Faux chenille and more tulle (or net!)

I’m sad that the five-week course on fabric manipulation with Caroline Bartlett at Morley College that I wrote about last time is over.

I  like the way Caroline teaches. She brings lots of inspiring examples, shows you the basic technique, then encourages you to play and experiment and find things out for yourself. She also discusses the work of other artists to show how the techniques have been adapted and expanded. Debby Brown, my first tutor at Morley, has a similar approach, which is one of the reasons I got started on this whole textiles lark. 😉

Faux chenille

In the fourth week we were introduced to faux chenille, where we stitched through several  layers of fabric, cut through some of the layers and then roughed it up a bit to encourage fraying. (There are lots of tutorials online if you google faux chenille.)

faux-chenille-1 faux-chenille-2

Caroline brought along some great samples to get us going. Sadly, my attempts were not half as successful, even after putting them through the washing machine.

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I probably need to explore this further using different fabrics and colour combinations. 🙂

Working with net

In the last week we were encouraged to work with a technique we’d particularly enjoyed, scaling it up or developing it further.

I’d originally planned to experiment more with modular origami balls, with the idea of making a “puzzle ball”, with different sized balls nested inside each other. However, when I’d tried this at home, the tulle* wasn’t really stiff enough.

puzzle-ball

*Tulle digression: What I’ve been referring to as tulle isn’t actually tulle. I was sniffily informed when I went to MacCulloch & Wallis that tulle is the soft netting used for bridal veils; the stiffer stuff is dress net. While I was there someone else was told the same thing, so it’s clearly a common misunderstanding. Now you know. 🙂

And thanks to Juliet, one of the other students on Caroline’s course, I found out that there are also different weights of dress net. Juliet brought in samples from Heathcoat Fabrics, which sells dress net in weights of 18, 27 and 50gsm. And 50gsm only comes in black, white and cream. This would have saved me trawling round the shops of Goldhawk Road looking for stiff net in different colours! /digression ends

While I was in MacCulloch & Wallis I bought some even stiffer netting with a larger mesh that is used in millinery. This might work for the outer balls with holes in them, but the solid inner ball loses the delicate translucency of the net.

puzzle-ball-3

So in the class I experimented instead with pieces of arashi shibori dress net, curving them over themselves and joining bits together to create shell and jellyfish-like forms.

jellyfish

As usual, it was fascinating to see the great variety of work from the other students. It included this wonderful faux chenille by Frances Kiernan.

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And this superb circular pleated piece from rust and indigo dyed fabrics by Ross Belton.

ross-collar

If all this has inspired you, Caroline is doing another course at Morley College next term focusing on shibori, print and heat setting, so do book if you are interested, as it’s filling up fast. Unfortunately I won’t be able to make this one.

Discount on basketry course at Morley

I won’t be able to make this one either, sadly, but Morley College is offering 20% discount on the Creative Basketry course with Stella Harding. It runs on Tuesday evenings, 6-9pm, starting on 28 February for six weeks.  See here for more info on Stella.

The full price is £155, reduced to £124 with the discount.

To take advantage of this offer, email Ruth.abban@morleycollege.ac.uk and copy in gemma.bergomi@morleycollege.ac.uk. They will notify Enrolment Services of your name and discount. You can then enrol by phone on 020 7450 1889 or in person but NOT online.

 

 

 

Starting with Photoshop

A few months ago I mused about whether I should learn how to use Photoshop so that I could get some of my designs digitally printed rather than making everything by hand. This would enable me to make larger pieces at more acceptable prices.

This week I finally got round to doing a two-day class on Photoshop for beginners at Morley College. It was a very popular class, with most of the participants wanting to learn Photoshop to improve their photos or restore old prints. And it turned out that I already knew the tutor, Estelle Vincent, as we had been located next to each other at Lambeth Open at the Portico Gallery a few years ago. Small world! 🙂

We covered a lot in two days, but what was most useful for me was learning about layers, filters and flipping/rotating to produce repeat patterns. Here are some of the patterns I created.

The first was a section of an ecoprint of eucalyptus on silk.

Original ecoprint of eucalyptus on silk

After changing the colour with a filter and flipping and rotating:

Repeat pattern created with filter

A similar process starting with a section of sycamore ecoprint:

photoshop-sycamore-before photoshop-sycamore-blue-repeat

Then I experimented with some indigo shibori. I didn’t bother changing the colours with filters this time.

photoshop-swirls-beforephotoshop-shibori-swirls

photoshop-kuno-before photoshop-new-kuno

It’s fascinating to see how different the patterns look when repeated on a larger scale, which is something I could never achieve by hand. And using different filters to create different colourways adds even more potential.

Lots for me to think about here!

Textile Alchemy at the WAC Gallery — Modern Eccentrics

I went to the PV of Textile Alchemy on Wednesday, but Johnny’s photos are miles better than mine! So I’m just reblogging and saying that you can still catch the show tomorrow (didn’t realise it was only up for a few days) at Waterloo Action Centre, 14 Baylis Road, London SE1 7AA.

For once, I’m not going to write very much about this wonderful show, the end of year exhibition of the Advanced Textile Workshop at Morley College. This is because Zoë Burt, the tutor has summed things up so eloquently, and done my job for me. ‘Students have had exciting opportunities to creatively develop their professional textile […]

via Textile Alchemy at the WAC Gallery — Modern Eccentrics

More art shows

It’s tiring, this art lark. 🙂 Yesterday was certainly full-on, with two student shows during the day and then open studio visits in Camberwell in the evening.

I started with the Textiles Foundation exhibition at Morley College, as it was close to me and close to my heart. The first thing I saw was a window display of rust and indigo stitched scrim vessels – part of Gav Ross Belton’s Imperfect Beauty display. Please forgive the imperfect photo below, with its pesky reflections!

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Inside was a whole array of his further experiments, using rust and indigo on materials such as paper, scrim, silk and muslin. Some had echoes of Alice Fox, another artist whose work I admire.

I also liked Alison Ripley’s structured felt and stitchwork, inspired by cellular structures.

There was more felt and stitching in Alexandra Anderson’s scarves resembling the texture of melon skin.

And Petra Mavsar’s printed wallpaper and fabric had pleasing symmetries that looked to be based on bird of paradise flowers.

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Natasha Hanckel-Spice’s Code Knit played with the idea of binary code translated into machine knitting with wire and wool, in contrasting colours – another one that was tricky to photograph!

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The Textiles Foundation exhibition runs at Morley Gallery until 2 July.

After lunch with Women of the Cloth it was off to the RCA Textiles show. As ever, the weaving section was especially strong. I particularly liked Wuthigrai Siriphon‘s samples made from recycled PET bottle yarns and polyester combined with silk, paper, cotton, mohair and wool.

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The machine knitted garments using dip-dyed yarns by Jessica Leclere were very effective.

Jeehyun Kil used more unconventional plastic and metal tubes to create 3D geometric forms and nets that are flexible enough to drape and change shape.

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In a similar vein, Yue Wei creates bags and other structures combining materials such as perspex, leather and resin.

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Carly Mikkelsen, by contrast, used more conventional textile materials in unconventional ways- for example, by joining strips of thick layered felt.

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Finally, I loved Amelia Gibbs‘ ethereal fabric collages combining pleated, stitched an shredded silk with feathers and crystals.

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The RCA show runs until 5 July.

Then last night we did the rounds of some of the Camberwell open studios taking part in Camberwell Arts Festival. So much going on, too much to mention – you can see the full list here. But here are a few of my favourites.

Pauline Amphlett Prints

Gabriela Szulman Art

Tony Blackmore

Liz Charsley-Jory

Rafael Atencia Design

The Camberwell Arts Festival ends tomorrow.

Felting with paper and synthetics

Almost exactly two years ago I attended a short course at Morley College on bonding paper and fabric. I found the technique really interesting but wasn’t really sure where to take it next – the tutor had turned most of her examples into hangings.

Then over on the Felting and Fiber Studio site I read a post by Ruth Lane about the very same technique, in which she wondered about using the results in nuno felting. D’oh! As soon as I read it, it seemed obvious.

Although the fabric is polyester organza (silk is a bit delicate for this technique), it’s very open weave, so there’s no reason why it shouldn’t felt. I haven’t really done much experimenting with nuno felt, so this seemed like a great opportunity. Plus it would give me a break from the scarf production line.

I dug out a small sample I made using Chinese joss paper.

laminate before felting

It was great to be felting again – I didn’t realise how much I’ve missed it. The result was very interesting.

laminate after felting

As you can see, the polyester felted beautifully, contrasting with the area of laminated paper, which prevented the wool from penetrating the fabric. It’s similar to how I made my manly scarves using plastic oval resists – except I don’t need to remove the resists.

It could be interesting to add extra texture to the laminated area using stitch, and also to experiment with designs that include smaller areas of laminated paper. Thanks Ruth for the inspiration! 🙂