Knit week 2

I am understanding the hard labour of knit, as each technique we learn takes more and more time. I feel I have grasped a better understanding of the machine, and developed technical skills in stripe, tuck, and ladder affects, yet I am still frustrated by the amount of samples that have fallen off the machine. 

I'm beginning to think knit isn't for me, I feel limited in how we can translate our research and despite going into knit in every session and on days off they keep falling apart. I can't seem to grasp the techniques, but shall perceiver for my technical file. 

Knit week 1

 Our first week of knit has been an intense introduction; for the start of the week we had to compile a mood board for construct, meaning we have something to base our work off of and jump right in. I have been drawing to the colours and qualities of Ancient Egypt, especially the tones of tourquoise, ochre and crimson together. As I have been doing research,  I have seen connections between the work of abstract artist Rothko, and the importance of colour symbolism in Ancient Egypt.

The knitting has been very fast paced, and as there are seemingly constant tutorials from Sue and Amy time management will be key in knit. I have enjoyed the sessions so far, yet I can feel myself getting quite frustrated with the act of machine knit. I do not find it easy to translate my research (other than colour) into construct, as I am much more figuratively based. 

Contextual Research

Kevin Kramp is a high-concept knitwear designer pushing the boundaries of menswear knit. The mix machine and hand knit, of unorthodox shape and colour, with exciting stitch style, Kramp's maverick designs mix both ideas of the modern man, with a heavy nomadic boho influence. Contrasts in colour and texture make you almost want to touch the computer screen in the hope to feel the luxury fibres of his work. 

Research week

This week I visited the Manchester Museum in order to gather visual resources for the coming project. As we were asked to consider our journeys and how we can record them I made lists and collections of data of my own. Firstly I used a pedometer app on my phone to map out my journey throughout the day, by screen-shoting the maps I then further investigated possible line qualities from the images. I was also struck by the distance I had traveled, from Withington through to the first half of my museum visit, which was '5.47miles'; there after I used '5.47' as a 'limitation' to work with, using a time limit of either '5.47mins' or '54mins 07secs' to draw and develop some visual recordings both in the museum and at home.

I found the shorter limit forced me to work quickly, gathering key impressions and qualities which caught my eye at the museum, whilst the longer limit allowed me to reassess my research at home, and both develop and abstract form and colour in different ways.
On my way to the museum I made a list of every establishment I passed, attracted to the colourful shop fronts, although it all had to be alphabetical. Work from A to Z is quite manageable with words, but I then decided to apply that to my journey through the museum as I had no clear direction of what sort of animals/objects/qualities I wanted to look at. It forced me to consider exhibits I would otherwise have ignored. Therefore all my time limit drawings were also limited by the alphabet sequence, up until 'S', when I discovered the Ancient Egyptian Shabtis. I am drawn to the etherial turquoise of the clay ornaments, and interested in compiling a colour pallet based on the colours of ancient Egypt.

Data | Collections | Lists

As a starting point for our new project 'Data, Collections, Lists' we have been prompted to visit the Manchester Museum, the Holden Gallery and the Visual Resource Centre (Grosvenor room G22) to gather as much visual research as we can to give us a strong foundation for our new rotations. I'm beginning this project in Construct, therefore have been asked to concentrate on developing colour drawings from our research. We have also been asked to really consider how we record our journeys (physical journey and inspirational journey). In preparation I've started to think about interesting ways this can be achieved; I think the physical mapping of my journey could create some interesting lines, therefore I plan to use a pedometer map app on my phone on the way to the Manchester Museum. I love found objects, so perhaps I will collect whatever lost treasures (most likely trash) left behind by pedestrians on the Manchester streets and then create a 'collection' of my own. I am interested in how all the senses can over lap and inform visual development, so maybe I will record sounds with my phone every 5 minutes and from it develop a series of drawings from these recordings (both realistic and abstract); it also gives me the chance to play with the element of memory as I will be drawing from my head - and what bigger collection does mankind have other than memory? Perhaps I will make a list of businesses and establishments I see on the way to the museum, sorting them alphabetically. Im interested in what I can document on my way home from my visit, armed with the information I have learned and recorded in the gallery, I hope the research i gather will be able to inform my trip home and develop another element to my lists.
Im excited about this new project, and after my feedback from the Origins unit on Tuesday I can consciously work to improve the aspects of my work and practice which were not as string in the last unit. I need to remember the importance of sketchbook development and running with an idea until I can get everything out of it. Im also eager to push my idea of drawing in this project and how I document and develop.

Origins Evaluation

My experience of the origins unit is quite unique to most of my peers. About 2 weeks ago I successfully made the move from 2nd year Fashion to 1st year Textiles in Practice, and what a crazy 2 weeks it has been. My decision to transition from Fashion to Textiles was a long thinking process; admittedly from well to the start of my first year of uni I and many doubts about my 'passion for fashion'. When I started my course I felt as though it wasn't for me, but would always push such thoughts aside and dismiss them. Then 2nd year fashion came and I thought enough was enough; too long had I longed to get back into a textiles based approach that I had been used to in foundation. I was hating my course, and with a bite of the bullet I emailed Teresa Holtom and organised a meeting.

The work I had been producing in fashion was enjoyable to a point; I love research, discovering new artists, designers, subcultures and historical scenarios has always interested me, but when it came to designing, and worse, pattern-cutting (shudder) I just couldn't work it out. In foundation I was used to creating/manipulating the fabric and letting it tell me what to do with it instead of the other way round. My project from Fashion this year was based on the idea of 'Generic Garments' in which we were asked to study 3 generic items of clothing and research the shape, fabric and historical and social context of the clothing. I happened upon a Crombie coat, a pair of Oxford Bags, a pair of tracksuit bottoms and a grandfather shirt. Through illustration, photography and dissection of the garments I studied them in and out to inform my future design decisions. This was an interesting approach, but by this point my heart was no longer in fashion design.


My first week of TIP was a bit odd; the day after my interview with Teresa I began my first day of textiles and I was met by a welcoming class and tutor. The work on illustrator was difficult at first and is still something I am working on to develop. Understanding of vectors and such is a tricky business, but I believe with more time and on line tutorials my skills will improve.

Since I have began the course I have missed 2 days of uni due to illness, but I have tried my best to get caught up on the work I have missed. The Friday drawing day i did attend was an interesting class; it pushed me out of my comfort zone to no longer think about a final over all piece but to simply enjoy the experimentation process. I understand now that it is better to be brave and take risks during the journey than to second-guess just for the sake of a final outcome. I feel I have gotten a lot freer with my drawing and I'm excited for future Fridays.

My artist research, drawings of my objects and paper folding have started to come together, as I have explored mixing of materials to illustrate some of the crystal drawings (which were my favourite).
The laser cutting induction session was an informative class as I got to understand what we were exploring a bit more. This has informed my experiments with folding paper and material selection, which I will put to use tomorrow in my laser cutting session (it was unfortunately the only one I could book). Yet the time i have had to reflect and analyse my time in Origins has been great opportunity to realise what I need to work on.

Contextual Reference. Lucy Orta.

Lucy Orta's Refuge Wear series questions human spacial awareness and interaction through high-tech expedition materials. Using PVC, Polar fleece and aluminium polyamides, to name but a few, Orta creates wearable personal refuge spaces which question social interactions and space. This piece from 1993 titled 'Habitant' was developed with the homeless in mind, asking how as a textile artist/designr can she affect the situation of homelessness; could fabrics be the way forward to reintegrate the homeless back into society instead of traditional means of architecture and housing. I love Orta's work as it merges art, design and social awareness. Her creations have the ability to isolate or include.