Formative Feedback: Part 4, and Reflection

Thank you to Cari for my latest feedback. Lots to take on board and reflect upon!

Good

  • 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)

Needs Work

  • 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

To Do

  • 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)
  • 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)
  • 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
  • integrate research and reflection with the relevant coursework and assignment work in the learning log
  • move ‘yarn research file’ to the beginning of the Part 4 Coursework section
  • use more appropriate drawing media for proposed samples (helps to assess aesthetic qualities of resulting samples)
  • 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)
  • 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

Development Notes

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.


 

References:-

Websites:-

Accessed 25/03/17

http://www.dumgal.gov.uk/gracefield Accessed 25/03/17

http://www.studentartguide.com/articles/how-to-make-an-art-portfolio-for-college-or-university Accessed 25/03/17

https://weareoca.com/textiles/how-to-look-at-textiles/ Accessed 26/03/17

 

Assignment 4: Self Evaluation: Performance Against Assessment Criteria

Demonstration of technical and visual skills

Materials – use of traditional and unusual materials, eg, toy snakes in Ex 4.3.

Techniques – colour analysis, colour palette selection and reproduction in yarn, abstracting elements from source materials to develop as yarn concepts, selecting, combining and joining a variety of media, designing, laying out and assembling a yarns book (YB).

Observational Skills – used in all of the exercises, eg evaluating paper and stitch samples for colour palettes and textures, to be translated into drawings and developed into yarns.

Visual Awareness – choices made for colour palettes, patterns and textures, eg, the clear plastic tubing cut into rings for Ex 4.4 represented the grey/white colour palette and the circular objects of the glass arrangement.

Design and Compositional Skills – selecting the size, layout, covers, labelling font, content and order of presentation for the YB, and assembling the book.

Quality of outcome

Content – selection of yarn ideas to create, derived from drawings made from source materials; choosing particular samples to pursue and develop (eg, the coiled sample led to a coiled pot and so to a snake vessel).

Application of Knowledgeresearch on basketry techniques and the work of designers fed into my work on this part of the course. Eg, Lucy Brown‘s use of hair in her artwork inspired my hair yarn.

Presentation of Work – the YB presents my work in a simple, clear, logical layout, presenting the created yarns in the order of the exercises, adjacent to the inspirational images.

Demonstration of creativity

Imagination – eg, using ice to make an ephemeral yarn; including surprise elements of sound, smell and taste in the YB. Using drawing, sampling, mind maps and play with materials to explore ideas. Linking snakes as media to the source image.

Experimentation – eg:- using unusual materials (jelly beans, glass buttons, coat hangers, etc); different scales of work (eg, French knitted linear concept on a large scale, gesso-dipped yarn on a smaller scale); different techniques (net making, binding, machine sewing, knotting, weaving, coilingorigami, etc) have all been explored.

Invention – Altering materials (eg, fraying, cutting, melting, painting, dipping, etc); and combining unusual materials (eg, washers/twigs/yarn, slate/pebbles/thread, wooden snakes/gardening wire, etc) have enabled me to approach the subject from a new direction.

Personal Voice –I feel that my selection of source materials, colour palette choices and combinations of media used, demonstrate an emerging distinctive identity.

Context

Reflection – I have continued to reflect on and evaluate my ideas and work in my learning log. I have carried out more drawing and sampling during this coursework, and have found it helpful in focusing my attention on successful outcomes.

Research – The artist/designer recommendations made by my tutor, have led to research on colour that has felt very exciting in suggesting ways of developing and presenting my work. The research carried out for the coursework also helped to inform my choices, and expand my expectations of what was possible.

Learning Log – I have recorded my research, course and assignment work and reflections in my learning log blog.

Assignment 4: Yarn and Linear Exploration: Written Reflection

What have I learned from observing and developing materials and textiles?

  • yarns can be inspired by numerous source materials
  • drawing and mind maps are useful in generating ideas
  • sampling illuminates successful combinations of media, colour palettes, construction methods, possible developments, etc
  • imposing constraints has again been highlighted as a successful strategy
  • the selected colour palette, scale, and type of ‘line’ all help to define the look and feel of a yarn
  • the importance of ways of joining media
  • colour palette and proportions of colours, media, texture, scale and pattern can all be varied to create numerous ideas for yarns

Strong points of my work

Exploration of varied and unusual media, interesting techniques, and scale in yarn creation. Coherent presentation of yarn samples and inspirations in a yarns book.

Weaker aspects of my work

Although I have done more sampling and drawing for this section, I am sure that I could do even more in future. I had ideas that I did not have time to explore, therefore I must aim to work faster.

New skills

I had an introduction to knotting, basketry techniques and net making. Working with plastic (packaging and tubing), toy snakes, ice, hair and 3-D objects were new experiences for me.

Potential work in future based on this project

I am sure that I will return to a number of these techniques in the future: basketry techniques; combining and joining assorted media; French knitting; knotting and binding; making repeating patterns, to name but a few.

Assignment 4: A Yarn Collection

The brief for this Assignment is to present the work from Coursework Part 4 as a collection.

The course text and my tutor, Cari, have both stressed that the simplest method is usually the best one. I felt that a book format would be the best for presenting the material. Having made a book for Assignment 3, which had four large, loose binding rings, I decided to try a bound version this time. The binding rings, although allowing for future additions to the book, are rather cumbersome to use, and damage the holes drilled in the pages somewhat.

After carrying out some research online, I found this tutorial for a simple, Japanese-style ribbon binding, that looked perfect, if I could scale it up to A3 size. I realised that, with the bulk of the yarns, it would not be a flat book, but rather a ‘fan-shaped’ one.

I decided to use an A3 size card page, as many of the yarns that I had made had larger-sized elements, which would not lend themselves to being wound around a reel or board wrap.

As I only had one page that would be seen in landscape format, I opted to use a portrait orientation.

In order to accommodate the binding, the layout would have a wide margin at the bound edge. I opted to put the ‘inspiration’ images on the left hand page, and the yarns on the right hand page. A few small surprises were included to add a little variety (a sound card on one page; a scent on another; and a ‘flavour’ on a third). Otherwise the layout would be as simple as possible. The deconstruction exercise, also had a small sample of the deconstructed materials for reference.

The majority of pages will be white card, but two will be black as they show off certain of the yarns to best advantage.

The next issue to address, was how to fix the yarns to the page. Some of my yarns were far too large in scale to fit in a book (the coat hanger linear concept, and snake vessel for instance are too large to even send, so will be represented in photographic form only, as will the ephemeral ‘ice yarn’ concept, which no longer exists!). Other pieces which are large-scale, but possible to send will be enclosed in a box, with white labels attached to each. The yarns for inclusion in the book will be trimmed to fit the page size and affixed with a rectangle of card at each end, glued in place with a glue gun. A few elements, required sticky fixing dots instead, and the photographs were attached with a glue stick. The thicker yarns were added towards the outer edge of the page so that they would not impede the binding. The yarns were added, more or less, in the sequence in which they were made, unless they felt more appropriate in other groupings (all the white ones for one exercise, were displayed on a black background, for example).

Labelling will be minimal and consist of page numbers, exercise number and name, and yarn numbers. I chose one of my favourite fonts: Courier New for the labelling throughout.

A brief introductory page and contents page were added at the front, once the pages were all in place and numbered.

I had intended to make the cover white with just the name ‘Yarns’ added, but when I was searching for some nice white paper, I came across some ‘pixellated’ wrapping paper that was very similar to one of my collages used as inspiration for one of the yarn collections, so I chose that more colourful alternative, to be paired with grey ribbon. (I may live to regret that decision, however, as I see that it is showing a few scratches already!).

The board covers were covered with wrapping paper, and had a small section removed at the bound edge, which allows them to open easily. I made a template to mark the punching holes, then used a hammer and hollow punch for the board covers, and an ordinary two-hole punch for the card pages.

The drawings, samples, technical media records and notes will be presented separately in a plastic folder. My written technical notes are so similar to the notes in the learning log, that I will not send them.

 


 

Reference:-

Website:-

http://www.homemade-gifts-made-easy.com/how-to-make-a-book.html Accessed Feb/Mar 2017

Reflection on Formative Feedback for Textiles 1: A Textiles Vocabulary: Assignment 3

Formative Feedback from Cari, my tutor, followed by my reflection.

————————————————————————

Overall Comments

A playful, varied and well-crafted body of work.

Research (including sketchbooks and samples)
Context, reflective thinking, analysis, Demonstration of technical and Visual Skills, Demonstration of Creativity
Your research throughout this module has been meticulous, from your initial analysis and deconstruction of what the section entailed (detailed in your blog) to your detailed colour mixing and careful crafting of your collages.
You’ve balanced this carefulness with some lovely playfulness. I love your response to ex.3.1, pt.2 where the stripes emerge from the frame of the fabric to meander out towards the viewer.
The yarn wraps are also really enticing – there’s a great range of textural, tactile and surface qualities in the wraps. Fibrous yarns sit next to matte and glossier surfaces, which creates a varied, dynamic aesthetic. You’ve carefully translated the colour proportions of the painting, using both traditional and non-traditional materials.
The accompanying tables where you record the material quality and source of the yarns are great – use a similar approach in future to record the ‘technical’ information, so you have a good technical resource for future inspiration.
Your handling of both the gouache and watercolour is careful and your colour mixing generally very good. It’s interesting to read your comments about the effect of the light on the accuracy of the colour. Your crafting is consistently careful with all media and processes, with your collage studies particularly well crafted.
The collages (ex.3.4) are varied and playful. You have thoughtfully translated shape, form and colour information into the 2D collage. Your use of materials to capture the different surface qualities was particularly pleasing (e.g. the glossy surface of glass compared to matte linearity of yarn). Collage #3 was ambitious but the result is really effective.
I particularly liked your translation of the Bali image into textile samples rather than flat swatches of colour.
You’ve matched the colours in found fabric samples well but they also match more than the colour – the tie-dye and diffuse colour of some samples has a sense of tropical holidays, which fit the exotic plants and acid brights within the image.

Learning Logs or Blogs/Critical essays
Context, reflective thinking, critical thinking, analysis
The blog is consistently well laid out, with a good number of suitably sized and appropriately collaged photos.
You use photography well to capture different aspects of the work, e.g. for collage #2 you zoom in to capture an abstract section of colour and shape, which could be translated into a beautiful textile design.
In your contextual research, you use detailed, descriptive language to critique artists and designers use of colour and demonstrate your understanding of colour theory through appropriate use of key terms, e.g. optical mixing.
Your summary succinctly states what you’ve learnt from each designer/artist. Similarly, your review of the colour palette generators was suitably critical, both the functionality and ease of use.
The learning log clearly details the development of the work, with evaluation of successes and weaknesses. You continue to use descriptive language well to explain what you see and the connotations of colours. (e.g. “The strong contrasts gave the resulting palette quite a dramatic look, with the green and yellow adding a feel of early spring – like glimpses of green shoots and primroses on a grey day.”) Your summaries at the end of each post sum
up the work developed but are most insightful when you reflect on what you’ve learnt, e.g. the importance of tone in the collage section.
Your analysis of the yarns wraps focusses more on the process of creating the wraps and the accuracy of the proportions. I wanted to know what you thought about the overall aesthetic of wrap- how do the proportions of colours work together, do the different textures help or distract from the read of the colour, would the wrap translate effectively into textile designs? For example, I find wrap #2 less pleasing because there is too greater a difference in scale between the flat ribbons, the fibrous cream on the right and the gold braid. In contrast, I find #3 too consistent in scale. Yarn wrap #1, with its varied range of textures and surface qualities pleased my eye far more, there is greater nuance both in colour and surface quality. This is subjective, however, so I wanted to know what you thought about the palettes potential as useable colour palettes.

Feedback on assignment
Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity
Your colour book very simply but crisply presents the best work. You’ve been selective, careful to present only the best work, and the consistent presentation on a white ground means all the focus is on the work itself. The written descriptions are simple and discrete. Your introduction clearly articulates what you’ve learnt and why you’ve chosen these pieces. Well done! I like the cover but I pondered whether the title square could have better reflected the contents by using some aspect of an aesthetic contained within rather than the rainbow palette.
Your written reflection and self-evaluation against the assessment criteria are thorough and critical. I’m really looking forward to seeing how you develop your use of colour in the next two parts.

Suggested reading/viewing
Context
– Here are a couple of artists/designers whose use of colour excites me:
o Sanne Schuurmann, especially her colour magazine:
http://sanneschuurman.com/portfolio_page/color-magazine)
o Margrethe Odgaard, particularly her Color Diary Japan:
http://margretheodgaard.com/work_post/colour-diary-japan/?ref=w
o Raw Color: http://www.rawcolor.nl/welcome/
o You may have seen this 1692 example of a colour book online but it’s worth sending again even if you have 🙂 http://www.thisiscolossal.com/2014/05/color-book/

Pointers for the next assignment
• Reflect on this feedback in your learning log.
• Ensure you reflect on the overall aesthetic / visual read of your work as well as on the technical aspects.
• Continue to develop colour palettes with gouache and watercolour using the methods you have in this module. Reflect on what mood they communicate to the viewer.
————————————————————————–

My reflection on the Formative Feedback, above.

Good

Cari mentioned my thorough research (analysing the course and assignment work on the Learning Log (LL), and in the colour mixing and collage making. A playful approach; enticing qualities in the yarn wraps; good use of technical records; careful handling of paint, and colour mixing generally (!) good. Careful crafting in different media; variety in collage work (especially use of materials linked to surface qualities of source image); selecting appropriate textile samples for an image found in a newspaper.

The LL is well laid out and appropriately illustrated. The contextual research demonstrated understanding of colour theory and learning from the studied artists and designers. Development work is set out and evaluated clearly.

The colour book showed my best work in a simple format, demonstrating good selection skills and consistency in presentation; the introduction and simple labelling were good.

Written reflections and self-evaluation against the criteria were appropriate.

Needs Work

More reflection on what I have learnt in each exercise. For example, yarn wrap exercises concentrated too much on creation and not enough on the overall aesthetic of the wraps (analysis of the proportions, textures, possible translation into textile designs) and potential for using the finished wraps’ colour palettes. Two of the wraps showed too much or too little variation in scale.

The title square logo on the cover was not appropriate to the contents of the colour book.

 

To Do [My updates added in square brackets]

  • Continue to keep technical information tables and samples for future work [ongoing]
  • Translate detail of Collage #2 into a textile design [Textile Design here]
  • Continue to include evaluations and connotations for work (eg colour palettes) [ongoing]
  • Reflect on the learning achieved from each part of the course. [ongoing]
  • Consider the aesthetics, visual read and potential for the work created, as well as strengths/weaknesses. [ongoing]
  • Add some thoughts about the yarn wraps’ potential as useable colour palettes. [edited section added after summary to Yarn Wrap article]
  • Make a new, more appropriate title square and back page logo for the colour book.
  • Develop my use of colour in the next two parts of the course. Continue to make colour palettes in paint for work created. [ongoing]
  • Research Sanne Schuurmann and her colour magazine [Colour Research]
  • Research Margrethe Odgaard and her Color Diary Japan [as above]
  • Study Raw Color [as above]
  • Look at the 1692 colour book [as above]

Assignment 3: Self Evaluation: Performance Against Assessment Criteria

Demonstration of technical and visual skills

Materials – use of usual and unusual materials, eg, recycled paper used in the monochrome collage; found/made linear media in Yarn Wrap #5.
Techniques – colour analysis, colour palette reproduction in paint, collage, designing, laying out and assembling a colour resource book (CRB).
Observational Skills – used in all of the exercises, eg evaluating textiles for colour palettes, painting watercolour stripes of glass arrangement.
Visual Awarenessselection of glass arrangement; and Old Master subject; seeing potential in a simple scene, for collage.
Design and Compositional Skills – selecting the size, layout, covers, cover decorations, labelling font as well as the subject matter and running order, for the CRB, and assembling the piece.

Quality of outcome

Content – selection of material to be included in the CRB.
Application of Knowledgeresearch on the use of colour palettes and proportions of colour by certain designers fed into my choices for colourful textiles to analyse and the colour palettes selected for collage work.
Presentation of Work – the CRB is arranged in a logical manner, following the learning from the exercises during the coursework for Part Three. I chose to put the Ex 3.3 watercolour analysis of a glass arrangement following the other painted work, leading into the work on linear media, as it felt like a more natural ‘flow’ from painted work to yarn wraps to collage. (Illustrating my learning about colour analysis/reproduction to effects of lighting/proportions of colour, then introducing texture, the importance of tone, value and saturation with the collage work and grey studies and ending with image analysis with found colours (felt pens and textiles)).

Demonstration of creativity

Imagination – eg, coming up with a CRB that fit the criteria of being simple, well presented and expandable.
Experimentation – eg:- trying different lighting effects, backgrounds and compositions with the glass arrangement; using software to suggest ways of altering the collage in colour and through pixellation.
Invention – making and using ‘found’ linear media for Yarn Wrap #5; using different types of paper media (shredded, crushed, sanded/holed, cellophane, painted, magazine print etc) in the collage work.
Personal Voice – choice of colour palettes (often bright!), subject material (eg, for the collage: cat cushion, textile scraps, yarn) is starting to reflect me and my interests.

Context

Reflection – evaluating and reflecting on my learning and what it means for my future work is starting to become ingrained in my practice. Visual evaluation (eg, revision of Assignment 2, and cat cushion drawing) have led to new ideas.
Researchstudying designers and collage artists was extremely useful grounding for this Assignment. I also followed up on my Tutor’s advice for reading (Kleon, 2012 and Tellier – Loumagne, 2005) and this led me to a more wide-ranging study of knitted fabrics and contemporary knitting.
Learning Log – I have recorded a selection of my research, course and assignment work and reflections in my learning log blog.

 

References:-

Books:-

Kleon, A. (2012) Steal like an artist: 10 things nobody told you about being creative. New York: Workman Publishing Company.

Tellier-Loumagne, F. and translated by Black, S. (2005) The art of knitting: Inspirational stitches, textures and surfaces. London: Thames & Hudson.

Assignment 3: Colour Communication: Written Reflection

What have I learned from observing and developing materials and textiles?

  • The importance of tone, value and saturation in conveying a likeness, or an altered version of a subject.
  • The importance of lighting on colour perception.
    increased confidence in selecting colours from subjects
  • The value of imposing constraints when selecting a palette to work from, lending a particular mood/feeling/cohesive look to a piece.
  • Adding proportion and texture to a colour palette with linear media, and how choice and placement of colour can enliven a palette.
  • The usefulness (and limitations) of using software to alter, or select a palette, from an image.
  • How to analyse and reproduce perceived colours in an image/composition using various media.

Strong points of my work

Accuracy of selected gouache palettes derived from textiles; the extended stripy textile in gouache; and some of the collage and yarn wrap work (as selected for the book). See also Summary of this article.

Weaker aspects of my work

General sloppiness, eg, with labelling, smudges on white card etc. Painted gouache was too stripy and not opaque. Numerous attempts to mix correct colours in gouache samples. Tendency to exaggerate colour saturation. Watercolour studies of glass composition showed a lot of mixing between the stripes of colour.

New skills

Working in gouache for the first time, producing opaque, flat colour was a challenge. The yarn wraps were a new exercise for me. I found them useful in representing colour, proportion and texture.

Potential work in future based on this project

I have started to analyse some of my ‘images for inspiration’ to generate colour palettes for translation into paint and textiles. I am working on an image of fishing crates on a harbour wall to be turned into an abstracted image.