Tuesday, 24 April 2012

Tonal in Stitch

Ref Page 6 2a-d
2a Graph paper sequence of growth/disintegration of design stitch
2b - 2d show a variety of thread and stitch densities being used to show effect on 14 holes to the inch canvas.
threads included: cotton perle, crochet cotton, ribbon, linen, wool, polyester thread.
2d shows the danger of selecting sewing threads at night.  I thought the ribbon was white but it has a cream appearance in day light!

Ref page 7 2e -2h
2e Pattern development in a sequence of eight phases.  Sequence 5 appears to resemble scales
2f Spacing of and elongating stitch in four phases
2g Thickness of thread see 2i for back or work.  This sample proved the most interesting. Phase 5 and 6 should have been reversed as while the linen thread in 6 appeared lighter on the reel its slubby texture made it darker in the canvas.
2h Tonal study from white to black
 Ref Page 7 2i

The reverse of 2g also proved fascinating in that the way one worked the stitch, horizontally or vertically and whether one completed a stitch or worked in columns of one aspect of the stitch, made the shading of the tones and texture an aspect to consider in future stitching samples.

Study of Tone

While making tonal columns I became aware of a host of images using just black and white and have included these at the end of the chapter as a source of design inspiration for further study.
                                             Ref Page 2                         Ref Page 3
 Ref Page 2  Newspaper type weave and black paper hole punch                   
 Ref Page 3  Oil pastels, soft pastels, graphite pencils
                                    Ref Page 4                                     Ref Page 5 image a top b) bottom
Ref Page 4 Dabs of ink on paper towel and tissue, charcoal rub on wire, torn magazine         
Ref Page 5, 
Image a) Black paper, felt, cut paper, kitchen towel, oil pastel, pastel, cut paper                                                                                       
Image b) White paper, oil pastel ink rub, felt tip pen, black paper, felt    
The images below  were taken when visiting the Platt Museum in Manchester, they show the QR scan image, 5c) that is used to connect mobile phones to the collections website and the other image, 5d) is from the Button  Museum which is incorporated in the Platt Museum.  This QR quick response image is increasingly seen  in newspapers and magazines and is a successor to the bar codes we have all got use to seeing on any merchandise that we buy.                                             
Ref Page 5 Image c)
 Ref Page 5 Image e)

Introduction Module 2

The need to prune a list of animals that came to mind when investigating animal markings, was a priority as the list just grew and grew. I took the decision to mount my first thoughts on a story board and to prune while completing Chapters 1, 2 and 3.  A initial idea for pruning began to focus on animals I had seen in the 'flesh' but that still seemed to leave a host of options.  The next focus grouped ideas into skin, feather, scale, hair, and horn.