Tag Archive | textiles

Field View

This is a record of this way of working with colour in its most simple form.

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  1.  Select subject – clear shapes and lots of tonal contrasts. Colour palette is restricted, so is the texture. Should have photographed without the front stuff and before the sun went down!IMG_20180713_143459425_BURST001
  2. hand stitch. This is the main source of colour, but can not be too dense or the machine will grumble. Use direction to give ideas of form and textures.IMG_20180713_143732604
  3. Threads – muted range, chosen more for tonal value and warm/cool values than hue. (the purples were far more brown and dull, the end colour is dark olive!)Aviod plain grey – too stark, use more sophisicated colours.  One or two stronger colours for get out jail free cards, but to be used sparingly.IMG_20180713_151235095 (1)
  4. First layer- establish main tonal zones, vary stitch patterns to create more separation.IMG_20180713_162948339
  5. Second  layer – highlights and shadows, working in a variety of ways to build surfaces.Spot the vertical lines, cross hatching, wriggly squirms and zigzags.                      IMG_20180713_163841876
  6. Top dressing – final tweaks, adding details, evaluating and finishing. This style has to be at a distance- pin up, make coffee and walk towards it to make sure the contrasts and values work.                                              IMG_20180713_163905165
  7. Drink coffee. Still need to press it. Later will do.

These method at this scale is relatively quick and surprisingly effective. This mini series is part of the Falling Light family of woodland studies so this style which encourages me to emphasise tone works well. This little beastie was done in a morning – or would have been if I remained focussed  (blame Wimbledon and the Tour de France). I find it quite limiting so the selection has to be strong enough but without too much fuss. The limited palette range could be expanded at will though I like the simplicity of focussing on tone – been doing a lot of pencil drawing at the moment so I guess the two disciplines are cross pollinating again. Scale is a problem – bigger means more time hand stitching and the need for more complex stitch patterns.

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Workshop frenzy!

landscape stones a  Meet the new sanity – these are landscape stones. I don’t understand the idea yet, but …… I enjoy doing them. It is something about fitting flat to 3D and the marks and tucks from the fitting becoming a landscape of lines, well something like that, ish.  At least they are relatively quick – emphasis on relatively –  They either are very right, or very wrong,  I don’t know yet.

Thank you for your support at Open Studios. Another year of interesting and interested people.  One day soon the house will be back together but in the mean time has anyone seen my cache of acrylic paints – colourful messenger style fabric bag?    One of the great things about doing a meet your public event is that it focusses the mind quite effectively.  The work has to be finished of course, but also if somebody asks about workshops it is probably best to have some  organised.

It did take much longer than expected (sorry first weekenders) but a whole new schedule is now together.  The grand plan is a  series of classes and also one off complementary day workshops.  That was the plan…….  hopefully folk will like this flexibility,  only a fortnight to the first intro class so I guess I will soon find out!

Classes, Summer 2018.    Each is 10-1pm, £15,

Introduction  May 4  /  May 6   Setting up, the machine, basic equipmentP1070027 equipment, getting stitching. Trouble shooting

Making Lines Work  May 11 / May 13  Controlling and exploring how to make and use lines to develop character and style in your work. Start to draw with your machine.

Lines- And now to make pictures  May 18 / May 20green lane fran brammer tmb Using lines in different ways in your designs and pictures.  Work with positive and negative ideas. We will go through creating your own design from idea to completion.

Experimenting with Applique  May 27
Different ways of adding fabric shapes to your work- simplehands raw, using precut shapes, stitch patterns, edges. An effective way to add colour, motifs, pattern or textures.

and this is only May.……… deep breath because there are also day workshops,  buttons/badges, twisting tree card makes, and water soluble day, and, and, and… the complete lists are on the Me Page.

I can not recommend freehand machining enough – it tickles the inner anachist and releases a little of that risk taking rebel – all with out wearing lycra or needing a special set of underwear …. unless of course you want to.

landscape stone 3a  Do they look like crop marks, plough patterns, trackways and field boundaries yet?   Will rockeries, riverbeds or beaches in N and E Yorkshire ever be safe again…..?

The ghost, a sad, sad story.

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muslin panel in the early days of goo.

 

 

 

Once upon a time there was the embroidered Muslin Panel. It was a very nice embroidered Muslin Panel, a proud metre by 60cm. It was  wafty and ephemeral and above all, delicate.

A bright idea occurred. Rather than having to dangle, Panel wanted to be able to stand up. Enter Evil Goo. Some of the lightness  would be lost but Goo promised great things such as rigidity and independence.   (didn’t mention the smell.)

Days later  and Goo had dried.  But Panel was unhappy, stiffer yes, rigid no. And so plasticy  and heavy.   It took a tall wooden pole at either end to hold him up.  Little Pet’ ( the part jacket) came

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Little Pet doing her thing.

to help support Muslin Panel in its hour of woe.  Valiantly Little Pet’ held up the panel as strongly as she could but the top section kept flopping over  – first this way then that, until a tear formed and the floppy bit had to be amputated . The tall wooden pole at that end became short wooden pole. Tall  wooden pole  attached to the other end   tried hard but the weight was still too much,  so Tall Dress was introduced to hold the trees section up.  (still don’t mention the smell) .  This new element caused great jealousy and tensions between Little Pet and tall pole.

 

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The first cut, Tall Dress and bending pole.

It all proved too much for Muslin Panel-  it began to split.   Oh no! cried the  tall pole and bowed in grief. It bowed and bowed until it could not take anymore and split.

 

What happened next was too brutal and distressing to relate. It involved terminal surgery, boiling water, blades, two pairs of scissors and a bin.

So where are they now? This once proud and happy  Muslin Panel has been torn in two. One part stays with Little Pet’, a mere shadow of former glory: the trees section has proved to be a right flirty piece, having made promises it couldn’t keep to aluminium pole, it is now cozying up to Tall Dress again.

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the chaos that is the work room and schedule

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trialling trees and tall dress

 

 

 

 

 

Moral of the story – if you are meant to dangle, be happy to dangle. And of course – do not put your faith in Goo. ( have I mentioned the smell?)

 

 

 

 

As for the second muslin panel – that was a complete disaster – the evil goo did not bind onto the surface evenly – it was like terminal dandruff crossed with very nasty skin disease.  The second little pet still exists but is currently homeless and purposeless.  Her life in goo is over – it will be straight PVA from now on.

Come see what survives –  April 14 and 15,   21 and 22.  Bring tissues.

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Hmm

And they’re off!!….. No, they aren’t!…. yes they are…….well, sort of.

Busy week.  Met up with the other textiley makers exhibiting at the York Open Studios, quite a posse of us, all doing a variety of things –  exciting. Went into the York gallery to see the Literature Festival  exhibition and ordered a test batch of greeting cards to be printed.

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Blossom Street Gallery

 

Met up with a local facebook group of sew-ers, (not only did it turn out that I had taught most of them but also that they know where I live!!!)  Went over to the Knaresborough gallery to negotiate over borrowing back some things for the YOS dates – they have sold most of them! Oops.

I have also become detached from the lone remaining braincell, I think it may be in the garden somewhere, dread to think that it might have escaped and  be on the loose wreaking havoc.

As for the work ….. The smelly thing still smells, it is not as I wish but  seems to be the best I am going to get at present. The fabric is stiffer but still flops, it is not rigid. It has a nasty plastic sheen in places. Adding more of the goo adds more to the nasty bits than corrects the problems, so…..

Stitched text onto some very fine cotton and pleated it to make into half of a pet-en-l’air. (A sack back 18thC jacket – lots of fabric, very few seams.)  This has been goo-ed and is just about set. P1170798

 

I left a lot of waste fabric on the pet to help to meld it onto the big smelly landscape and hopefully they will start to support each other.

 

 

 

 

franBrammerWolds pet en l'airAnother scrap piece is texted ready to be goo-ed and applied if needed. Have also thought of a system of uprights –  so much for a quick experiment.

franBrammerWolds and petdrying

An idea of the whole – the poles are temporary props.

 

 

Decided to do some small intensely stitched bits as light relief…… but only if I can put up with the smell!

Still writing the wolds-

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Bit of a mad week  working on other things so this only happened on Sunday.  I was invited to have some work on display in the Merchant Taylors Hall in York for the Residents’ Festival – when locals get to play tourists around our own city .  They were happy for me to bring a machine and work in progress and be actively stitching as well as engaging with the visitors.  Great idea, shame I forgot my glasses ( needle threading courtesy of the neighbouring florist), but it was good fun, lots of chat, really well looked after and the work made a bit of a leap forward as well.  Still got lots to do but it is now showing its bone structure and only fleshing out remains. Should be done by the end of the week.

The question is how much of the writing do I want to see, how much should be legible?

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I am not sure about the long area of hatching either. Might be done by the end of the week. Now looking at some of transitions, it may be the end of next week.

I am taking the series into Blossom Street Gallery to see if the will display all/ some of them for the literary festival in March. It will be good to get some feedback.

And of course there is the Open Studios to look forward to  in April!YOS Logo Short_CMYK 2018

Progress

 

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Well the body of the piece is together, all the water soluble is washed out, leaving great water marks. As predicted some of the lettering has unravelled, decided to encourage it in the background areas to start a sense of aerial perspective. I have been plucking at the trees on the right ready to work over on machine, even did some hand stitching on the big one to give a bit more colour and texture/pattern to it.

The text is White’s (1840) in the background, Baines’s Yorkshire (1823) in the middle and a Domesday Book translation for Pocklington (1086) in the front-  thank heaven for Google books and the local library.      Now thinking that it should have been the other way round, the oldest at the back as the history the other two were built on. A bit late now, live with it decision made.

Next on the task list is to establish the landscape fully, bringing in more colour and surfaces. The lettering is to be part of the land, not separate from it or superimposed upon it. Lots to do, but I think the back of it is broken now and it should be faster and faster towards the finish now.

Having ideas is such a pain,  If this was a simple, straightforward image it would be done-ish. I’ve been at this for weeks and it is just getting to the picture stage! Pah.

Progress may be a little delayed, so I don’t recommend the holding of breath. Am having a bit of a self pity wallow post dentist visit, and have promised to paint the workroom! Double Pah.

Writing the Wolds

Happy 2018!

Some things do not change – I am still working on this series, trying to respond to the landscape in more than an oooo isn’t it pretty,  or a purely practical factual way.  These local hills are self contained, even a little out of place – chalk uplands happen across the South of the country, very few outcrops occur in the North. They are less dramatic than their more famous neighbours of the Moors and Dales, but have their own charm and character.

 

The latest effort has its own charm too. Somewhat eccentric and well hidden charm.

The premise was simple. The research I have done threw up contradictions, this landscape and  attitudes to it  are quietly dynamic. What we see are the results of time, fashion and economics , as well as the odd ogre events such as William the Conqueror’s Harrying of the North. I wanted to include some of these things into the landscapes that I create.

 

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This is the background, textured cloth backed with

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Outside, on the washing line during Storm Eleanor!

calico and covered with machined excepts from  Wm White’s 1840 History, Gazetteer and Directory of the East and North Ridings of  Yorkshire. This describes the transition to enclosures and plantations of trees, also the changes in crops and land use. He was optimistic, changes were happening for the better, the place had a future. The rayon thread was perhaps a bit too subtle – an attempt to stain and dye took the newness off the cloth but no more. It also caused wobblage and bobblage of the surface fabric making it even harder to read! I can’t press it out yet – it would fix the marker pencil I’m using.

 

 

On top of this are going to be scraps and remnants from previous landscape work. Shredded and frying edges should help to bring the layers together…..P1170725 still experimenting…

The foreground text is a translation from the Domesday Book about Pocklington, how it belonged to Earl Morcar valued at £56 but now to the King at £8. Many manors are described as “waste” – still not having recovered any  taxable value since the Harrying. This is worked out from the remnant onto a layer of water soluble fabric (prob not a good idea). P1170740Strips of colour and texture are going to be added to give more form to the landscape so some of the words may well get lost, others may unravel (will), but a few may still be there. A little like the evidence of Norman occupation of the Wolds themselves.

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More fragments and excepts  are planned – the trees to the left are earmarked for Baines’s Yorkshire , but all of this is going to be worked over with a pictorial landscape- knowing how much to do and in which sequence is giving me a head ache. I have tried ways of stitching the layers but have yet to get it work, text on the water soluble is also hit and miss, the misses offer as many  opportunities as the text does. So how much effort do I put into getting it to work? How do I wing it and just work with what happens?

And then framing this series ……. nightmare……

But new opportunity for workshops to be investigated, showing work at the Merchant Taylors for Residents Weekend v soon,  some pieces to sort for Literature week for the gallery in town, and of course Open Studios to work for! So why don’t I feel busy?