Tag Archive | scenery

landscape books

This is an extension from the standing landscapes. It is a combination of old trends and fascinations and new materials and priorities.

Fun!

Fascination list 1.

Folding. Inside/outside. Angles/ curves. 2D into 3D. Front and back.  Out comes that can be changed rather than rigid. Perspectives. Mark making, textures, simplicity of line. Rhythm. Less not more. The seen and the understood . Denying  the sanctity of vision. Enclosing, revealing. Communication. Enigma. Questions. Narratives.

Oh dear – how many contradictions!

The standing landscapes addressed many of these areas.  But I am going further – or at least trying to….  Communication and narritives – tehse already speak of visual things, of space and textures, lines and perspectives – all physical things, all expressive but have underlying rules and conventions. I wish to introduce some of the deeep and wonderful thinking that happens as I move through the landscape. For me they are entwined into the physical. The obvious is to write – a familiar route. Underlying or overlaying? Woven in ?  to be read or just hint? With or across the lines of the landscape?

Giving the folding a purpose – making a pull out book. Having a cover and the landscape folded within. This seems a very York thing. Driving around the city I see distant hills in 3 directions,  blue and purple horizons, or gleaming in the sunlight, once I get to them they unfold into complexity and character, opening up their secrets and corners.

Proto Landscape Book 1

Construction-  Samples,  vilene panels cut and fused onto muslin to act as hinges. The tall narrow strip will be the spine,  the ones either side will be the covers. The last is of the final blank ‘book’ , stitched around to seal the muslin to the vilene.  The scale is too small for anything other than the briefest experiments.

 Nothing over special about the image – do like the layers in the foreground but the covers are where the interest lies, should maybe have a greater disction between cover and extension – colour? content?  density?

There is no writing on it yet –  that is next. Down the spine like a title? following the perspective lines? in the pale, in the dark or in a slight neutral? 10 minutes later and there is writing! As if by magic! or sewing machine…

The text is one I have used before, and always reminds me of leisurely walking through the Yorkshire Wolds on a bright and breezy day. It  is whimsical rather than deep,  it comes from watching the wind ripple through ripe barley as the clouds scud about above them.

Problem – front and back – writing has a right and wong way round.  Very much a problem on the front cover, so the text has to start only on the inside panels. Should I be colouring the cover? Thread or paint?  I shall try paint……

Who am I kidding? Is this a way to avoid thinking about York Open Studios?  April 6th is just how many days away?? Please do come and see me if you can –  I promise to have tidied up by then…..

Advertisements

Painted scarves

These are fabulous, but dinky.  I wanted to get bigger again but to keep the pace  and the challenge without getting trapped by the scale or technicals,  so I decided to paint, of course! Let’s make a scarf, or two.

Matt acrylic and textile medium? Brusho? Indian ink?

Brusho is a powder – often used as a watercolour- and is often used on fabric. Problem would be making it wash-fast. Do not want a scarf where the colour rubs off on to skin or gently dribbles into your clothing.

Indian ink – waterproof ink – more liquid, very strong but will it stay where it is put?

Acrylic paint plus textile medium is tried and tested. Just mix the two and paint it on. It needs to be heat fixed (ironed) before it is washable. It can be clumsy, can create hardspots and can sit on the top surface.

img_20190303_173844062

Play time. results – the red is brusho- far too enthusiastic even with the medium- red everywhere. The black is Indian ink – so strong but better manners.

Decided on the devil I know- the acrylic plus medium, the first a fairly neat mix, the second more dilute to get more flow.  The pieces are 2m x 1/2m muslin.  Far too easy – so dyed over it to give a  warm dove grey. The paint is resistant. Great fun to do even if the room and sink area look like a battlefield and the only place I had to hang them to dry  was the stairwell. But then comes the finishing- hand rolled hem.  It is only 2m. Then 1/2 m across, 2m back, and another 1/2m to complete. Now hate rolled hems, and muslin. (been out and bought 3m more)

Still have a few Wednesday evenings and Friday mornings left if you would like to come round to play with creative textiles. York Open Studios is approaching fast – 6-7th and 13-14th April and I will do more formal workshops after this. Also have a piece at the gallery in the Ryedale Folk Museum on the North Yorks Moors, in their Open Exhibition – things are getting busy…..

Life after sprout continues…. experimenting with the CS800 –

“SPUNBOND WITH UNLIMITED POSSIBLE USES

CS 800

For experimental surface designs, for home decor and interior designs as well as painting.”

 

Well that is the marketing blurb. It is a firm white synthetic, designed to take colour and stitch. Think pelmet vilene/stiffener but with out the thickness and weight.

c

 Applying colour – the surface is reasonably firm but has furred up a bit with the Inkintense pencils I tried above. Thin paint sat on the surface below and soaked in unevenly but with out the  furriness.  P1180353 I washed the piece to knock out any surplus paint before stitching and the structure of the fabric is obvious but not unattractive – reminds me of chip board or wax resist crackle.

Theme-wise I am on one of those cyclic tangents again – this one from years ago – and more years ago before that.

I have been back  up in the landscapes of the Yorkshire Dales and Moors  that I know well, and that has raised the old quandaries about trying to draw them. What am I drawing? is it that one view? or is it more about what I know of the landscape, where the paths go, what is round the corner just out of sight? Are my memories and understanding of walking through that space as important as that photographic image?  Well, I like stories more than photos – I have more books than pictures – narratives are histories – and experiences are personal, tying place and time.  An awful lot of concept and theorising for a very simple visual outcome.

b4

b

Meet the portable landscapes a, b  and c.

The piece of  CS800 was sliced and diced – just in straight blocks. The pieces are reattached edge to edge by zig zag stitch. so that they can flex without bending.  The image is stitched  on directly .  The gaps were made by inserting a piece of solufleece and washing it out after stitching. They are small, soft sculpture, and can be arranged however the mood takes.

a

I like the play on scale and perspective, the ideas of front and back being not important, and also that each time these are put out the angles and emphasis changes. The simplicity is fun – it is about leaving out not embellishing.  It is making me focus on stitch patterns, markmaking with a sewing machine. I am keeping the colours minimal – deep olive, beige and gold, and adding on the odd splash and wash of ink. The monochrome ish-ness is just so lovely and stark.

As for the CS800 – it takes stitch without  quibbling, distortion or complaint. Though it does blunt needles quite quickly,  the machine stitches fairly cleanly and consistently. Problem is the lack of ‘healing’ the holes made by the needle. Also its strength is that it doesn’t fray or tear and cuts like cardboard, but is it happy to stand on its edge without wilting?

Scale is going to increase since I have grabbed some more supplies from work, but this size is pretty cute and easy to manage.  The next batch is going to play with ideas of frame and layers – fun.

a3

My severest critic? Photo crashed by a ladybird.