Unit X - Mid-Point Evaluation

I have learned a lot from my practice unit, which has changed my attitude towards my unit X project. I will refrain from being too ambitious regarding work load, and instead focus my energy into my weaving. This will ensure I am using my time to thoroughly develop and resolve my samples.

Time management plan

The digital designs that I have produced are time efficient, because they will enrich my weaving compositionally, whilst also allowing me to participate in an outward facing project. I aim to produce a collection of digitally printed designs on fabric to enter into the 'Limitless' brief by i-Dott.

My digital drawing designs

I am focusing on my strengths of using unconventional yarns and combining crochet elements. Instead of surface embellishment, I am embellishing the weave from within the structure. This will push the boundaries of my weaving, challenging what is practical, whilst providing me with a structured format to work with.

Lily Tennant

I aim to produce a collection of meter long passementerie weaves, inspired by Rebecca Louise Law's installation consisting of mass amounts of long floral forms hanging from supports. I intended for my weaves to become jewellery or fashion pieces, however, it was suggested that I display my work on bobbins, because it is more practical, similar to how Lily Tennant presents her work.

Unit X - Week 4

I noticed the quality of my weaves improved with the black warp, as they had the dramatic aesthetic that I desired. The varying yarns have resulted in obscure and abstract interpretations of my inspirational images, whilst remaining true in terms of colour and surface texture.

Inspirational photo, my drawing, my weaving (beads & cord)

I developed my drawings in Photoshop to create compositions to help me visualise the structure of my weaves. My compositional skills have improved and strengthened my direction. I noticed they capture a quality of Alexander McQueen's printed fabrics.

Alexander McQueen garment

I would like to create a series of digital fabric prints, using these designs to create a collection for the 'Limitless' brief from the i-Dott competition. This will be an efficient use of my time, because the designs can help enrich my project by informing my weaves, whilst allowing me to engage in outward facing activity.

My digital drawing designs

Unit X - Week 3

I encountered a problem with my white warp, because the majority of my visions required a black warp to allow my weft to stand out. I resolved this by dying my warp on the loom, which would require treating after being woven.

My photographs of insects

The green lurex contrasted exquisitely against the black warp. However, my crocheted green monofilament cord was less successful. It had an interesting aesthetic, but the result was twisted and lacked refinement. I aim to develop my crochet further with regards to unconventional yarn.

My weave (green lurex & crocheted monofilament)

Unit X - Week 2

Elizabeth Asdhown

Instead of embellishing the surfaces of my weaves with embroidery like my last unit, I decided to embellish my weaves from within the structure using different yarns and cords, taking inspiration from Elizabeth Ashdown's weaving style and media.

Unsuccessful yarn testing

I experimented with iridescent yarns to emulate the surface qualities of the beetles I photographed. However, my samples lacked the quality of my inspiration, due to the colour being muted with the white warp. I limited the warp's dominance by utilising floating weft patterns. This mimicked the repeat of form, to highlight how small sections can be repeated to create length, resulting in impact.

Inspirational photo, my drawing, my weave (cord, lurex & twill)

I tested strips of beads, knitted cords, braids, cords and crocheted my own yarns. The knitted cords lack structure, so are unsuitable for large loops, but are appropriate for smaller loops and incorporating into the weave structure. The most successful weave consisted of pale glittery lurex with a flash of red, which contrasted effectively. It had a strong cord, which kept its structure and made my sample robust.

Unit X - Week 1

Continuing from my strengths of my practice unit, I am focusing on passementerie and unconventional beauty found within nature, and the strength in mass of the miniature. I created a narrow 1.5" black and white mercerised cotton warp. This allows me to avoid limitations of colour and focus on the edges of my weaves.

Warp plan based on my photograph of butterfly

My context is influenced by Samuel & Sons lavishly decorative trimmings. I aim to push the boundaries of a trim to jewellery or installation similar to Rebecca Louise Law. 

Rebecca Louise Law installation, Samuel & Sons trimming

I was inspired by John Piper's expressive drawing techniques, so I experimented with wax crayons and inks. The wax successfully captures the hard, shiny surfaces of crystallises, and the ink residue forms the interesting surface patterns. These drawings have inspired me to use unconventional yarns such as lurex and monofilament.

My photograph of crystallises & my drawings (wax & ink)

Practice Evaluation

I initially challenged myself with colour, as I tend to only use neutrals. I extracted colours from flowers. I found it difficult because I struggle to identify tones, however, I improved as I vigorously explored painting out colours and various yarn testing.

I initially used embroidery techniques to interpret floral qualities. However, as my work progressed with crochet braids, I realised passementerie would be a more appropriate route. I decided to focus on weave, which provided a necessary structure in terms of time management and work format. This offered possibilities regarding combining crochet and embroidery.

Inspirational photograph, drawing & weave plan

My choice of yarn qualities and colours were successful, but I struggled because I felt pressure to capture the beauty of the flowers, as they are inherently beautiful, which was difficult to emulate. I was pleased with how flamboyant my pieces looked though.

I noticed an improvement in my embroidery skills during my work placement at a Bridal studio, where I learned processes and machinery required for constructing a child’s dress. This enhanced my confidence in terms of technique, however, the process was very demanding and time-consuming as it required precision. This placement also helped to develop my context: I originally wanted to create neck pieces, but their style resembled wedding garters. A successful part of this project was discovering where my interests lay.

I thoroughly explored my floral theme with my first project, live Bradford competition and my placement, so I wanted a dramatic change of direction. I aimed to explore a darker sense of beauty within my second project. This was influenced by my essay regarding Alexander McQueen, which helped me to gain a deeper insight into unconventional beauty. I found inspiration in the dark atmosphere of the Winter season, contrary to my previous summery themed work. I photographed the outside world on a dismal, ordinary bus journey home. This provided a brilliant contrast to my previous work, and allowed me to explore a completely new concept and allowed me to seek beauty with less limitations.

My final woven collection (project 2)

I focused on texture and mark making, with bold glimmers of metallic colours, which contrasted against the dark background. I was able to interpret these elements into my weaves via foiling. I found this process less stressful, as I was highlighting beauty that I could find, making it more personal and obscure. I felt I could explore techniques more extravagantly, which allowed me to experiment vigorously, resulting in exquisite and refined work.

Submission board for Hand & Lock Competition

I wanted to combine both floral and unconventional beauty to my Hand & Lock competition entry. The brief was about 'celebration' and 'play', so I considered my child’s dress, responding via a birthday celebration theme regarding 'child's play'. However, I was advised innovation was more appropriate than construct. Instead I focused on Vanitas, which holds a realistic view about life, beauty and death. I wanted to celebrate the life of the deceased. I think the concept behind this project is strong, however, I failed to provide myself enough time to develop my samples.

Overall, I have improved my techniques, finding a balance between weaving (which provides an essential structured format), and expressing my ideas with embroidery. I have also noticed an improvement in applying context to my work. Combining specialisms offers me the appropriate freedom required for me to be motivated and inspired.

Practice - Week 16

I revisited my Hand & Lock competition, focusing on hand embroidery techniques instead. I was inspired by previous winner Devi Vallabhaneni, who created a 3D beadwork installation. 

Devi Vallabhaneni

I created a fabric manipulated brooch, influenced by Vanities: incorporating floral inspiration in response to the 'celebrations' brief. My colours gradually fade from bright pinks and yellows to symbolise how life and death is celebrated. I incorporated beadwork and wire to strengthen my reasons for choosing the hand-embroidery category.

Board submission for Hand & Lock Competition

I think my concept was strong, however, I struggled to create a successful final piece because I did not leave myself enough time to develop my work. I was too ambitious with my time, and failed to organise this live project.