Deconstructing Skylines. Evaluation of Intentions.

My main concept and underlying theme has been 'Urban Influences', throughout this brief I found that my drawings were becoming boring and the same, so I decided to change my approach. I began to deconstruct skylines to create blocked drawings; this related strongly to Matthew Borrett, the Illustrator who created broken segmented drawings. My sketchbook shows how I developed my drawings adding splashes of colour to add detail and interest.

I developed the deconstructed skylines idea into knit, recreating the patterns and shapes; however, I decided I did not want a background so started to experiment in yarn choices. I looked at monofilament to use as a background yarn which created a clear appearance; this allowed my patterns from my sketchbook to standout and become the main feature. Using this material was temperamental and I was unsure of whether it could be used throughout the fashion industry, this risk pushed me to create larger advanced pieces using the monofilament.

 I then decided to create smaller individual pieces using various techniques in each sample and placing them next to each other to create one piece. I developed this by placing the individual pieces on top of each other, and attaching them in some way so it became one piece which is easier to develop into fashion samples. Initially, I was unsure of how to attach the samples, I took a risk and linked my work together on the Linker Machine; this took time and was difficult trying to balance out the proportions. The patched effect, this technique gave, is unusual. This experimentation did not work on all my samples as the weights of the different fabrics did not work well together; the light monofilament against a heavy wool or cotton was too much of a contrast and took away the visual aspect of the pieces.

I found it challenging to decide which pieces should go together and also how they should be placed, I relied heavily on my sketchbook and drawings looking at the placement and the compositions, this was my main use for my sketchbook throughout this project.

I decided I did not want a collection full of patched pieces; I wanted a range of larger samples, preferring the large monofilament and viscose punch card piece. I found the punch cards a strong way to knit my patterns and designs into my samples.

I developed my skills on the Dubied Machines showing this through my technical file; I then created various samples relating to my own work using the processes in a creative and original way to create my particular patterns based on my drawings. 

My final collection is strong as a whole and works well together. The strong contrast of the pieces is successful in bringing a new level to my collection; strengthening it by adding interest.

I think my project was lost context wise, however, after researching different fashion designers such as Leutton Postle and Irina Shaposhnikova, it gave me confidence that my samples would be successful in the fashion industry, and the yarn type would work in a higher fashion industry. For the next project I am going to start looking at higher sculptural fashion pieces, creating unique looking samples. I would also like to develop my yarn choices using more unique unusual yarns such as wires and metals, giving my work structure. I have started to look into which aspects of fashion I would like to develop down to strengthen my knowledge of that area, by researching artists and going to different exhibitions. This has helped me find which area I wanted to specialise in which will help me for future projects. 

    

Finalising sampling.

This week I linked my edges to create a neater line. This worked well as it drew the attention away from the messy edge, so the focus moved to the actual techniques within each sample and the overall effect of the piece. This week I laid out all my samples to see which samples worked and which samples didn't quite go together. I found that many of my Patched pieces were not in proportion as the weights of the yarns were too different, so would not blend in well together. The samples using the monofilament placed together works however the linked line goes too far down the piece so when progressing to final samples I will draw out exactly where this line should be. Next week I am going to start creating final samples, I decided that I am going to create four samples which are linked and patched together. Similar to the ones I have already created however with refined edges and on a larger scale. Create similar Dubied samples using the circular bed and stuffing technique and recreate the mock rib sample however, use a grey with stripes of red rather than the monofilament as the pattern can barely be seen. I would also like to create a punch card sample using the fine viscose and monofilament creating a drawn effect.

Artist Inspiration: Irina Shaposhnikova

I think that my work is lost context wise, due to the materials I have been using such as monofilament. This yarn as a plastic would not be suitable for garment construction, however this disappointed me as fashion was the main route I wanted to go down. However, this artist Irina Shaposhnikova who graduated from Antwerp's Royal Academy of Fine Arts, Belgium created a chunky knit collection for her BA Collection. These pieces consisted of chunky cable knit attached with a fine nylon netting. Her work is experimental and impressive fashion. It has inspired me to make my samples part of a fashion range still using the monofilament to create areas of plain knitting against sections of more detailed knit using the various techniques such as punch cards, hooking up and E-wrapping. I feel her work has made me feel more confident in creating collections using unusual materials.

Progression of Sampling.

I started to linker my smaller samples together I feel this worked well however the edges need refinement, so this week I am going to look up different ways to do this I am also going to try to re-steam them to see if this will stretch the edges so they are neat. I am going to look at making the linker machine  a feature in my work to make it look as if the squares are bleeding this will also link this to my sketchbook drawings. I need to find more yarns in the red colour I have been using as at the moment I only have that colour in the mercerised cotton so I either need to dye some or buy some yarn, in a wool or mohair. I would also like to create some more developed drawings using the lighter colours of greys that I have been using in my knit samples creating more compositions which I can knit from. I will start to bring in more blacks and dark greys to my knitting as these colours are throughout my drawings. I feel I have a lot to work on this week sampling so next week I will be ready for final samples.

Development of placement.

This week I started to look more into placement. My initial thoughts were to create smaller knitted samples and then place them as one piece together however by doing this I found it hard to translate into Fashion or Interior based as all the pieces were separate. I found that I was struggling to find a suitable background colour yarn so I started to work with monofilament this has my desired effect as the background is clear however the yarn is temperamental when knitting with it on the domestic knitting machines. I therefore tried the monofilament on the dubied machines this works better however as my skills are limited I can only create simple samples; I stuffed my monofilament by using the circular bed technique, I feel this has worked well. As I was struggling to create a large sample using the monofilament so I started to look back at my drawings, I then started to change my drawings and mix them up as they were all starting to look the same. I decided rather than having the blocks of colour separate I could push and merge them all together to create larger pieces. I feel this has worked well when translating it into knit as it combines different textures, shapes, colours and yarns together. I have also started to think more about context this week, I feel my textures would work well creating jumpers and other fashion garments so next week I think I am going to look more at translating my pieces so they fit into and are developed more into the fashion sector. 

Exploration of colours and yarns.

This week I developed my colour pallet which I feel is strong enough to carry me through to knit development. However I lacked developed drawings using my new pallet so I therefore carried this through to this week and created drawings. I then started to look at yarn type taking into consideration texture, structure, and sheen. I want a see through background so my pattern stands out however I tried a very fine viscose which did not knit and kept catching so I am going to start looking into plastics for the background yarn, or use fine white cotton allowing the coloured pattern to stand out. I am going to use viscose for the pattern as I feel the sheen of the yarn will add different qualities to the yarn when mixed with cottons and mohair’s. I am mainly going to use greys and blacks however bring in stripes of reds and gold’s this will add interest and bring my colour pallet together. I have also started this week to make wrapping that specifically relate to my drawings, however I feel some of the yarns don't quite match the drawings so I will dye some yarns. In my tutorial this week we discussed disperse dyes which I could put onto paper and heat transfer the colour onto the knitting the colour will be faded however it will just add a hint of colour. I have made a punch card this week to make my patterns; I have also looked in to the intarsia carriage, to get my pattern without long floats. 

Evolution of Drawings.

This week I had a Print Induction, this will allow me to develop my skill set and bring new ideas into my knitting. During my tutorial I decided that I was not happy with my colour pallet, as it is not strong enough for me to continue to develop it. I was struggling to find the exact shade of red, as it is a reddish orange however most of the yarns are of a deeper shade. To overcome this point I am going to have to either dye my own yarns or try combining two yarns together. This week I am going to paint out developed colour pallets using my sketchbook for inspiration and once I have found an interesting pallet I am going to make wrappings and more drawings. I feel my original colour pallet with monotones and hints of gold will be interesting with the red, this could also create different textures as the gold’s are metallic which will create a soft sheen throughout my work.  

Artists Inspiration; Leutton Postle

Leutton Postle is a luxury Knitwear label by Sam Leutton and Jenny Postle, they create wearable craft led collections inspired by colours, rich pattern and texture. I feel their patterns loosely link to my current work as I have created a blocked pattern, I like the layering and textured effect; this is something I would like to develop into my knits. Their collections are a high fashion label that I feel expresses a contemporary affect. Context wise I am unsure which area to develop down, However Leutton Postle have shown me that I could create a contemporary unusual piece of knitting and still make it a wearable piece of art. This high fashion area is something I am going to look at further as I am highly inspired by this work. 

Initial Development.

During this week's tutorial we looked at how my work could be developed into knit. My concept of a skyline being broken down into blocks to build up a pattern is a strong starting point, and can be developed in to knit patterns well. I feel my edited drawings with the stripes of blocked colours layering the drawings works well and Julie thought this could be a strong feature, she suggested that I ask for a print induction so once I have created a knitted piece I could then print on top of it. I felt that my edited pictures using the smudge filter brought in a colour scheme in which I would like to develop; monotone blacks and greys with a splash of vivid blood red to add contrast. If I also get a print induction this red could be a colour which I add. Julie also suggested that I move into Photoshop and use the colour picker icon to pick out the exact colours; this is something I am going to do in the Friday's session. I have also started to look at different yarns I could use, so I created some wrappings. I have used mohair in many of my wrappings to create the smudged blended effect shown in my edited drawings.

Gathering Inspiration.

This week I went into the city to find inspiration and gather photos and drawings. I then started to develop these drawings by editing them to create unusual patterns and designs which can be brought forward into knit. I found I preferred to look at buildings and architecture; particularly the skylines of the city and the shapes of the different buildings. I feel I work in a muted way looking at shapes rather than intricate details, so I made up the buildings using blocked patterns which I have edited to create these more detailed but still abstract patterns. I feel I now need to find a colour pallet and start to decide what context I want my work to be perceived. I am more of an abstract designer however I am going to look at both Fashion designers and Interior designs so I can look at a wide field of work.

Summer Feedback.

After my presentation my group gave me feedback about my work. They said my underlying theme of architecture works well and is a strong basis and concept to build upon. They also said my artist research is interesting and all the artists I looked at interlink with my theme. The blocked shapes I have been drawing can be easily developed into knit samples, and my muted monotone colour scheme with bursts of colours such as greens or gold works as a whole and will look interesting when developed into knit. The criticism I received such as to draw on a bigger scale and to add more bursts of colour into my drawing is very helpful, and has inspired me to do more drawings and use a varied media pallet such as more paints and pastels; this will increase my range and skill.   

Influences. Artists

 I have looked at various artists to inspire my work including the architect Frank Gehry, the mixed media textile artist Helen Birchall and the fine artist Ian Murphy. The two main artists I looked at are Mathew Borrett and Piet Mondrian.

I found Mathew Borrett’s work in the spring addition of the 2014 Drawing Magazine looking at his “Room Series”. Mathew Borrett studied as an illustrator, now working in visual effects for film and TV as an environment artist, also in his spare time he draws and illustrates. His “Room Series” is highly inspirational to me as the square patterns and cut-outs links to the drawings I have created. Mathew Borrett’s childhood inspires him to create these drawings as he used to create similar shapes out of his Lego and his computer game Commodore 64. He also says he used to have reoccurring dreams that he would find secret rooms in his house, inspiring his Room drawings showing the hidden rooms. I find the way he uses past experiences as a child inspirational, as a child everything is more interesting and new, you see hidden qualities which as an adult you overlook. I find this concept highly interesting, when I move into the industry I would like to look back into my past for inspiration adding this into my own work, I feel this will make my work personal to me and also create a basis of which to work upon. I think it will also interlink all my works creating a certain look though out.

Mathew Borretts work. (www.mathewborrett.com)

Piet Mondrain’s (1872-1944) work is currently being shown at the Tate Liverpool. The work consists of his more famous work ‘Neo-Plasticism’ including works ‘Composition with Yellow, Blue, and Red’, however I find his work of Nature and Architecture more inspiring. Mondrain looked at contrasts such as; the framework of branches and buildings set in a landscape, structure and nature, order and randomness, symmetry and asymmetry. I find this interesting and something I would like to develop. I have already started to develop this in my current summer project by looking at derelict buildings in contrast to new buildings as they stand in conjunction.  

Piet Mondrains work (www.tate.org.uk)

Both artists work have inspired me to continue with my block drawings looking at contrasts of colour, density and space. I have always use contrasts within my work as it adds more detail to the project. I will continue to do this as I develop my work over the years even if it is only a slight contrast such as colours, shapes of the harshness of lines, as I find working with these contrasts exciting which encourages me to add more. I feel both these artists find inspiration in similar areas as I do, and have helped me think of new ways to gather information which will help me in later years when continuing with my work.

Influences.

To gather inspiration for the new upcoming project, I started to photograph places in Corfu. I found that I was particularly drawn to the diversity of buildings; old derelict buildings would be situated next brand new builds. I found this contrast interesting. I also enjoyed viewing the side streets of Corfu with all the hustle and bustle; I started drawing these streets using a range of media such as inks and oil bars. 

I developed this by starting to look at the overall patterns and shapes of the buildings rather than the interact details. This reminded me of the illustration designer Mathew Borrett. Mathew Borrett's work is featured in the spring issue of the drawing magazine, featuring his drawing of 'Hiding Places' from his collection "Room Series". This collection features drawings of rooms craved out in a maze like way, showing secret areas and pathways. 

The box like patterns reminds me of the outline shapes of buildings, this lead me to create drawings of buildings in separated box like ways. The mixed media artist Helen Birchall created a layered piece using sheer fabric, embroidery and print, which looked like many different squares layered on top of one another, this inspired me to look at box draws using inks to allow the box drawing to bleed.

 This work I created reminds me of the patterns of skylines, I went on a trip to view the skylines of Manchester sketching them out in my sketchbook I also visited Liverpool and Salford's Media City.
 The uneven jagged edges of the skylines I was drawing linked to the patterns on the shells at the Corfu Shell Museum. These shells had bumpy mountainous lines, which are sharper than the other patterns and skylines I have been looking at however I thought they related well to my current work. I decided to draw these out creating my own patterns using both the skylines and the shells. I also visited the Tate in Liverpool to look at Piet Mondrians famous works  found his 'Nature and Architecture' work the most inspiring and linked to all of my drawings.
 Up to this point I have been using a monotone colour pallet as I was unsure of which colours to develop, however one of the shells at the Shell Museum an Oyster Shell had a beautiful pallet which consist of different shades of green, blue, and a creamy orange. I am going to develop this colour pallet by painting it out and finding different coloured yarns to see if this is the colour pallet I would like to use in my new project. 
After deciding on a temporary colour pallet I started to incorporate this into my work. Looking at the artist Ian Murphy, who draws many different buildings using a range of mixed media such as oils, his painting called Cornerstone was my main inspiration to develop my drawings with colour. I did this by using oil bars to create a background of my chosen colours then drawing the skylines into it. From this I am going to develop more colour pallets.