Sunday, 20 November 2011

Responding to Ideas.

1. Graphite Layer on White Paper rubbed back with an Eraser.
2. Black Acrylic smeared across White Paper with a Credit Card.
3. Diluted Black Ink washed over Clear Candle Wax.


Interesting new patterns emerge on the reverse side and even the thrifty use of thread and the castings off are attractive in their own right.

Monday, 14 November 2011

Chapter 2: Stitching Tonal Columns

This sample was worked on 10 holes to the inch canvas in a range of threads: crochet, buttonhole and single strand embroidery silk. It was difficult to graduate the transition from black to white simply because they are so stark.  White on black seems to show up more strongly than black on white.  The spring in the threads produced a nice 3D effect because the threads on the reverse side can be glimpsed through the holes.  Also, as the fine black thread crosses the white small bold white crosses appear, and as the fine white thread covers the equally fine black thread white diamonds are created.
At Summer School someone commented how addictive working on squared paper could be.  I now understand what they mean  and could quite happily have continued well beyond the examples posted below.

Simple experiments using lines -- looking at line length and spacing.

Taking a single line and developing simple patterns.  The third example has a strong sense of directionality achieved by the diagonal lines.

Enlarging a design.  Firstly, a hexagon which is elongated.  It's interesting to see whether the shapes tessallate or what shapes are created if they don't.  Secondly, designs from Margaret Pascoe's book, "Blackwork Embroidery: desgn and Technique".  The right-hand image shows pattern repeats, the left-hand the pattern being enlarged (with some imperfections in the copying).

The same design, the left-hand image showing regular disintegration, the right where it's happening in a more fragmented way.

I used 16 Count White Aida for the samples below.  I chose the paper design that reminded me of fish scales: the small squares could be worked in metallic thread to create highlights.

In Margaret Pascoe's book she discusses those who work straight onto fabric and those who need to draw their design on paper first. Thank goodness for squared paper!  I found this disconcertingly complex and it took many attempts before I could really see what was happening.  It is lovely in a very formal way and the continuous running stitch gives the appearance of the stitches being embedded in the fabric.  I also like the strong sense of directionality.

I find this pattern very appealing.  I used single stitches instead of continuous running stitch and as a result the threads seem to float above the fabric and increase the 3D feel of the design.

Having scaled up shapes on graph paper I thought it would be interesting to layer different sized hexagons using different thicknesses of thread.  The hexagon shape reminded me of fish scales and the wedding dress fabric I used for September's drawing project.  The fine and thick threads work, but the medium weight thread needs to be a little heavier.  I also think I needed to work the stitching more densely to see whether the idea has any merit!

Sunday, 6 November 2011

Fish Shop Inspirations

Holt is the small Georgian town three miles from where we live.  It's where The North Norfolk Fishing Company has its shop.  The displays are wonderful -- fresh and inviting, ice packed around the newly caught sea-food.  I find it inspirational and so have found myself buying, drawing, photographing and eating my way through mackerel, herring and rainbow trout.  Their varied markings and gleaming skins are quite stunning.