22 May 2017
Part 5, Stage 2 – Research (preliminary phase)
As a result of stage 1, I decided to conduct some research along the lines of option 1, which is a constructed surface (see conclusion at the end of the stage 1 post).
I started by making a mind map of all the variations that I might consider, which I illustrated with examples from the Internet, literature, and from my sampling (see below). This has been included as the first page of my sketchbook.
I realised that within the idea of a constructed surface, there was actually scope for incorporating other aspects of sampling from module which had excited me (such as flaps, cut-outs, and other surface treatments). Consequently, although I had initially focused on the Möbious strip sample (part 2, project 1, exercise 5, sample 9), I decided that at this stage it would be helpful to widen my line of enquiry.
A particularly fruitful source of information was Pinterest; I created a specific board for this assignment on the subject of “Geometry”, with ideas from architecture and textiles (Eastaugh, 2017a).
The diagram allowed me to revisit what type of constructed surface I might consider:
- Windows/cut outs
- Twisted joined
- A constructed piece
- A repeating pattern of some sort
- 2 visibly contrasting surfaces (either an inside/outside, front/back, on top/underneath). Nature of the contrast to be confirmed with sampling, but could be colour, pattern or textural.
- The use light and shadow
- The possibility of incorporating contrast of opacity and transparency
- Whether it would be appropriate to use transition or scale, colour or tone across the surface.
- Orientation of elements across the fabric surface and use of a limited colour palette (Panchamia, 2016)
- Use of layers and semi-transparent fabrics (Cole, 2008:72)
- Use of shadow to present tonal variation in single colour fabric panels (Quinn, 2009: 54, 168-171)Arrangements of repeating elements (Quinn, 2009: 169-170)
- Textured carpets, interlocking pile components (Quinn, 2009: 255)
- Sculptures explore symmetry, waste materials/found objects, textural surfaces (Blazwick, 2013)
- Hot poker drawing (2011) – patterning and surface distortion due to symmetrical burning of folded paper with hot poker (Ingleby gallery, 2017)
- Sculptural work makes effective use of shadow and is often on a large scale (Waters, 2011)
- Sources of design for architects (and everyone else!) – shapes, patterns, constructed surfaces (Spuybroek, 2011)
- Some ideas on how everyday objects can be arranged to make patterns (Mossman, 2008: 60-61, 72-73, 110-111, 120-121, 131)
- Lots of ideas for arranging and joining everyday materials to make interesting surfaces
- Cut-through shapes (Renshaw, 2009:72-74)
- Cording (Renshaw, 2009:30)
- Joining punched and braided leather belts to make an interesting textural surface (Seo, 2011: 58-59)
- Using transparent properties of overlapping masking tape to create tonal variation (Seo, 2011: 40-41)
- Using plaster to transform/stiffen fabric (silk flowers) (Seo, 2011:26-27)
- Using cut outs from discarded drinks cans (Seo, 2011:158-159), (Johnson, 2009:135, 220)
- Use of found/recycled paper (Thittichai, 2014:44-52)
- Using rolled paper for edge patterning and texture (Diane Gilleland, craftypod, USA) (Johnson, 2009:28)
- Paper sewn together to make patchwork surface (Heather Price, Winemakerssister, USA) (Johnson, 2009:30)
- Zipper teeth for textured edges (Johnson, 2009:55, 107, 128, 138)
- Tyre tread for surface texture (Johnson, 2009:84)
- Playing cars used as printed pattern (Johnson, 2009:107)
- Fraying fabric for textural edges (Johnson, 2009:193)
- Transformation of plastics to make sculptures, David Edgar (Johnson, 2009:256-257)
- Colour transition (Johnson, 2009:299)
Blazwick, I. (2013) Cornelia Parker. London. Thames and Hudson.
Cole, D. (2008) Textiles Now. London. Laurence King publishers.
Eastaugh, N. (2017a) Geometry. Pinterest board. At:http://pin.it/j6ZNnRL (Accessed 23 May 2017)
Ingleby gallery (2017) Cornelia Parker: Hot poker drawing. At: http://www.inglebygallery.com/exhibitions/cornelia-parker/ (Accessed 23 May 2017)
Johnson, G. (2009) 1000 ideas for creative reuse: remake, restyle, recycle, renew. Massachusetts. Quarry books.
Mossman, S. (2008) Fantastic plastic: product design and consumer culture. London. Black Dog publishing.
Panchamia, D. (2016) Deepa Panchamia: Paperworks. At: http://deepapanchamia.com/work/paperworks/ (Accessed 23 May 2017)
Quinn, B. (2009) Textile designers at the cutting edge. London. Laurence King publishers.
Renshaw, L. (2009) Textiles handbook: Mixed media & found materials. London. A&C Black.
Seo, D. (2011) Upcycling: Create beautiful things with the stuff you already have. London. Running press.
Spuybroek, L. (2011) Research and design: Textile tectonics. Rotterdam. NAi publishers.
Thittichai, K. (2014) Reclaimed textiles: techniques for paper, stitch, plastic and mixed media. London. Batsford.
Waters, L. (2011) ‘Interview with Cornelia Parker’ [online] In: The white review: Art. September 2011. At: http://www.thewhitereview.org/art/interview-with-cornelia-parker/ (Accessed 23 May 2017)
Zilber, E. (2015) Crafted: Objects in flux. Exhibition catalogue. Boston. Museum of fine arts publications.