Tutorial

Found my tutorial with Louise Richardson really helpful today. She pointed out that my drawings tend to be one offs and to roll with this creating detailed drawings. Do what I enjoy. Don't get het up on context, keep it in mind but don't let these thoughts take over.

She said that my drawings look like they need to be quilted which I felt would be a good way of bringing the 3D element my work is calling out for.

I took the advice away and whilst I was waiting for my drawings to be digitally printed in order to quilt, I experimented with painting fabric with ink and then bleach and padding and embellishing this.

The result is this little bird. I am pleased with it for a first attempt but I need to buy some quilting needles for the sewing machine in order for the stitching to stay neat. I don't like the button for an eye either. I feel that the eye would look better as a curved straight stitch.

I also like the faded pastel colours that have been given an antique feel, using pastel colours and bleach to ring out the colour.

Trend Research/ Colour palettes SS 2014

I have been looking at the trends for S/S 2015 which will be relevant when our degree show is here. I feel it would be best to look at the trends that mean my work will be ahead of itself.

 

Key Trends; Application and Embellishment

• Mixing flat colours with puffed surfaces

• Archaic embroidery - giving threads an unfinished feel, loose threads, visible stitch overlays as if freehand or viewing from the back of the fabric.

• Tarnished foils used as metallic

• Bonded graphics heat sealed of glue bonded lettering

• Patched Ideal for photo placements and graphics motifs, prints applied to canvas and jersey patches with embroidery.

• Joined up lower case embroidery- single stitch for quirky sometimes dark words made to look friendly.

• Perforated surfaces- punched holes.

• Embroidered details- collage multiple techniques such as embellishment exaggerated, heavy weight embroidery, French knots on contrasting colours etc.

Colour Direction S/S 2015

Emphasis on real colour, layered tones, calm pastels, extreme darks

'Vital'- Pinks, oranges and yellows with forget-me-not and lime as well as black cherry.

'Made'- Greyed off mid-tones interspersed with brights as well as lake blue and pumice.

Charlene Mullen

There is something about Charlene Mullens embroidery. It could be the quirky humour of her Drawings range, or the pleasingly simple shapes of her Geometric designs, or the clever way she has updated traditional embroidery and folk motifs. Whatever it is, it speaks to people.  Jennifer Goulding, House & Garden.

From her training in both illustration, print and  an established career in the fashion industry, she has successfully turmned her talents to designing luxury homewares. Since the launch of the studio in September 2008 at 100% Design where she made the best newcomer list, she has won international acclaim having work shown in London, Paris, Milan and New York as well as being featured in leading interior design publications worldwide.

Charlene creates unique embroidered textiles mixing traditional techniques with her love of the drawn line. The end product -  cushions, throws and lampshades are suitable for residential and commercial projects. Drawing on a wide range of inspiration such as Swiss paper cuts, Stig Lindberg's ceramics, Blackwork, scientific structures, tribal costumes, Gee Bend quilts, she works with master craftsmen in India so each piece is beautifully hand embroidered using tapestry wool to ensure shade, colour fastness and durability.

The studio is committed to original design and making quality products. In addition to the collection Charlene provides a commissioning service working with private clients, interior designers and architects to create bespoke projects both in the U.K. and worldwide.

www.charlenemullen.com


I can look at Charlene's work and draw comparisons with my own. Although she works in black and white and i work in colour she also fills in the details of her drawings with organic patterns like circles in the same way that I do.

Her cat cushions are adorable and have such character even though they are constructed of what looks like canvas, or heavy cotton and have a simple, single black stitch to define their features. The off-white fabric that she mainly uses is a way of highlighting the embroidery that is placed on top.

Her chosen colours if any seem to be red and blue.  The way she uses minimal amounts of colour (and when used always the same shades) means that she has created a style for herself which is instantly linked back to her brand. I always use pink within my own work, no matter what I do I am drawn to incorporate pink in there somewhere. Perhaps this is part of what makes me and my style. What is the point of making something I don't enjoy!?...There isn't one.

Initial Drawings

From my photographs I have been exploring drawing methods and subject matter.

I like the idea of the story of the fairground/ vintage fairground so I did some research on my Pinterest into the old fashioned carousel animals. I am drawn to drawing animals and it seems I need to explore this further.

www.pinterest.com/bethy666

The drawing method I find most productive for me is a layered approach of mixed media such as pen, ink, stitch and bleach. I then like to take this further with stand out, fun elements such as glitter and sequins.

The freehand machine stitch works well as a fluid continuous line within a drawing. It lends itself well to my drawings of the swing because it portrays movement.

The pen continuous line drawing doesn't work as well for me. It looks toot rigid and colouring book like. It lacks the softness of the stitch.

The inks are easily blend-able and I like that they are a bit stronger than watercolour yet can still be softened.

My favourite material to work on is canvas roll as it has the foldable and fragile elements of paper combined with the weave of a fabric, making it strong to both sew and draw on.

Over the holidays I have collected more materials such as WOW glitters which are made of fine dust. This gives the glitter fun appeal without looking as childish!

Now for initial development ...

Fairground

This Summer I went to Great Yarmouth. In general I'm not a massive can of the place but the thing I absolutely loved was the vintage carousel.

The faded pastel colours, the mirror tiles, the ornate paint work, the beautiful swans all combined to make this elegant piece of musical artwork.

These photos are the initial inspiration for my projects this year.

Mister 'Fabulous' Finch

'Storytelling creatures for people who are also a little lost, found and forgotten'…

I absolutely adore the work of the elusive artist who makes under the name of Mister Finch. He creates these mysterious animal characters through fabric sculpture, that seem to come alive under his magical stitching hands. I find his work very emotive, beautiful crying hares, eerie smiling moons, majestic swans. The muted sometimes grubby colours of his art add to the depth of feeling within his pieces. Ink stains in tea and rich jewel colours are included within my favourite pieces, I feel these add to the archaic impression the fabrics give.  His collections have an antique-like preciousness to them.

 I first came across Mister Finch after reading an article in Making magazine, May 2013. This quote has since been imbedded in my own marking during my making processes....

 

...and like Mister Finch I truly believe in magic.

 

 

Mister Finch's inspirations come from nature and he returns to certain ideas again and again.
Flowers, insects and birds, along with fungi regularly make an appearance. 




The artist says of his inspiration 'British folklore is also so beautifully rich in fabulous stories and warnings and never ceases to be at the heart of what I make.  Shape shifting witches, moon gazing hares and a smartly dressed devil ready to invite you to stray from the path.' The fact that narrative is a key theme both during concept development and within materials and processes means that Mister Finch may be interesting to study for my research report.




'Humanizing animals with shoes and clothes is something I’ve always done and I imagine them to come alive at night. Getting dressed and helping an elderly shoemaker or the tired housewife.'

I feel that I can relate to what Mister Finch says about his work. I have always put a story to my work as well as everyday things around me. I can look at an animal in the garden or someone's pet and before I know it, I have a narrative buzzing around my head.



 'It’s a joy to hunt for things for my work…the lost, found and forgotten all have places in what I make.'

.

He uses found materials, such as pre-embroidered fabrics and scraps. The story of the fabric seems to translate into the narrative and seem to combine with his own narratives to create the characters back story.

 'Most of my pieces use recycled materials, not only as an ethical statement, but I believe they add more authenticity and charm. A story sewn in, woven in.  Velvet curtains from an old hotel, a threadbare wedding dress and a vintage apron become birds and beasts, looking for new owners and adventures to have.' 

The materials seem to speak to him and indicate what they want to be made into, rather that using a pre-conceived idea and then choosing fabrics.






http://www.facebook.com/Makingmagazine

http://www.mister-finch.com/portfolio

http://mynameisfinch.blogspot.co.uk/

BA7: Thoughts when Creating Learning Agreement

I have 5 weeks to trial the things that I've been thinking about doing, but haven't yet done, developing what it is that I want to explore as I go.

• Research
• Experiment
• Consider context of own work whilst looking at others

The following 4 weeks.... FOCUS, develop work.

• Take notes
• Rigorous reflective pdp
• Plan
• Aim

Keep thinking...Am I working as hard as I want to?

Considerations to help me form a learning agreement

Is my work; political, theoretical, institutional, historical, social, personal, geographical, cultural  & Why?

My work is personal. My own thoughts and viewpoints are what goes into creating my designs, I don't see the point in creating if it isn't something I'm enjoying. My drawings are personal to me and my work is developed from this. I also think my work has a very social aspect, I am influenced by what is around me. What people are doing, wearing, eating, where the live. How they live.

What do I do and what is at the core of my work?

Imagination and ideas. Normally literal drawings and collages with my own skew on reality. I like to use 3D embellishments within my work (such as glitter, sequins and buttons).  This could involve editing a pre-existing item, fabric or collaging paper to give it a textural quality and to make it into useful and/or wearable art and design.

Why do I make work?

I make work because it is something I instinctively need to do. My hands need to be busy along with my head. I find drawing relaxing because it mutes my very busy and loud brain. I have always hoarded materials, cardboard, paints etc since I watched Bits N Bobs on tv as a child.  I have always kept things in order to make them useful again. I make work for others to appreciate. I make work to be unique. To make people smile.

What is it for?

For giftwear, accessories (both interior and fashion), for stationary. For kidswear.

What do you gain from doing your work?

A sense of achievement, confidence, developed skills.

What is it about?

My work primarily is about what I find aesthetically pleasing. It is about making people smile. It is about having fun. It is about colour and quirkiness. It is about telling a story.

Who is my audience? Where are they?

I like to think my audience could be anyone interested in owning something special.  Realistically in a marketing sense, my target demographic would be an 18-35 year old woman. She is style conscious, she likes to collect things and shops both on the high street, online and in vintage stores/ fayres. She likes the reward of finding a 'different' item to purchase for herself and/or for others. She loves Paperchase and Pip Studios.

Where does the work go?

I see my work in lots of locations. I don't like the idea of putting myself in a hole. I want to see my work in gift shops, stationary sellers, in independent stores in the high street and online. I want to freelance but ultimately would love my own 'brand' and my name to be associated with my works.

MAKE CONNECTIONS with everything around. Writing, music, dance, history, geography, science.  For ex; interesting narratives in a song, can the methods of its creation be used in my work.

Why bother to find a context?

LEARNING                                        GROWING
ASPIRATIONS                                  MOVING FORWARD