Assignment 2 feedback (by Tutor Elizabeth Smith)

Project 3 Colour

Your exploration of basic colour and colour theory demonstrated to me that you have a good grasp of colour and colour relationships. Although you expressed some doubt regarding your ability to record and match colours accurately, I think that you came very close, especially with the studies of 3D objects. I also think you also learned a lot about the properties and characteristics of different media e.g. watercolour as opposed to oil paint. Each has their own potential as well as limitations. What you did discover was the ways in which tone, hue and colour saturation can be combined to give the illusion of 3D. Hence, the unsuccessful attempt to eat the chocolate biscuit. A measure of your success in this respect I think!

I liked the way you explored colour/mood and theme through the use of mood boards. These moved beyond the mere assembling of photographs and the inclusion of your own colour samples made this a much more personal response to the task.

Although you commented that you weren’t especially aware of the blending of primary colours to create the illusion of secondary colours, I think your red/yellow sample went some way to achieving this. Certainly your machine stitched pomegranate showed how a subtle combination of threads can create a lovely density of colour. I note your previous tutor’s reference to Alice Kettle. Did this influence this piece in any way?

Your study influenced by pointillist techniques was a creditable interpretation of the techniques. I liked the way you extended your range of stitch here to include some of the mark making stitches in earlier projects. Good to see you building upon previous experience.

Project 4 Developing design ideas

Your foxglove image was a very useful one indeed and a good choice for you to develop further. This and your design developments from photos of Italy and Christmas decorations seem to suggest that there is a particular style emerging in your work. You are becoming very skillful at abstracting certain areas of your work and in doing so, you are showing a good understanding of compositional issues. The way you simplify and outline your work reminds me of Patrick Caulfield’s paintings. You might like to take a look.

I liked the way that you focused your developmental work on specific visual elements; colour, texture and shape. When you interpreted your designs through the use of different media, which did you feel were most appropriate for realising your intentions? The pastels? The collage? Think about the hard edge affects you were trying to create. Which medium are they closest to?

You made good use of digital imagery to explore your foxglove drawing. Some of the pixelated images had a curious resemblance to pointillism. Were you aware of this? It was interesting to see how the distortion and colour changes affected the overall feel of the designs in terms of mood. What I did find fascinating was that the appliqued fabric sample which emerged from this work took you back to your original graphic style, although you said felt it had taken you further away! You were in right in saying that this would make a good screen printed image.

Interlude experimenting with printing and painting

There was some lovely experimentation with print and paint techniques here. I loved the cyanotype prints of lace. You might like to have a look at Michael Brennand Wood’s work which he completed in response to looking at the Whitworth Art Gallery historic lace collection. I will send you an image. I think there is future potential her for you. I also liked the fabric sample which I saw on your blog. You have clearly discovered that certain print techniques lend themselves to particular imagery. I’m thinking here of the shapes you used for your stencil print which were simple yet very effective. I think that there is scope for further use of string/collagraph techniques, particularly in relation to your linear drawing style. I also think that the samples you produced by ‘drawing’ with silicone sealer could be used to a similar end.

The image transfer technique worked very well for you. Did you consider using this as a base for further prints, rubbings? I think it would it be interesting to combine this with Markel pens for example.

Your experiments with Dylon Image Maker illustrated perfectly how the choice of fabric is crucial to contributing to the success or otherwise of the final print. The calico was clear and delicate. Much was lost on the hessian.

The sea urchin image was an interesting one. I liked the kaleidoscope effect, but it was far removed from the original qualities seen in the drawing. For me, it was the delicate linear pattern which I would have wanted to see emerge. What alternative technique might you consider?

Project 5 Painting and printing

Your final sample made good use of the very strong image of a lizard. I found your commentary on the development of this idea very useful as I sensed that you felt a little unsure of how to create that seamless effect that is apparent in  good textile design. I think you learned a lot through trying to resolve this issue, but I think there were several challenges. I felt that your initial attempts at a repeat worked better as a line drawing. This echoed the delicate linear pattern of your original lizard photo.

Secondly, although you chose an appropriate half drop repeat, you perhaps need to think a little more about how you might link the repeating motif. If you had made the drop slightly deeper, you could then have explored ways of linking the branch shapes to form a continuous ‘S’ shape through the design. This sounds deceptively easy. I suggest you have a look at some of William Morris’s later designs such as ‘Wandle’ to see how he achieved this.

Finally, I think the colour contrast were a little harsh, especially the red against the yellow. This increased the weight of the shape and it tended to over dominate the design.

No comments:

Post a Comment