Mrs Lily; Sampling, context and development

I made Mrs Lily as a direct result of my second tutorial with Louise Richardson. I have had some of my drawings printed on the sublimation printer and wanted to pad them and bring them 'to life' with embellishments, hand and machine embroidery. I bought a variety of needles for my Janome Harmony 2041 including thin needles for polyesters and synthetics (sublimation materials), quilting needles and metallic thread embroidery needles.

To create Mrs Lily I used polyester sourced from an old shirt in a charity shop and backed it onto a piece of cotton found fabric. I love the idea of utilising unwanted materials. I then highlighted my drawing with a straight black stitch. I did struggle to actually quilt the bird because I need to reach a compromise between using freehand and a structured stitch with a normal foot/ quilting foot.

I left loose threads on my embellishments because of the trend research on WGSN 'Archaic Threads'. I think it added charm to Mrs Lily. I also experimented with embroidery silks (2 strand and 4 strand) to create varying sizes of French knotting building up textures in different colours. This creates a more textured base to then embellish, representing a hint of the animals genuine appearance (wings). My sequins are sourced from www.josyrose.com because the sequins seem so much stronger and symmetrical than others I have used. I would like to try and source some sort of vintage beading to use in partnership with the sequins in the future.

 

 

I love that drawing onto a magazine page means that there is this little face peeking through although I would have to be careful with doing this with illustrations because obviously that little face is someone else's work.

I still really want to take this peeping idea forwards using vintage imagery from photographs I sourced over the summer.

Context

I'm finding myself getting really excited about the work I am producing. I can imagine this bird a bit flatter as part of a collar as a shoulder on a dress. Swans on the side of shoes, embroidered animals wrapped round necks and lamps and cushions ahhhhhhhh the possibilities of accessories!!! I also think my drawings have the potential to be developed into transfers for ceramics, simple wallpaper repeats and quirky giftwear/ stationary/ fine art dolls and childrenswear. Why pen myself in to fashion or interiors or art when I can and want to do all three?

Drawing Workshop

Today we did a group drawing session which involved trying to work differently to how you normally would or developing your individual style(which I think I have finally found!)

I started by drawing a fairground horse on canvas trying to work in a larger scale than I would normally. I found that the boundaries of the canvas are to rigid so I am going to try and develop extensions of my drawings off of the 'paper'. 

Today Grainne said that I can afford for my work to be gestural and a bit crazy with colour and movement. I can see that my work is almost an extension of my personality, my loves and my personal style.  This is interesting to consider within the context of my research report where I am looking at makers who use their work as an extension of themselves. I definitely fit into this sort of making category. I find it hard to hold back with colour and detail and I don't think this is something I should try and do anymore, I just need to go with what my hands do!

I really enjoy using bleach within my work because it's a good cure to soften my colours when I sometimes get carried away. It is a wonderful way of illuminating areas of an illustration and therefore creating an ethereal, magical quality. 

The bleach sometimes burns through papers and rather than panicking I found that it was best to go with what the material was doing, so if it wanted to rip and curl I incorporated this into the imagery. This texture adds to the collage/layered feel of my work. I find that this then directly relates to the freehand machine stitch and almost sculptural sort of embellishment within my sampling.

Life Drawing

I felt that the life drawing session today wasn't massively interesting to me. Rather than continuing to draw lots of quick line drawings I worked over two drawings adding detail and pattern in trying to encourage my developing style of building up layers using textures and patterns within an outline to create definition. Mark making lessons from year one have come in very useful and I have tried to maintain the importance of creating marks within drawings to show movement.

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 ...