Tuesday, 21 May 2013

Timing

Date when the design work was started: :28.12.2012
completed: 30.01.2013
Date when the embroidery  started:10.02.2013
Completed. 21.05.2013
Total numbers of hours spent working on the design work: 70 hours
the embroidery work :28 hours
Costing fabrics :ca 40 euro
Batting : ca 5  euro
Embrodery yarns . 20 Euro

Storage of Work, Materials, 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 colours in plastic boxes also the beads and the material for embellishments like tyvek and silk roads The fabrics are sorted by colour 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 system.

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 hands

Evaluation The crumbling of livelihood

That is my theme for my wallhanging:

This in consequence of global warming by rising CO2 emissions as a result of the sell of natural resources for economic reasons .I want to fix my fears and anxieties on the example Iceland I thought about my impressions of the disillusionment that attacked me at our second walking tour on Iceland. I had the impression that Iceland should be sold .

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The form for my feelings of despair and depressed was the starting point for my digital design

 

The downward radiation represent the negative feelings. But I do not see anything black on black. I want to create in my work also positive moments. I can present this with the same shape, if I turn it around 180 degrees. The rays are now upward. I see in this new form a struggle of responsibility against exploitation. My color choice express the hope of favorable prospects and has been represented by my used coloured paper . All subsequent design work for my asessment based on this form. They also form the framework for the surface design. I emphasized the head-shaped poles with highly raised embroidery and I emphasize the wedging up and down directed beams with pin tucking stitching.

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yes,I feel really proud. I think that I have been able to highlight the main elements of my printed digital design with the surface treatment. I initially had a huge fear at all to edit the finished printed fabric with embroidery. I was afraid to spoil the great fabric printing with any hand or machine embroidery.

In the case of the a following  large-scale embroidery with shirred fabric manipulations, I would  work this on a separate piece of fabric and then applied to the larger area. Such a procedure would prevent the horrible bumps.

chapter 12 Study Three Artists

Barbara Lee Smith
Barbara Lee Smith has brought surface design and machine embroidery to a new artistic level by fusing layer upon layer of synthetic fabric and using the stitch as a drawing tool. Her surfaces are rich with color, painted, printed, and collaged, stitched drawings. The organic shapes and elusive colors build to become a complex and intriguing environment that can be contemplated at great length. Her love of luminous color is evident in all her work. Barbara has taught, exhibited and lectured nationally and internationally. Her work is included in several prominent museums and public collections.

Barbara Lee Smith uses intricate stitching techniques and various washes of pigment to create elegant textile landscapes. Her works "are often created in a series, in response to inspiration related to a particular place or experience."
http://jsauergallery.com
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"Estuary," by Barbara Lee Smith and a detail  (carlaseaquist.com)

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Detail "TYBEE ISLAND III"
Barbara Lee Smith
Synthetic fabric: painted, printed, collaged, fused and stitched
18" x 48"( http://www.jsauergallery.com) 


Jae Maries
Jae Maries  main theme since graduating from Reading University (BA Hons Fine Art) has been to represent people in everyday situations. She would often make use of her thumb-nail sketches as inspiration which were then developed into life-size wall-hung textile pieces. More recently however, Jae’s work has changed direction and she is creating panels using her daily Visual Diaries as her resource. The marks, symbols and relevant studio fragments represent the events, feelings and actions that impact on Jae in her everyday life. She trained as an oil painter and moved into stitched textiles later in her career with the intention of combining textured stitched surfaces with painted fabric sections. The challenge of working simultaneously with oil painted surfaces and fabric is technically stretching but she enjoys the contrast between the spontaneity of the brush stroke and the hands-on tactile approach that comes with dyeing, manipulating and stitching into fabric. As well as being an artist, Jae is an internationally recognized lecturer and tutor in creative textiles and has taught in Australia and USA. She has also exhibited widely, in Japan, Israel, USA and Switzerland as well as the UK. She is an exhibiting member of 62 Group of Textile Artists (taking over the Chair in December 2009) and Contextus.
Her inspiration comes from the  world surrounding her. Her sketches often form the starting points from which she develops and expands her ideas. More recently her inspiration  comes from her personal reactions to everyday situations. She is enjoying the challenge of interpreting, in an abstracted way, her feelings, actions or visual stimuli on a daily basis.
Her base material is usually unbleached calico. If she is painting it will be prepared to take the oil paint. If however she is printing and using fabric inks then she uses a fabric prepared to take the pigments.
TECHNIQUES
She often  use  screen printing inks (Sericol)often applied after the fabric has been manipulated and stitched. The dyes are applied with a palette knife or sponge roller. These fabrics are are then applied to the oil painted surfaces which have been stitched before the application of paint.
Jae uses a very restricted palette and selects colours that will underline the feelings and ideas that she wants to express in a piece of work. The prestitched fabric areas provide the texture which she balances carefully with plainer areas.
Simple hand stitches are Jae's favourite method of working. They are minimal but can provide strong accents in the work. Free machine straight stitching is another weapon in her armoury but it is used as a functional tool, holding pieces of fabric together. She very rarely use stitches decoratively and have an aversion to glittery threads unless they are essential to the underlying ideas of the piece of work.( http://www.jaemaries.com/2.html)

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Shopping Again ( from Connecting Art to Stitches by Sandra Meech ; Batsford 2009)


Ineke Berlyn
Ineke Berlyn is an international prize winning textile artist, who combines her love for colour, fabric and travelling to create an ever changing collection of work and sketchbooks.
Ineke has always had a strong interest in textiles before embarking on a City and Guilds Course in Patchwork and Quilting where she developed a love for the landscape around her home in Worcestershire and the beautiful views she encountered on her travels. Her first major landscape work: the ‘Omaha’ quilt – based on a photograph taken at the landing beaches of Normandy, was chosen to form part of the ‘Transforming Tradition’ Exhibition organized by the Quilters Guild of the British Isles. ‘Omaha’ also won a First prize at Quilts UK. ‘Salt and all its facets’ a three dimensional, mixed media piece won first prize in a competition organized by a salt museum in the Netherlands. In August 2006 ‘by the soaring of seagulls’ created using a new and exciting technique involving sheers and organza, earned a first prize in the innovative category at the Festival of Quilts in Birmingham.
The bright ‘Here Comes the Sun’ won first prize in 2006 and in 2007 the ‘Bluebells’ again in organza won best of Show at ‘Quilts in the Garden’ at Trent ham Gardens near Stoke on Trent. In the summer of 2008 her ‘Mother of the Bride’ dress won prizes in the contemporary small section at the Festival of Quilts and at Trentham.
Her quilts have travelled to Europe, Japan and Canada with exhibitions like European Art Quilt (http://www.inekeberlyn.com/)
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Seagulls I by Ineke Berlyn( from Landscapes in Contemporary Quilts by Ineke Berlyn; Batsford 2006)

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Lutradur Artwork by Ineke Berlyn (http://www.flickr.com/photos/colouricious/)

Sunday, 5 May 2013

Two thirds of time for my Wallhanging


Yes in fact , I have not reported a very long time. I've been busy! With embroidery .... and also pondering. The latter because of the uneven wide distribution of the wall hanging, despite intensive embroidering, leading to buckling, which  I did not like. A few days ago, I made ​​short work and fixed the wallhanging in very few sections on a fusible interfacing-very carefully, starting from the center and holding together the width, . And voila --- the bumps were almost gone. Therefore now it’s  time to present the interim results.

4-zweidrittelzeit
picture 1
3-zweidrittelzeit
picture 2
2-zweidrittelzeit
picture 3
zweidrittelzeit
picture 4
It still lacks some of the machine embroidery and then the assembly on the rectangular background