Chapter 2b. Designs using the monoprinting method. Spiral drawing using a computer paint programme

I love monoprinting so was delighted to revisit this technique and this time in colour.

I love the element of the unexpected in the result

I made lots of samples using my chosen colours and experimenting with adding additional layers including lighter tints and darker shades. I arranged these in this spiral shape for the purpose of photographing them for the blog.

Spiral drawing using a computer paint programme

I was entering a technique entirely new to me so I asked my friends on our Distant Stitch Facebook network for advice. Ros suggested the Scribbler programme .

The fun began……………….

More experiments:

I was really pleased with this top image:

I discovered this effect with Scribbler and wanted to develop it further:

 

Formation of a spiral by rotating a shape:

I then had a go at filling spaces with colour:

I realised that I wanted to understand the Fibonacci theory more fully so I decided to take a closer look:

I love the idea of the Fibonacci sequence represented in flowers especially the rose, so decided to have a go at constructing one now that I understand more:

I made a paper sample:

And then I drew the petal shapes on the computer, layered and rotated them and filled them with colour:

Using the Photoshop computer paint programme to modify a basic scribble into exciting spirals:

Creating positive and negative images on Photoshop:

I’ve acquired a drawing tablet [so much easier] and now my drawing a little more mature!!

This has been a great learning curve but I have learned such a lot. The time spent will be an investment for future work!

Sitting at the computer takes its toll and I’m looking forward to playing with fabric and threads in the next chapter………..

Summer School very soon too, wonderful!

In retrospect chapter 1

Sian suggested I look at the work of Charles Rennie Mackintosh as the images may link in with my ideas around the rose; I was in Glasgow last autumn and was lucky enough to visit take a photo at the Hunterian museum and the Willow Tearooms

I also keep a stock of cards and found these:

Sian also suggested I look more closely at different types of spirals, how they’re formed and then relate these to some of my examples.

2D rotational spirals. 2D is defined as an object rendered visually in 2 planes representing width and height whilst rotational is defines as turning around a centre or axis. Sounds obvious but it helped me to clarify! I can see this in the blue beautiful drain cover I photographed in Barcelona [page 2] and the earrings on page 4. also the paper patterned coil on page 11

Equilateral spiral. Based on equilateral triangles and I can see this in the rose images on page 1 and the paper patterned spiral  page 13

Archimedes spiral. The simple coil seen in the fern frond on page 1 and the rafia mat on page 3.

Helix 3D. examples include the cabbage on page 1, staircase on page 6 and the ammonite on page 3.

Running spirals. Fern frond on page 1 and brooch page 2.

Linked spirals. Linked spiral paper on page 11

Spirals made from crescents.  I thought maybe the garden ornament on page 4

This has helped me appreciate the diversity of spiral patterns and shapes.

Module 3. Chapter 1

Module 3 is based on the spiral shape and  to start we have to collect images which we see in both natural and man-made structures.

Of course once I started to look I saw them everywhere! So I’ve tried to select the ones I find really pleasing. I’ve taken some photos myself and looked back in my holiday albums [knew they’d be useful at some point!] as well as looking in magazines /newspapers and searching on the Internet.

I started by looking at spirals seen in nature. I loved the idea of the spiral in the fingerprint , the very essence of our individuality and was fascinated by the similarity between the rose and the cabbage but best of all are the spirals within spirals seen in the unfolding frond of the fern. I was really struck by the colours in the cabbage image [google search] and started to think of this as an idea for my colour scheme.

I started to add a couple of simple pencil drawings to help me understand how the spirals take shape.

Man-made spirals are seen in so many different contexts and the endless images show how they influence our man-made world from  spires and domes in our cities, the drain cover I found in Barcelona [see below top right] and the ammonite fused in stained glass in Gaudi’s house. Wrought iron gates and jewellery use them as decoration whilst aeroplane engines and motorcycle wheels all need the spiral in order to function.

I added a few more drawings:

I found the image below on within my google search which demonstrates the Fibonacci Sequence and the Golden Section beautifully. I couldn’t get over how similar this spiral staircase is to the rose [although it should probably be the other way up!]

 

Chapter 2a. Colours next:

And coloured papers:

Spiral shapes using various coloured papers:

Simple 3D shapes.

I’ve arranged these on a cardboard base for this photo but have placed them in a box for safe storage.

HEALTH AND SAFETY CONSIDERATIONS

1. Working with cold water dyes,  fabric and acrylic paints

Avoidance of inhalation of dust [dye powders] by working in a ventilated room and wearing a mask to prevent inhalation.

Prevention of staining by wearing rubber gloves to protect skin on hands.

Putting down plastic covering to protect work surface

Wear overall to protect clothing

Prevention of poisoning [i.e young children] by storage of powders and liquids in a safe place where vessels can be stored upright. Ensure that unwanted solutions are disposed of safely.

Acrylic paints are colourfast once dried so any surfaces need wiping before they dry.

When printing fabrics with any of the above all the same precautions would need to be taken.

2. Stitching by hand or machine.

Pins and needles - Avoid accidental ingestion of pins [ I’m guilty of holding pins just removed from fabric in my mouth!] it helps to keep pin tin or cushion in close proximity for convenience and safety. Also avoid injury by safe storage away from children. When using the sewing machine [especially with the embroidery hoop] keep fingers well clear of the needle to prevent a puncture wound!

The sewing machine should be used close to the powerpoint to prevent accidents caused by trailing leads. I keep my machine under my table when not in use to prevent falls.

3. Scissors for sewing need to be sharp and therefore need to be kept in a safe place to avoid injury to children and used with care to prevent lacerations to skin or clothing.

4. Use of the iron.

Prevention of fire and burns to the skin is a high priority. Risk of accidents can be reduced  by using the iron on a well maintained ironing board close to the source of electricity ensuring that any flexes are positioned away from passing adults or children to prevent falls, and by ensuring that the iron is turned off when finished with. The iron should be put away safely out of reach of children or animals and the ironing board stacked away securely so that it doesn’t topple or fall.

The iron itself when hot may damage delicate fabrics which may in turn damage create fumes. Attention to appropriate use and regular cleaning of the plate is required. a well ventilated room is essential if fumes are emitted.

5. I’ve noticed that I get neck and back ache if I sit for too long at the sewing table or computer so I try to ensure that my work surface is at the correct height and that I stretch my back regularly to prevent pain at the end of the day. I have some Pilates exercises which help after a stint of working.

6. Eye strain is also a risk factor, I have prescription spectacles for close work

7. Lastly I try and keep my work area tidy with materials and tools in close proximity to my project to avoid frustration and unnecessary stress. I’m  fortunate enough to have a work studio which means that I can leave work out [within reason] and I have a really good clear up between chapters / projects.

Timing and costing of design work and finished piece

TIMING
Date when design work was started  30.11.12 Completed 16.12.2012
Date when embroidered item was started   11.12.2012  completed 28.02.2013
Add up all the whole hours you have recorded in your diary:
Total number of hours spent working on the design work  27.25 hours and embroidery hours 75.75 hours

COSTING

Black drawing pen £2.20

Paper £1.50

Card 50p

Printing cartridge refill £10

Fabric paint x2 2.99

Black dye x2 £3.99

Salt x2 79p

Threads [machine thread £3.39], metallic embroidery thread £9.24

Stranded hand embroidery thread x4 @ £1.55 = £6.20

Machine sewing needles £2.57

White linen fabric estimated at £8.50 [given to me by my godmother

Black cotton fabric £4.99

Pelmet vilene 50p

Chiffon scarves and bag of black beads [black and white] 50p each from a boot fair

black and white netting £1.59

Total: £57.35

Artist of my own choice

Whilst researching blackwork I came across the work of Sue Kirby in one of my Embroidery magazines [vol 53, Sept. 2002].

The article said that Sue worked as a solicitor in London and commuted to work every day [a 2 hour journey] and that as long as she had a seat she used the time to embroider. She worked an Elizabethan set of embroideries in blackwork including the one shown below.

This beautiful piece of work shows all the tonal qualities of blackwork  which we looked at earlier in this 2nd module.

Wonderful!

Bridget Riley

Riley was born in 1931 and having worked figuratively initially started to produce her signature pop art works in 1960s. These consist of black and white geometric patterns with some tonal shades of grey and produce optical illusions and sensation of movement which play with the dynamism of sight and produce a disorientating effect on the eye.

www.wikipedia.org/wikibridget-riley