Theme Book

I had been struggling to pin myself down to a theme as I have a long list of suggestions for myself.  My Tutor made a very interesting suggestion relating to my interest in 15th and 16th century embroidery and using this to develop my own interpretation of the embroidery that inspires me combined with the river.  

The river is the River Weaver that is 5 minutes from my home and where I walk daily and find much inspiration from such as trees, reflections, wildlife, old boats and much more.  I think this is a theme that I will get a lot of inspiration from and will keep me enthused about it as I can combine it with the embroidery.  

I have begun by taking photographs when I walk by the river.  There is an old tug boat (I think it is a tug boat).  This boat has always fascinated me and I love to look at it every time we visit the river.  It has a very rusting painted surfaces.  The peeling paint and rust attract me and I think of the layering work that like to do.  I am having a full day drawing and painting hopefully trying to reflect the peeling surfaces of the boat.  I am planning visiting the boatyard to see if I can get permission to have a closer look at the boat and take some photographs and do some drawing.  The view I get of it at the moment is from the opposite bank and I can't wait to give it closer inspection.  I do hope I am able to.

More layers at the river.  Peeling bark on silver birch trees.

I am planning to visit Platt Hall Gallery of Costume and Hardwick Hall within the next few weeks.  I am hoping that seeing the textiles and the embroidery there will help towards working in my theme book.   I am working from books and the web but really want to see some 16th century embroidery as up close as I can. 

Platt Hall Gallery of Costume has one of the largest designated collections of clothing and fashion accessories in Britain.

Hardwick Hall was the home of Bess of Hardwick who was part of Elizabethan English society.  She was an accomplished needlewoman.  Her collection of textiles known as the Hardwick Hall Textiles is the largest collection of textiles, embroideries and tapestries to have been preserved by a single private family.  Bess Hardwick's husband was sometime keeper to the captive Mary Queen of Scots and Bess would at times join Mary Queen of Scots at Chatsworth House.  During this time they worked on the Oxburgh Hangings.  I have been lucky enough to purchase a secondhand copy of the book An Elizabethan Inheritance The Hardwick Hall Textiles by Santina M. Levey.  

Anon, (2015). [image] Available at: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMDXASyiPCkmDdrM-jwEPx_UlxMKbXqYhVDab-0VF4qqwTEXKZgcVwqKXFRZUiNqpetOqlWujyWDgiTfCRCd0X2xXhFn02y6QUqIbPwYayXJX_G3EGnm27gR7Cjg2EPCHgFf_kHeFdQ1M/s1600/marian+hanging+4.jpg [Accessed 14 May 2015].

Part 4 - Reflection

Assignment four - Reflection

Textiles 1 – A Creative Approach

Assignment four

Reflection

I found the projects in this assignment interesting and challenging.  I enjoyed the section on analysing colour, texture and proportion.  I do like making unusual colour combinations and have found that my mixing of paints to achieve a colour I want is improving.  I enjoyed working more by putting colours together intuitively.  Colour is I think most important to me.  I feel I should be able to work more easily from source material and think of this as a shortfall in my work.  Thinking about this I think I need to do a lot more sketchbook work.  This has made me quite concerned about my theme book work.  

Stage 2 Exercise 2 was very enjoyable and I think a success for me.  I liked the making of hand-twisted ropes, plaits and braids.  So much so I think I got quite carried away.  I found all sorts of possibilities. I used a variety of materials including wire, knitting wool and torn fabric.  I really enjoyed this exercise and felt this was because I could just let my imagination go with regard to materials and types of braids I made.    

In Exercise 3 I was not sure whether I was working the samples correctly.  I decided this did not matter and as I wasn't sure how the examples should look I thought perhaps that is the object of the exercise and I was to use my own imagination and initiative.

I feel that the woven grid in Exercise 4 is much more successful because of the colours used and work it was worked much more freely. 

The tapestry weaving part of this assignment was much more challenging for me.  I have been disappointed with the work that I produced my frame.  I can see that this technique requires practice. I found the information in this section comprehensive and easy to follow.  I tried the different techniques suggested and this encouraged me to look around for more information.

In stage 3 I found it much easier to work the sample.    This was because I was able to work more freely and intuitively.

I think I got hold of the wrong idea about how to work my final sample and made wrong decisions.  I am happy with the colours.  The sample is too small.  This is mostly due to the fact that I decided to work it smaller as I was concerned about the amount of threads I had.  I would, in future, if I am indecisive about the instructions, contact my tutor to clarify things. However, I feel I should work with what I feel is the correct decision. Weaving has not been my favourite technique and I do not think I wish to pursue this technique.

I am realising that sampling is very important and although can be unsuccessful can lead me down another avenue.  

Biblography/References

Beaney, J. and Littlejohn, J. (1998). Stitch magic. London: Batsford.
Dunnewold, J. (2010). Art cloth. Loveland, CO: Interweave Press.
Hornung, D. (2012). Colour. London: Laurence King.
Campbell-Harding, V. (1990). Fabric painting for embroidery. London: B.T. Batsford.
Thomas, M. (1983). Mary Thomas's embroidery book. London: Hodder and Stoughton.
Wolff, C. (1996). The art of manipulating fabric. Radnor, Pa.: Chilton Book Co.
Parrott, H. (n.d.). Mark-making in textile art.
Hedley, G. (2010). Drawn to stitch. Loveland, CO: Interweave Press LLC.
Dunnewold, J. (2010). Art cloth. Loveland, CO: Interweave Press.


Walsh, P. (2006). The Yarn Book. London: A. & C. Black Publishers.
Carey, J. (2011). 200 braids to loop, knot, weave & twist. Tunbridge Wells: Search.
Lee, R. (2010). Three-dimensional textiles with coils, plaits, loops and nets. London: Batsford.

Seagroatt, M. (1965). Coptic weaves. [Liverpool]: City of Liverpool Museums.

Cole, D. (2008). Textiles now. London: Laurence King Pub.

Colchester, C. (2007). Textiles today. London: Thames & Hudson.

kemp, m. (2015). [image] Available at: http://www.horsehairweaving.com/weaving/photos/MKemp_HCHWA-D.jpg [Accessed 8 May 2015].

kemp, m. (2015). christobal twill. [image] Available at: http://www.horsehairweaving.com/weaving/photos/Mkemp_ChristobalTwill.jpg [Accessed 8 May 2015].

gale, c. and kaur, j. (2002). THE textile BOOK. British Library.

Embroiderersguild-secure.co.uk, (2015). Embroiderers' Guild :: Big Names. [online] Available at: https://www.embroiderersguild-secure.co.uk/index.php?page_no=266 [Accessed 10 May 2015].

62group.org.uk, (2015). Jan Beaney | 62 Group. [online] Available at: http://www.62group.org.uk/artist/jan-beaney/ [Accessed 10 May 2015].

Casholmes.textilearts.net, (2015). Cas Holmes - Paper, Textiles and Mixed-Media. [online] Available at: http://www.casholmes.textilearts.net/page3.html [Accessed 10 May 2015].

TextileArtist.org, (2013). Featured textile artist Cas Holmes: To do different - TextileArtist.org. [online] Available at: http://www.textileartist.org/featured-artist-cas-holmes/ [Accessed 10 May 2015].

Jan, B. (2015). [image] Available at: https://www.softexpressions.com/Merchant2/graphics/00000001/bkN/TaleTwoStch2.jpg [Accessed 13 May 2015].
Holmes, C. (2015). [image] Available at: http://farm7.static.flickr.com/6058/6271660061_638406b5b0_m.jpg [Accessed 13 May 2015].

Casholmes.textilearts.net, (2015). Cas Holmes - Paper, Textiles and Mixed-Media. [online] Available at: http://www.casholmes.textilearts.net/page3.html [Accessed 10 May 2015].

hannahwatsontextiles, (2015). hannahwatsontextiles. [online] Available at: http://hannahwatsontextiles.co.uk [Accessed 21 Aug. 2015].

rencesRust Diaries Alice Fox. (2015). [image] Available at: https://encrypted-tbn3.gstatic.com/images?q=tbn:ANd9GcQGQUM4gMMT0hijIpu547-f9B2sX4Ab6ZL_9-B2YuWWLZwU9NuHnQ [Accessed 8 Nov. 2015].

http://www.alicefox.co.uk/

ennifercoynequdeen.blogspot.co.uk, (2015). Jennifer Coyne Qudeen. [online] Available at: http://jennifercoynequdeen.blogspot.co.uk/ [Accessed 8 Nov. 2015].


Rusting and tea bags Jennifer Coyne Qudeen. (2015). [image] Available at: https://encrypted-tbn3.gstatic.com/images?q=tbn:ANd9GcQy2SsXejMHZmruKsuSY0bk9C9KSaqbSRCS1BmKuGqKUgDng-_z [Accessed 8 Nov. 2015].

Part 4 - Research Point

• Write some notes on how you think the work of the textile artist differs from that of the designer, the designer-maker or the craftsperson?

Designer - a person who devises and executes designs, as for works of art, clothes, machines etc. A designer is employed to work to a brief and has to have knowledge of current trends in the marketplace. 

Designer-maker - textile designer makers can make items for the home, lifestyle and fashion industry.  Some cover more than one discipline. A designer-maker will be involved in the making up of items as well as the designing aspect but can sometimes decide to employ third parties to make up an item from the designer's brief.  Some designer-makers will make an individual piece or mass produced items.

Craftperson - an artisan.  Someone whose job requires skills with their hands.
A craftperson will design and make their items solely themselves and will not involve a third party in their craft.  A craftperson can be described as someone who does their craft be it knitting, sewing or woodwork as a hobby but can also be described as a person who has great skill in their craft and often works in their own studio selling their work.  Whether a craftperson does their craft as a hobby or it is their livelihood both take great pride in their work.

A textile artist differs from the designer, designer-maker and craftsperson in that they design, make their work to be exhibited in a private gallery or public space.  Their work can be for practical or decorative use.  Some use their work to try to bring social issues to the forefront.     

• Is there any crossover in terms of approach or the way in which each uses ideas or textile processes?

I think there is a certain crossing over in terms of approach in the way each use their ideas or textile processes.  All use their inspiration to design and make items using their individual craft.  Many do the same craft and textile artists also sell their work.  I think the end product is is a piece of art in its own right whether mass produced or an individual piece to exhibit.

• Choose two internationally known textile artists whose work is particularly inspiring.

For this section of the research the two textile artists that I find particularly inspiring  are Jan Beaney and Cas Holmes.


Jan Beaney

Jan Beaney has been a designer, tutor and author.  She teaches and exhibits in the UK and has taught in USA, Canada, New Zealand and Australia.  She is a member of the 62 Group being their longest serving member and has been given honorary membership.  In 1997 with Jean Littlejohn she set Double Trouble to promote further interest in embroidery.  Together they have published many booklets and books showcasing their work and to inspire others to enter the world of creative embroidery. 

Jan Beaney's work has mainly been based around landscapes.  Local fields have inspired a series of work for her called 'Five Minutes from Home'.  To create her work she uses machine and hand stitching on water soluble fabric.  These pieces are then added to with more stitching and beads.  

I was first introduced to Jan Beaney's work when I was completing a City and Guilds Embroidery course.  Two of the books recommended to us were The Art of the Needle  and the Complete Guide to Creative Embroidery.  Later I attended one of Jan Beaney's workshops.  We worked on small samples of layering threads and snippets of fabric using bondaweb and bonding powder.  These were then worked into with hand and machine embroidery.   I think this technique has influenced a lot of my work.  At the workshop we were shown Jan's samples that had been photographed for her latest book Stitch Magic that she had written with Jean Littlejohn.  I remember it being so nice to see and handle these pieces of work with their exquisite, tactile surfaces.


https://www.softexpressions.com/Merchant2/graphics/00000001/bkN/TaleTwoStch2.jpg


Cas Holmes

Cas Holmes trained in painting and photography.  She studied paper and textiles in Japan and India. She has worked as a community artist and teacher for many years and has exhibited at a national and international level.  She has also written books.  Connected Cloth Creating Collaborative Textile Projects - this book was written in collaboration with Anne Kelly who is an artist, tutor and author in the UK.  The Found Object in Textile Art.

Her work has included the use of small pieces of textiles, paper and teabags.   She uses re-cycled and found materials.    The difference between re-cycled materials as opposed to found materials is that the found materials often remain the same when being used in a piece of work.  Using textiles and mixed media she creates collages.  Materials are torn, cut and create translucent layers.

In her statement she says I continue to develop my techniques, drawing and use of colour remain the foundation for all my work. The fragments of found materials are layered and mark the passing of time, the rituals of making (drawing, cutting, gathering materials, machining, sewing) acting as part of the narrative of the work.

I find Cas Holmes's work inspiring because I like many aspects of it.  I like the fact that she uses re-cycled and found objects in her work.  Also her work as a delicate quality that I like because of the translucent layers that she creates and the colours used because they have a subdued look that I like.  Mostly I like the stitching in her work that she describes as stitch sketching.



http://www.textilearts.net/members/casholmes/imgs/remnants.jpg


http://farm7.static.flickr.com/6058/6271660061_638406b5b0_m.jpg

•  How do you view textile art?  Do you think about it in the same way that you would look at a painting or a piece of sculpture?  How far do you feel it has been accepted as a medium for fine art by the fine art establishment?

  I think that especially since I have been working through this course and it is teaching me to look at things in a different way I would look at textiles as I do a painting or a piece of sculpture.  I have always admired the work of textiles artists and now looking more closely at their work and the work of artists who paint I think the inspiration and thought processes are the same although the end result is worked in a different media.

I do agree that textile art has for a long time been classed as a 'poor relation' amongst art and not being taken seriously as art against paintings and sculpture.  However more galleries are exhibiting textile work.  I think that because some pieces have embroidery in them they are not treated seriously because people still think of embroidery as a pastime and not as an art.  Hopefully as more galleries are willing to exhibit textile work this will change.  

Part 4 - Project 9 Woven Structures - Notes

• Did you have enough variety in your collection of yarns and other materials?  Which kind of yarns, etc., did you use most?  How do their characteristics affect the look and feel of each sample?

I have quite a large collection of yarns and materials that have been gathered together over a number of years.  After beginning this course I am now adding more again to my collection.

I used mostly yarns that had a texture to them such as knitting yarns.  They were not particularly fine yarns and threads.  I also used a lot of torn muslin.  The knitting and rug yarns give a nice close weave which I find quite tactile in its smoothness.  The torn muslin, ribbon and lace that I chose to use gives a nice raised surface.  The torn edges of the muslin adds to the interest.

• How did you find weaving in comparison to the other techniques you've tried?  Did you find it too slow or too limiting?

I would say that out of all the techniques I have tried weaving is my least favourite.  I did find it too slow.  I want to say I found it too limiting but when I think this only relates to my final sample worked from a visual source.  I think I should have done the more intuitive sample.  I feel I have learnt from this as I thought sample 1 technique was best suited to the way I worked but now looking through the work and answering these questions I see that perhaps I like to work more intuitively.  I did not find weaving too limiting when working samples in Stages and 3.  It would still not be the first technique I would choose.

• How do you feel about your finished sample?  Are you happy with the relationship of the textures proportions, colour and pattern to the finished size?  Is there any part that you would want to change?  If so, try to identify exactly how and why you would change it.

Being perfectly honest I think I got hold of completely the wrong idea about how to work my sample and made wrong decisions.  Therefore I do not feel particularly happy with the finished sample.  I am happy with the colours.  The sample has also ended up being too small in my opinion.  This is mostly due to the fact that I decided to work it smaller as I was concerned about the amount of threads and yarns I had to work with.  I would work larger.  I would change the sample because as I said before I feel I got hold of the wrong idea on how to work it.  I would also in future, if I am indecisive about the instructions, contact my tutor to clarify things.  However, I feel I should work with what I feel is the correct decision and my gut feeling at the time.  Is there a right or wrong way?

• Was there any stage in the whole design process that you felt went wrong?  How would you tackle this process differently another time?

I seem to have answered this question in the one above.  Though obviously I seem to have misread the guidance given and am not happy with the sample I think it stems from the fact I chose the wrong 

sample to work and should have worked more intuitively.  This has actually been good for me in that it has shown me that how I best work is not necessarily what I thought it was and in the future I will certainly be looking at and working differently with my design work and sampling.  Having said that I think it is weaving that I have found more limiting and I should really have recognised that I work more intuitively from all the other techniques I have tried. 

• Which did you enjoy more - working from the source material or putting colours together intuitively?  Why?

I definitely enjoyed working more by putting colours together intuitively.  Colour is I think most important to me followed very closely by texture.  I love putting together different colour combinations and looking around for inspiration for colour combinations.  I do feel I should be able to work more easily from source material and think of this as a failing in my work.  Thinking about this I think I need to do a lot more sketchbook work.  This has made me quite concerned about my theme book work.  

Part 4 - Project 9 Woven Structures - Stage 4 Sample 1 Developing design ideas into weaving

In this section of the course there is a choice of working sample 1 or sample 2 from visual ideas.  After reading the information on sample 1 and 2 I decided to work sample 1.  This was because I felt the guidance given for sample 1 was more suited for my way of working and my ideas.

I found it difficult from the start.  First, I had a hard time choosing my visual source material.  It wasn't that I couldn't find any I think it was was I had too much choice and could see good and bad in all the ideas.  I finally went back to the first picture that had attracted me.  It is a postcard that I had in my collection and I have always been drawn to the colours and texture of the photograph.  At first glance the colours seem just to be a variety of neutral ones of the stonework with the dark contrast of the wooden doors.  On closer inspection there were other colours - oranges and a turquoise that is in the grey stone.

I gathered together threads and yarns that I thought reflected the colours well.  At this point I was panicking slightly because I had not a great deal of the threads I had chosen.  I wrapped these around a piece of card as closely to the proportions in a section of the postcard that I had windowed off.  I felt quite settled with these choices and then followed the instructions in the course guide as to marking horizontal lines on graph paper in the proportions of the colours in the picture.  I then coloured between these lines with watercolour pencils as close to the colours as I could.  So far so good.  

I decided to warp up my frame with a fine perle cotton in a neutral colour.  I also decided that I would not make the warp too wide as I was concerned about the amount of thread and yarn I had to weave with.  As I worked it quickly became apparent to me that I was just copying the thread card I had made.  I thought that was alright as I was also working from the graph paper.  I looked again at the guidance in the coursebook.  I had read this over many times and thought I had interpreted these correctly but as I worked and looked again I began to wonder whether I was supposed to work the threads as the section of the picture and not in horizontal lines.  Should I have drawn sections on the graph paper within the horizontal lines.  I really found this unclear.

In hindsight I think I should have drawn and coloured sections on the graph paper although I feel my weaving is a good interpretation of the colours and textures of the picture.  I would say that it is not as free as the samples worked in Stages 2 and 3.  I prefer the samples I did in Stages 2 and 3 because I did not feel as restricted and I enjoyed working more intuitively. 

Update after Tutor Feedback

After receiving my tutor's feedback on this assignment I decided to go back to this piece of weaving.  My tutor had said that perhaps I could go back to the picture and section off two other areas and make two more weavings.  I was a bit sceptical about doing this at first as I had thought this piece of work too small.  Previously I had said that I preferred my other samples that were worked more freely but I have to say that I enjoyed going back to this part of the exercise and liked working smaller.  I liked analysing the picture for the colours and think that the two new weavings complement the first one very well.  When speaking to my tutor the last time we discussed the sizing of samples and she put my mind at rest that the size could be small.  I now realise that I can work samples any size it is what is working for me at that time.  Taking note of what my tutor has said and going back to this piece of work has made me realise that I can see a piece of work in a new light and that work can be added to or reworked and take work in a different direction.

Part 4 - Project 9 Woven Structures Stage 3 Experimenting with different materials

For this sample I used a linen warp and did a mixture of plain weave and Soumak technique.  Threads and materials were rug wool, torn dyed muslin. netting bags that fruit is bought in, knitting ribbon, gimp, organza ribbon and dyed lace.  I did one row of Ghiordes Knot using torn dyed muslin.

I chose to do Soumak technique as I like the way the warp is covered even though a thick thread or fabric is used and it can give a lovely texture.  The row of Soumak worked in turquoise muslin has the muslin double the width of the rows worked at the bottom of the sample.  I think both work well and give a lovely texture.  I think using the muslin for the Ghiordes Knot give a really good texture especially as the muslin is frayed in places.

Using the gimp for plain weave did not work well as I could not get it to cover the warp which I would have liked it to do.  The lace row is quite effective I think because even though the warp is showing I like the contrast of colour and the width of the lace against the warp.

Although I like this sample in hindsight I think I could have been much more adventurous with my choice of materials.  I could have used some of the lavender sticks that I used in a previous exercise in this project.  Looking on my desk now I could have used strings of beads and some of the dried leaves I have collected.  I think maybe I haven't thought more freely in these weaving exercises as I found it difficult at the beginning trying the techniques and the warping the most difficult.  I feel this has made me not look favourably on weaving which is probably most unfair.  I am going to look at textiles artists that use weaving in their work.  

As I was working the weaving samples I thought about needleweaving.  This is a form of drawn thread work where the decoration is woven on the warp or weft of the fabric after threads have been withdrawn from the fabric.  I have done some of this work in the past but not in an experimental way.  Perhaps this is something I should look at doing.

A textile designer that I like who uses weaving in her work is a Dutch textile artist called Marianne Kemp.  She specialises in weaving using horsehair and other unusual materials.  She has collaborated with designers from other disciplines thereby developing new patterns and textures making textiles, 3D objects and installations.  Her weavings can be used a lighting objects, to divide rooms or to cover the body.

I like her work because it is delicate looking but is actually quite robust.  I like the hanging below because of the neutral colours and the delicate warp and weft.  My favourite piece is the dress, christobal twill, image below.  It is made using two different techniques at the same time. The round shape is created where the horsehair is woven in also making deep pleats.  I like this piece because of the shape and the materials used which gives a flecked effect over the dress giving a nice texture.

I can see from Marianne Kemp's work that by using unusual materials you can still make functional items.

kemp, m. (2015). [image] Available at: http://www.horsehairweaving.com/weaving/photos/MKemp_HCHWA-D.jpg [Accessed 8 May 2015].



kemp, m. (2015). christobal twill. [image] Available at: http://www.horsehairweaving.com/weaving/photos/Mkemp_ChristobalTwill.jpg [Accessed 8 May 2015].

Part 4 - Project 9 Woven Structures Stage 2 Basic tapestry weaving techniques

This stage of the project I found exciting.  Having eventually managed to warp up my frame satisfactorily I was eager to begin using the variety of yarns and materials I had collected together.  I had some rug wool and began weaving with this.  The colour of the rug wool dictated the colour scheme I chose and as the sample progressed I chose different textures and materials but sticking to a colour scheme that included mustards, oranges, turquoise and blues.  I have found that colour plays a large part in my work and if I do not find the colours and colour combinations attractive and interesting I find it hard to keep motivated on a piece of work.

I began by weaving a few rows with the rug wool to get into the technique.  I found it quite fiddly.  I had wound the wool onto a wooden shuttle and found this very difficult to manipulate.  I resorted to making yarn butterflies which I found much easier to handle.  After the first few rows I got into a rhythm and enjoyed the meditative state it got me into.  After the first rows of basic weaving I worked through the different techniques suggested in the course material.  I did some curved wefts, Soumak and Ghiordes knot.

As I worked the curved wefts I began to use different textured yarns.  I like the bright blue piece in the middle of the sample as it has a very textured look.  This was done with knitting wool that was a boucle wool.  It therefore had a little curl in it and this gave a lovely textured look and feel to that part of the weaving.

My favourite is Soumak.  I like the texture you can get from this. I like the way a fine wool or yarn looks and feels very tight and close.  Quite solid in its finish.  

As I tried the different techniques and used thicker yarns, cut up plastic carrier bags and torn muslin strips I began to see that different yarns best suited different techniques.  Thicker yarn left the warp showing so a knot or Soumak technique better suited the yarn if the warp was not to be shown.  However, I like the warp showing particularly at the top of the sample where I have used a machined cord that I made myself.  

As I worked through the sample I felt more comfortable doing the weaving.  I think this was because I could look wider afield for different materials to use and it was not so rigid. 

Whilst on a visit to The World Museum in Liverpool I popped into their shop and by chance picked up a little book called Coptic Weavers by Magaret Seagratt.  The book includes notes on the collection of Coptic Textiles in the Merseyside Museums.  There is a section about the Collection, the history of the Copts and information about the textiles and the woven garments.  The information on the garments includes drawings showing the weft and warp in relation to the neck openings and how collar bands and hems were added and ornamented.  There are also sections on the dyes and yarns used.  Techniques are shown one to a page alongside a detailed drawing of the weft and warp for that particular technique such as plain weave, inlaying, Soumak weave, curved shape weave and many more.  Towards the end of the book is a large section with each page having a black and white photograph of the coptic textiles.  Each photograph has an explanation next to it which includes the number of ends per cm and picks per cm. This book is a little gem.  It has only 48 pages but is packed with interesting information ad photographs and at 25 pence was a real bargain.  

When trying the Ghiordes knot it reminded me of many years ago when I had a rug making kit and I would sit for hours knotting the pre-patterned canvas watching the pattern turn into a more tactile useful item.  The rug disappeared many years ago sometime during various house moves.  

                                                                                 

Part 4 - Project 9 Woven Structures Stage 1 Preparation

When I began thinking about this project and began collecting together the materials to start it I saw woven structures in lots of places as I was out and about.  These ranged from twigs woven into a garden ornament to a throw that was woven from very soft wool.  I found the garden ornament intriguing and thought how much more difficult it must have been to manipulate the twigs as opposed to the wool that were used for the blanket.  I liked the blanket very much because I like the tactile quality of textiles.

I was recently taken out for a birthday meal by friends and whilst in the restaurant I spied what I think is an amusing woven structure.  Quite cute also I think.  It is a woven structure depicting a pig. I of course jumped straight up and started photographing it much to the amusement of my friends although  I am lucky that they do understand and are intrigued by what inspires me since doing this course. The pig appears to be woven into shape using cane.  I like the contrast again between a soft woven textile to a 3D structure woven from a harder material.  Interestingly I found the piece as tactile as the rug because of the smooth surface of the cane and the ridges that were formed by the weaving.  I like the tail and the legs as they were 'wrapped' reminding me of the structure work that I did on braiding at the beginning of this assignment.

I was lent a small loom by a friend but found it too complicated to warp up and decided to use an old silk painting frame that I had.  As I needed to learn the basics of warping and tapestry work I decided this was the best option.  It took me about 5 attempts to warp up the frame.  I did not find it easy to get an even tension at first.  Eventually I managed it also managing to do a heading cord as well.