During the first part of the Foundation Diploma course we were set a two week workshop looking at Fashion and Architecture. We spent time looking at the correlations and there were many links with texture and form. In response I created some A3 design sheets using a combination of drawing and photomontage.
This is a set of observational drawings using condensed charcoal. We were set a timed task to draw the coat at different view points. We were only allowed five minutes for each side which I thought wouldn't be enough, however, I learnt that charcoal is an effective and quick way of creating shapes and lines.
This is a A2 sized mood board for Spring/ Summer 2015. To make this I compiled images from old prediction magazines from the 1990's. The selected images that I used had a small pallete and had a certian style that all links well. I then used these images to inspire my handmade felt designs in a workshop we had in college.
From my mood board for Spring/Summer 2015 I produced some designs. This sheet was my most sucsesfull and all three outfits came from one original idea and alternatives. For the pattern I scanned in patterns from my moodboard and manipulated them before pasting them onto my designs.
In the first part of Art Foundation we were encouraged to try workshops that we had no expereince in so I picked Modeling. One of the tasks we were set was to find a 12x12 inch square on the wall somewhere in the college and replicate it in alternative matierials to the ones originaly used. One example of how I re-created the tiles was cutting a thin block of wood to shape then carving in grooves then coating it in PVA glue to give it a shiny apearance
Before moddeling the 12x12 squares we drew a to scale version so we could get used to the section of wall and all the textures so when we were in a different room we could make it. By drawing a to scale copy it was easy to directly copy it when making the 3D version.
This is another timed drawing exercise. We had 10 minutes to draw this old dirty apron. we were not aloud to use pencil and were encouraged to use materials which represented the texture of the apron. On this A2 drawing I used charcoal, drawing inks and chalk.
I created this in the Printmaking workshop. This workshop taught me the most. This image was made through silk screen printing. Firstly I made a stencil, however hand cut stencils could only be used with one colour as the paper cannot be washed. So for this print I created a mylar screen to do this print. The silk screen has to be coated with a photo emulsion and is developed with UV light.
This is a poor mans' etching I also made during the Print making workshops. To do this you can use any cheap card and use a craft knife to directly carve into it. You then varnish it with a oil based paint thinly on top. The outcome can change on how much you decide to wipe around the edges of the engraved parts. i decided to not rub it too clean as i wanted it to have some blackness around the edges, giving it an old , worn appearance.
This is a jigsaw print. To achieve this technique you have to layer different materials which have coloured ink front side up along with a inked plate and then run through the press onto paper. i decided not to ink on some parts so that I had clean plain emossed parts.
Artist research sketchbook pages on Rosana Geissler. On these pages some of the samples are her own images from the internet stiched into, some are direct copies in sample sizes and some are my own images stitched in the style of the artist.
Here are a few different individaul peices of work dirrectly copied in the style of her work in my own arrangement snd in a larger scale to the samples before.
Here is a illustration by Julie Verhoeven that researched in my sketchbook which i then free hand machiene embroided into. To stop it ripping i backed it with calico.
This drawing is of a double collar that I saw in a pattern magic book by Tomoko Nakamichi that I liked and currently I am working on creating one of these collars.
These are a range of seam samples that I have completed very recently. The seams include: plain open, plain closed (overlocked), open seam (machine neatened), french, mock french, bias bound, hong kong bias bound, flat fell, plain closed ( overlocked and topstiched), channel and piped. I have been exploring various seam types in order to find the most suitable ones for the fabrics I intend to use. Some of the seams I have explored; as well as being functional, could also become a design feature for both the outside and inside of garments.
