Wednesday, 28 July 2010

Module two ch 13

Three Artists

Hans Holbein the Younger (1497-1543) 
was born in Augsburg, Germany. At the beginning of his career as a painter he was trained by his father Holbein the Elder. His initial work included interior decorating and design. These works were large, detailed scenes with strong Italian influence. Holbein painted most of his portraits during his two periods in England. In the first, between 1526 and 1528, he used the technique of Jean Clouet for his preliminary studies, combining black and coloured chalks on unprimed paper. In the second, from 1532 to his death, he drew on smaller sheets of pink-primed paper, adding pen and brushwork in ink to
the chalk. Holbein's painted portraits were closely founded on drawing. Holbein transferred each drawn portrait study to the panel with the aid of geometrical instruments. He then built up the painted surface in tempera and oil, recording the tiniest clothing detail, down to each stitch or
fastening of costum including the lace and blackwork.
Blackwork is a counted cross-stitch technique executed in black thread on a light background even weave fabric. Blackwork may not only be done with black thread It can be red, white, or any colour. Blackwork was popularized by Katharine of Aragon who brought the Spanish style stitching to England when she married Henry VIII. A portrait of Jane Seymour is an example of Holblien’s portrait style with blackwork details


Bridget Riley (April 24, 1931 )

Was born in Éngland and spent her childhood in Cornwall and and Lincolnshire. She was educated at Cheltenham Ladies College. She studied art first at Goldsmiths college (1949–1952), and later at the Royal college of Art(1952–1955. Riley's mature style, developed during the 1960s. It was during this time that
Riley began to paint the black and white works for which she is well known. She was more interested in the optical effects or ‘bleeps’ between the shapes than in the relationship of figure to ground itself. In paintings such as Movement in Squares (1961; AC Eng) Riley found a technique that produced bleeps more effectively. She used simple shapes, such as squares, triangles and circles, and distorted them in every conceivable way They present a great variety of geometric forms that produce sensations of movement or
colour. In the early 1960s, her works were said to induce sensations in viewers as varied as seasickness and sky diving. Works in this style comprised her first solo show in London in 1962 at Gallery One.
In 1965, Riley exhibited in the Museum of Modern Art in New York City show, The Responsive Eye (created by curator William C. Seitz); the exhibition which first drew worldwide attention to her work and the OP Art movement

                                                             movements in squares

After 1964 her works became more serene. She reintroduced colour in modulations of grey tinged with red and blue. The variations of tone and the undulating shapes gradually gave way to juxtaposed lines of pure colour, at first two colours, then a variety. The result was contrast produced by the effect of one
colour on its complementary, either heightening or dulling it. It was particularly expressive in Late Morning (1968; London, Tate), consisting of 11 colours: red, blue, green and 8 hues between blue and green. The overall effect is of the freshness yet gathering heat and golden light of a summer’s morning

                                                                           late morning

Bridget Riley is one of the finest exponents of Op Art, with her subtle variations in size, shape and position of blocks within the overall pattern. Her work is characterised by its intensity and its often disorientating effect. Indeed the term ‘Riley sensation’ was coined to describe this effect of looking at the paintings, especially her early black and white pictures. Riley is fascinated with the act of looking and in her work aims to engage the viewer not only with the object of their gaze but also with the actual process of observation.

Aubrey Vincent Beardsley (21 August 1872 – 16 March 1898

Beardsley was born in Brighton. He was an English illustrator and author. His drawings, executed in black ink and influenced by the style of Japanese woodcut, emphasized the grotesque, the decadent, and the erotic. He was a leading figure in the Aesthetic movement which also included Oscar Wilde Beardsley's contribution to the development of the Art Nouveau style and the poster movement was significant, despite the brevity of his career before his early death from tuberculosis.
The best-known works of the artist include the illustrations to the book Salome, in which Beardsley - like many other artists of his time– was influenced by the Japanese woodcuts. In many works of Beardsley, the kimono-like garments of his figures and the distortion of perspective in a flat image are represented,
similar to the vase painting. This allowed the use of strong black-white contrasts, which brought significant advantages in relation to the reproduction technology favored by him - the sheet zinc corrosion-. In this technique errors were easily repaired in the original drawing
                                                                    the peacock

                                                                    The apotheosis

The often acting organic ornamentation and curved lines in his paintings are typical. I am fascinate about the ease and the elegance of the lines and the harmonic surface division

Oxford University Press
Wikipedia, the free encyclopedia

The evaluation of the first assessment

... And yet everything became different! The more I tried out the layout of my tailored monoprints showing the best result, I became more and more dissatisfied. The rigid division of the surface into geometric segments didn’t corresponded with my idea of a mixture of lot of texture and embroidery. When I searched in my collection of pictures of various textures and the reference in the last chapters a vague picture of my fabric parts compressed more and more At preschool age I had sewn together scraps with needle and thread out of my mother’s hand basket; mad with wrong side together and askew seams . I wanted to make the fabric for my pocket with scraps, with wrong sides together seams or stitched together, or punished with my embellisher. I used for the surface design the cutting sewing technique from Chapter 10 "Challenger"

                                                             picture 1 cutting and sewing

. Another possibility for the surface design Linda Kemshall presented in a video sequence of Design Matter TV. The "blooming” correspond to my imagination. 4-5 layers are sewn 1inch apart horizontally and vertically to each other and then diagonally cut and the edges frayed

                                                              picture 1a the blooming

In WOW, I discovered another technique to get a nice texture. I arranged torn strips of different fabrics across a surface, building them up in layers. I placed a piece of organza over the layered pieces of fabric and put a few pins along the edges to hold the fabrics in place. With a sewing machine, I sewparallel lines, up and down over the whole of the surface that has been covered with the fabric strips and organza. The stitching needs to run at right angles to the fabric strips and the lines should be about 1 cm apart With a sewing
machine, sew with lines at right angles to the original machine lines, opening up the layers of fabric as I go to expose the layers beneath.

                                                           picture 2 layering and slashing

The waving of torn fabric stripes were also integrated

                                                               picture 3

                                          picture 4 cable stitch with black pearl yarn in the bobbin

I cut the back and front part of the bag from kuninfelt and covered it stitching with the different textured fabric pieces . The piecing of the kuninfelt backing with embroidered scraps was really time consuming but the result warrant the lot of work and I am happy with it. Finally I couched my hand made cords as connecting element on the surface. I dyed the fabrics (all belongs to the dowry of my deceased mother in law ) with Emo textile dye and I used for the monoprints sun printing colours. I only used black colour with different watering down dilution. The different surface texture emphasize the grey tones shading . I get blue and purple shadings by bleaching the black coloured fabrics. That’s pretty accent in the grey tone scale

                                                                               picture 5

                                             picture 6 the front and the back part of the bag

The handles of the bags became knotted .and are fixed with dorsett buttons. For that I used mercerized yarn

                                                                   picture 7

                                                                   picture 8 It has had it

                                                        picture 9 In the garden with clematis

 I feel the outcome of the bag coherent. The surface shows a pretty texture and I succeeded in shading the tones from very dark in the middle part to more pale parts at the edges. I integrated machine embroidered scraps with hand stitching to get more interest. The bag is a “Maren “bag. If I were asked to make the bag again what changes should I make. I should design the surface in the same way but I should change the depth of the bag

Date when design work was started: 17.06.2010 completed: 03.07.2010
Date when embroidered item started: 10.07.2010 completed: 26.07.2010
Total numbers of hours spent working on the design work: 12 hours
the embroidery work: 40 hours
Costing fabrics :ca 20 euro
Emo textil colour:10 euro
Batting : 8 euro
Embrodery yarns . 16 Euro

Storage of Work, Materialsours Tools and Equipment
The design work in process: Ikea storage boxes labeled by their contents The
completed design work: The same boxes also labeled by their contents The
colored papers are in a ring binder and all papers are scanned
Inks, paints, glues and brushes are stored in several chests of drawers
Embroidery yarn are sorted by colors in plastic boxes also the beads and the
material for embellishments like tyvek and silk roads The fabrics are sorted by
color in my cupboard in my studio The sewing machine is in my studio on the
sewing table
The electrical equipment like iron and iron table are stored in my shelving
Health and Safety Rules Observed
Use care when cutting with a utility knife – use a cutting board to ensure your
work does not slip
Use the heat gun and paints only with opened window Take a rest after
several hours of stitching or sewing
No pins in the mouth Do not rub your eyes with paint on your


Thursday, 8 July 2010

book cover

one week creative holidays have been sufficient to finish my book cover mad by embroidered oil finished paper.The  production of the paper: handmade paper or drawing paper, wrapping paper get a layer of oil paint sticks then ironed under  baking paper. This is done best in the open air. It stinks and the vapors may cause mucous membrane irritation. After ironing, you painted the surface with aquarell color or diluted water  brusho. These two processes is repeated 3-4x and who likes draw simple ornamental pattern. Vlieseline G710 has been ironed on the back of the paper and now the paper is crumpled  until it is soft and almost feels like fabric. I have covered the crumpled surface with acryl wax. So it is most easier to stitch.

                                                                           picture 1
the front of the bookcover with a dorset button

                                                                 picture 2
the inside with fabric lining

                                                                           picture 3
the back of the book cover

Sunday, 4 July 2010

Module two ch 12

Chapter 12
Further designs on the suggestions of Sîan Martin

The suggestions make me think about form variations of the bag. I changed it from a circle to a elipse and devide it in different sized segments.
                                                                               picture 1

I used this form as a pattern for a model of non-woven material., I formed from the 2d shape a three-dimensional bag by a fold at the left and right edges of the shape

                                                                              picture 2

                                                                           picture 3
That‘s the shape of a bag quarter, which I used for the design variation with photoshop

                                                                        picture 4
After some trials with graphice patterns,a found out, that they didn‘t fit to the shape of the bag segments specially logcabin and seminole. I don‘t like the result. And so I decided to cut the segments out of my patterned fabrics sew them together and make a sandwich with thermolan.  I will embellish this with embroidery stiches of the sewing machine.I will take into account the advices of Sîan, to over-lap the
embroidery stitches to create a rhythmical pattern like the characteristic of animal patterns

                                                                            picture 5
This is a collage with PSP9 by using pictures of my stitched and monoprinted fabrics

                                                                           picture 6
That‘s a collage only from my shibori fabrics. That‘s look quite well. I could work the seams faced up and let
they become frayed. But I will make the last decision during sewing the bag.