Unit X Development

During the project I was introduced to the princess-pleating machine; It is a machine that requires patience and more hands. Because of this, I got a team together to collaborate to create our own samples on the princess pleater, but using the same thread that we set up together. This was more time efficient because we quickly learnt which fabrics worked best in the pleater and the effects it created on different fabrics. This enabled us to create more advanced samples than what we would have achieved individually.
My personal discovery from this princess pleating process was that silk slub fabric creates a less regimented pleat that makes the fabric become springy when it's gently pressed with the steam iron. I then pulled the threads away. To improve this method on the silk further, I would repeat the process a few times to see a different quality in the fabric.

On the left: princess pleated sample before being dip dyed. The right is the dyed sample.

I find the 121 Cornelly machine is low maintenance to draw with. I enjoy using the steering handle allows you to create looping smooth imagery. This makes me regret choosing a such a structure orientated theme. However, I do like the prominent stitch that this machine creates. Online, I found 'Motif pillow' (http://www.motifpillow.com/) that has some structural and composition motifs and I think similar designs would translate well through use of the 121 Cornelly.

Blue and Gold collection on Motif pillow.

From looking at 'Motif Pillow', I decided to deconstruct a small section of one of my paintings into three parts. I then created a new narrow composition from the shapes and created a sample with ribbon using the Bernina and the braiding foot. When I jumped from section to section drawing the new structure of the drawing, I allowed to ribbon to be free and connected to give the sample a fluid 3D quality. This could be seen as a metaphoric link to the movement of the roller coaster. I think that the fluid lines of uncontrolled ribbon combined with the bound down ribbon gives a variety of tone in a mono colour of orange piece, through the way light reflects off of the different fabric qualities and surfaces.

Ribbon sample with the section of the painting that I deconstructed into three parts.

I block threaded my loom into a deflected double cloth warp after being inspired by some Margo Selby patterns from her ‘Contemporary Weaving Patterns’ book. The patterns I can make on this warp are limited, which has enabled me to focus on developing the patterns with different proportions to link them to my drawings. The patterns I have been using gives a linking affect which I feel I should built on the idea of structures being bound. I would like to translate the weave pattern into embroidery by using the cording foot. I have found that my embroidery samples are stronger when I construct a pattern onto them instead of embellishing an area.