New Facebook Page

I have just set up a facebook page, showing more of my work its an exciting day.

This blog will still exist, however I think think my work will appear more regularly over on facebook :-)

http://www.facebook.com/MiriamWardTextiles

Illuminating the Present

Illuminating the Present

I enjoyed the experimental knitting workshop in my course particularly and loved how this cast shadows when lit behind a piece of fabric. Having experimented with painting the knitting unsuccessfully I decided to think this through carefully so chose a natural fibre to knit a net, then painted it with Anilinky Colours after wetting the cotton first so that it would take the colour. Although I have been working on a monochrome palette for these samples I felt introduction of a cool colour could be carried by the piece and I think the viridian tone adds to the dated look of the overall finished piece (when used sparingly). I then used the soldering iron to slash the fabric to create gaps that the knitted sample could be viewed through the spaces, and I also think this creates more f a 3D effect on the Nautilus.

Close up of Nautilus with Painted Knitted net illuminated from behind

The section below really was my happy surprise , I didn't want to throw away the sticky backed plastic stencil from the screen printing so I photocopied it and love the mottled effect achieved I then re-photocopied it onto “t-shirt” transfer paper, and ironed it to the screen printed muslin, I think the transfer sits really well on the open weave of the muslin and when illuminated from behind gives a 3D effect as the screen printed elements become visible again.

Illuminating the Present - used screenprinting stencil photocopied onto t-shirt transfer paper

Illuminating the Present - used screenprinting stencil photocopied onto t-shirt transfer paper

I had been interested in the ways the Nautilus image could be rotated and layered and this led to the below sample. The base fabric is a screen printed image created through rotation of the screen then pulling again. I have then added another piece of muslin over the lurex fabric, and I think the resultant image gives a confused sense of depth. I had considered slashing/burning the fabric on this sample but on reflection feel that the 3D blurry image is a sensible contrast to the other samples.

I had discovered that two layers of the lurex appear to “move” then lit from behind – the light reflected though the fibres moves in different directions. I kept this sample simple by layering the ammonite image with the nautilus image. I think the fact that it is not 100 clear what is behind the nautilus adds a sense of mystery and intrigue to the final sample below.

Screenprinting Experimentation

Following completion of the other “workshops” in this stage of my course I felt I still wanted to revisit screenprinting and perhaps push some of my learnings from that assignment a little further, I really like the idea of printing onto a lighter fabric and then seeing how the image appears after that.

I agonized for a while over which stencil technique to try and whether to print the ammonite or nautilus image – and finally decided to go with both!

I created a sticky backed plastic stencil (appealing to my love of precision….) and worked on the nautilus design. I had photographed the shell in the Manchester Museum in the Turing Exhibition and had been spending some time manipulating the design and creating other images from it. For this section I decided to experiment with a wider range of fabrics than I had in the last assignment, and am really quite pleased with the results – particularly on the muslin. I think the most effective designs from this “batch” of prints are the ones where I have re-positioned the screen and done a second pull over the original pull. As I found in the last assignment I think acetate/sticky backed stencils are in danger of lacking atmosphere and perhaps don’t give a textured image with depth.

Moving onto the vilene stencil I was a little skeptical as to how my image would translate when screen printed – I wondered if it would just end up a dark mess. This experimentation surpassed my expectations and in the end I was over the moon with the resultant prints – particularly in the sparkly synthetic fabric – the way the black ink covered the fabric leaving bright areas exposed I felt was really effective and I can really see the potential for these experiments to lead me to some interesting ideas!.....my brain is already running away with me. I suppose that screen printing will continue to be my nemesis, I don’t “enjoy” the preparation/technique/mess etc, but I LOVE the images I am able to create!

Nautilus Image from Turing Exhibition - Manchester Museum

Nautilus Inspired Screen Print

Repeated Nautilus Screen Print

Nautilus Screen Print on  Muslin

Nautilus Screen Print on Nylon

Ammonite Screen Print using Vilrne Stencil

Ammonite Screen Print using Vilrne Stencil

Ammonite Screen Print using Vilrne Stencil

A Fun Day Layering and Distressing Fabrics!

What an enjoyable time I had for my course creating various samples of layered, heat bonded, distressed and burnt fabric! I felt quite giddy towards the end - I am not sure if this was due to the fun I had or the fumes from heated and melted fabrics......

Once the samples were created I then photographed them against a "wall" of the conservatory - which worked really well as a makeshift "light box", resulting in some stunning formations and patterns.

 

The above sample was created by layering "wedding favour" tulle with Lutrador which I then heated with a heat gun, the heat gun distorted the tulle and created this wonderful copper effect with the lutrador. I then further distressed it with a soldering iron. The second photograph shows the stark contrast in appearance when light is shone from behind.

The photographs above show a sample which was a number of torn fabric strips including painted muslin, lutrador, and synthetic fabrics which I stitched together then distressed with a soldering iron. There is a real contrast between photographs of the piece with a dark background or with light behind.

 The following five photographs show a sample made from layers of wedding favour tulle which as been stitched together in layers trapping metallic threads and sequins between the layers. I have then distressed and slashed the fabric layers with the soldering iron. The final photograph shows how when held up to the light the metallic threads and sequins create dark points of interest in the overall image, whereas the colour is more prevalent in the samples without the light behind.

 

The following two photographs show a piece which seemed to develop its own theme without much effort! I stitched scraps of muslin together with a torn photograph, painted twyvek and wool tops, i think on reflection this piece looks almost as though the wind has blown the layers together. I then distressed the piece with a soldering iron. I think this sample could be developed further though stitching to echo the branches of the trees and possibly attaching it to a darker background

Although I am a real fan of colour, the below sample is my favourite of this set of samples. This was made by layering chiffon with netting and fusing it together with bondaweb, I then heated the whole sample with a heat gun resulting in this amazing puckering of the chiffon. Also attached to the chiffon are watercolour painted twyvek scraps which create further areas of light and dark when lit from behind.

 A few more samples created using the techniques referred to above

 

Fish Bag

As part of my Textiles Degree work I was required to design a functional item from scratch and include many of the techniques covered thus far in the course material. I decided I would like to create a bag and had been spending time sketching in koi carp and goldfish in a "Japanese" style using watercolours and pencil. The idea for the fish bag kind of carried itself along, resulting in the piece below, which I feel has a personality all of its own!

The "Live" side of the Fish Bag

Close up of the tail of the fish, I appliquéd, fabric painted and quilted the tail

I created the gills through fabric manipulation and folding, then added the  gold padded detail using hand stitched appliqué 

I freehand quilted the body of the fish and created the fins using the same techniques as the tail

Close up of the quilting hand painting and appliqué used to create the scales of the fish

The reverse of the bag - Ghost Fish

I deliberately left the appliquéd edges and quilting rough to give the impression of decay

I chose a raw silk to give the feeling of cold, and and carefully quilted around the silver fabric paint to give the impression of a fish bone

Celebration Cushion

We were thrilled to be invited to a friend's wedding this weekend, we struggled to decide what to buy the happy couple, so decided a handmade gift was the way forward. In the end we decided on a personalised cosy cushion ans spent a very happy afternoon in the conservatory, just letting the piece develop by itself. Oh and the wedding was truly wonderful..........

I chose a fabric which I felt reflected the personality of the Bride, colourful and bubbly!

I did not attach the felt panel (made from a washing machine shrunk cardigan!) but simply overstitched it in multiple  different sewing machine stitches.

The colours of the machine embroidery were picked out from the vibrant colours of the cushion fabric

I personalised the cushion with the names of our friends and the wedding date

Peacock Cape

This piece was inspired by two things, my love of peacocks and my love of peacock tones of colour. I hand painted calico with a wash of fabric paint, then created a peacock feather stencil to create the "petals" for the cape. The cape shape was created following my discovery of the "Peacock Cape" sold at Christies a few years back, where each peacock feather has been hand sewn using actual peacock feathers as embroidery thread.

Miriam Ward Peacock Cape

Miriam Ward Peacock Cape

Miriam Ward Peacock Cape

Miriam Ward Peacock Cape

Miriam Ward Peacock Cape