Thank you to Cari for my latest feedback. Lots to take on board and reflect upon!
- translation of aesthetic, material and structural qualities of samples into yarn concepts
- range of shape, form, structure and material investigation in 2D and 3D
- constraints in colour palette worked well for red, black and white drawings
- strong crafting skills without over-precision
- exploration of scale, however, delicate/intricate samples most successful
- exploration of translucency with hints of colour (eg, ice and hair yarns)
- interesting use of objects to form yarns (eg, jelly beans and coat hanger yarns)
- some yarns combine materials into something new and interesting
- construction and interior of yarn book, crisp and well-organised (minimal use of text)
- thorough discussion of the journey of the project/decisions made and good evaluative summaries
- strong drawing work (good use of sympathetic media/techniques to capture material, tactile and visual qualities; quality and nature of drawing varied according to role, eg, functional planning drawings, more fully rendered drawings of samples)
- close up snake yarn sample felt inelegant and heavy (however, it works at a distance when overall pattern becomes clear)
- some materials feel as if they are fighting each other, not working together
- photographs: do they successfully capture and communicate samples? (eg, ice yarn – background of trees too busy)
- cover of the yarn book not successful (too strong and not my own design)
- too much technical information in learning log
- ‘Research & Reflection’ sections confusing to navigate
- consider how my samples read spatially and how the viewer may interpret them (eg, snake yarn) [ongoing]
- reflect on how the materials have been transformed by my interventions when evaluating future work, eg, two intertwined materials – are they integrated and transformed into something new? [ongoing]
- photograph samples sympathetically against a neutral background (show different lighting options and how they may change a piece) [all work now photographed against white backgrounds, eg, images of workbook from Assignment 5]
- present work in a visually quiet way, or use aesthetic details from the contents to hint at what’s within (redo covers of both yarn book and colour book) [latest book cover can be seen in this photo collage]
- use neutral grey for presenting light coloured work, rather than black [ongoing]
- emphasise evaluative commentary over descriptive commentary (ie, more about the aesthetic/visual read of samples) [ongoing]
- refer to evaluative summaries in learning log when working on Part 5 [Review of coursework and feedback here]
- integrate research and reflection with the relevant coursework and assignment work in the learning log [all relevant research is now linked both to the coursework and assignment parts and can be reached by clicking on those links on the side bar, as well as through the Research link. The latter link also has other personal research included.]
- move ‘yarn research file’ to the beginning of the Part 4 Coursework section [it was not possible to insert a blog article at an earlier date, so I have added the yarn research file to the research article for Part 4]
- use more appropriate drawing media for proposed samples (helps to assess aesthetic qualities of resulting samples) [ongoing, eg, tulip on tracing paper; blossom on tissue paper; chard leaf in melted plastic]
- more sketchbook work for Part 5 (extensive drawing to capture samples, as well as planning for them; visual/theoretical/contextual research to underpin and inform the sampling) [ongoing – some pages from my latest sketchbook]
- keep working both inside a sketchbook and on other appropriate grounds outside the sketchbook (small sections of coloured paper can be stuck into the sketchbook)
- view Cari’s Pinterest boards on sketchbooks, drawing for textiles and design research [my own Pinterest boards for sketchbooks and textiles inspiration have been updated with some of Cari’s suggestions, and some other examples that I find inspiring. I found this website through a link on Pinterest, which has a useful guide to making an art portfolio with some ideas of what to include in sketchbooks. Interestingly, I had just seem some excellent examples at Gracefield Arts Centre‘s exhibition of Advanced Higher Art Selection, such as the work shown below by one of the students.]
Megan Nodwell, development work for, and images of finished wearable art jewellery
A big area for future development for me is use of the sketchbook. I need to show in images (photographs, pictures from magazines, books and the internet, etc) and in sketches, where my inspiration for work originates, and how I have selected and refined my ideas, along with technical notes and experiments, samples, colour palettes etc. Then drawings for planning the projects, using appropriate media, grounds and techniques, and evaluative drawings of samples and finished pieces.
Another area for improvement is to present my work even more simply, with regards to the backgrounds in photographs (neutral and plain), and in the covers for my books (simple and plain, or more appropriate to the contents).
One of my first tasks will be to go back to the beginning of my Learning Log, and add links for the research to the relevant parts of each section of coursework and assignments, and to move the yarn research file.
In future written work, I need reflect evaluatively on the processes I have used and on the work produced, together with weighing its aesthetic appeal, (Rebecca Fairley’s article “How to look at textiles” will come in useful here). I need to write less about the technical aspects of the work: I will keep the majority of these notes in my technical notebook. I have re-read my summaries for Part 4 and made notes to refer to in Part 5.
http://www.dumgal.gov.uk/gracefield Accessed 25/03/17
https://weareoca.com/textiles/how-to-look-at-textiles/ Accessed 26/03/17