Module 2, Chapter 12, Stage 2

I started this stage by being inspired by some of my past samples alongside with one of my mini 3D shapes from stage 2 that had reminded me of a corset. This set the scene as I decided to focus all my ideas on designing for a corset. After then looking on line for inspiration I came across garments by the fashion house 'Herve Leger' which allowed my ideas to take on a life of their own! I aim to look at Herve Leger for my artist research in chapter 13. I progressed my ideas by creating a few new samples before creating a toile to test my ideas and construction in life size 3D form. The following images show my working pages and photographic records of this work. The page annotations will explain my thoughts further.



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Module 2, Chapter 12: Stage 1

For stage one of this chapter I created many 3D mini sculptural shapes that can be seen in the following images. As I had been inspired by the use of visible seams in previous samples I deliberately kept the seams for these on the outside. I started with a simple cube shape then very quickly got experimental. I tried to recreate some of the shapes from my research. Sometimes these shapes inspired the whole mini 3D piece and sometimes they inspired the 'negative space' the 3D shape created, e.g. through the open end. I was lucky to have some old canvas style fabric in grey to create these from and this fabric manages to hold its shape nicely without the need to support it or stuff the shapes.

The more I developed my ideas through these shapes, the more I realised that some of them resembled miniature corsets (in particular see the third image). This is really inspiring me as an idea for my final piece. I was already thinking along the lines of producing a garment so this would fit in perfectly.



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Module 2, Chapter 11 continued: fabric samples

Stitched fabric samples based on my designs (Stage A)

For these samples I looked to my previous paper design ideas and tried to recreate some of them using the fabrics I had just embellished using my machine embroidery. To make the samples more interesting I used decorative stitching and frayed fabrics in the seams. I particularly like the long sample (c) on the page (see image below) and would seriously consider using this as part of my final piece.



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 Stitched fabric sample (Stage B)

For this sample (image below) I was determined to produce a more effective result than the version I had created in chapter 10! I took everything I had learnt from the previous sample and created the following which I feel was much more successful. Even if I had used the same cut and piece format as before I feel it would be more interesting simply due to the embellished fabrics used. I love the texture the seams create- this feature would be great to use on any product I choose to make but I can really imagine it enhancing the look of a garment as it has a ruffly look.


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Module 2, Chapter 11 continued: embellishing fabrics with stitchery ready for samples

Embellishing further my fabrics ready for the next stage fabric samples

Using the experiments in chapter 3 for inspiration I added decorative stitching using machine embroidery to my fabrics. I embellished both my printed/dyed fabrics as well as a selection of white and black plain fabrics. Some initial attempts were too subtle so I added even more stitching or tried opposite thread colours to make things stand out more. I decided to abandon quite quickly some of the stitch patterns I had created previously as it took an age to stitch just one line- something that had not really come to my attention when stitching earlier on a smaller scale. I instead kept to those that not only fitted in with my ideas but were also more practical in stitching lots of for the overall effect. I also made the point where possible of trying to enhance the patterns already present on my fabrics by stitching with or against the patterns on them. Some of my stitched samples are in the following images below.


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2/11/stitched 13: Samples together!



Module 2, Chapter 11: Further design exercises in preparation for fabric samples

To start this section for chapter 11, I used my patterned papers along with plain white and black papers to experiment with various layout possibilities and combinations. From doing these I was particularly struck at how different the same design can look just by switching from light to dark tones or from black to white paper. The results of these first efforts are in the image below.


2/11/1 Further design exercises

 As it had been quite time consuming to create the above ideas out of paper, and with so many possibilities yet to discover, I decided to scan in some of my paper designs into the computer and use the computer as a quick and easy way to play with other ideas. My favourite outcomes can be seen in the images that follow. I found this was a very helpful way of seeing what could be achieved and it allowed me to create far more in the limited time I had than I would have done with the more traditional collage way. That said, I found that the simpler the design was the more effective in my opinion it appeared to be- something to keep in mind with my final piece as I have a bad habit of over thinking things!Using the computer was particularly good when trying the 'stack and whack' repeat patterns (see the bottom images).


2/11/2 Further design exercises- using the computer

 

2/11/3 Further design exercises- using the computer and some stack and whack designs

 

2/11/4 Further design exercises- some stack and whack designs

 

2/11/5 Further design exercises- Another Stack and whack idea

Module 2, Chapter 10: 'Piecing'- a method of cutting and seaming

To start this chapter I first tried my own pattern using black and white paper and a photocopier to help each 'piecing' stage progress. The result is in the image below.


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Although the use of a photocopier helped make the process of putting this design together easier, I soon realised that this was a very time consuming process to create it. I decided to therefore try other patterns using a computer to create them. This way I was able to very quickly come up with 6 other variations which can be seen in the following images. As a real bonus I did not end up with black fingers from the photocopy ink either! I also found this technique can create some real optical illusions.... the designs look as if they are moving and some aspects seem to literally jump off screen at you. In some cases the lines do not even look parallel even though they are.

Please note that although these images all appear ok on screen when editing this blog, when viewed in the published version they occassionally disappear or not display. Not sure what has caused this so it is a real pot luck if you will see all of them or not!


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 I next translated this method into fabric, with the resulting sample in the image below. I was overall really disappointed with the result and I could see with hindsight so many different ways in which it could have been better, for example I think the angles I cut into the fabric could have been better. I also cut a little too randomly and without much thought meaning that the end result was not gradual like in the examples shown in the course guide. I feel however that next time I will be able to do a better job at it. One redeeming factor though with this sample is that I love the reverse side texture and this side is far more successful than the 'neat' side in my opinion.



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Module 2, Chapter 9: Exercises based on the Fibonacci sequence/Golden section

For this chapter I used my patterned papers to experiment with a variety of patterns based purely on the Fibonacci sequence and the Golden section. The results can be seen in the images that follow. I had to consciously make the decision to stop as it was getting very easy to get carried away- especially as the possibilities felt endless.


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Module 2, Chapter 8: 'Not what it seams!'

For this chapter I experimented with various ways of making a seam more interesting and to become a decorative feature rather than just part of the construction. I tried fraying fabric, inserting additional fabric pieces, decorative stitching, use of piping, inserting yarns and other variations/combinations of some of these techniques. I particularly liked the results of inserting extra fabric, fraying it and holding it down with decorative stitching. The more this can contrast with the main fabric the better.

I additionally tried my hand at creating decorative cords by twisting/stitching fabric strips, knotting, plaiting and twisting. My favourite is twisting as this is a technique that brings back many memories for me as it was one I used to do as a child.

Finally I used fabric strips rolled and tied to create my own toggle. I like the fact I can create my own personalised fastenings this way and this is something I would like to consider later on for my final piece. I would however chose to use the twist cord technique for the loop for my toggles to go through as the fabric loop feels a little clumsy to me.


2/8/1: Ideas for decorative seams and trimmings



Module 2, Chapter 7

Traditional 'piecing' methods: Log cabin first stage

Using my decorated papers I tried out a variety of 'log cabin' patterns. These can be seen in the image below. I discovered that sometimes the 'log cabin' pattern could get lost among all the patterns on the paper, but this was not necessarily a negative and could be something I could consider playing on in future ideas. The most challenging patterns to put together were those that had triangular pieces on angles. My favourite samples were the more traditional variations, especially ones that had a 'spiral' effect.



2/7/1: First stage log cabin- using patterned papers

 Traditional 'piecing' methods: Log cabin Second stage

I next converted some of my paper ideas into fabric samples. The results are below. I deliberately tried not to be too perfect when cutting each fabric piece to size as I wanted each sample to have it's own personality- I did however ensure that the seam allowance was the same across the board. I discovered that the patterns on the fabric additionally gave a bit of an optical illusion depending on where the patterns were place on the fabric, for example if the pattern was asymmetric then the whole sample felt slightly skewed!



2/7/2: Second stage log cabin- piecing fabric together

Seminole method- first stage paper designs

The image below shows my paper experiments using the seminole method of piecing them together. I found my favourite variations were those which used plain black/white pieces to break up the busy patterns. I initially thought that this technique would be a quick and easy one to do, however it turned out to be the complete opposite for me.



2/7/3: First stage Seminole method- paper ideas

 Seminole method- Second stage fabric designs

Although the paper designs were for me time consuming and tricky to piece together, I found the fabric versions to be the opposite. It did not take long at all to piece samples together. I think this was mainly down to the fact that to 'stitch and cut' was far less fiddly than to 'stick and cut'. The samples I produced are in the image below. I really enjoyed this technique.



2/7/4: Second stage Seminole method- Fabric samples