four shapes, however, rather than stop and interrupt my flow as the fabric was bonded together, I could continue to cut out the shapes without the edges coming apart.  I then began to re-arrange the shapes in various combinations to see the effects.  

1.12.7

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1.12.9

I particularly like the next three images which somehow remind me of the pier support structure at the coast.   

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1.12.11

1.12.12

The next two images are the original positive and then the negative shape placed randomly as an image to look at a further abstract effect.  Although I say random, there is of course, some conscious or sub-conscious placing of the shapes in order to achieve some form of harmony in either colour or shape or both.  

1.12.13

1.12.14

This is the last exercise before I start working towards my proposal for an embroidered three dimensional piece.  I have found the exercises very useful as they have opened my eyes in finding new shapes, ideas or colour combinations from unexpected sources.  Before I started all the exercises I had a certain end-piece in mind whilst now that has changed to a considerable degree.  

1.10 Design Process: Bold

I produced two bold designs of my wave pattern - the first uses an automatic No. 6 pen and acrylic ink on a sponged background (A4);  the second the edge of a 3 inch square sponge and acrylic ink (A3).  

1.1o.1

 1.10.2

I decided to develop the second image as I had already completed some design work on a similar image to the first in an earlier chapter.  

I copied the central section of the second image using my ink jet printer (A4 size).  Unfortunately, my colour cartridge was running out so the resultant image had no blue in it.  This is another one of those happy accidents as I quite liked the colour scheme of reds, yellows, pinks and oranges.

1.10.3

In the first image I cut the copied image into rectangles and rearranged them; overall I don't think this was successful although cutting the larger image into smaller rectangles highlighted some bold shapes within the individual rectangles which I liked, such as  bottom row 2nd from the left.   

1.10.4

I then cut an image into long narrow strips and off-set the individual strips, framing the central section.  Here I liked some of the combination of strips (3-5 and 7-9), both in terms of colour and shapes.  It has the feeling of a galaxy and supernovas to me.  

1.10.5

My third image is the A4 copy cut into diamond shapes, with the two vertical edges left intact to hold the shapes together.  I liked the repeat colours in this image.  

1.10.6

My final image is made up of 30 degree triangular segments re-arrange in an abstract manner, with some segments overlapping.  Again, the framed central portion is shown.  I liked the repeated red triangles in this image which I feel revolve around the central yellow area.  

This chapter has made me realise how cutting up an image can highlight specific new shapes and images within a defined section, which perhaps you may not have noticed in the larger overall image.  It has also emphasised how rearranging an image can create exciting new shapes or colour combinations.  

1.9 Design Process: Abstracted Fragments

I chose this option as my drawings are quite detailed, precise and realistic and therefore I felt this option may help me to loosen up.  I looked through my images from the coast and decided to continue on my theme of layers and looking through;  I came across an image of a theatre at Eastbourne and noticed in a small section of the photograph in the door glass that you could see abstracted reflections, one of which looked like a curved wave.  I  choose this shape to develop.  

1.9.1

1.9.2

1.9.3

These images (all 4x7 cm) are:

1. Original shape extended beyond the rectangle.
2. Extended beyond the rectangle with lines added.
3. Within the rectangle.
4. Lines rotated 180 degrees within rectangle and mirror image. 
5. Image 3, with lines rotates 90 degrees and inserted twice.  
6. Lines rotates horizontally and vertically, with 180 degree rotation.
7. Lines rotated 180 degrees and extended beyond a faint rectangle.
8. Original lines with no box.
9. Lines and rotated 180 degree lines, no box.
10. Lines, rotated 180 and 45 degrees with no box.
11. Circles added.
12. Circles and shading within rectangle.
13. Circles, shading and patterns within rectangle.  

One of the surprising things to emerge from this exercise was the difference a rectangle (the traditional picture shape) can make to an image.  In one way it helped to define the overall shapes but in another it restricted the freedom of the lines and almost seemed to stop the 'movement' within the image.  

I then explored the image in a computer programme; I used Photoshop as I do not have a drawing or painting programme on my computer.  

1.9.4

  Clockwise from the top left are:

1. Original scanned image.
2. Liquify.
3. Plastic Wrap.
4. Polar.
5. Zig-zag.
6. Wave.
7. Pointillise.
8. Ocean Ripple.

The images produced by Liquify and Zig-zag are probably my favourite results.

I then went on to add colour, acrylic inks, to the image (8x14 cm).  

1.9.5 

  1.9.6

Clockwise from the top left:

1. Equal amount of complementary opposites.
2. Mainly harmonious colours with one area the complementary.
3. Mostly lightly toned with one darker toned area.
4. Similar colours across connected shapes.
5. Complementaries, one higher proportion.
6. Reverse of 5 above.

The use of the complementaries really made the opposite colour intense, this is particularly evident in the purple and yellow images; this is also true in the green and red.  The small darker tone in image 3 also looks darker when completely surrounded by lighter tones.

I continued the exercise and my theme of looking through and layers by using plain and patterned tissue paper.  

 1.9.7

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1.9.10

The top image is the original lines with tissue shapes inserted.  I then used this to cut out multiple shapes of different tissue papers and reinserted them into the rectangle to form new abstract images; the last image is without the rectangle.  I particularly like the lower image on 1.9.7 and image 1.9.9.

As I liked the effect of these shapes. I produced a layered image of waves using one of the abstracted shapes and a new wave shape from one of my preliminarily sketches.  

1.9.11

From the top of the image the layers are a graduated acrylic ink wash; crumpled dyed muslin to give the impression of the foam produced at the top of waves; layers of the abstracted shape in both plain and coloured tissue papers; and, layers of the new abstracted shapes in blues and pinks.  The photograph does not bring out the lighter coloured tissue papers very well but overall I am quite pleased with the final image.  The main change change I would make is to reverse the pink colours at the base of the image, as the darker toned pink at the bottom is quite dominant, it draws the eye and stops the movement within the picture.  

My final set of images within this section are layering different papers, stitched lines and reverse applique, within the original abstracted shapes.  

 1.9.12

 1.9.13

     1.9.14

The top image is layered Amaretto biscuit papers in different colours, remains from over-indulgence at Christmas, but I really liked these papers and the colours and wanted to see what effect they would create if layered and cut away.  The middle image is a selection of papers in complementary colours.  The lower image is layers of patterned origami papers; I really like the contrast between the small and large patterns created in this image.  

This chapter has surprised me on the range of images that can be created from a fairly simple intersection of lines in a small cross-section of one photograph.  It makes you wonder how much diverse work could be produced from one single original image!