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About paper and stitch

I am a textiles student with OCA

Textiles 1 Mixed Media for textiles Part 2 Joining and wrapping Project 1 Joining

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Exercise 3 Joining curved edges

Materials joined – paper, leaves, silk chiffon

Methods and materials used to join – hand stitch, machine stitch, paper fasteners, buttons, glue, pleating, cocktail sticks, gathering

Circles can be joined to fit to make flat surfaces and 3D shapes, they can fit neatly together or they can leave gaps.

Watercolour paintings

Cutting a circular hole and then joining a smaller circle or item into the gap means the method of joining has to be considered, – in the two samples below I have used hand stitch and machine stitch which both add an extra dimension of colour, line and texture to the sample. Also joining a large concave curve to a smaller convex shape requires consideration for the two shapes to fit together. In the paper sample below I chose to pleat the concave edge to fit.

Watercolour paintings

Left handed drawing provided inspiration for a print block

I joined two convex shapes by punching holes and threading cocktail sticks so the shapes touched, I also used three circular shapes and overlapped these, again securing with cocktail sticks. I like the simplicity of these samples – letting the papers ‘do the talking’, and allowing light to pass through the translucent circle to create a coloured shadow in some of the photographs.

Watercolour painting with pen

Gathering a large circle of silk chiffon and stitching it into a smaller circle shape cut from a leaf was interesting to photograph from many angles. The floaty, translucent fabric contrasted with the solid leaf and created strong lines and powerful images.

Watercolour painting

Using large paper circles to fit into smaller concave shapes needed a pleat to make the edges fit together. Glue was used to hold these in place.

Close ups

Being a dressmaker means I am used to manipulating different curves to fit, such as sleeve heads, collars, and waistbands. Gathers, pleats and easing can be used to achieve neat edge to edge and overlapping joining of curved edges. It was interesting to try these techniques on different materials. Clearly gathering would not work so easily on most papers, but pleating is easy to achieve and paper retains the shape of the pleats. Different types of join such as paper fasteners and cocktail sticks worked well to create 3D shapes quickly, as hand sewing is more time consuming. Lots of ideas here! As my leaves deteriorate they are changing shape and will make interesting subjects to photograph and draw in a week or so’s time.

Textiles 1 Mixed Media for textiles Part 2 Joining and wrapping Project 1 Joining

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Exercise 2 Joining straight edges with a gap

Materials joined – watercolour paper, corrugated card, cocktail sticks

Methods and materials used to join – glued strips, cocktail sticks, safety pin, ribbon, folded paper, beads, weaving, knotted sari silk yarn, stitching through plastic, buttons with hand stitch, beads

Joining straight edges with a gap meant I had to think about what went into the gap, and how the materials were to be joined. Firstly I used machine stitch with plastic in the gap – this meant the gap stayed constant and the stitches showed in the gaps, or didn’t as in the first sample. It was satisfying to machine stitch through the thick watercolour paper, with each further piece dangling by a thread, or seemingly ‘thin air’ as the plastic is virtually invisible. This technique could be translated to fabric by using a very fine material to fill the gaps, such as silk chiffon or tulle.

To ‘draw’ my samples I used a combination of print blocks and black pen.

I experimented further using hand stitch, buttons, glued strips and paper in the gaps. These samples made me think about techniques for making folded accordian books and their covers. I particularly like the button sample, – the contrast of the bright green shiny buttons with the hand stitch and strong black and white prints is exciting and tactile.

The following image was manipulated 0n my iPad using the ‘Waterlogue’ app.

I used cut up postcards to join using felt and glass beads. I like the contrast in texture of the postcard and the beads. I have also considered the colours in these samples.

Printing using a combination of these simple shapes made brilliant patterns.

Experimenting further with lots of joining techniques was inspiring, – simple corrugated card was merely the medium for exciting and interesting ideas. The width between the card ranged from 1cm to 5cm and some samples have graduated gaps.

I have drawn some of the samples with pencil and black pen and then gone onto to produce foam printed images with hand sewn and crochet joining details.

Realising that joins can be made in other ways, I produced a paper chain sample and also cocktail sticks joined by buttons. These did not inspire me in the same way as some of the other samples but chains are definitely an idea that I may come back to.

Once again very simple techniques and ideas have inspired lots of samples and resulting drawings. I really am going to have such a catalogue to work from.

Textiles 1 Mixed Media for textiles Part 2 Joining and wrapping Project 1 Joining

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Exercise 1 Joining straight flush edges

Materials joined – watercolour paper, furnishing fabric, postcard, metal sheet

Methods and materials used to join – hand stitch (straight and buttonhole), machine zigzag, attachment of buttons, glued paper strips, crochet

I chose to join materials I had close to hand, using colours that pleased me for stitching. Joining straight edges proved relatively easy, the interest is in the method of joining and the pattern/texture/colour this adds to the sample.

Simple sketches of the samples led to some lovely foam print blocks which capture the lines and joins of the samples. The sample where fabric squares have been joined to paper are particularly interesting – I have tried to contrast the soft lines of the fabric with the pattern of the paper.

Cutting up and rearranging a postcard made an inspiring collage with lots of lines and shapes which could be developed. I find the parts of words in this sample intriguing. Using large buttons made a less stable join than glued paper strips.

More printing and cardboard stamping explored the samples further and the addition of drawing pens emphasised the actual joins.

Joining metal sheets necessitated punched holes being made first, and I can see that other materials such as wood could be drilled and then joined in a similar way. In this case I have blanket stitched the edges and then used crochet to join. The resulting sample can be laid flat or raised into an angled shape.

Having done more printing, I then did a couple of watercolour sketches of the sample in the ‘tent’ position and manipulated these further on the computer.

I am definitely enjoying printing as a way to develop my ideas, and it is surprising how such a simple technique of joining two straight edges can produce such a lot of inspiration.

Textiles 1 Mixed media for textiles Part 2 Joining and wrapping Stage 1 research

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Pippa Andrews

I was drawn to the work of Pippa Andrews in particular because she has created works using paper, particularly newspaper rolled into beads and joined using nylon fishing line. She also uses knotting, beading and stitch to create organic looking shapes. There is a lot of movement in the pieces which appear to be changeable and drapable.

Fig.1 Andrews, P. (Date unknown) Stripes and spots (Paper )
At: https://societyofdesignercraftsmen.org.uk/our-makers/pippa-andrews. (accessed 04/10/2020)
Fig 2. Andrews, P. (2012) Standard Quilt (Paper)
At: https://www.textileartist.org/pippa-andrews-interview-part-one-textile-art-in-its-loosest-sense (accessed 04/10/2020)

The following work is on a much larger scale and is created with indigo dyed bed sheets ripped into strips and made into cords which have then been made into hanging pieces using finger crochet together with threaded tubes which provide stability and shape. These are reminiscent of lanterns, with a Japanese feel due to the shapes, colours and simplicity. To me they also have a look of bell pulls, with the rope curling onto the floor.

Fig 3. Andrews, P. (2010) Wave. Recycled bed sheets installation
At: https://societyofdesignercraftsmen.org.uk/our-makers/pippa-andrews (Accessed 04/10/2020)

Barbara Cotterell

Barbara Cotterell works with found materials from around her home or scrap yards. She uses repeated images which she states are ‘very neat but on closer inspection wonderfully untidy’. (https://www.textileartist.org/barbara-cotterell-from-frugal-foundations)

Again she uses a lot of paper, in particular tea bags to make a cloth like piece. These are neatly stitched together by hand with the threads knotted and left to show. The undyed tea bags are very natural with subtle variations in colour, and they crinkle and fold where they are bent into the desired shape creating shadows and texture looking into the 3D shapes.

Fig 4. Cotterell, B. (undated) (Title not known) Tea bags
At:https://www.textileartist.org/barbara-cotterell-from-frugal-foundation (Accessed 04/10/2020)
Fig 5. Cotterell, B (Undated) Teapot 2
At: https://www.textileartist.org/diagnosis-artistic-paralysis/teapot-2dscf6515 (Accessed 04/10/2020)

Judith Scott

Judith Scott’s story is very unusual for a textile artist. She was born profoundly deaf and with an extra chromosome which meant she lived much of her early life in institutions with no stimulation or access to art or materials. Later her sister became her legal guardian and when Judith attended art groups and courses she began to wrap pieces of wood in various materials such as fabric and threads. These pieces, collectively called totems are vibrant, exciting, strong pieces with powerful choices of colour and scale of materials.

Fig 6 Scott, J (undated) Totem series. Fabric, threads and wood
At:https://www.textileartist.org/textile-artist-judith-scott-uncovering-innate-talent (accessed 06/10/2020)

Judith Scott made many pieces ranging in scale from tiny to huge, and used any materials she could lay her hands on, being given free range for her to choose whatever she could find by the art studio. She used magazines, chairs, bicycles as well as other found objects.

Fig 7 Scott, J (undated) Untitled. Fabric, threads, bicycle parts and chair
At:https://www.textileartist.org/textile-artist-judith-scott-uncovering-innate-talent. (Accessed 06/10/2020)

I can see that Judith Scott has made choices of material, found objects and colour in her pieces but it is the sheer wild spontaneity and joy of creation that stand out to me – being unconstrained by preconceived ideas, and going with the moment.

Fig 8 Scott, J (undated) Totem series. Fabric, threads and wood
At:https://www.textileartist.org/textile-artist-judith-scott-uncovering-innate-talent

Donna Rhae Marder

I was drawn to this artist due to her almost exclusive use of paper in her work. She uses a sewing machine to join small pieces of paper such as magazine pages, photographs, tea bags, and money, adding wire, matches, buttons and beeswax to enhance the sculptures. Dresses and teapots are a favourite theme, – the dresses display the drape created by this technique, and the teapots have a definite structural shape.

Fig 9 Marder, D. R (undated) Snapshot dress (for Catherine) . Sewn photographs and papers At: http://handeyemagazine.com/content/something-out-nothing. (Accessed 06/10/2020)
Fig 10 Marder, D. R (undated) Larry’s teapot Tea Bag wrappers At: http://handeyemagazine.com/content/something-out-nothing. (Accessed 06/10/2020)

The joining technique is an integral part of these works. For example the dresses have a lot of space between the pieces of paper, creating light airy fabrics, whereas the teapot papers are joined without a gap and the zigzag machine stitches are a prominent geometric feature.

Egyptian Mummy wrapping

As part of my research I also decided to look at ancient and traditional methods of wrapping.

Egyptian mummies were wrapped in linen – sometimes hundreds of metres. Methods varied according to the period of wrapping. Many layers started with a shroud and were followed by careful wrapping; a liquid resin was brushed on to stick the layers on and keep the shape. The bandages were wrapped tightly and pieces of jewellery and charms were added in. The process was carried out by a number of people accompanied by priests.

I find the whole process interesting, – the prayer and ritual over the days of wrapping, the careful tightly bound wrapping, the meticulous bandaging of toes and fingers, and the varying patterns of the criss cross strips. The ancient linen cloth contrasts with the masks, jewellery and amulets made with gold and precious stones.

Fig 11 Ancient – Hatason, 3200 year old mummy. At: https://www.ancient-origins.net/history-famous-people/mystery-wrapped-linen-unraveling-story-hatason-3200-year-old-egyptian-mummy-020641. (Accessed 07/10/2020)
Fig 12 Ancient Human Mummy. At: https://www.britishmuseum.org/collection/object/Y_EA13595. (Accessed 07/10/2020)

I feel that I want to wrap mummy shapes as part of my sample making, and think that maybe clay mummy shapes would be a starting point for my trials.

Mummies were also traditional in the Andes region of South America, and they often placed dolls with the bodies. These dolls often had limbs made by wrapping threads, and their bodies were encased in woven cloth and natural materials.

Fig 13 Ancient Peruvian Chancay doll. At:https://www.ancient-origins.net/artifacts-other-artifacts/chancay-burial-dolls-ancient-peruvian-grave-goods-lost-culture-005395 (Accessed 07/10/2020)

Furoshiki traditional Japanese wrapping

This traditional technique of wrapping items has the name ‘Furoshiki’ which. means ‘bath spread’ and originated in the Japanese Edo period (1603-1868). During this period cloths were used to wrap clothes and as a bath mat. The technique had been used before this to protect valuable items and to wrap goods for transport.

Furoshiki cloths are always square but come in all sizes. The choice of colour and design of the cloth have meaning and therefore this shows the thought and message to the recipient of a gift wrapped in this way. Like the Egyptian Mummies, the process, materials and ritual of the wrapping is as important as the finished article.

Fig 14 Image from Japanese Department of Environment At: https://www.1millionwomen.com.au/blog/how-furoshiki-japanese-fabric-wrapping/. (Accessed 07/10/2020)
Fig 15 Image courtesy of Hibiki-an. At: https://www.1millionwomen.com.au/blog/how-furoshiki-japanese-fabric-wrapping/. (Accessed 07/10/2020)

As I am very interested in Japanese art and textiles, this technique is something I want to try as part of my sampling.

Textiles 1 Mixed media for textiles Part 1. Reflection

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I began this Assignment by researching a number of different artists who manipulate a range of materials. I was particularly enthralled by the work of Francisca Prieto who uses paper, which is a medium I enjoy working with. Although her folded work was very exact I was intrigued by the idea of hidden messages and details which make the work exciting to view both close up and from a distance. I also enjoyed looking at work by Jule Waibel whose ethereal unfolding lingerie changes shape with every movement while always retaining its basic heat set shape. In my practical sampling I have used the idea of hidden patterns and folding to create samples that change depending on the view and light.

I particularly enjoyed tearing different materials as I like the random element of not quite being sure how the tear will go. Tearing plastic was a surprise – the ruffled edges were exciting and a contrast to paper and fabric. I was particularly pleased with three small simple samples which I then drew in my sketchbook, – they make a pleasing combination with a good balance of textures, proportion and colour.

Fusing plastic also surprised me – boring plastic bags could be transformed to a thing of beauty by crumpling and ironing them and then adding stitch to create jewel like brooches.

As usual I loved working with paper which is another fairly mundane material which can be transformed into a soft drapable fabric like material or torn and folded into architectural shapes. Once again my sketchbook drawings have made me look closely at my sample and would provide further ideas for patterns. The crumpled sample has coloured stitching which works really well to emphasise the stretched ribs.

I wasn’t inspired by the section on embossing until I drew the sample and then made print blocks from the drawings. I also did not initially find cutting holes in paper gave me many ideas until I introduced some colour and a transparent element to create further tones and shades when the sample was held up to a window.

When using the heat gun I didn’t really get inspired until I drew/painted a piece of black net that I had heated until it went into holes, – once I had drawn it I started to stitch around the holes which transformed my thinking about this piece.

I drew a lot of my samples in my sketchbook using different methods and media. I can see now that by drawing, manipulating images and printing I am developing a rich and varied collection of ideas for pattern and stitch development that I could not do with photos and the samples alone. My drawing is improving and I particularly enjoy the freedom of using my non-dominant hand.

Colour has been important in many of my samples. In some cases I have introduced a small amount of colour with black and white to emphasise a line or to make a focal point, other samples are saturated with colour such as the plastic fusion. I have also used colour manipulation of photos to create different colour schemes.

I found the sorting stage a useful exercise to go through my work and work out which pieces have made me think differently, which have most potential and to look again at what techniques and materials please me and why.

Assessment Criteria

Demonstration of technical and visual skills

I have demonstrated a wide range of techniques using many different materials such as paper, plastic, clay, fabric and metal. My observational skills have been improved by drawing a lot of my samples in my sketchbook and finding different methods of doing this. My samples are well executed and thought out and have been developed in a logical way.

Quality of outcome

My presentation is clear and logical with understandable ideas and well photographed samples. I have sorted through my samples for presentation and explained my thoughts and ideas for choosing the particular pieces of work. I feel I am improving all the time in experimentation and ideas.

Demonstration of creativity

I have experimented with a wide range of techniques, some of which worked better than others, and I have progressed some of the samples with further experiments in stitch and manipulation – taking risks. There is so much in my sketchbook now for me to take forward to the next parts of this course. My foam prints in particular are very exciting.

Context

I have reflected more on my work as I have gone along and my critical thinking skills are developing. My research is definitely pushing me to look more at different ideas and to keep looking at different artists in my local area, on the Internet and through the library. Recently I have discovered Russell Mills whose use of colour, imagery and texture I find fascinating, particularly the strong abstract shapes and complex colour combinations. I will keep absorbing everything and listening and reading about textiles.

Textiles 1 Mixed media for textiles Part 1 Surface distortion

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Sorting

I have approached the sorting stage by going through the ten exercises I selected, and choosing the samples that I feel are the most interesting either as they are or that have potential. Some I have drawn, some images have been manipulated in a photography application, and some I have used to inspire prints.

  1. Project 1 Folding and crumpling. Exercise 4 Incremental and twisted pleats Each of these samples is very simple but due to the paper used, the angle of the photography and the resulting shape, they feel like works of art just as they are. Colour also plays a major part here. The use of watercolour paper painted black, and torn to give a feathery white edge contrasts well with the definite folds. Paper printed on one side but not the other, and then folded, distorts the pattern in an abstract way here, but maybe the folds could be used to create specific patterning if I decide to take this technique further.

The thicker paper was more difficult to fold and twist, but the shapes and shadows created are bold and powerful, again contrasting with the soft white torn edges and the thread used to secure the ends.

Exercise 5 Basic crumpling technique I enjoyed the crumpling technique, the tactile nature of the samples is pleasing to look at and to hold. The papers I used worked well and could be crumpled many times to give a soft handle which still kept its shape when manipulated into ribs. Changing one of the sample photos into a black and white image and then manipulating it in the ‘Waterlogue’ app made a beautiful picture.

The second sample I have chosen was interesting to draw with my left hand. The scrunched gathers at each end remind me of smocking, and the messy middle is intriguing.

The experiment of stitching ribs on one of the samples worked well and the use of red thread on the monochrome paper emphasised the sharp folds. Because the stitching held the folded ribs in place, the paper could be further crumpled without destroying the sharp creases.

2. Project 2 Tearing and cutting Exercise 4 Cutting holes This was not my favourite technique, but to make it more satisfying and interesting I used patterned materials, and manipulation to make the samples more inspiring to draw. The drawings concentrate on the patterns and shapes and I particularly like the black and white pen drawings with a little bit of colour introduced. There is lots of potential here for pattern making for quilting or applique with lines for stitch.

Exercise 6 Tearing Here I got the chance to be more messy. The series of torn mini samples are lively and fun, using card, paper and plastic. I drew these with my left hand to retain the messy, free shapes and lines. I was not initially keen to use plastic bags to tear but the way in which the plastic pulls apart with a rippled edge is very satisfying and adds another dimension.

The second series of samples uses just three materials – paper, plastic and muslin, in black, red, and white, torn and arranged simply in different ways. The balance of the arrangements is very simple and pleasing but on closer inspection there is lots of detail due to the torn edges. This was fun to draw using inks and a white drawing pen.

3. Project 3 Heating and fusing Exercise 1 Fusing plastic Again plastic was not something I really wanted to work with but I found this exercise really inspiring. Using just coloured plastic bags cut into strips and ironed, The samples were easily translated into print blocks. The printing using Inktense sticks echoed the textured wrinkles on the plastic created by the ironing process.

Fusing scrunched up coloured pieces of plastic was very exciting – I incorporated bits of muslin and sari silk for a different texture, and the resulting samples remind me of jewelled brooches. They were fun to paint with watercolours, and this gave me the idea to make more and stitch into them. Hand stitching through the layers was not difficult, I tried different stitches on each sample. I am sure that this technique could be explored further with different coloured plastic and much more stitching to really intensify the embellishment to make beautiful, decorative, wearable art.

Exercise 2 Using a heat gun Having tried a variety of materials, the sample that excited me most to draw and work with was the black net. The large ragged holes made by the heat gun contrasted with the small neat holes in the net. This was very different to the other sample shown below which is heated satin. Having drawn and painted the sample using made tools and using salt on watercolour, I chose to stitch on one piece of watercolour paper. I love stitching on paper – the feel of the needle pushing through the paper is very satisfying and the stitch is firmly held in place by the paper to make a prominent mark whatever the thickness of thread.

Exercise 3 Using hot water Using a meandering hand stitch pattern on polyester satin I gathered up the fabric and then boiled it for 30 minutes. The result was an intriguing scrunched up fabric that could be pulled open and would crease up again when let go. The dark shadows created by the folds are full of pattern and captured clearly in the ‘Waterlogue’ app manipulation shown below. It was not an easy thing to draw but observing closely produced a drawing full of movement.

The sample is very reminiscent of the work of Jules Waibel who I researched at the beginning of these exercises – particularly her vases and underwear.

I also boiled a piece of prefelt I had made with buttons tied into it, however boiling alone did not fully felt the sample ,so I needed to handfelt it more fully with rubbing and rolling before taking out the buttons. Simple wax circles with a watercolour wash over captured some of the organic feel of this sample.

4. Project 4 Scratching and embossing Exercise 1 Embossing This did not prove to be a satisfying technique for me despite trying wet and dry paper and metal to emboss. This was my initial sample and probably the one I found most in to draw but I didn’t really manage to transform the other samples into anything more inspiring.

5. Project 5 Puncturing and stitching Exercise 1 Puncturing Here I have chosen two very different samples to focus on. The first is a fairly heavy transparent plastic which pulled and spiked when punctured with a tapestry needle. The photographs show a smooth, shiny surface which looks like ice, with cracks and icicles rupturing the surface. It almost looks like the surface of the moon. I’m not sure how to progress this sample but I chose it as it is so different to anything else I have produced both in texture and colour. It is laid on a piece of blue felt to photograph but also reflects coloured light from other surfaces – a bit like an oil spill. On reflection I can see that I did not fully explore the colour possibilities in my drawing.

I was very excited by the range of shapes created when puncturing a leaf from one of my houseplants. Clear round holes were made with a hole punch while ragged tears were made by a needle – some of which look like barbed wire. The patterns looked great when manipulated on the computer, and created fabulous print blocks as seen below. With a few simple print blocks the overlaid patterns are exciting and appealing even when printed with a couple of drab colours.

Exercise 2 Stitching I chose to make my first sample from a different material and chose air drying clay. I punctured lots of holes before it dried with needles, a bradawl and the wrong end of a pencil, with patterns for stitch in mind. The puncturing process created an undulating surface which I then used to hold beads and to emphasise some stitches. Kantha stitching, blanket stitch and running stitch worked well together with a crochet edging. The dried clay was still fairly fragile but it was interesting to stitch on and the smooth surface shows off the stitches really well. The surface could be further distorted by pressing materials into the clay before it is dry to create a pattern.

Stitching into plastic was a complete contrast as I needed to consider the reverse side which shows through the transparent plastic sheet. A left handed painting captured the exuberance of this piece but I am not sure the print block has the same impact.

Finally I have chosen a 3d piece folded and secured with cocktail sticks with stitching along the folds, as it nicely uses a number of techniques and makes use of a bold printed paper for added interest. I like the way this looks so different when viewed from another angle.

Textiles 1 Mixed media for textiles Part 1 Surface distortion

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Project 1 Folding and crumpling

Exercise 5 Basic crumpling technique

Whenever I travel to another country I try to buy a newspaper, – this one from the Middle East felt soft and right for crumpling. The script gives lots of interest and accentuates the folds and crinkles. The paper did however tear as it became very crumpled, but I think that added to the interest of the resulting samples.

Having tried lots of techniques and taken many photographs I drew one of the images with my left hand, concentrating on the lines and edges.

Next I used a lightweight decorative paper and tried more techniques. This paper didn’t tear – maybe I was more careful! The ribs are clearly defined and could be further emphasised with careful stitching. I drew one of the samples with my left hand using a continuous line.

Stitched ridges

Next I used red tissue paper, crumpled to a lovely soft material which was easy to emboss over paint pots, and scrunched into pleasing shapes. Some were almost flowerlike, and these reminded me of Georgia O’Keefe’s paintings.

I used acrylics with a cardboard tool to create two images and also made a stylised watercolour painting. I feel the acrylic paintings work better for the subject as they have more movement and texture in them.

Two images were edited to black and white and then manipulated in ‘Waterlogue’ app.

This has been an interesting exercise with exciting results. Paper becomes soft like fabric when crumpled, but still holds its shape. It creates organic shapes and is very tactile. The other thing I like is that no two samples will ever be the same. These techniques transform a simple piece of paper into fascinating forms which could be developed further with stitch.

Textiles 1 Mixed media for textiles Part 1 Surface distortion

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Project 1 Folding and crumpling

Exercise 4 Incremental and twisted pleats

  1. Incremental pleats – I made samples using different papers and shapes, sometimes measuring and marking the folds and sometimes folding ‘by eye’. Some were folded using the Fibonacci sequence and I can see that this would be further emphasised by using a longer piece of material to create more folds. Some were folded at angles, creating a different effect. Photographing the samples from different angles produced many different outcomes, and using black paper as a background emphasised the shapes. The torn edges of the watercolour paper samples give a lovely textured edging, contrasting with the sharp folds.

Folding the metal sheet I had was not easy as it is a little thick, but it holds its shape well and catches the light beautifully when photographed.

2. Twisted pleats – made using a variety of papers and fabric, with machine stitch, hand stitch, paper clips and folding used to secure the twists in place. Thinner papers and fabrics are easier to manipulate, and the length of the initial fold influences the number of twists.

This exercise has shown that really interesting shapes can be achieved with just a few folds. I particularly like the samples made with watercolour paper where the texture of the torn edges contrasts with the sharp folds, and the patterns and colours on the paper are changed by the shadows and manipulation of the placement of the folds.

Textiles 1 Mixed Media for Textiles Part 1 Surface Distortion

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Project 5 Puncturing and stitching

Exercise 2 Stitching

  1. Using a needle, hole punches and a bradawl to make holes in cartridge paper, I created a range of lines and spaces to stitch. The larger circles offered lots of ideas for combinations of threading and stitch.

2. I used the leaf from the puncturing exercise and stitched into the holes with a variety of materials. I liked the look of the string as it is another natural material. As the leaf had become brittle – being a few days old, some of the punctured holes split when sewn.

3. Stitching on clear plastic is interesting as the stitching material can be seen through to the back of the plastic as well as on the front. I cut strips of the same plastic to stitch with and found that stretching these strips created intriguing shapes as seen below. Ribbon, thick string, paper, and fine yarn all create different effects.

Painting with my left hand and lino cut printing, based on the plastic sample.

4. Wrapping paper folded and then punctured with a hole punch/bradawl. I found that threading with cocktail sticks kept the folded shape, and stitching emphasised the folds.

5. Shrink plastic sewn and then shrunk. I think that this idea could have possibilities but it is difficult to puncture without tearing the material. I used a hole punch but this only reaches so far into the material – a punch with a longer reach would be needed to explore this further.

6. Air dry clay was punctured while still wet and then stitched when dry. I love this – it has the feel and look of an old textile due to the texture of the clay. Creating holes in the clay creates bumps and dips to be incorporated into the design.

I used a variety of stitches including ‘Kantha’ patterns. The sample was photographed on a white and a black background. It may be interesting to texture the surface of the clay with fabrics before it dries next time.

  • Work in progress
  • Finished sample on white background
  • Finished sample on black background

Sample images manipulated in ‘Waterlogue’ app.

Pen drawing and simple prints

The paper and clay samples are my favourites from this exercise and I see the clay sample as leading on from the paper experiment. Maybe I need to try ‘paper clay’ – I will investigate.

When stitching the dried clay I was worried about breaking it but this is also a worry with paper which can easily tear. The limited colour palette on these samples works well, and I think I could experiment with a more muted or natural colour palette to give a vintage/ancient textile look with my stitches. Also creating a texture on the surface of the clay would add to the mood of the piece.

Textiles 1 Mixed media for textiles Part 1 Surface distortion

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Project 5 Puncturing and stitching

Exercise 1 Puncturing

Samples made using a range of tools with copy paper, paper napkin and handmade paper. Samples are different depending on which side the tool is pushed through from, and pressure affects the size, shape and ‘jaggedness’ of the hole.

Pen drawing capturing the shadows created by the holes as seen from the reverse side.

Punching through metal requires more effort – for this sample I used a hole punch and a bradawl. The action of puncturing bends the metal creating shadows.

Puncturing plastic causes the material to stretch and create a very tactile surface – it reminds me of ice in the sample I chose to draw. I took photos from various angles to capture the surface. Because the material is transparent the pattern can be seen more clearly with a contrasting colour underneath or with plenty of light at an angle to pick up the texture.

This drawing was done with my left hand.

Puncturing corrugated card again photographed from different angles.

The fibrous texture of this leaf created interesting marks – holes made too close together caused the leaf to split but this too made random patterns. The tiny fibres sticking out are a contrast in colour and texture to the leaf surface, and the organic lines in the leaf contrast nicely with the man made holes.

Collage made with magazine papers and poppy seeds.

Close up photos of the leaf sample were manipulated with ‘Waterlogue’ app. I then made print blocks to play around with the patterns.

This exercise has produced some exciting and surprising results with lots of starting points for design and inspiration for stitch. I am finding left handed drawing frees me up and creates more pleasing results with pens and pencils. My drawings and prints are starting to capture the feeling of the samples without being an exact copy.