Part 5: Review of Coursework and Feedback

Cari suggested that it would be useful to refer back to my summaries made in previous parts of the course to refresh my memory on points to incorporate into my practice in Part 5. I have a printed version of my Learning Log, so I scanned back through that, looking at my summaries, Cari’s feedback, the work created, and research into artists’ and designers’ work that I had carried out. I made the following notes summarising and incorporating useful pointers and ideas, to refer to while working on Part 5. They are very abbreviated, so will probably not make much sense to anyone but me, but here they are:-


  • discuss work in terms of colour balance, scale, tone, placements, composition, texture and surface
  • also feelings evoked, technique, colour palette, why it appeals (or doesn’t)
    how it relates to my own work
  • From Rebecca Fairley’s article How to Look at Textiles:-
    study textiles, explore work, synthesise findings, make effective analysis
    Take time to look at work. What do you see?
    Materials? Techniques? Processes?
    Qualities (observed from different distances): Colour (balance, use of, contrasts); Forms (surface, structure, composition, scale – eg motifs compare to whole piece); Touch/Feel (tactility, drape, texture)
    Approach (“from and to”, ie historical connections to current and future uses)
    Context (historical, cultural, development from past work, contemporary fit)
    Meaning (personal interpretation)

Development Work

  • thoughtful research
  • drawing
  • mind maps
  • in-depth investigations into subject matter (eg, sketches, photos, visual document of first hand sources)
  • experimentation with media, techniques and digital processes
  • concepts, compositions, details
  • ideas behind the work (written notes)
  • context – historical/contemporary/social (ie connections to artists and issues)
  • annotated screen captures
  • more visual analysis
  • make painted chips to illustrate colour palettes
  • more sample-making
  • experiment with developments for patterns, textures, processes, materials
  • impose constraints – simplicity often leads to best outcome
  • keep technical notebook(s) (materials, techniques, processes, variations, ideas)
  • consider and show further developments (textiles, fashion, household decor etc)


  • draw to think, analyse, plan and propose (developments into (repeating) patterns, textures, processes and materials, different placements etc)
  • observational drawing, ideas, process and development work
  • preparatory, exploratory and documentation work (learn through drawing)
  • range of media, styles, art forms, techniques, grounds, scale, colour palettes and focus
  • variation in marks made, exaggerated scale of marks (large/bold with quiet/delicate in same drawing)
  • vary speed, pressure, movement, control, feeling of marks (eg expressive, loose, timid, violent)
  • link media to elements of the drawing (eg knife blade rendered in varnish)
  • give a sense of narrative, make emotional associations
  • more varied, well-balanced compositions (eg close-ups)
  • show an eye for aesthetics (eg through composition, backgrounds used, additional objects, use of seasonal materials, imperfections, mix of real and imaginary elements)
  • test compositions with thumb-nail sketches (use a viewfinder)
  • stand back to judge overall composition (scale of marks etc)
  • demonstrate creative and technical skills
  • show personality
  • demonstrate the ability to evaluate and make links
  • audio drawing, miniature drawings in boxes, outlines, forms, silhouettes, stitch as drawing, cutting into a tufted surface (eg my lawn drawing), 3-D printing, 3-D object, dense rubbed areas combined with detailed, delicate marks, collage, stitch/drawing over photograph or other image, varied lighting, lino print, symmetrical Rorschach test, block of colour = outline, blind touch, blind contour, layers or lines of textile, pastel picture cut into fragments, bold flat colour, machine stitched with or without thread, varied grounds, dark coloured papers (appropriate to subject matter, eg white chalk on grey ground), varied compositions, material embedded in another material (wax, paper?), printing, air drying clay, repeated patterns, motifs, varied directional marks, making forms, holes in paper, different colour palettes, repeated shape in different colours, different densities of stitch/couched threads, masking fluid, batik
  • importance of tone
  • notes on reverse of drawing


  • exploratory sampling
  • combinations of media
  • altering materials
  • colour palettes
  • construction methods
  • possible developments
  • consider: how are you transforming materials beyond their original nature? Do two or more combined materials become something new?

Paper Manipulations

  • folded, cut, laminated, woven, dipped, tufted, crinkled, embossed, prodded, hooked, twisted, wax-coated, burnt, textile techniques with paper (eg cut, knotted etc), torn, holed
    + stitch
  • all white or cream version
  • wrapped/couched
  • wire with beads
  • paper cord
  • see p57 of course guide


  • look and feel depend on:- colour palette, proportions of colour, mix of high/low contrast areas, tone, scale, line and mark (thickness, direction, type, movement), proportion of elements, patterns (eg overlaid patterns), layers of interest
  • bear in mind order of construction, and flexibility (to use discoveries/accidents)
  • joining techniques
  • ephemeral work possible (but document well)
  • variations (colour palette, proportions of colour, contrasts, media, texture, scale, pattern – mix different scales of pattern)


  • unify different sizes and shapes of image with a similar background element (eg Zoffany)
  • use a simple image with a geometric shape to make a repeated block pattern
  • explore different ideas in a series of work
  • bold, flat colour (eg Marimekko)
  • overlapping translucent colour
  • digital print
  • combined shapes, grid, chain-mail
  • layering – clear and opaque/different patterns
  • different colour palettes and proportions of colour and contrasts and tone
  • cut outs
  • mixed media
  • paint or bleach
  • deconstruction techniques
  • mix of scale on one piece
  • loose edges to give shapes dimension/stuffed shapes
  • stylised versions of source inspiration
  • blank areas mixed with decorated
  • muted background + bright foreground = depth
  • surprising additions (eg Timorous Beasties)
  • convey information, movement, narrative
  • consider further developments


  • discuss my approach to the work
  • development process
  • colour palette/proportions of colour
  • thinking around projects (aesthetics, visual read, potential for further development)
  • how samples read spatially and how viewers may interpret them
  • summarise learning
  • discuss ideas
  • purposeful discernment
  • considered judgements
  • save detailed technical notes for technical notebook


  • simplify
  • photos and samples presented on white backgrounds, or pale grey if appropriate
  • covers plain and appropriate to contents
  • A3 size (A2 max) sample file and /or presentation boards (fold larger pieces)

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