Development Through Layering

The continuation of drawing is important to me this unit as it allows my ideas to constantly flow, and I find the process very relaxing, especially when faced with a busy environment in the studio. Throughout my development work I have realised that I really enjoy the slow, serendipitous process of cutwork. The method of cutting creates a calming emotion, similar to that experienced when faced with the shore line. After creating a numerous amount of cut samples, I have began to layer these together, looking at the patterns produced, which I will then go on to design with the Ethos software, in order to create my markings as a machine-embroidered design. The process of layering and scanning my images creates a development in my work, changing the original pieces into something more interesting to both look at and work with.

Outward Facing Brief: West Dean College

During my second year Locating unit, I applied to West Dean College taking part in a competition requesting a bursary for a workshop ran by textile artist, Janet Bolton, and was accepted.

The five day course was focused upon translating pictures into textiles design, enabling participants to be inspired by Janet's style of work. Note: Janet and myself have very different approaches to embroidery design- mine recreating abstract hand drawn marks through machine and hand combinations; Janet taking a more literal approach creating relationships between cloth, memories and stitch. I find the most enjoyable aspects of workshops is to be inspired by a totally new method of working, to then adapt to my own traits.

Janet works with the concept of playing, working around colour ways and themes, using literal examples of people and places to create scenarios from fabrics. Passionate about folk art, she enjoys the nostalgic approach towards her work, other people's interpretations found in the pieces she produces.

I was able to take invaluable advice from Janet with regards to the textiles industry, as she herself has spent her entire lifetime travelling and exploring different contexts and processes of working. The biggest piece of guidance was that you don't need to please anyone but yourself. Irregardless of degree grade or qualifications, if you show enough determination and passion, you will succeed.
Also, you should never think of things that don't work out as negative: doing things that you don't enjoy backs up the confirmed passions that you do enjoy.

Designer Research: Maia Bergman

I first discovered Maia Bergman's work via Pinterest, whilst creating my summer boards. Maia is a 2012 Graduate from Central Saint Martins, specialising in fashion print design through a collection of pastel colours and embellishments. I am interested in all aspects of Maia Bergman's work: colours, materials, concept, context, embellishment. Corresponding with my own practice, I am interested in incorporating heavy beading work into my final samples using a neutral colour palette, as this is my preferred palette to work with. I am considering taking a similar approach with my work to that of Maia's; creating a collection of samples that are similar to one another, with only the pattern of work slightly changing, in order to give versatility and individualism.

Maia Bergman: http://maiabergman.tumblr.com/

The element that I find most interesting in her work is the use of plastic beading for a context of high couture fashion, with Maia stating that "cheap glamour is irresistible". Using the materials that you have to hand is a knowledge that I believe will be of use in our upcoming project; as I am wanting to work a lot with multiples and repetition, I will need a resource of materials that are easy to source and a reasonable price.

Initial Drawing Work

To begin this unit, I have been looking closely at my primary photography research. I find it fascinating that the patterns produced by the shoreline are constantly changing; there are never two identical surfaces created. The rhythmic, repetitive movements inspired me to begin drawing. I want to keep a clean, crisp white colour palette, similar to my original research, therefore drawing with white materials onto different qualities of papers: card, paper, tracing paper, acetate.

In reflection of my drawing,  usually I prefer to draw literal pieces from drawings or sight, so beginning with the technique of loosely drawing from photographs has been a new way of working for me. Technically 'doodling', I have enjoyed the process of creating repetitive, unique patterns, allowing my own hand stamp to become apparent through my initial drawings. With regards to the development, I shall begin to layer my drawings and the different surfaces that they are drawn upon, in order to find out which layers work best together, then ultimately thinking of ways to combine my hand-markings into embroidery design.

Initial Research: White Surf

My initial concept has derived from my excitement of the translation of natural surfaces and objects, into embroidery design. I am interested in exploring material qualities and the possibilities of manipulating materials for their chosen contextual purposes.

Primary research began with the shore line and found objects collected through the process of beach-combing (ropes, shells, feathers, glass)- I am always thinking about how I would be able to recreate these through embellishments and textural surfaces. I am most interested in rolling waves and white surf, and the way in which they create an impermanent pattern. The process in which they do so is calming, and sends the spectator into a state of meditation. The uncontrollable, repetitive patterns that are created by the white surf reveal individuality, with no two sequences ever being the same. Through repetition, multiples and drawing, I intend on creating a quality towards my work, making my own personal hand markings to show uniqueness through each piece. Through the process of layering my work, I am also able to recreate the way in which waves move upon one another, creating even newer patterned results.