Chapter 10: Three designs

We were then asked to choose three of our small designs to enlarge to A3 size in a bid to choose one to take forward to the final piece. I chose Nos. 1, 4 and 5 of the colour designs from Chapter 8. I have stuck largely to a palette of blues/turquoise and orange/reds. Where you see white on the images below this would actually be open space between the pieces of fabric.

 

Fig. 10:1: Iceberg calving

I see this being stitched using a reverse applique technique with each layer being covered with machine embroidery. I have kept the design to three layers as I think that more than that could be difficult to manage and confusing to the viewer. I believe it would make an attractive large scale wall hanging which would be quite easy to display due to its robust construction. I also think that the design, although abstract, does successfully convey the message of global warming.

 

 

Fig. 10.2: Shattered

I liked this design in the smaller version but like it less at this larger scale. Maybe that is due to the larger number of papers used, which have made it more confusing I think. I imagined this being constructed from lacy fabrics made on soluble fabric with no backing. The four side panels would hold it in place while the centre triangles, although joined to each other and to the edging strips, would be free to move more fluidly. This would emphasise the fragility of the polar ice caps, with the red/orange pieces representing the global warming. To my mind, this is the weakest of the three designs chosen.

 

 

Fig. 10.3: Twin threats 

This is my favoured design, for two reasons. Firstly, as it represents the twin threats to the countryside and villages near where I live ... the regular flooding and the moorland fires, so making it a more personal issue than the other two. The second reason is rather more pragmatic. A textile group of which I am a member is holding an exhibition next year entitled 'The Pennines' so this piece could potentially be displayed there.
Again, I see this being made mainly of strips of lacy fabric, either stitched on soluble fabric or onto translucent chiffon or scrim. I was a little loathe to use the 'log cabin' construction suggested in the course notes but do feel it offers the best method of making this design into a wall hanging. The strips would be held together with insertion stitches which would leave them free to move like the flames represented by the red/orange fabrics, and indeed also the movement of the flood waters represented by the blues.
I made the central block black to represent the fear, despair and ultimately death of the wildlife trapped on the moor.

Chapter 9: Colouring papers

As always, the design process begins by colouring papers. I made quite a collection, most of which I haven't actually used in my three chosen designs, but they will add to my stash for future use.

 

Fig. 9.1: Greens

 

Fig. 9.2: Yellow/oranges 

 

Fig. 9.3: Oranges/reds

 

Fig. 9.4: Blues

 

Fig. 9.5: Turquoises

I painted with brusho, acrylic paint, bleach and acrylic inks using some handmade stamps of flames and wave patterns to link them to my theme of global warming.