Evaluation and records

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How do you feel about the resulting conclusion?

I have mixed feeling about the finished scarf. I am pleased with execution and the construction of the scarf, the colours and materials used.  I love the way every now and again you get a glimpse of the stitching on the patches which I love.  I like the scarf, but because there are so many ways  that the surface design could have been stitched I am not sure if I went with  the best design.

Is it fit for purpose?  give reasons

The scarf was designed as an evening scarf so was mainly decorative. It is fit for purpose however if it needed to be cleaned I would gently sponge it rather then washing,

If  you made it again what changes would you make to the way you designed  and  made it?

If I made it again I would keep the same colours and materials and construction. I might alter the surface design slightly by making the patches reverse appliqué I really like how this method makes the design look like an integral part of the fabric. If I did this the squares would probably be less symetrical and more organically spiral I would also add some small beads to the spiral running stitching.

Records

Costing of finished item

Fabric £7.20                                                                                                                                                                                                           Dye £3                                                                                                                                                                                                                         Thread £3.70                                                                                                                                                                                                          Beads £2                                                                                                                                                                                                                   Craft felt £0.25                                                                                                                                                                                                        Total £16.15

Timing

Date when design work was started…….March 29… Completed………April 3……..

Date when embroidered item was started ……April 6….. completed…..April 21…..

Total number of hours spent working on the design …..6…… embroidery……..24…..

Bibliography

Raising the Surface  –  Maggie Grey

Textile Art — Published by Apple

A Beaders Reference  –  Jane Davis

The Encyclopaedia of Beading  Techniques  –  Search Press

Numerous online sources.

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Health and Safety

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Some of the health and safety aspects that were taken into consideration in this module.

1, Ensure work areas has appropriate seating and lighting to avoid strain.

2, Work areas should be kept clean and tidy at all times including tables floors and exits to avoid accidents.

3, Work should be stored in appropriate conditions to avoid spoilage.

4, Sharp items such as needles, pins, knives, scissors are to be used sensibly and stored properly after use.

5, When using a cutting boards stand on a firm surface and always cut away from you.

6, Use of chemical substances ( paint dye glue bleach)  To be used in a responsibly, in a well ventilated area, stored correctly after use in appropriate containers with secure lids. Spillages should be dealt with immediately. Hands should be washed after use or protected with gloves when necessary.

7, Use of electrical equipment including sewing machine, iron, computers.    Always use electrical appliances  in a safe environment away from all liquids.  When ironing take care to use a firm flat surface and be aware that some bonded and other samples can remain hot for longer than expected.  When using a sewing machine take care of fingers in moving parts.  When using a computer for any length of time be sure to use correct seating to avoid back and neck strain, take breaks to avoid eye strain.   Never use electrical appliances in a thunder storm always switch off unplug and store for future use.

Storage of work, materials and tools

Correct storage of work materials and tools are very important. To avoid disappointment of spoilt work and waste proper storage and maintenance should be followed. This leads a tidy and safe environment in which to work. Many of these practises are common sense but it is important to remind yourself of them.  It can save time and money and also creates  a pleasant space in which to work.

composite sheet for accessory

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Composite sheet module 3 Accessory

3.CS.1  A3 size

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3.CS.2

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3.CS.5 Wrong side

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My Accessory

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I struggled to choose one of the design ideas to develope further. I wanted to focus on using stitch  buttons and beads studied in previous chapters, so eventually decided to work on the scarf design which would allow me to do this.

3.A 1

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This was the original idea in a rough sketch.  This shows square beads and patches on a traditional square scarf I was’nt happy with using squares as it did not really fit in with the spiral theme. However after doing more sketches and playing with some of the samples already made I came to the conclusion the squares looked better, maybe because of the contrast to the spirals.

3.A.2

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I made a pile of square stitched and beaded buttons, using some of my dyed green fabric to use on the edge of the scarf.

3.A.3  buttons 2cm x 2cm

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3.A.4  patches 10cm x 10cm

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3.A.5

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Scarf size 23cm x 140cm

3.A.6

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If you go back to 3.A.3 you can see that only one side of the handmade bead/buttons was stitched. After I attached them to the scarf I realised that they spun around all the time and both sides of the buttons needed to to be stitched and beaded. This was a little fiddly to do after they were made but worth it.

3.A.7

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The patches are only stitched on to the front fabric.

3.A.8

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The scarf, bescause of it’s length is difficult to photograph to show the lay out of the design. At this stage it was only half finished.

3.A.9

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3.A.10

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3.A.12

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Finished Scarf with hand spiral running stitch using three different threads. A dark green machine embroidery thread and two different matallic green threads. It was difficult even in the bright sun to get the metallic effect to show up in the photographs. This Photograph represents the true colour of the scarf compared to some of the other pictures. The spiral stitching goes through both the front and back fabric rather like a quilting stitch holding them together.

3.A.13

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I chose a plain background colour after trying the spiral stitching out on different fabrics. It was a big part of the design and I wanted it to show up cleanly. The difference between taking photos in the shade and in the sun

3.A.14

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3.A.16

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3.A.17

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3.A.19

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3.A.2o

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Artist Study

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ZANDRA RHODES

200px-ZandraRhodesByPhilKonstantin

Zandra Rhodes  was born in 1940. she graduated from the Royal School of Art in 1964, where her special  area of design was printed textile  art.  She made her fabrics into her own unique styles.

These colourful  flamboyant creations epitomized the London fashion scene of the late 1960′s and 70′s.

Spirals featured in many of Zandra Rhodes printed textiles.

ZR Spiral

In 1967 she opened her first shop with Sylvia Ayton, but  she took her own collection to New York in 1969 were  Diana Vreeland featured her designs in American Vogue.  This  lead to her success selling to some of America’s top retailers.   In London she opened an area in Fortnum’s & Masons with her designs,  and in 1975 came her own shop off Bond Street.

She has designed for many famous people and today her vintage pieces are collectors items. Not all of her designs were bright and colourful but it was her signature.

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Zandra with her distinctive pink hair, did not limit her talents to textiles and fashion, but also to jewellery, bags, stationary, china and cosmetics among others things.

zandra-rhodes-jewellerydesigner-jewellery-zandra-rhodes-pendants

In 1997 she received a CBE for her contribution to fashion and textiles industry and has been given  many other honorary awards.

She set up the Textile and Fashion Museum in London in 2003 in an iconic building which is dedicated to show casing fashion from the 1950 onwards.   More recently she has been involved in designing sets and costumes for major operatic productions. Her name is also linked to many charities.

DEIDRE HAWKEN

Deidre Hawken

Deidre Hawken is a milliner who has built up a national and international reputation using traditional methods.

She studied for a diploma in theatre design between 1964 and 1967 at the central St Martins School of Arts.

Her career in costume and props design was successful, but in 1999 she won a grant from the Queen Elizabeth’s  scholarship trust where she studied millinery with the renown milliner and teacher Rose Cory.

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She also spent some time with Stephen Jones at the Metropolitan Museum in New York  This sideways shift in her career was even more successful . Deidre has exhibited her work in The Victoria and Albert Museum  and the Royal Festival Hall among others

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She is a fellow of the Royal Society of Designers and Craftsmen , and of the Royal Society of Arts.  She has a curious and fun attitude to her craft which may come from her theatrical background.

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MY ARTIST STUDY

JO WOOD   BEAD ARTIST

tree series beadsTree Series 8cm x 8cm

Jo Wood was born in Illinois  USA in 1952. She was educated in Northern Illinois University where she studied for an associates of arts degree between 1970 and 1973, she specialized in weaving and spent most of her career working in textiles.

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In 1994 she made the choice to focus her art on beads and fibre. She has received many honours and grants and has over 20 exhibitions and has written several books. She describes her work as painting with beads.

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She mainly works on felted knitted wool and depicts scenes from nature often using tiny glass and seed beads in miniature works of art.

harvest moon

Harvest Moon 17cm x 17cm

Chapter 10

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Designing an accessory

Some accessory ideas. I am struggling to decide which idea to develop. I am leaning towards a scarf or a mask, then  again a muff or a cuff !!

3.10.1

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3.10.2

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3.10.3

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3.10.4

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Chapter 9

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A Resolved Sample

Looking back over the work in this module I wanted to use a source image based on a celtic knot design. I started by cutting some window templates.

3.9.1

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3.9.2

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3.9.3

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It soon became apparent that using the window templates meant that you lost the feeling of spiraling movement in the design

3.9.4

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So using the image at the top of the picture above I cut out and isolated a part of it. I then cut out this shape in two different sizes from painted vilene. It took some time playing with these shapes before I was happy to iron them on to the fabric.

3.9.5

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3.9.7

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I wanted the shapes to feel as if they were part of the fabric so I did some free machine stitching around them as well. It was at this point I got carried away with stitching and forgot to take photos.

Machine and hand stitching were added, with some slashed type reverse appilque. I tried to keep in mind some of the design processes from module 1 & 2. Layers of different shapes, making shapes within shapes. Proportion of shape and size as well as producing a design based on movement and using some of the elements learnt in Module 3.

3.9.8

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This was the result before the fourth relief layer was added.

3.9.9

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Some of this years raw cotton from the garden was picked washed and combed out before dying. This was then twisted out and wrapped.

3.9.10

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Some Dorest buttons were made with craft felt rings, these were dyed and stitched down.

3.9.11

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Some small beads and extra stitches were added along with some free machine stitched spirals made on water soluble fabric.

3.9.12

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3.9.13

It was gently pressed, and laced on to card.

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The finished resolved sample

3.9.14  26cm x 29cm

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3.9.15

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3.9.16

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3.9.17

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