Assessment Notes – Assignment 2 Reworked

As I mentioned in this post on my reflections on assignment 2 and the post on my written feedback was one in that I wasn’t very happy with as I felt that the three samples were very similar. I wanted to keep the colour scheme neutral but this did show up the fact that they didn’t show a lot of range in terms of texture and design.

When I reviewed the final three textile pieces which can be found here, I decided to rework two of them as my tutor correctly pointed out that the were all very two dimensional.

For one piece I looked back at the paper samples I created and was drawn to this origami based sample which is highly textural:

My tutor recommended in my feedback on Assignment Five that I look at the Arts Thread website and was inspired by the voluminous structure of Clara Valicia‘s coat, Amy Bond‘s 3D woven fabrics and Grace Hughson‘s skirt. All of these reminded me of a conversation with my great aunt on her last visit about how as a young woman she had to learn how to steam press tiny pleats into the skirts that were fashionable at the time. I wondered whether a texture similar to that of the paper folding technique above could be achieved using wool felt steamed into place.

One artist who uses this type felt structure is Anne Kyyrö Quinn as she uses the felt’s naturally absorptive properties to create acoustic panels which muffle sound explaining that “The surfaces of my fabrics are intricately structured which makes them highly absorptive.” (Quinn 2009:168-171) Some examples of her work from Bradley Quinn’s book Textile Designers at the Cutting Edge can be seen below

The first experiment is shown below.

I then tried stitching the sample first and then pressing the pleats but discovered that the pleating did not work as effectively as shown below. Although I was inspired by Valicia’s use of loose threads to create interest, I wanted the stitching to be more defined to link more closely to the sketches done previously. Inspired by the work of artists such as Roshni Patel who layer stitching and a variety of textiles I chose to overlay two of my sketches onto one piece of felt. Given that I was going to use the felt to create texture I decided that I would only use two layers of stitching to avoid the work becoming confused.

When I created the final sample I decided to steam pleats into the felt first and then stitch my design before a final steam to ensure the pleats remained in place. Based on my research into Mary Katrantzou’s work in my reflections (the post can be found here) and other textile artists such as Daisy Shane who make bold use of enlarged images, I decided to use my computer to blow up two of my sketches and overlay them to be stitched onto a piece of felt that was approximately A3 when flat.

Although I liked the woven piece I created in Assignment 2, it was very two dimensional and when placed with the piece above and the ‘confetti’ sample did not seem as interesting. As I had obtained a rigid heddle loom in the interim, I decided to create some plain weave sample pieces based on colour scheme which can be seen below.

I decided that I wanted to attempt to recreate a three-dimensional pod shape based on the sketches and free motion embroidery in the images below. As such I decided that I would keep the woven fabric relatively plain to allow the focus to be on the shape.

I chose to use a yarn for my weft that was more beige than the first sample as it completed the colour scheme of the pyrography sketch. The weft was a 4ply acrylic remnant from a previous project but the warp was Sirdar Toscana DK 100% Cotton Orbetello Shade 111 Lot 00008 (the same warp was used on all the new samples and the wefts were all remnants from my stash left over from previous projects).

I used a remnant of light brown yarn to create the lines with a running stitch before stuffing and manipulating the fabric into a podlike shape.

The original three samples created for Assignment two:

The final three sample for Assignment Two when placed together can be seen below and appear to have a broader range of techniques and textures.

When I first approached assignment two I had a fixed idea in my mind of what I wanted the three pieces to be and on reflection that showed in the fact that the pieces were very two dimensional and uninspired. When I reworked two of the pieces by going back to the chosen sketches and working with little idea of what outcome I wanted, the samples created are more interesting. It is also interesting to see that even though each one was designed separately this time, when placed together there is cohesion between the three. That cohesion is, this time, created by the consistent colour scheme, similarities in stitching and even circular motifs in the two new pieces that were not intentional at the outset.

[All links accessed on 19/01/2020]


Quinn, B. (2009) Textile Designers: At the Cutting Edge London: Laurence King Publishing Ltd

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