thinking it through

I want my work to reflect the contrast between the heat of feminist debate and the cold logic of technology.  I thought I could use the contrast between black/white and colour. 

I've mentioned before that I seem to be sewing and unpicking and resewing.  Some things are being resolved - the shape of the ties, a more time efficient way to make the ties. 

However, I think there is a twofold problem with the use of b/w text on lawn cotton for the tippings (see right).  Firstly, the lawn cotton is prone to puckering, it doesn't drape in the way I need it to - giving a definite 'home-made' look to the ties.  Secondly, the use of b/w text looks tacky, uninteresting and obvious - even if I try to obscure the words.  I need to try to make the printing more interesting and I need to find a more suitable fabric.

Yesterday I used the digital embroiderer to test different stitches for small scale text which I could use for the loop labels.  I wasn't happy with the results but I am wary of using hand embroidered text because I want the ties to look professional.  However, the digital embroidery smacks of mass production.  Needs more testing.

I need to be sure what I want my ties to be  on this spectrum - expensive hand made, individual, craftivist, fun, arty/unwearable.  I want them to be a combination of hand made, individual and craftivist.

Another issue for me is that of cost of producing the ties - both to my purse and sustainably.  Given that I want each tie to be individual, each tie takes a 70 cm length of fabric because they need to be cut on the bias and though I might be able to fit two ties side by side but I want to investigate scanning the pattern pieces so that I can print engineered shapes of my designs - thus reducing wastage, enabling me more flexibility in mixing designs and saving time cutting the tie shapes.

Onward, onward.
  

three steps forward, two steps back

screen printing onto dyed raw silk.

i want to make the ties wearable rather than 'way-out',  although maybe a mix.  the difficulty is getting 'wearable' to look interesting and fun without it being ridiculous.

spent the weekend cutting out tie shapes then sewing, unpicking,  sewing, unpicking, sewing trying to perfect
-a good shape
-interfacings
-facings
and - with deadlines to meet - the most time efficient way to get them put together - this isn't a dressmaking course but I need to have a professional product.  The construction of the ties involves the creativity of the product ie it comprises a mix of fabrics, a range of texts and processes which include dyeing, screenprinting, digital printing, designing repeat prints, monoprinting, digital embroidery, hand embroidery and mixing and matching to ensure the results look like a single 'collection'.   


the loose weave cotton I found for interfacing may be too loosely woven - it doesn't retain its shape.  however, i think i have found a way of cuttting the tie so that it forms its own interfacing.  it would cut down a lot of work for me.  
meanhile, i have tried another open screen mono print but this time on  dupion silk  (right) which will need lightweight fusible facing to make it easier to handle and to give the ties more structure. I really like this process but its hard not to over do the painting (left).

i finally completed the repeat prints and had samples printed onto linen and wool - very different results, the wool (see left and right) gives a much more intense colour and the linen has a lovely faded look.

here are two colourways of a design inspired by the 1950s - printed onto linen. 

a productive day

Neither the Internet, nor the fabric cupboard at NUA, nor the Norwich shops were able to help me find the 'interlining' fabric I have been advised to use to line my ties.  I bought a couple of good quality ties from a charity shop and took them apart.  And yes, they do use a soft woven fabric to line the ties - one of the ties had the requisite soft (wool?) plus another cotton lining.   I'm a bit clearer about what I need to find now.

Today I prepared an open screen for a monoprint and left it to dry overnight.  I tested dyes (silver grey, charcoal and black) then dyed a large piece of thick cotton ready for discharge dyeing.  I also asked Neil to print the samples I had prepared - onto both a fine wool and a linen.

a lot to do

This week's tutorial with Sarah was positive.  She said that I shouldn't make my 'messages' obvious - maybe hide the end of the message under the linings, just print/sew snatches of words.  On the right is a digital embroidery which I centred on the outside of sample tie.  It is brazen but it would be hidden under the collar of the wearer.


Taking Sarah's advice on board I printed some samples using print paste and discharge.  The effect on silk was subtle and effective (left) but the linen didn't discharge well.  I like the effects of mixing discharge and print paste and will look at incorporating them into the blade of the tie.

I especially liked the charcoal print on natural coloured linen (below left and right).

I spoke to Paul about including a craftivism event into the final show but he thought I should hold craftivism event(s) before the show and use the results/analysis of the events in the final show - whether than be the pieces of stiched textile, photographs, film or recordings.

I am thinking about a recording of the voices of people explaining their piece of work alongside a photographic/actual display of their pieces.  Also I am keen to pass on a collage of the photographs to someone - the minister for women?   

I need to establish what the questions/consideration/statement is that I present to craftivists  - something like 'What do you want for the global status of women'. 

Alot to think about and a lot to do.

• I didn't use interfacing on my sample tie because I thought it would make it too bulky but I am not happy with the outcome - I can 'see/feel' the edges of the fabic and I think interfacing would improve the  quality.  Internet research has revealed that 100% wool is best for silk.  My Vogue pattern didn't specify which material to use for interfacing but includes the grain line of the fabric so presumably doesn't mean typical non-woven interfacing.  I think I need to buy wool for the silk ties.
• plan crativism events.  consider craftivism by post.
• screen print more fabric
• finally set my colour pallette
• finalise repeat prints and take to Neil

tutorial

I made a sample tie from a piece of the printed cotton (printed from a painted open screen) to take to yesterday's tutorial.   It was well received and I have decided to focus on ties ... which will all display some text in support of feminism.... maybe a label; a screen printed word or a digitally printed design with text.  Nick suggested 50 ties for the exhibition.  They could be hung in a row - like railings.        

I need to
- list text for the ties. 
- design digital print ties
- prepare designs for screen printing
- print using an open screen

I also wanted to talk about craftivism and the possibility of having an event as part of my project - possibly at the Final Show.  I am going to have a practice craftivist event then make a proposal which will be considered for the final show.

Today I spent time printing from an open screen.  The design on the right was printed onto linen.   The print onto dyed lawn cotton was less successful because the background had been dyed too dark.





   

 

 



lancashire

I have been with family in Lancashire for most of this week.  Manchester was as vibrant as ever.  It is the tail end of Selfridges 'the Beauty project' which debated, questioned and challenged the meaning of beauty.  Sadly my stay did not coincide with any of the talks.  Good to see this type of debate.

Lots of text in the community.

Whilst there I researched neck ties and scarves in Harvey Nichols and Selfridges.  The neckties which were aimed at younger men were generally narrower - maybe 7cm across the blade - and the more traditionally designed ties were between 8 and 9 cm across the blade.  I also looked at women's scarves which were many and varied. 

What a week for women of the world.  Hot on the heels of the horror of 276 schoolgirls being kidnapped in Nigeria, a Pakistani women was stoned to death by her own family because she shamed them by wanting to choose her own husband.  A heavily pregnant Sudanese woman was imprisoned along with her 20 mnth old son because she didn't want to renounce her Christian religion - she gave birth prematurely whilst in shackles.  In the north of India, two young girls were gang raped, then hanged in trees.  International pressure is highlighting the injustices, too late for three women but the imprisoned women is no longer in shackles and is likely to be released. 

In the light of these events I have spent time designing my own craftivist event.  It throws up lots of decisions - how I can inspire thoughts about the meaning of feminism, the issues, the materials - and where the final pieces could be displayed.

As time goes by I realise that my future is likely to revolve around the therapeutic and political use of textiles rather than the commercial design and use of textiles.  This Craftivist event would form part of my MA - LO1 evaluation of current issues, practices and initiatives LO5 articulate the content and ambitions of my work.
 

graphic novels

Last week I went to a talk by Mary and Bryan Talbot about graphic novels - and in particular their new novel Sally Heathcote Suffragette which was written by Mary, page set-up by Bryan and illustrated by Kate Charlesworth.  It was interesting to hear how the pages and (mostly black and white)illustrations were set up to convey the different characters, emotions and details.



I am trying to incorporate my drawings of computer technology with text onto a background.  I don't want the background to be a flat colour but my screenprints are proving to be difficult because they are often too domineering. I have used water-soluble pastels for backgrounds.  I have wanted by designs to be colourful to reflect the energy and vibrancy of fourth wave feminism.