Assignment 4 - Tutor Report & My Thoughts

Below is a copy of my tutor feedback.  Reading it for the first time, I felt deflated and rather defensive.  I'd been happy with the effort I'd put into this assignment and the work I'd sent.  All I could see was where I was lacking, rather than anything I had done well.  However, after a Christmas break, I have much better perspective.  It's time to move on, accept the pointers for the final assignment (due end of Jan), highlight the positives and realise that there are actually plenty of comments to be very pleased about!

Overall Comments
'A group of work which as usual is full of experiment with materials and process. You have pushed your use of existing source material, but taken on board my comments on the need to keep a day to day sketchbook. Your written research, and recording of visits to exhibitions continues to be more to the point, with references to your own practice.  However, you only sent a group of samples in plastic sleeves, with no accompanying explanation, other than labels, which worries me at this stage. It gives the impression that you are still relying on your blog to explain how your project is developing, rather than a series of A3 sheets or workbook. Try to rely less on your blog and spend more time on presentation.'

Assessment potential 'I understand your aim is to go for the Textiles Degree and that you plan to submit your work for assessment at the end of this course. From the work you have shown in this assignment, providing you commit yourself to the course, I believe you have the potential to succeed at assessment.  In order to meet all the assessment criteria, there are certain areas you will need to focus on, which I will outline in my feedback.
I am concerned mainly that although I have asked a couple of times to see your A3 workbook to see how you are presenting the story of the development of your project, once again, you haven’t sent it. It is difficult to advise you if I am only seeing an odd page on the blog.
• By now you should have a working notebook for each assignment, with visuals mounted on each page, not in plastic sleeves.
• Make sure you have annotated each sample to give some explanation of what it is about, where it fits in the scheme of things. Think telling a story. Number the page and link this to any further explanation in the blog. You must not simply rely on the blog to explain the work you have done, the way your idea has evolved. There is limited time in assessment for things to be looked at and for looking at blogs. (I read all your blog because the samples alone did not explain how your ideas are progressing.)
• Show clearly in your working notebook how you have developed ideas, taken risks. (Again, I had to look in your blog to find out. You can't expect the assessors to guess.)
• Note: Your ‘working notebook can of course be separate sheets, but make sure they are attached together in a way which is easy to navigate.
• Continue to find ways of extracting visual information through drawing, colour notes, diagrams and photography'

My Response
I should have sent a better explanation to my tutor on how I was sending my work. Previously she has asked to see all of my work rather than a representative sample so here I'd sent every exercise in order, all cross-referenced with a corresponding blog post. (For assessment I'll select the best work to attach directly to the mount board designed as a story board.)

I do find I am increasingly relying on my blog, but I hadn't thought this a negative thing.  Now that I post regularly in relation to each exercise, it helps to clarify my thoughts and as I add more of my images to it, I suppose it has almost become a 'working notebook'.  For assignment four, the exercises are mainly practical, experimental and largely intuitive: making braids, making a grid structure, weaving techniques etc, so there is far less in the way of design compared to previous assignments.  It made sense to me to note the information I'd collected directly onto the blog post.  I do have an A5 notebook I take everywhere.  It's full of thoughts I scribble as they come to me.  Unfortunately I can't seem to make it neat and beautiful like other people can and it seems like unnecessary duplication to rewrite parts legibly, then reflect again on the blog.

However, I can definitely see the benefit of the separate workbook I have for Assignment 5, where the brief is open and I need somewhere to draw, write and develop related ideas.  Tonight at the Embroiderer's Guild, we had a talk by a recent graduate of Birmingham University who studied Fashion, specialising in Embroidery.  It was extremely interesting to hear her talk about studying a related degree in a physical university.  She had brought examples of her work and how it was presented, with a workbook for each project, each beginning with the brief stuck onto the first page and ending with illustrated examples on how she visualised the final sample being viewed e.g. if it's a piece of textile art, how it might be viewed or framed.  The drawings and books themselves were not always beautiful, but it was certainly easy to follow the journey of her ideas from start to finish, from her images and the written notes she made as she and her tutor evaluated how the project was developing.  Tonight it was proved to me how my tutor's above advice is correct.

Feedback on assignment
Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity
This assignment is about creating combining fibres, colours and textures to create tactile surfaces, rather than working into existing surfaces. The focus should be on exploring experimental construction forms using processes such as interlacing, weaving, plaiting and or knotting of yarns, ribbons, torn strips of paper or fabric, plant fibre, wire, etc.

'My first impressions from what you sent was that it was inadequately presented. Then, looking at your blog I realized that you worked very hard – going through all the exercises methodically, without pre conceived ideas as to what would result. I could see that you were finding ways of moving beyond simply experimenting and what I particularly liked was the way in which your practice began to be informed by your research and visits to exhibitions.   Later, (e.g.in exercise 4) you began to see how ideas you were exploring for your theme book could be linked to this project. (Your blog reveals all this, but as yet I haven’t seen much of your theme book – only odd pages in the blog, - but my impression from is that you are beginning to develop a personal line of enquiry.'
 
Analysing colour, texture and proportion

'Here you are asked to work both intuitively and objectively from images and to abstract out colours and tones of colours using paint then yarns, and I can see from the one sheet you sent me, and images from your blog, that this way of working is productive for you.
Particularly interesting was the page in your blog showing interpretation of the rust  experiments, because this shows that you are more and more beginning to bring into the exercises your own particular interests (in this case your line of enquiry about rust for your theme book).  Again, you are reflecting on your research, and letting it inform your design judgements. E.g. After writing about Kaffe Fassett in my last Research Point, I found myself often thinking back to how he mixes new shades by combining what he has available.'
     
PROJECT 8  Exploring the quality of Yarns and experiment with different ways of making structures
You are asked here to show evidence of awareness of different fibres, weights and qualities, including found and recycled yarns and then to undertake various explorations  (weaving, braiding, binding, interlacing).

'You produced a good selection of experimental work. In ex. 3, once again, you were able to refer back to an exhibition you had seen and recorded, ( Liberty and Anarchy) to help you to solve your practical problems, but at the same time you were trying to understand how the artist - Savvas - constructed his pieces.'  

PROJECT 9
The objective, here is to reinforce good practice in working method and enable you to develop personal design ideas around organization and colour. In stage 3 you are asked to experiment with different structures, using different yarns, colours, textures, to tear found materials such as rags, muslin, lace, and to combine different effects. In Stage 4 you are asked to develop visual ideas, making use of work from stages one and two, into a large woven sample.
 
'You say here that you had already made windings, but wanted to push the colour proportions and textural quality a bit further, so made more. Also the image I wanted to use was the same as I'd used in Feltmaking Experiments and one I'm considering developing for my final project.  I thought that the more I study this image and capture it in varying techniques, the more closely I'll be observing and understanding it before my final piece.
Don't simply be content to interpret an image in different materials. Try to push a piece further – take risks – let it change beyond recognition. (Check out how Matisse’s four sculptures of a woman’s back   changed radically from one to the next) Cut up and re-make.'

My Response
I was a bit confused by this feedback as I thought I'd followed the instructions for the approach I'd selected to the letter. Sample 2 involves storyboards and design, but I'd chosen the first option, which is more about developing technical skills: how to transfer an image into tapestry weaving by making and following a cartoon.  The design decisions to make read more about selecting the right colours and textures and techniques to interpret the image and its surface textures but there are no comments on how well I did this. (I should probably check the course manual online to make sure my paper version is up to date as I started the course a good while ago!)        

Sketchbooks
Demonstration of technical and Visual Skills, Demonstration of Creativity
'You sent a small sketchbook. I am glad you took on board my comment about how you needed to try to do some objective drawing. However, you need to be less descriptive in your drawing and more analytical. Use a viewing frame more, Make diagrams, scribble, notes, quick drawings, slow  ones, take several photos of one object from different angles. I have seen evidence that you are looking and recording with camera, but only in your blog so far.'

Learning Logs or Blogs/Critical essays
Context

'A well developed and illustrated learning log.
For Research Point you were to investigate the work of the textile artist and to reflect on textile art in relation to the  other arts such as painting or sculpture. How far has it been accepted.  Choose 2 textile artists – describe their work and also consider how they have used the above elements to express the concepts behind their work.
Chosen textile artists  Kaffe Fassett/Sue Reno (Blog Entry Thursday, 19 September 2013)
I was interested here in the way you began to observe and question how artists and designers describe and title themselves, whether the titles suggest that they see themselves as artists, designers, or makers. I felt it made you look more carefully at the visual language in the work. (You need to keep this in mind in the future when researching). Try to be less descriptive of technique and more about the visual language. (How specifically have your two chosen artists used colour. E.g. Look back at the things you discovered about colour and composition in assignment 2 – that there are ways of putting colour together which make your eye slide over them easily promoting ‘harmony’ or juxtaposing particular colours so they seem brighter, or duller. Also, how dynamic was movement in the composition, and how was it achieved. Your increasing sensitivity to colour is admirable, but try to increase the objectivity of how visual language is used in the work you are seeing, then link it to how you are resolving your own problems.'

Suggested reading/viewing
Context

'In terms of weaving:
Have a look at Riitta-Liisa Haavisto who works with luscious colour tapestries and her daughter Anna-Riita Haavisto (link to online info :
Also Joan Baxter, who works with landscape in tapestry'http://Joanbaxter.com

Pointers for the next assignment

'Your next assignment is the last. The theme book itself, showing research, prep, experiment and backup development work for this final project is a vital part of the assignment. Also, You will have to design your own experiments. Don’t simply do one experiment around an idea – you need to get used to doing lots of different ones before deciding on a particular technique. Allow the idea to evolve. Try to think visually as much as possible in your sketchbook; that is scribbling out ideas from your head; jotting down rough ideas for designs and making colour notes.'

Assignment 3 - Tutor Report & My Thoughts

Part three : Creating shapes and three dimensional forms
In this assignment, you are asked to manipulate fabric in different ways : to use your own sketchbook as the starting point for ideas and to  experiment with shapes, colours, textures, using techniques such as collage as development tools.

Overall Comments
'You undertook a good deal of interesting experiments, attended craft workshops to improve your skills, undertook useful OCA study days and have made you blog more easy to navigate. It is highly reflective and revealing of your thought processes. You have also looked at different areas for source material. You are beginning to find a way of working which involves experiment with materials and process in parallel to developing ideas from source material, You need to make sure that you don’t rely on memory alone, but collect enough source material to work with. In addition, make sure that you are not simply reflecting in your blog at the end of the project, but keeping a visual and written diary on a more regular basis in your on-going working notebooks.'

My Response
I'm glad that my tutor agrees that the time I've spent on workshops and study days has been beneficial.  I'm also particularly pleased that she's found my blog easier to navigate. This was one of the main concerns following feedback from my previous assignment.  I've added labels and standardised the post titles and I find it much easier to find content myself, as I regularly refer back to previous posts.  I really enjoy reflecting on my work here now - I find it really helpful to gather my scribbles, photos and thoughts and organise them in a more meaningful way for future reference. With regard to source material, I have no problem finding inspiration or ideas but I do procrastinate when it comes to stopping to sit and record.  I think this is partially due to lack of confidence in my drawing skills.  I've just come back from a holiday in Slovenia where I've had a little more time. There I made a concerted effort to draw most days. It still feels uncomfortable, not yet a habit, but at least I have begun a sketchbook which is chronological and more portable than the A3 hardback book I was sticking my loose drawings in. 

Feedback on Assignment  
Project 6 - Manipulating Fabric
Stage 2: Developing Ideas
You were asked to select 6 interesting drawings or other source material; abstract out colours, patterns and textures shapes. To develop these radically into designs by working  with copies – cutting, cropping, developing these radically through collages.

'I think here, you were ingenious in finding source material which would inspire you – using the limitations of having to take your children with you forced you to look beyond the obvious – and you began to make connections, collecting interesting source material both various events – eventually focusing on glass. You were, in parallel, exploring new iridescent materials – and I think you began to see links and ways forward to develop ideas. I think this way of working, for you is very productive. Sometimes the materials lead you forward – promoting ideas, at other times ideas lead you to search for techniques and materials to explore them. Basically, you are finding that you need to do both alongside each other to successfully produce a body of work, you need to understand and to explore materials in order to know which is the most appropriate to choose to realize an idea. You are also now aware of how to develop designs from source material (even if they don’t always work to your satisfaction).'

Stage 3: Applied Fabric Techniques
Here you were asked to amass a quantity of experimental samples showing exploration of different techniques such as bonding, using dissolvable fabrics and fabrics which can be manipulated by melting such as Tyvek.

'Some of the early fabric design developments seem a bit laboured; an arrangement of flat shapes of glass bottles and you were obviously seeing what you wanted to express, but unable to realise it in the materials effectively. I think that the problem here is that you are working from shape and colour rather than looking at a small section. I suggest here that you could develop this idea by drawing a highly reflective glass bottle, or jar half filled with water, but forgetting the ‘object’ or outlines and simply drawing the colours reflected in the glass. Use a viewing frame to take several small sections from the subject. You could even try photographing these sections. The most successful experiments were made with  Angelina fibres (none labelled). I felt that something really interesting was happening with one or two of these and have made notes on the pieces.'

My Response
I'm pleased with the Stage 2 comments because it seems my tutor has noticed how I'm relating my explorations with fabric manipulation to drawings I already have to generate ideas.  With regard to Stage 3, I was aware that the early applied fabric design developments were not as successful.  I mentioned in my learning log how I attempted to rework them and how, though they improved, without being sure what the problem was, I was still not entirely satisfied.  They just felt a bit flat and contrived compared to the samples I made with unpredictable materials like Tyvek and Angelina. Pat, my tutor has suggested going in with the scissors and re-assembling them to see what happens, which I'm happy to do.  I will definitely use viewing frames and/or photograph and crop my drawing in future. The note about Angelina fibres confused me as I presented all my Angelina experiments in a book fully labelled.  I've now realised that the samples Pat has described as 'exciting', are actually thin snippets of shiny ribbon rather than Angelina fibres, trapped between layers of organza by bonding with the tip of a soldering iron.  However as I'd only described these as 'burning and heating' with no more than a sentence in my learning log, this is what Pat is referring to when she advises above to 'not simply reflect at the end of a project......keep a visual and written diary on a more regular basis'.   

Stage 4: Raised and Structured Surface Techniques
Try gathering, folding, pleating, tucking, tearing, fraying and slashing; quilting, stuffing, moulding.

Lots of experimental practical work here, with some well executed geometric fabric relief based on origami twists, and some cut work . There was also some 3d work.

You are asked to develop the final sample from drawings –choosing carefully one which suggests a three dimensional quality. To develop the drawing further by enlarging, masking out, etc or cutting and reassembling. You are asked to use plain fabric 30 cm square – possibly self colour stitches so that they disappear into the fabric structure, become part of the fabric structure.

You worked here from ‘memory and imagination’ and went straight into working on the piece rather than from thinking ahead and planning. The problem with this approach is that it leaves no margin for error or going back and redoing – short of cutting the piece up and reforming, recycling it. You were remembering something you saw – no problem with that – providing you have collected enough information as an ‘aide memoir’ to work from. If not you have to rely on invention and embellishment to hide things you cant quite remember. (Be very careful of over embellishment) We all have to rely on memory sometimes, especially when conditions don’t allow us to draw, but it leads to weak compositions. You were asked to use plain fabric but you dyed and patterned much of it. The objective – to reinforce the 3d effect has been lost. You made a different kind of piece. Nothing wrong with being free, but sometimes it can cause you to go over the top. You wanted to show lots of different techniques, but there are too many conflicting shapes, materials stitches and colours.  I can see what it is you were aiming for, but too much is happening in one piece. You need to be more selective – more restrained. This many different elements might have worked in a plain fabric, but by using lots of different patterns together the effect is over the top.

My Response
The experimental part went well but yes, I'm guilty of not planning the final sample.  I think that, as I been disappointed with the flat samples I'd developed from my bottle drawings, that I'd spent a lot of time planning, I wanted to create something more lively and spontaneous here.  I'd hoped for better feedback as I rather liked my sample when I sent it off (I still do!) but seeing it again now with fresh eyes, I agree that I threw everything at it and it feels a bit like a kids collage.  I've decided I'll re-do this stage before assessment.  I intend to develop drawings of my glass bauble for inspiration and create a sample with Angelina fibres or film. Hopefully, this will give me a more successful balance of planning and spontaneity.
 Project 7 :  Your theme book
A book of visual information based around a theme of your choice which will provide you with the starting point for part 5 of the module, in which you will design and make a piece of your own.

I think you are on the right track with your theme book. I have seen nothing practical from it so far, but your blog explains your reservations and concerns about the choice – that it has no obvious source material. However, you began to look at the occupations of your family , and where this has led you seems to be in a direction which is inspiring you. You need to make sure that you have a cohesive theme. If it moves away from your original plan, don’t worry, but make sure that the visual research in the theme and the practical outcomes can be justified.

My Response
Due to my reservations mentioned above, after much consideration and a conversation with my tutor, I've decided to pursue a different theme, 'Rust', for my theme book.  Work on this has begun and a blog post will follow shortly.  I'm confident this is the right decision. 

Sketchbooks
'Next time I would like you to leave your working notebook for the project with me so I can have a good look at it. I know you don’t like leaving this, but for the final project your working notebook will be a separate theme book.'

My Response
This should be no problem for assignment 4 as my new sketchbook is much smaller and lighter for posting.  Maybe I should think about scanning pages from the old overflowing one for assessment to keep within the weight limits? 

Learning Logs/Critical Essays
(Research Points)
As a background to the work in this assignment, you were asked in Research Point 1 to start a collection of examples of furnishing or fashion fabrics of any technique to illustrate diversity of fabrics which are popular and available – contemporary or traditional.
In Research point 2 You were asked to survey craft based techniques – from individual designer makers who concentrating on small production runs to those who make art based textiles. You are also asked to look at the relationship of the crafts to industry – consider how new technology has influenced the crafts, and how crafts have inspired those designing for industry.

'I have not seen any evidence that you have completed this work - only a file of scraps. It is really important that you do this and put evidence of Research Point 2 on your blog which I will look at with the next assignment.'

My Response
I contacted my tutor regarding this as I was really concerned that she had not seen the research points on my blog after I'd spent such a lot of time and effort on them.  (The 'scraps' were just the samples, leaflets and magazine I'd collected in a file when researching.)  I'd had a similar comment after Assignment 2 when I'd also completed the research point but the tutor hadn't found them.  I thought now I'd added labels for 'Research Points' they could be now easily found on my blog.  I since received the following update:

'Many apologies. Sometimes these blogs are really difficult to navigate.  I had read the Glass piece before and never twigged. You did them all so well. I was particularly interested in the Centre for Textile Excellence - and Ventile - my husband had a tent of Ventile in the 60's which kept us dry in Scotland in 1966, then disintegrated into holes after about 5 years. Since the report has gone to OCA the best thing to do is to simply make sure that the links are prominent when you submit - and make a note of my missing the research point. What matters is that they see it. (I will make a note in the next report about this). I think rust is a great idea. Good luck with it.'

I'm really not sure at the moment how to make the links any more prominent. Having looked at other student blogs, I think those on Wordpress have much clearer indexes because you can have subheadings. Blogger has some limitations but when I looked up how to migrate my blog, I've discounted it as this would throw up a whole new set of issues (but I will start a new Wordpress blog when I start Exploring Ideas.)  I have thought about printing out all the Research Points and binding them together into a document.  Or maybe I need to send a cover sheet which clearly documents where to find all my work. 

Suggested Reading/Viewing Context
Check out Susie Freeman, who weaves and traps objects between translucent fabric.
http://www.pharmacopoeia-art.net/about/susie-freeman/
Dorothy Cauldwell : in good repairhttp://www.textilemuseum.ca/apps/index.cfm?page=exhibition.detail&exhId=62
Also
www.auburn.edu/academic/other/geesbend/explore/.../index.htm
www.bookarts.uwe.ac.uk/banlists.htm
The Book Arts Newsletter is published at the CFPR, edited by Sarah Bodman.

Pointers for the next assignment
The next assignment is about combining fibres, colours and textures to create tactile surfaces. The accent is on experimental construction forms using processes such as interlacing, weaving, plaiting and or knotting of yarns, ribbons, torn strips of paper or fabric, plant fibre, wire, etc. Project 9 in particular is important and  involves developing visual design ideas into sample pieces with the objective of reinforcing good practice in working method, enable you to develop personal design ideas around organization and colour.

Tutor name:  Pat Hodson
Date: July 4th 2013
Next Assignment Due: October 2013

To summarise, I think the comments are positive and encouraging overall and I have a clear idea of what I need to work on for the remainder of the course.