Colour

Colour, colour, colour!

Cloth book I am making.  Barn Front. 11"x 11" (felt, polyester thread)

The doors open to reveal a stable full of fingerpuppet animals!  There is the cow, the chicken and the pig.  Plus some needlefelted baby ducklings in the hayloft.

 

The green and the red complimentary colours are appealing and add a vibrancy.

 

Check out my apple-picking page:

 

So much fun!!!!

Apple Tree with bushel basket 11"x11"(felt, polyester thread,metal snaps, cotton)

 

Here is a 2 page jungle scene with cave/animal den, interchangable flowers, swingable vines and a water drinking hole with reeds and grass.  The animals are plastic and flat so they all sleep in the cave when the book isn't being read.

 

 

So, I'm really lovin' making this cloth book, but I've been kinda stalled on the next page for a while...

It's of a girl who is camping in a tent, with a sleeping bag and a campfire in front.  There will be stars in the navy blue felt sky.  I got sort of stumped because I ended up making a tiny doll!!!  She has crazy hair, and her own teddy bear, but after stuffing, I realized I hadn't make the neck/shoulders pattern big enough.  I am still plugging away.....I think I'm going to make a permanent shirt or something.... Anyways, here's what I made so far.

The blue and the orange are complimentary colours.



A few hours later..... Like 4 hours.....





Ok... I guess admitting to the World I was making this gave me the impetus to complete her.  Next I am going to put a zipper in the tent, make the sleeping bag, a campfire (marshmallow roasting stick?) and stars in the sky.  I am going to make her a flannel nightgown.  I would like to make a further page of a bedroom with a wardrobe you can open up with tiny little outfits.  :)


To address the idea that some colours don't work together, the Ladies who lunch Red Hat Society comes to mind. 

Traditionally, red and purple are said to clash.  These older ladies, intent on grabbing life by the @#% ! would have us throw away such "rules" and do what feels enjoyable.  Although I understand the reality of colour theory, I think every colour combination has it's time, and conveys it's own unique feeling or message.

 

Sources

www.actclassy.com

 

 

 

Colour Theory

Here is a cool video I found on Colour Theory that I think the students would like:
Intro to Color Theory-YouTube

This video helps to show how to make coloured spinners to demonstrate colour mixing.
This is what I recommend to do as a class activity for any grade, in science or art.
Color Mixing Wheel-Sick Science! #019

 

Some people

like to build their colours up in one place.

 

Sources

blog.asmartbear.com[June 24,'14]

enchantedlearning.com[June 24,'14]

Intro to Color Theory-YouTube, www.youtube.com/watch?v=059-0wrJpAU [June 24,'14]

 

Color Mixing Wheel-Sick Science! #019, www.youtube.com/watch?v=37vPrNagz8M [June 24,'14]

Flux, Paul. 2007, How Artists Use Color, Heinemann Libraries, Chicago, Illinois.

 

 

 

Texture

Texture adds so much interest and appeal to textiles.  Texture may be the actual "hand" of the fabric (how it feels in your hand) or visual texture through pattern.

This handwoven woolen tapestry I made has lots of texture!!! 

 

Back in 2002 I made this textural piece called "Stalactites" as a part of a group textile show entitled "Accumulation"  at NSCAD's Anna Leonowens Gallery.  The show ran from November 18-23.  Here I am boring a friend named Andrew about my work and you can see my cute "Nanny" in the background!

I began the work (which took 80 hours in total) by unraveling 5 woolen sweaters and rolling the yarn into balls.  Then I wove the piece using a rug-making technique to create the "Stalactites".  I hung it above a low, mirrored platform of the same dimensions.  I did this to evoke the feeling of water in a cave, and interestingly, the view of the piece was different when you looked at it through these mirrors.  Besides referencing literal accumulation, the theme behind the piece was thinking about the long, slow passage of time.  This theme continues to inspire me today.........

Along the lines of the long, slow passage of time....

Here is a picture of eroded rock showing visual texture(through pattern) and actual physical texture.

This satin is shiny, "silky" and soft. It is the weave structure, exposing long, unbroken "floats" that bounce back the light to create shine.  Fabrics such as this are very popular for formal wear, such as evening gowns and linings.  They feel good on the skin and are usually flattering, especially if cut on the bias -as long as the garment is not too tight (thin fabrics don't hide lumps and bumps at all!) 

Although shiny as well, these metallic fibres are scratchy.  Sometimes cool textures come at the price of breathability and comfort.

6'"x6" cotton/polyester/faux fur/stuffing/thread patch.  Notice the different textures of the fabrics to reference grass, bark or leaves. 

This is an assignment I use in Grade 7 Textiles as an opportunity for students to demonstrate  knowledge of the Elements of Design as well as handstitching skills.  I give them a handout sheet with instructions and the 6" square pattern which they must cut out neatly.  They search through the cloth deciding on the background, the foreground, other features, etc.  The patch must include:

• 3 out of 7 learned handstitches
• have a stuffed element (Italian quilting called trapunto)
• remain 6" x 6"!!!! (sounds obvious, but kids cut them down, or cut them out messily)

We talk about Line, pattern, texture and colour and how these are used as tools in a toolkit to bring about the desired results.  They are shown good and bad examples.  We go over the evaluation rubrics together and they receive a grade immediately upon completion.


Sources
Flux, Paul.  2007, How Artists Use Pattern and Texture, Heinemann Libraries, Chicago, Illinois.

Pattern II

 

 

 

 

Pattern can be simple, or it can be intricate.  These pictures

are from the book How Artists Use Patten and Texture, by Paul Flux.

 

I really love the pattern on this cotton/tulle/polyester thread scarf(possibly scratchy)/wall hanging I made using a burnout technique.  I sewed the cotton to the tulle before carefully applying a chemical to burnout (un)desired areas. The roses are unrealistic colours with a surprising dark background.  The repeat of the pattern is very large as well as the scale of the flowers.  As it repeats less, the piece is lent an original quality.

This multi-coloured cotton embroidery is on a linen pillow case I was given by a friend's mom.  It is most certainly Eastern European, probably Estonian or German.  The repeat pattern of the stitches are rhythmic and hypnotic!  The large blue arrow is a strip appliqued with a blanket stitch.  This piece would have taken some time!  I am so interested in how pattern has been used as a part of regional identity for millenia.  Different villages and regions have their own styles and variations. I love learning about European and Asian embroidery (Especially Ukrainian of course!!!  Here's a shout out to my fellow member of "The Ukrainian Ladies Luncheon Club" Enid Schaller!!!)

The floral pattern of this pink silk/ramie dress is very lush and adds to the luxurious feel of the garment.  It is an18th century dress I made after my first year of Dalhousie Costume Studies. It is difficult to find appropriately patterned fabrics when sewing historical recreations.  This fabric was a good find and worked charmingly with the style and the period.


Sources
Flux, Paul. 2007, How Artist Use Pattern and Texture, Heinemann Library, Chicago, Illinois.

 

 

 

Pattern

Wow do I love pattern!!!

Cotton screen-printed samples I made of a double-curve "squiggly" pattern.

Elements of Design, cont....

Line, cont...

In the book, How Artists Use Line and Tone by Paul Flux, he says on page 4," A line can make shapes in a picture, it can divide space, and it can even show feelings.  When more than one line is drawn, patterns and shapes are made."

 

On page 23 it shows examples of lines conveying emotion, while page 20 shows how lines

can be used to create optical illusion.  This gives Line the ability to minimize or exaggerate, which has for ages been utilized in textiles and fashion.

Here is a sample of ikat cloth my Grandmother, Betty Nepjuk, brought back for me from the Island of Bali when she travelled there.  During the set-up to weaving such cloth, the warp yarns are tied off and resist dyed in an ordered, planned design and then the weft yarn is measured by winding and resist dyed in an orderly fashion, so when they meet as to make a design.  Ikat is well used in flowing gowns.  It does not work as good for garments with lots of cut pieces and darts as the designs get confused-looking.

I know, I know... it's wrinkly.... it's been in storage....

 

The long line of Sophie's baptismal gown and bonnet I designed and sewed for her when she was

5 months old.  The pintucks on the chest run vertically and the lengthy hem leaves plenty of room

for embellishment with lace.

 

Sources

Flux, Paul.  How Artists Use Line and Tone, Heinemann Library, Chicago, Illinois, 2007.

 

 

 

 

 

 

 

 

Elements of Design

Ok so elements of Design......

1.  Line

This is a 6"x 6" patch of a stuffed zebra head. (cotton, rayon, faux fur, buttons, polyester thread, stuffing)  I made this as an example for grade 6's to show them how you can use the lines of different fabrics to create illusion, like the appearance of a mouth on this zebra.

Here is an example of how the lines in the background fabric contribute to the look of movement behind the butterflies on this 6"x6" patch (polyester/stuffing/sequins, polyester thread):

my first ever blog....about textiles

This is my first blog. I have always been very intimidated to use technology however the more I use it the easier it becomes. Here is a photo of a project I have been working on.  It is going to be a:

Felted/Embroidered Landscape

 

I dyed raw wool and felted it between screens (from screendoors) and used dishsoap with boiling water from a kettle.  I am inspired by the landscape photo my friend, and fellow teacher, Tanya Veinot-Frowd gave me.  The piece began as a part of a felting workshop with students.  I am using embroidery stitches and sequins to embellish and add detail/Spirit to the scene.  Let's see how it progresses!

 

Stay tuned for more upcoming blogs on textiles....