Using calico as the base material for my samples is set about creating my collection. With help from my Ruth Singer book Fabric Manipulation 150 creative sewing techniques and Pinterest for inspiration.
Fold
pen sketch
Twist
Watercolour sketch
Cut
Pastels on tracing paper
Layering
Ink on cartridge paper
Knot
Masking fluid and ink
Crumple
Screen print ink, marks made with a feather
Felting
Crumpled up foil used to dab printing ink onto black card
Tear
Gather
I hadn’t ever tried sheering before, I was anxious of using elastic in my sewing machine. I tried with several different stitch lengths to see the different effects. I’m not convinced I got this right as the gathering was not as drastic as the example one on the YouTube video. This is definitely something I need to practice more.
Additional Gathering
Cotton, Muslin, Calico, Blackout Fabric, Organza, Netting, Plastic
The stiffer fabrics such as the cotton, calico and the heavy
blackout created more defined ruffles.
Whereas organza created a softer, delicate, more malleable effect.
Which curled up reminding me of a delicate flower head.
The netting reminded me of the itchy netting that was used
on a bridesmaid dress when I was a child.
I loved the plastic gathering I feel it was my most
interesting sample, it looked delicate and soft but is quite strong material to
work with. Although the ruffles are not well defined and the plastic had a mind
of its own and was difficult to manipulate.
Pleating
I have tried pleating before but have always struggled with the accuracy of creating pleats. Again using a similar selection of fabrics to the gathering samples. What I observed was that the fabrics which I felt would be difficult to pleat with and to run through a sewing machine but was shocked how well the netting and plastic came out. I love the transparency both materials gave, meaning the layers were visible through.
Suffolk Puff
The materials used, plastic, netting, denim, etc. what I discovered was that the rigid, thicker materials created a more defined and formed Suffolk puff. Whereas the softer more subtle material became more difficult to shape.
I felt the denim created the more defined samples, which reminds me of a flower with the gathers creating petals.
Whereas the organza was more tricky to shape and rather than a flower it created a bud.
Although it didn't create the ideal Suffolk puff, the bubble wrap created an interesting mix with a ghostly white pouch created. A lot like a an upside down jelly fish.
This last sample came from some last minute inspiration whilst my children were making cupcakes. I thought I wonder if the case would make an interesting Suffolk puff. We'll it kind of worked but was not how I had hoped it would turn out.
Which samples were the most effective, and why?
I like the aesthetics of this sample being creative in the way I interpreted the word cut. It also reminded me of the patterns I had seen on the playground equipment and holds potential to be developed further.
I loved the delicate waves created in the pleating, yet the netting is a robust material. I was anxious to see if it could get it through the sewing machine, which luckily was a success. I think playing with sizing and layering could be a way of developing this sample.
I also felt like the knotting sample was a success, using a knitting technique with the strips of muslin. This created textured, frayed edges, reminding me of the spring grass. Again, this sample could be altered
Did you have to overcome any problems? What were they? How did you overcome
them?
The muslin in the knotting and knitting sample was delicate and broke several times. I adapted to sample to incorporate the join and make it part of the piece.
I also kept underestimating the amount of fabric that would be required when producing the pleating samples. Again I just adapted the sample to just show a couple of pleats. Which came out well with the cellophane plastic, as you could see the folds through the cellophane.
Do any of your samples have the potential to capture the mood or essence of your
chosen theme? If so, how? If not, why not?
I feel like my collection of samples offers a selection of samples that capture the essence of my chosen themes. To the organic flowing ruffles of my gathering samples, to the soft frayed edges of of the torn samples. Capturing a feel of nature!
Also capturing a playful feel with the suffolk puffs and the cut samples with the patterns created within the samples reminded me of the play equipment patterns.
I chose to explore size scales with the Suffolk puff, using the netting. I liked the transparency that was created with the original sample. I imagined that creating different sized puffs could create interest shapes to layer and stack. The larger scaled puff was easier to create, the rigid material lent it self to create the large circular shape. I’m fact all the puffs kept their shapes well with the netting material. The smaller the sample got the more difficult the gathering became.
layered tracing paper
Rowan Mersh
I admire the work Mersh produces sculptures, using items that have natural sculptural effect and remodelling them into a new sculpture. His work encompasses traditions and symbolism associated with shells, using unconventional materials, and its beauty. The uniform patterns are created within the sculpture but each shell has it own unique markings, formed by nature. Soft and tactile but knowing the nature of shells they will be cold and fragile.
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Using a different part of nature, this time from the land rather than the sea. Softly wrapped and curled strips of leather. Compactly tucked into their frame, with varying heights of leather like a mountain range or the uneven pebbled walk down to the sea to collect your shells. I love the contrasting effect Mersh has captured, whist maintaining the connection to nature.
Mersh's work has given me inspiration to explore different ways of manipulating materials, working with the materials natural qualities, thinking about ways of making the viewer have to look deeper into the work to see how it has been created and another depth to the work.
Identical samples
I based my eight samples on the cut sample. I chose to do this as I felt that it embraced my theme of play, days out. It reminded me of the patterns on the roundabout metal floor. Or the playful painted squares in my local area.
Using a primary colour palette selection of felt to create my samples. I made a few errors before settling for the perfect amount of cuts.
Using my inspiration from one of my journeys, creating a playful pattern with the blocks of cut felt
Giving it a patchwork quilt, come hopscotch feel. I think the bright primary colours work really well with this theme. 
Using nylon thread I created a hanging sample like the steps up to a slide. The hardest part was trying to hang it and photograph it. The idea in my head was better than the actual finished sample. To improve the sample I would need to look at different hanging techniques.
How did the appearance of your samples change when you used different materials?
I found that the softer more delicate materials such as muslin created less defined shapes which didn't work well for some techniques such as the pleating. But it worked well will for techniques such as tearing, creating soft frayed edges.
Where are the firmer materials such as the denim worked in the opposite way the pleating and Suffolk puffs were defined.
Just looking at the selection of Suffolk puffs, how different they all look. Yet its the same technique!
It makes me realise I can completely change the look of the technique by the material I chose to work with.
Did anything happen that you were not expecting? Could you use this ‘accident’
positively within your work?
I was surprised how easy the cellophane was to pass through the sewing machine. I would like to explore this further in my work.
Have you discovered other artists/designers with whom you empathise? In what way
does their work inspire you?
When I began this unit I was reminded of a Pinterest board I created during my studies which I created with works of fabric distortion. I felt inspired by their use of the manipulation techniques using some less skilled techniques to make extravagant pieces.
How does their work relate to the way that you work? Do they use similar techniques?
Are they working from a similar theme or concept?
A lot of the work pinned were on a larger scale, I feel like at the moment I am at the beginning of that journey. Exploring the basics of the techniques which have the possibilities to be reproduced in a repetitive pattern or by exploring a scale with the techniques.
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