Yarns inspired by stitch and marks (4.1) First yarns

APC_2398

These are my first attempts at short segments of yarn.

From left to right:

Paper yarn – used a Joomchi paper felting process but just with a strip of yarn. Delicate at first but with increased manipulation becomes stronger and softer. This idea was sourced from the Joomchi paper work where a small bit had come off the edge and was gently  twisting suggesting yarn.

Machine couched perle cotton type thread using machine poly cotton thread and couched on to water soluble vilene which was subsequently washed away. This one was trying to reference the image with parallel linear marks of different colours.

Needle and wet felted wool fibre and sheer silk. Thinking of the linear drips of ink on the black source image and trying to suggest this with thicker and thinner areas. The fuzz halo doesn’t fit with this though.

Machine stitched square pattern and thread on to watersoluble vilene again. Thinking of the woven red square appearance in the embossed work.

Strip of hand dyed tulle and machine thread with multiple cuts and repairs to create a spiky fuzz as is the linear work.

Strip of polar fleece and heavy machine stitching. Experimenting with ways of creating an embossed look yarn.

Finally spun cling wrap then heated over the stove top to set twist – again thinking of the Joomchi source image and its crinkly texture. It is stiff and not that attractive. The paper version is definitely more successful.

Definitely having fun playing with making yarn. One thing I am getting out of this course is learning how to create inspiration. We are still working with imagery that came out of original textile drawings from last year and I love how it’s easy to think of a variety of possible yarns just by looking at those images. Much easier than simply plucking something out of your imagination.

Yarns inspired by stitch and marks. (4.1) Source materials

This exercise involves starting to create lengths of yarn using the stitched samples from Part Two and the drawings that inspired these.

I’ve been dying to use this drawing but it wasn’t included in the final part two stitched works so I’m going to use it now. The things that I’m drawn to are the thick dimensional drips of ink and the shaded and textured appearance behind.

This is one of the stitched samples that took some inspiration from the above drawing. Here the dimension is represented by the layers of paper. That bit that hangs off the side is also interesting in the context of yarn creation.

Words that might be useful in translating these two into yarns:

Thick, layered, viscous, stiff, rough, gloss, reflective, smooth, lumpy

This drawing is from the detail section of Part One. It didn’t get used even for the stitched samples but it clearly lends itself to yarn creation with a few challenges so I am going to include it.

Words about this drawing:

Hairy, wiggly, parallel lines, holey, irregular, broken

Finally I love this so I want to use it yet again.

Words for this:

Recessed, embossed, woven, contrast, red, moulded, holes, square.

So the plan is to look at these works and the words and come up with a variety of lengths of yarn. I’m excited by this because I have flirted with the idea of constructing my own yarn in the past from unusual materials but never actually got motivated to do it. And putting together unusual yarns in weaving or knitting plays into my love for the unexpected or unimagined too.

Research Point one

I’ve been a bit caught up with other stuff – Ukulele workshop and creating an Ebb and Flow quilt for the quilt show but I need to get back to OCA work. This is the first research point exploring yarn.

lurex.com Viewed 29 Jan 2018

I used to shy away from sparkly fabrics because I didn’t like the idea of metal in the yarn. Not sure if that is actually the case but interestingly on the Lurex web site I could not find out the composition. Trade secret I guess. Anyway I’ve had to come to grips with shine a bit in my ebb and flow quilt which called for sheers. Not lurex as such but I used sparkly nylon organza and tulle which dyed very well in the nylon with Landscape dyes and allowed me to overlap colours in an attempt to make a third colour. It was very stiff and scratchy though, especially after it had been heavily stitched, so I’ll be exploring tissue silk next. I have ordered a 3 mm silk gauze which I hope will be see through enough after dyeing.

Anyway that is a side thought. I didn’t learn that much from the Lurex site other than they have been around for quite a while and that the old video of the models shows the models looking much healthier and happier than the contemporary photos. They did talk about GIMP yarns which are yarns that have Lurex wound around a central core. This is what I’m effectively doing as I’m spinning fibre with a central thread. They did talk about having the core partially showing to change the effect. I have yarn like that with a cotton core and a thin polyester outer thread. It creates an interesting yarn with bobbles of cotton colour showing through the thin black thread. One thing I noted when knitting up with this sort of yarn is that it obscures the knit stitches and creates its own interesting texture. So no good if you are doing a fancy pattern to introduce texture, but good if you like the texture it creates itself.

Wikipedia tries to help with the composition of Lurex but says different things. It could be a core with metal fumed on, or it could be a metal filament with a coating.

http://www.lurex.com/Inspiration Viewed 29 Jan 2018

Pretty weird cut and paste image but I like the way the light on the fabric is forming its own pattern.

26 Feb 2018

Not really yarn but I’m going to look at Stone paper here.

This beautiful leaf print was done by my stepmother, Sandra Lacey, on stone paper. Stone paper is made from calcium carbonate from rocks and some sort of plastic binder.

It is really smooth with a low grade shine and very tough. It can’t be torn, only cut, and it combines the stiffness of paper with the flexibility of plastic in a material that feels almost cool and wet to the touch. Because of it’s inability to be torn I’ve found that I can use it for applications not usually associated with paper, like sewing and some of the yarn making explorations. It has a bit of a stretch to it as well and holds it’s folds and creases well. I’ve heard that it can’t be ironed but I did iron it under a cloth with no adverse effects. I was hoping to try and see if I could texturise it with a bit of heat but that didn’t happen at that heat. I will try with a heat gun at some stage. When I used a heat gun on yupo (synthetic paper) it quickly deformed and melted it, which could be used to some advantage I guess. Stone paper is waterproof and completely non absorbent. The plant print above adheres well but does come off on fingers a bit. I haven’t experimented with it with traditional drawing materials like charcoal and graphite, but I will do that in my drawing unit at uni. I suspect that it marks the paper but like using yupo it may wash or rub off. I found with yupo that I could rub in pastel and it would become more permanent. I will try with stone paper which I suspect has slightly more tooth than yupo.

Here I have sewn some dyed shreds of silk gauze on to a background of stone paper. Even with heavy stitching it doesn’t tear through and the needle just glides through it. I have now sewn this on to a pair of pants as a pocket, to put it through the wash and further test its resilience.

This is the back and you can see the stitch holes but they mostly don’t tear through. It provides a nice white background to gauze fabric too, and has retained enough flexibility for heavy clothing, pants, skirt or vest.

Below is from http://www.stonepaper.co.nz/about-rockstock Viewed 26 Feb 2017

About Rockstock

Rockstock is a revolutionary breakthrough in papermaking technology.

HERE’S WHY WE ARE EXCITED ABOUT ROCKSTOCK

Rockstock is the registered trade-name of a ground-breaking high quality, coated paper with outstanding environmental values that prints extremely well using standard inks.(No special inks are required.)

It can be used in most situations where conventional and synthetic paper is used and offers exceptional printing, water proofing and tear resistant qualities. Rockstock claims to be the world’s most environmentally friendly paper.

▪ It is manufactured from ground down waste stone and offcuts used in the building industry.  It contains no wood fibre.

▪ Rockstock has a low carbon emission

▪ It uses significantly less energy to produce than wood fibre paper.

▪ It generates no effluent in its manufacture.(water borne, airborne or solid)

▪ It requires no water,acid, base or bleach during production.

▪ Any trimmings or waste paper from production are recycled to make new paper.

▪ It is both  recyclable and photo-degradable (It is not bio-degradable as it dioes not attract insects or organisms to consume it.)

▪ Compostable (Commercial) where sufficient heat is present to leave only calcium carbonate.

▪ 2 main product ranges 1. S-Class (Sustainable Range) 2. R-Class (recycled range).

Sometimes confused with synthetic paper, Rockstock is neither synthetic nor pulp or fibre based and is termed “Rich Mineral Paper”. Rockstock has qualities of both  pulp and synthetic papers, but more importantly it is much more environmentally friendly than either of the two. The printing qualities and exclusive feel make Rockstock a paper product not seen the likes of previously.

Due to its absorbency attributes, it has superior handling and printing qualities.

It is also water, mist, grease, anti-moth and insect proof*, freezer grade.

Certain products can be heat sealed.

Being foodgrade,  Rockstock STN thermoforming boards are suitable for thermoforming food trays, containers and other packing items.(400-700micron.

Rockstock RPD will aslo”in-mould” label with great printed results.

Rockstock has unusual physical strength and high fold durability.

In addition of up to 81% ground-up mineral waste or CaC03, Rockstock contains a small amount of a non toxic photo-degradable PE resin.

Available in weights ranging from 20 microns  through 700microns in a wide variety of product options.

100/120/140/160/180/200 micron RP paper range

200/250/300/350/400 micron RB Board range

80/90/100 LRD low density range (density 0.8/0.9/1.0/1.1

80/90/100 LPD low density range (density 0.8/0.9/1.0/1.1

20-40 micron Supermarket singlet bags. Rockbag is a range of Singlet bags, bin liners, Trash sacks and Carry bags  made  from different versions of stone paper.

50/80 micron SP range

400/500/600/700 micron STN Thermoform range.

Rocktak is a self ahesive version of RPD stone paper.

Rocktherm DT and Rocktak DT are Direct Thermal versions of Rockstock.

1(*Note: If used for acidic foods Rockstock products with a eg. PE film barrier may be advised).

2(*Note: moth and insect proof by nature of the fact that insects, moths and organisms will not eat or degrade the stone product, rather than some deterrent characteristic or chemical. Hence it is not biodegradable but photo-degradable. To be biodegradable, insects or organisms  need to be able to eat/break down the product. Instead the suns strong UV will after  1 year for paper and 3 years for board in full sun, photo degrade Rockstock back to stone powder ). This is a much cleaner process rather than organisms consuming  doubtful substances in the food chain.

3(Note: Not suitable for Laser Printers or Photocopiers where extremely high heat is generated as this may distort the sheet)

What is Rich Mineral Paper (Rockstock)?

Rich Mineral Paper (Rockstock) is neither pulp nor synthetic made paper. Rich Mineral Paper is a combination largely (80.9%) of mineral powder (Calcium Carbonate) with a small amount (18%approx) of a non-toxic, recyclable, compostable, photodegradable resin (PE) to create an extremely environmentally friendly paper. Boards and other rockstock Products may have different proportions of Stone powder and resin to achieve different performance.

Due to this unique make up, Rich Mineral Paper (Rockstock) is made with minimal consequences to the environment. Not only is Rich Mineral Paper (Rockstock) a “Tree-Free” product, but also does not require water or use of fossil fuel as part of production. This break through product does not require bleach, or use strong acid to lighten or break down the components used to produce the Paper.

As a result the mills have been able to achieve something that no pulp based paper mills have been able to achieve. Rich Mineral Stone Paper mills create no air pollution, no toxic run off and no water pollution. No acid, base or bleach. No Halogens or phalates.

Most of all, it is so rewarding that Rich Mineral Paper does not require the harvesting of trees to produce the many varied products!

Calcium carbonate is an exceptional compound. The chemical formula CaCO3 stands for a raw material that exists everywhere in nature, dissolved in rivers and oceans, melted as “cold” carbonatite-lava and solidified as a mineral, dripstone or as parent material for whole mountain ranges.

Plants and animals need calcium carbonate to form their skeletons and shells, and even modern mankind could hardly imagine life without calcium carbonate. Almost every product of our day-to-day life contains calcium carbonate or comes into contact with it while being produced.

What is Calcium Carbonate?

Calcium carbonate accounts for more than 4% of the Earth’s crust. As a result, the three calcium carbonate minerals – calcite, aragonite and vaterite – are among the most important rock-forming minerals. And rocks are not the only calcium carbonate deposits in nature. Almost all stretches of water and countless plants and animals contain huge amounts of calcium carbonate as well. These natural resources are linked by the calcium carbonate cycle.

Plants and animals absorb calcium carbonate in water, where it exists in most cases dissolved in the form of calcium hydrogen carbonate Ca(HCO3)2, and use it to build up their skeletons and shells. After their death, mussels, coccoliths, algae and corals form sedimentary deposits on sea-beds. And the rock forming process is set in motion.

The first stage is the sedimentation process, from which chalk and limestone originate. Chalk is a poorly compacted sedimentary calcium carbonate rock, whose diagenesis is incomplete.

A completed sedimentation process results in the formation of limestone. If the sedimentation process takes place in magnesium containing water, a dolomitization may result. Part of the calcium ions in the crystal lattice are replaced by magnesium ions, leading to the formation of dolomite

CaMg(CO3)2.

Marble is a metamorphic rock resulting from the recrystallisation of limestone under high pressure and temperature. Whether chalk, limestone, dolomite or marble, all carbonate rock is subject to erosion. It dissolves under the influence of wind, temperature and water, and the cycle is ready to start anew.

The World of Calcium Carbonate

Calcium carbonate rock occurs throughout the world and is readily available. This explains why it has been among the most widely used raw materials for more than 5,000 years. The Ancient Egyptians built their pyramids out of limestone. However, the mining of industrial minerals is possible only in a few deposits world-wide. Extraction is only worthwhile if the purity, whiteness, thickness and homogeneity of the stone is appropriate, and even then intensive treatment is necessary to process top quality natural calcium carbonates (ground calcium carbonate (GCC)). Precipitated calcium carbonate (PCC) is a synthetic calcium carbonate, which in most cases is produced industrially by means of recarbonization.

Information about Calcium Carbonate from: www.omya.com

What are Coccolithophores?

What are Coccolithphores? Tiny coccolithophores have had a big impact on the planet over time. Though they are single-celled, these photosynthesising organisms are enclosed in a mosaic, or  cage, of microscopic plates that make many very beautiful to look at. The plates are made of calcium carbonate, which the coccoliths pull from the surrounding water. As these small organisms live and die in their trillions, they bequeath their tiny plates to the ocean floor where they form rocks such as chalk and eventually marble. Over geological time, coccoliths have removed significant amounts of the greenhouse gas carbon dioxide from the atmosphere, helping to keep Earth cool as the sun grew hotter.

Rebecca Baumann

When I was in the city heading to the Japanese Grocery store I noticed a colour artwork high on the wall in the mini shopping mall of Trafalgar Place.

As I was thinking about colour for this unit I photographed the work and went to the internet to find out it was by an artist called Rebecca Baumann.

On her website rebeccabaumann.com Viewed 31 Dec 2017 there is an article about this type of artwork which is called Automated Colour Field

Click to access 7.Cavaniglia,-Consuelo,-‘Automated-Colour-Field’,-essay-from-NEW11-exhibition-catalogue,-2011.pdf

In this article Cavaniglia discusses Rebecca as having researched the connections between colour and emotion, and an artwork like this is referred to as describing a ’24 hour emotional cycle’. Each little colour chip flicks over every minute or so creating a constantly changing interplay between colours.

A couple of extra little projects just for fun.

In Mount Gambier I was taken by the colours of Blue Lake and Valley Lake. Blue Lake ranges from a bright teal to a deeper royal blue in summer, compared to the normal winter steely grey. In contrast Valley Lake does not do this and appears a muddy green when we were there.

Using a photo of Blue Lake I created a series of watercolour puddles trying to match the colours of the photos. For the photo I had first tried to edit it in situ to match the colour. It was a real struggle and the result was only a rough approximation at best.

Valley Lake was even more of a challenge. I had many goes trying to match the colour and in the end had most success using a green base and adding some purple and white. You can see by the bottom right attempt that some of the puddles became so heavy with pigment to become almost black as I added green and complementary over and over in a futile attempt to get the right shade of green. Still it was fun.

Outback palette:

I took this photo thinking it depicted most of the outback colours I had observed. It included the blue grey stormy sky and the clear blue sky, the orange/red earth and the olive and gold of the bushes.

This was the result from experimenting with Adobe Capture to create this palette by sampling the photo. Now I went to all my fabrics that I had spent time dyeing from life in the outback and tried to do my best to match this palette.

I was pretty pleased that I had these colours in my stash that I had dyed. I also have many more dyed fabrics that are also variably true to this palette.

I plan to include a both of these additional exercises in my colour book and this last one should then lead on to my Ebb and Flow Quilt.

Collage studies (3.4) Part Two

I have chosen this collage to further develop. I know it is simple but I am attracted to the colour combination of blue and brown and the contrast between the colours and texture.

Black and white collage:

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Here I have used thin tissue paper over a black card background. I have tried to create different thicknesses of white tissue in order to create some areas of grey, but now I’m thinking about it, I think that the brief actually called for strict black and white. If I get time I may try this one again to stick to black and white. My decision about whether the triangle and the background would be black or white was largely based on viewing a range of black and white versions of the colour collage and making a decision about which one was the most aesthetically pleasing.

I chose this one, but I now realise that I was meant to develop the collage using only black or white. I will try and find time to do this one again using white opaque paper on black background but using a sort of ‘threshold’ approach where the areas are divided into blocks of black or white by making a decision about whether an area is closer to black or to white.

Another photo placeholder:

Monochrome collage:

In this collage I have more successfully created shades of blue but adding various thicknesses of white tissue over the blue background. It too is not as successful as I would have liked in that it the number of shades is quite limited before it becomes simply white. I have tried to improve the situation by sanding but that was only minimally helpful. Again if there is time I might try painting out papers to try again.

Collage studies (3.4) Part one

Simple Collage:

I have translated my digitally drawn sketch book image into a collage. The rules I have set for the simple collage is that the colour is flat and saturated and I have simplified the image down to seven colours. No colours overlap except for being placed on the background so they are all largely seen as interacting with the brown background only. I have tried to use flat colour paper but I was a little limited by what colour papers I had and a couple of the papers were shiny which I would have liked to avoid. The colours are all primary or secondary colours and I have tried to make them as “simple” colours as I could, meaning they pretty much correspond with colour made up of only one or two elements, i.e. I have chosen from red, blue, purple, yellow, green, orange. I have used brown for the background because it was the best match for the photo but I guess in order to follow this rule I could have simplified that to orange. I’m also not happy with the purple because it is really a bit more “complex” in that it is not pure saturated colour but a tone or tint and possibly also includes some complementary.

I have had another attempt here and stuck strictly to primary or secondary colours. For each colour in the image I have chosen the closest primary or secondary to that colour. I created the papers used by painting with the process colours in painting and creating the secondaries from these. So the papers were made with magenta, blue, yellow and black.

Unusual colour combination:

Here I have attempted to create a background with a range of thin tissue papers in various bright colours in order to create an organic brown representative of the earth and earth tones and over this I have superimposed a bright glossy geometric blue. I think of it as unusual to combine organic earthy tones with artificial vivid tones and I felt that this suited my image, where the blue rubbish stands out harshly against the background earth.

This was my first go at the unusual colour combination. I was trying to use coloured tissue on an earthy background in an attempt to get more subtle earthy tones as background. I don’t think they melded as well and the tissues I had to hand were not really earthy tones but more brights.

Complex colour combination:

For this collage I have used all the colours I could see within the image and included some patterned papers as well. I have used primary colours and mixtures, as well as a variety of tones.

Research Point 2

Adobe Capture:

This was a really exciting find. Link 10 led me to this app which I can use with my adobe account. It is an app for creating colour palettes (as well as lots of other things) and I started by using the internet version of it to try and capture the colours of the outback from my memory.

I was really happy to find that I could change the colours in to a CMYK format, as I wonder if this could help me mix the colours myself in dye or paint. I have been trying to mix colours based on a six colour system of warm and cool primaries with moderate success, but don’t really understand why the four colour system of cyan, magenta, yellow and black is not used for mixing paint. It is the printmaking standard and obviously can make a big range of colours for use in printmaking. I’d like to try doing that and I could use printing primaries in screen printing ink to try. I’d also like to try it with dye.

I then discovered that I could take a photo on my camera and use the app to try and analyse the colours in it. I have been trying to edit photos in the field to match the colour on the camera whilst I have the landscape in front of me, but I’m not sure whether the limitations of the screen match the data input. I understand from speaking to a man in a camera shop, that you can get a tool, like a calibrator I guess, that can match your screen on the computer to the printer profile that the camera shop uses and then should be able to print accurately.

But at least this adobe capture app can get you in the right ball park for the breakdown of colours in your photo, and I’m excited to try and mix the colours using CMYK suggestions. I’m not sure if this tool allows you to vary the number of colours or create a weighted palette with different amounts of each colour and that does limit things a bit but for my purposes I can create a number of palettes to combine in my work if necessary.

Here is my first go at outback palette which I am trying to develop for my quilt show quilt. I was surprised to find that there is not the strength of green in the photo that my eyes are seeing. I often find that my palettes are much too primary and maybe I impose my own perceptions on the actual colours I am seeing. For example I see green in this photo because in my mind trees are shades of light and dark green close up. But in this landscape view the app tells me that this is not the case and that the trees are much more brown and gold. It makes a more harmonious palate than the one I created from memory above.

And here is the breakdown into CMYK

This is taken from my photo of the greenish lake at Mount Gambier, which I was using to contrast with the famous Blue Lake there. I spent a lot of time trying to match the colour in my lake photo with a puddle of watercolour and it was very difficult. I hope to use the CMYK breakdown to try again and see if it makes it easier. One thing I don’t fully understand is the role of white. The colour wheel seems to suggest there is “white” with the dots placed towards the centre of the wheel, but I guess this really just represents the density of paint/ink in relation to the white substrate. So in watercolour it would equal water and in screenprinting ink it would have to be clear or white print paste without pigment. For dye it means a higher water to dye ratio, or really just less dye related to substrate. In painting it could be achieved by actually adding white. This is what I did with my watercolour which did also provide a white pigment. It gave an opacity to the watercolour which suited the lake colour.

I’ve done a number of colour matching studies with the green and blue lake photos and I will write them up and include them in the blog soon.

Finally Adobe Capture allows you to play with patterns based on your own photos. This is a manipulation of a photo of one of my glass watercolour studies.

Has great potential for designing my own quilts with unique patterns and colour palettes

Collage studies (3.4) Part One, sketchbook planning

I have created this sketch in Adobe draw, by inserting the image underneath and working directly over the image to translate the image into basic geometric shapes and a small palette of representative colours.

This is planning for my simple collage.

Next I’m thinking about what might be an unusual colour combination. I already find the above a slightly clashing combination because it uses natural browns and greens with man made vivid blue and red. Perhaps I could highlight this by muting the natural colours and highlighting the man made. So I would be combining an earth palette with a brights palette. Not something I would usually do or like but that might make it unusual. As far as layout goes I think I could use a variegated natural background with a flat tone brights slashing across the middle.

Here I have tried to create a muted natural colour background predominantly brown and green, and tried to introduce a harsh red and blue overlay. The tonal difference is probably not striking enough. I want the vivid colours to be a pure tone, no complementary and no black or white, and the background colours to be mixtures with complementary and black and white. I didn’t realise this until I had started the image and then tried to push back the background. I have some papers that I created with natural variegated tones and hues that I have painted to try and match with the photo, and I could create further colour contrast by using commercial flat colour papers for the vivid items. Not sure how successful this is and I don’t like it, but I am trying for unusual.

The traditional unusual combinations of blue and green ” blue and green should never been seen without a colour in between” I actually love and use a lot. One thing I note though doing this exercise, is that the combinations become more unusual and perhaps unpleasant when you vary the tone as well as the hue. So pastel blue and vivid emerald green would look more unusual.

Another “unusual” combination that I love is pink and orange. Pastel pink and vivid orange would make this more unusual.

Finally a complex colour combination. I’m not really sure what this means. Perhaps it could be including as many as possible of the colours in the photo. Or building up the colours by using fragments of multiple colours to create the final overall appearance. I think my idea of complexity in colour does mean breaking things down into lots of subtle colours with unexpected juxtapositions.


Here I have included lots of colors in each different area and tried to break the image down into its composite colors with a touch of complementary. Thinking of fragmenting this collage into lots of small pieces of different colors that work together to make a good representation of the whole.