C&G Certificate Module 5, Chapter 4 - Fabric Investigation

I was surprised to find such a wide variety of white fabrics in my stash! I have divided them into synthetic and natural fabrics. I decided not to use a candle in the melt tests as I have a soldering iron and felt this was less risky than a naked flame.

SKETCH BOOK

Page 25
 A selection of synthetic fabrics with brief descriptions.




Page 26
 I chose cottons, silks and linens.




Page 27
 Test result from crumpling, pulling, cutting on the bias, melting with a soldering iron and fraying.



Page 28

Page 29
I was beginning to think that the voile might be cotton as it responded to the tests in a similar manner  as the natural fabrics, until it cut beautifully with the soldering iron!



Page 30
Edges on synthetic fabrics, from top:

Satin snipped with scissors to form a fringe, fabric pleated then marked with a soldering iron, pleated again and marked again with a soldering iron.

Voile frayed and cut with pinking shears, marked with a soldering iron.

Wadding cut repeatedly with zigzag template using a soldering iron.

Pelmet vilene cut with wavy template (twice) and joined together with dots formed with a soldering iron.

Pelmet vilene cut with (half) wheel template using a soldering iron.


Page 31
Edges on natural fabrics, from top:

Medium weight silk cut with herb scissors. The scissors tend to 'chew' their way through fabric, but cut parsley perfectly!

Linen scrim, frayed, pulled and cut.

Cotton velvet, frayed, edge cut with pinking shears, slashed down centre and threaded with pelmet vilene.

Calico cut on the bias, cut into zigzag edge, frayed (two layers).  Long frayed threads in dip of zigzag draped over top zigzagged layer. Long frayed threads removed from top layer.

C&G Certificate Module 5, Chapter 3 - Texture and Relief in Paper


SKETCH BOOK


Page 19
(Sylvester palm from Page 7)
Sylvester palm fronds from page 7


Kitchen roll branch, with tissue paper fronds cut with herb scissors.





Page 20

(Olive tree from Page 2)

Crumpled tissue paper, pleated and curled tissue paper, layers of tissue paper and handmade paper.











Page 21

(Chusan bark from page 9)
Tissue paper background with shreds of tissue paper and card. Torn card interwoven in foreground.






















Page 22

(Untended Sylvester palm from page 6)
Cartridge paper, with strips of tissue paper and cartridge paper.














Page 23



(Yucca ink outline from page 3)

Stitch and Tear background with layers of card.








Page 24

(Dried Chusan leaf frond from page 1)
Crepe paper, folded and cut with herb scissors, ends staggered.

C&G Certificate Module 5, Chapter 2 - Paper Relief Investigations

I have used tissue paper, tracing paper, card, Stitch and Tear, cartridge paper, handmade paper, kitchen roll and crepe paper. 

SKETCH BOOK


Page 11
Top row: crumpled tissue paper and tracing paper
Bottom row: pleated/folded tissue paper and tracing paper



Page 12
Top row: crumpled card cartridge paper and Stitch and Tear
Bottom row: pleated/folded cartridge paper and Stitch and Tear



Page 13
Top row: crumpled card and handmade paper
Bottom row: pleated card and handmade paper


Page 14
Top row: crumpled kitchen roll and crepe paper
Bottom row: pleated/folded kitchen roll and crepe paper




Page 15
Top row: tissue paper torn and rolled
Bottom row: tissue paper put through paper crimper. The crimping pattern disappeared when the tissue paper was glued.




Page 16
Top row: tissue paper cut with herb scissors (4 pairs of parallel blades)
Bottom row: tissue paper pleated and cut with herb scissors



Page 17
Top row left: tissue paper cut with herb scissors and knotted
Top row right: tissue paper pleated and crumpled
Bottom row: tissue paper crumpled and 'hole punched'



Page 18
Tissue papers pleated with threads and folded

I experimented with using stamps on wet gluey tissue paper. It looked quite promising when the glue was wet. Unfortunately when it dried there was no trace of the stamp imprint.

C&G Certificate Module 5, Chapter 1 - Texture in Landscape


I have chosen to interpret the landscape in southern France, where I have spent many happy holidays. The weather is warm and wet in the winter and hot and dry in the summer. The soil is  sandy and sometimes rocky which affects the shape of the land and the plants that grow there. There is a wide variety of tall grasses that thrive in this climate as well as heat resistant trees. I have chosen to focus on trees and their bark.  As the trees grow their bark gradually changes from being green and supple to becoming dry and cracked, showing layers of outer decay. This is particularly noticeable on the olive and tamaris trees (pages 2 and 4). The cultivated palm trees are often shaved to produce a smooth surface, which leaves an interesting pattern (page 5).

SKETCH BOOK

Page 1



Page 2




Page 3




Page 4



Page 5



Page 6



Page 7



Page 8



Page 9

C&G Certificate, Module 5 - Introduction

SKETCH BOOK