Blogs

Assignment 2: Stage 3 Recording colours accurately - exercise 3

This exercise was similar to the previous one, though we used a postcard (or image) instead of a piece of fabric. we had to mix the colours and paint them to record the colours used in the image/postcard

this was done using watercolours also, as it's all I had with me at the time:

Assignment 2: Stage 3 Recording colours accurately - exercise 2

For this exercise, we had to find a piece of fabric, stick it to a piece of paper, then mix colours to match the fabric border and paint next to the fabric to try extend the fabric colours onto the page, seamlessly.

I enjoyed this exercise. though the hardest part was mixing enough colour to use on the whole border. I found that I had to mix some of them more than once and then ran out of paint. so, it's not perfect. but it was a good exercise to try an match the colours as closely as possible

here's the fabric and painted border. I used watercolours at first as this is all I had with me

here's the paper I used to test the colour mixing:

Assignment 2: Stage 3 Recording colours accurately - exercise 1

This exercise involved mixing colours—from page 62 of class notes:

You can dilute colours with white to obtain paler tints.

• You can mix colours with black, which will take the light out of them and make them
  much duller.
• You can mix colours with grey which will make them less intense.
• You can mix pure colours with their complementary colour to make all the darker,
  duller tones of a particular colour. It is often better to mix these darker in-between colours in this way rather than using black. Black seems to deaden colour, whereas colours toned down by their complementary seem to have much more life about them.mixing colours — watercolours
  I spent a while on this exercise.

  initially I used watercolours as this is all I had available to me at the time.

   

   

   

  mixing colours — guache
  then, later I repeated the exercise with gouche paints.

   

   

  for some of them I mixed the colours directly onto the paper:

A2: Stage 2 Colour perception - exercise 2

In this exercise we had to cut different coloured squares and put smaller grey coloured squares in the centre of each larger square.

A2: Stage 2 Colour perception - exercise 1

In this exercise we had to cut different coloured squares and put smaller squares of a single colour in the centre of each larger square. to see how placing one colour against another can change the perception of the colours.

Assignment 2: Stage 1 Introduction and preparation

In this exercise we were introduced to the colour wheel as well as tone and saturation. We had to paint / create colour wheels. it was a good chance to practice mixing primary colours to make secondary colours.

making a colour wheel
primary colours:

primary & secondary colours:

painted onto a coaster:

I recall earlier this year there was a large discussion about "International Art English" (IAE) on some of the mail lists - on empyre-l, nettime-l, and articles on triple canopy and hyperallergic & the guardian newspaper site.

there was a conference held this year on the topic also — "Critical Language — A forum on International Art English". I've posted the blurb below for reference. I've asked them if there was a recording of the sessions to listen to. will add links if they reply.

some other articles about it:

users guide to international art english — on the Guardian website

When Artspeak Masks Oppression — on hyperallergic

International Art English — on triple canopy

Grayson Perry talks about it in the 2013 Reith Lectures

=================================================

Critical Language
A forum on International Art English
155 Freeman Street, Brooklyn, NY
Saturday, April 6, 2013, 4:00–6:00 p.m.
$5 suggested donation
http://canopycanopycanopy.com/programs/84

I had a listen to the first lecture of Grayson Perry - The Reith Lectures 2013 a couple of weeks ago. I loved his comments and disregard (?) of the artworld and his analysis of International Art English language.

since coming across this, I heard also that Grayson Perry and Brian Eno are working together. I can't wait to see/hear what comes of this collaboration!

the BBC blurb:
"The award-winning artist Grayson Perry presents the 2013 BBC Reith Lectures, titled Playing to the Gallery. Across four programmes he discusses what makes him an artist, the limits of contemporary art, how to gauge the quality of new artworks and the future of the avant-garde."

http://www.bbc.co.uk/podcasts/series/reith - podcasts of the lectures & related material

http://www.bbc.co.uk/programmes/b03969vt - Democracy Has Bad Taste: Grayson Perry: Playing to the Gallery: 2013 Episode 1 of 4

I see that the first lecture is also available on youtube

Grayson Perry- Reith Lecture No.1: Democracy Has Bad Taste http://www.youtube.com/watch?v=DtehJ3O3vMk

this weekend in the UK the "Subversive Stitch Revisited: The Politics of Cloth" conference was (is being) held. as it's a bit far to go from Australia, I missed out on attending the lectures. their twitter feed mentions the sessions will be uploaded as podcasts soon, so I shall try to take a listen to them. I have a copy of the original book, "The Subversive Stitch: embroidery and the making of the feminine (1984)" by Rozsika Parker, though I have only browsed through it. I hope to read more over the Christmas break (along with Colour book).

here's an image of the flyer:

event details, from the ticket site:

Keynote Speakers include: Professor Griselda Pollock, University of Leeds

The Subversive Stitch Revisited: The Politics of Cloth will explore the legacy of Rozsika Parker’s groundbreaking book, The Subversive Stitch: embroidery and the making of the feminine (1984) and two landmark exhibitions from 1988 that developed Parker’s ideas. It will consist of a two day event held at the Victoria and Albert Museum, and an online resource that will include documentation of the event. The Subversive Stitch Revisited will be dedicated to the memory of Rozsika Parker, who died in 2010.

Textiles 1 — A Creative Approach — Assignment 1
student name: Kathleen (Kath) O'Donnell
student number: 511607

Assignment 1 — Reflective Commentary
(based on assessment criteria points)
also available as a downloadable PDF file — 77Kb, 2 pages

Demonstration of Technical and Visual Skills materials, techniques, observational skills, visual awareness, design and compositional skills
Whilst working on the class exercises, I learnt many new techniques, including mark-making with various materials, hand embroidery stitches and how to do machine embroidery. I began to see patterns and marks whilst I walked around the city, and began to see shapes that could look interesting when stitched. Once I learnt a few embroidery stitches, I began to see them everywhere in the streets, in my hotel rooms and in in ordinary, pataphysical objects. I'm still working on my sketching, as I still don't feel as confident doing this, but I enjoy taking photographs of different patterns instead. The class exercises did help in "freeing up" my drawing skills and ways of thinking.

A Creative Approach — Project 2 Developing your marks — Stage 6 — Using thread and yarns to create textures

In this exercise we had to use different threads and yarns to create textures.

front side:

rear side:

I tried another - with different layers of fabric, different stitches and different/multiple threads of varying weights.

close ups:

rear side:

I had made some small sketches (finding I like the A5 size, small but handy to carry around), so the stitching above is based on some of the shapes in these sketches.

Reflection:

• Can you begin to see the relationship between stitching and drawing?
yes, definitely. I can see it more and more since working on these exercises. I think I have even started to draw/sketch with stitching in mind.

• Were you able to choose stitches which expressed the marks and lines of your drawings?
yes, I learnt a few stitches including running stitch, back stitch, blanket stitch, stem stitch, chain stitch, cretan stitch, satin stitch and was able to adapt some of these to match the marks in some of my sketches.

well, I was trying a knit-a-year project but since I don't have much yarn here (on overseas trips) and have been more interested in stitching and embroidery lately, I've decided to shift to a stitch-a-day project instead. I might use my other blog for another project so will relocate the articles here (or add to the previous post).

my first attempt - I've been totally inspired by the work of Junko Oki and since attempting to stitch circles in a modified blanket stitch, I can see more clearly just how fine and free her beautiful stitching is. mine feels large and clumsy in comparison, so I will need to practice more to create smaller stitches. also, I need to bring more fabric to use as a background as on this trip I only have some calico, and a couple of coloured threads.

there's lots of circles & other textures in the hotel room. the carpet has concentric circles - a bit like the Maori koru shape. I like the red crushed velvet lounge chair in the room too - it has some nice lines and shapes in the shadows

06/10 update:
I stitched some more circles and other shapes this weekend

tonight I've been taking a look at embroidery by Junko Oki - she has some beautiful pieces. I love her use of circles and lines.

I emailed her to order a copy of her new book, "Culte a la Carte" (I think her first book has sold out), and mentioned I was doing a textiles course and had been enjoying embroidery. I asked if hers was all stitched by hand or mixed with machine embroidery too. she responded,

"I'm glad to you interested in my work.
My work is stitched by hand all.
I do not have that you have to study about embroidery .
I have the feeling produced in like writing a picture."

the circles are intricate rows of fine blanket stitch, with lines in running stitch and some feather stitch. lots of "sun" themes. I'm really loving it. the imperfections and textures created by the stitching mixed with the choice of textures and colours of the fabrics as the backgrounds. I'm looking forward to the book arriving so I can see more of her work.

I love some of the backside stitches, ie via February 2012:

from Dee's Hall from October 2012 - a lovely portrait of a woman's profile.