Creative Work - Felt bowl

Creative work

In this sample I used too much felt over the edge of the resist which made it hard to smooth the felt down when I folded the side over because it creased and overlapped into itself. As the layers increases the edges became more and more uneven and eventually lumpy. To get round this, the length of the overlapping felt would need to be shorter so it is less likely for the felt (and less felt) to crease together when it is smoothed down. Because the exterior was lumpy, when I made the cut into the felt making it into a felt pocket, I turned it inside out because the interior was smoother. However the felt on the original exterior had neater ‘lines’ between the coloured felts. This is because when I built up the layers I didn’t like the look of the overlapping/semi blended turquoise and pink fibres as it went a brown colour so when I laid down the felt fibres I made sure they were side by side and not over one another. Despite this I did like the look of the overlapping of the purple and pink felt; In future I think I need to spend more time thinking about a colour scheme and which colours will look good together. To improve the look of the bowl I stitched around the opening – I really like the look of the stitching I think it enhances the aesthetics of the bowl. It also serves as a structural aid as it has made the bowl stiffer and it keeps its shape better than before. For these reasons I would incorporate stitch into any future bowls. I like the technique because it is easy to execute and the outcome is simple but pretty.  To further explore this technique I could lay materials such as string over the resist and layer the felt fibres over the top so when I turn it inside out the string will get felted into the exterior of the bowl. I could also experiment with different coloured felts and create patterns with it.

Creative work - coil bowl

Creative Work

For my coil bowl I have used a range of found fabrics similar to the earthy colours Abrams uses and brighter dyed Calico of Buttercup yellow and Jade Green. I only used a small amount of the dyed calico and I really like the contrast between the earthy greens, whites and browns against the bright Yellow and Jade. This addition makes the piece look more interesting because it is subtly incorporated into the bowl and enhances rather than taking the attention away from the blander colours. The coiling technique was hard at first and the stitching is very uneven, however I like the rough look to the bowl and the advantage of hand stitching the bowl together is that you can unstitch if you go wrong. I also think the bowl has a good shape; it is quite evenly round and stands upright. To add texture and improve the appearance of the bowl I have taken inspiration from Abrams use of found materials I tied strands of gold string to the thread that bound round the first section of coiled material. I like the look of this but next time I would use it on coils that are higher up the bowl because you can’t see the gold strands on the base coil that well. It gives It a bird nest look which I like I could incorporate found objects such as twigs leaves and feathers like Abrams has. I also loosely incorporated blue mesh fabric into the top coil which I really like, the blue contrasts well with the rest of the bowl and the ‘puffed’ areas of the fabric reminds me of petals. To further experiment with this idea I could play about with coiling fabric into a flower shape and then using the mesh to look like petals.

Mark Herald Craft person

Mark Herald

Illustrator, printmaker and painter Mark Hearld, was born in York 1974, and as an Undergraduate student he studied Illustration at Glasgow College of art and went on to study a Masters in Natural History Illustration at the Royal College of Art.

Ballindallock Blackbird
Lino Prink
Mark Herald.


The Lino print is called ‘Ballindalloch Blackbird’. I was unable find any information on his printing method, but I can see from the photos of his printing plate (Yellow image) and the final print is that it is composed of multiple printed layers. The yellow plate in the photo looks like the background print, I can tell this because if you look at the carved out lino sections it corresponds to the white lines and shapes on the finished print. After the light yellow ink background has been applied the mid grey layer is printed which contains the bird image and background detail. And the final printed layer being of the fine and textural details of the bird and background using black ink. I really like this piece as I like all the intricate details on the bird, the shape of the bird is also realistic which makes the print more interesting to look at. The composition is quite busy but Herald has made the area immediately surrounding the bird less busy with lines and mark making and with more white and yellow colours compared to the outskirts of the print. Herald has done this to balance the composition and the relative visual quietness around the bird draws you attention to the focal point of the image which it the bird itself. I like his use of wavy lines and shape it gives rhythm and movement to the piece as if the bird it has been caught on a windy day, it is quite a nostalgic image that the audience can relate to, even as a children people will find themselves watching birds if they are out on a walk or sat in the garden as they are interesting and quirky little animals. The eye of the bird is open wide and looks almost as if it is watching the audience, much like birds do when you walk past them; it’s quite an eerie experience to be watched by  an animal and I think this is something that draws the audience’s attention to the piece. I really like the captivating nature of this piece as I think birds are interesting animals, they are mysterious, skittish and unreadable yet beautiful and colourful creatures I would like to take the theme of birds forward in my work because I really like the connotations associated with them.

http://www.birchamgallery.co.uk/catalogue/artist/Mark:Hearld/biography/?category=prints

Antoni Gaudi - Craft Person

Antoni Gaudi

Antoni Plàcid Guillem Gaudí i Cornet was a Spanish architect born in Reus. Antoni Gaudi (25/06/1852 – 10/06/1926) has a background in sculpture and painting and studied at the Provincial School of Architecture in Barcelona. He is well known for his nautical themed and natural form inspired architecture.

Casa Batllo 1904-6

Barcelona

Antoni Gaudi

The Casa Batllo consists of a contoured – wave like tiled roof and a mosaic turret. The Ocean was a heavy influence of Gaudi’s work and it is evident in Casa Batllo, the roof of the turret is a plain, cream coloured shell like form that’s simplistic shape and colour scheme contrasts with the bright and busy surrounding ceramic roof tiles and mosaic. Gaudi has left the ‘shell’ plain because it balances the composition –if every part of the roof was bright and busy it would not be aesthetically pleasing to look at and also it would take the attention away from the buildings focal point which is the tiled roof. I think this is also the reason why the mosaic on the turret uses small tiles, because when looking up at the turret from the ground the colours blend together which adds subtle colour to the element without decreasing the visual impact of the tiled roof.  I think the ‘shell’ has a calming influence on its busy surroundings, this could represent the calmness Gaudi – or the viewer feels when they look out across a still ocean. The ceramic tiles on the roof (which can be seen on the front facing view) look like fish scales, they have a smooth shiny surface and in the colours of a dream-like mythical sea creature of blues, purples, and greens, this could be Gaudi’s way of conveying his wonder of sea life and how beautiful the natural word is. The roof is also contoured which looks like body of a sea animal, continuing the oceanic theme. The ridge along the roof runs in a wavy line like the sea waves or sea weed and there are ceramic shell like forms that run along it. The blue shells and orange ridge are complimentary colours and create contrast and emphasises the line of separation between the roof and space. I like Gaudi’s ocean inspired work and I could incorporate this into my ‘Natural Forms’ designs, I could experiment with creating ceramic forms influenced by the shapes and textures of sea animals, shells and sea plants. I also like his use of curved lines and not many straight lines, it gives the architecture a free flowing feel, which is something I could try to replicate the feeling of ‘flowing movement’ into my designs. I could also use complimentary colour pairings to emphasize certain areas of my designs.

http://www.biography.com/people/antoni-gaud%C3%AD-40695

http://gaudidesigner.com/uk/index.html

Gel impasto Health and safety

Gel medium info:

• It is of low toxicity
• Advised to be used in ventilated area
• Don't drink or eat when using.
• Thoroughly wash hands after use of the Gel Medium.

If this product is ingested it may cause you discomfort.

It can cause slight skin irritation.

It is also irritating to the eyes. (wash immediately with water)

Batik Health and Safety

Health and Safety for Batik


1. Lay paper on your work surface to protect it from the wax and dye.
2. Wear latex free gloves when handling the Dyes.
3. Place the Electric Wax Pot is on a protected, stable surface, near to your work station and the               wire chord is out the way and doesn’t pose a tripping hazard.
4. Do not touch hot wax, If you are burnt by the wax see your teacher for appreciate medical                   attention
5. Do not eat or drink at your work station.
6. Be careful around the Wax pot not to knock it.
7. Make sure the Iron Chord to the Iron is not a tripping hazard.
8. Do not leave the hot Iron unattended.
9. Make sure you have a sufficient amount of paper on your batik sample so the wax and dye                   doesn’t transfer to the Iron bed.
10. Be careful not to let the hot Iron touch your skin and wait for the sample to cool before you                 touch it.
11.   Allow Electric Wax pot and Wax to cool before you move the equipment back to its holding area         to prevent burning yourself or others and clean away your work station when you have                         finished.

Ceramic Health and Safety

Health & Safety using Ceramics:

Long-term exposure to clay dust can be very detrimental to your health as it is carcinogenic; all tools and surfaces need to be thoroughly cleaned with water after use with clay .

1) Use protective clothing including non-latex gloves and apron, and tie back hair.

2) Work on top of paper that can be disposed of at the end of the session. This is to keep mess and clay dust to a minimum.

3) Always use the ceramic tools for their intended use and reduce ceramic dust by washing tools thoroughly after use.

4) If any paints, glazes or clay gets left on the tables you should wash them off to reduce clay dust.

5) To further reduce clay dust, wash your hands appropriately throughout the lesson and at the end.

6) Clean up spillages immediately to prevent; potential contamination or risk to others consuming or slipping on it.

7) Don’t eat or drink in the classroom - only sealable bottles of water.

8) When carving into clay, have a bowl of water to brush off any clay dust into.

9) Do not throw clay tools at any time or run in the classroom – act sensibly.