Book Size: Small Square
textiles ECA::WTU
collaboration
DEVELOPING A JOINT LANGUAGE IN TEXTILES. Creating a
collaborative culture thriving on innovation through partnership between Edinburgh College of Art, Scotland and Wuhan Textile University, China.
Aims::
This project was generously funded by The British Council to promote a cultural exchange in an educational setting. Based on a pedagogic theory that collaborative practice can be used as a means to learning and teaching through experience; this project aimed to introduce both staff and students to a different culture through physical engagement and interaction within the design process. By working into and onto the textiles of another culture, the individual would we believe be more fully immersed in the concepts and techniques of that other culture. Nurturing emerging design talent from Edinburgh and Wuhan, and encouraging the involvement of both staff and students in the designing and making of the textiles, this project potentially develops innovative work, and contributes to design education in Scotland and China.
The Brief::
Students and staff will originate, design and develop a personal interpretation of the theme COMMUNICATION, to create an A1 textile in any technique. The theme should be underpinned by traditional techniques indigenous to Scotland for ECA and China for WTU. Initial samples will be exchanged across institutions and enhanced through students and staff physically engaging with each others’ work by adding or removing elements using technology and hand crafted textile techniques crossing cultures between Scotland and China. This constitutes one rotation of the work across institutions and will be followed by further exchange and interaction through additional layers. Some samples may encounter several iterations and other samples only one or two. A shared history will be established as the project progresses and develops.
PAISLEY :: Origins
pages :: 1-3
ECA :: Originator :: Phillipa Hill pages::4-8 WTU :: Corespondants :: Xiao Xue & Si fan Dong pages::9-11 ECA :: Digital Design by Sophie Dunster pages::12-15
ECA :: Originator :: Kerri White WTU :: Corespondants :: Hufan ECA :: Digital Design by Lindsey Mackie
pages :: 16-18 pages :: 19 pages :: 20-23
ECA :: Originator :: Anna Smith ECA :: Digital Design by Emily Collister
pages :: 24-27 pages :: 28-31
Ayrshire Needlework :: Origin
pages :: 32-34
ECA :: Originator :: Lindy Richardson WTU :: Corespondants :: Cheng Xin Peng
pages :: 35-37 pages :: 38-40
ECA :: Originator :: Shirley McLauchlan
pages :: 41-43
ECA :: Originator :: Natasha Kushi ECA :: Digital Design by Kate Sinclair
pages :: 44-47 pages :: 48-51
ECA :: Originator :: Nicola Lynch WTU :: Corespondants :: Fan Lin, Miao Shi,
pages :: 52-55 pages :: 56-59
ECA :: Originator :: James Bruce: WTU :: Corespondants :: Fan Lin, Miao Shi,
pages :: 60-66 pages :: 67-69
ECA :: Originator :: Erin McComb
pages :: 70-73
Xue Wanqing & Sun Dan
Xue Wanqing & Sun Dan
1
2
P
aisley, as a topic, was initially chosen as a Scottish theme despite its Indian origins. On further investigation the history of this iconic pattern was found to be closer to home than we could ever have envisaged. Imported to Britain by The East India Company in the late 18th and early 19th century, patterned pashmina shawls became prized possessions. Patersons of Edinburgh produced woven shawls imitating the Indian pashminas in a factory in Sciennes only a stone’s throw from Edinburgh College of Art, and the site of ECA halls of residence. By the 1840’s Patersons’ could not fulfil their orders for these popular items and began to outsource some of the work to the weavers of North Ayrshire in the town of Paisley. The paisley weavers were highly skilled and their technology more sophisticated than the Sciennes factory, and it was not long until the Paisley weavers cut out Paterson the middle man and took over the market share in the production of these elaborately woven shawls. The patterns became synonymous with the town in which they were woven and thus the name Paisley became associated with these intricately woven Scottish pashminas. ECA holds a series of original paisley patterns dating from the early 18th century. Originally used as a teaching aid for ECA Design students during the early 20th century these beautifully painted patterns on graph paper provided a perfect resource for our project more than 100 years later.
3
'...the history of this iconic pattern was found to be closer to home than we could ever have envisaged.'
4
Philippa Hill ::
3rd Year ECA student Wool:: Sample:: 1
Inspiration::
The journey of the Paisley, from India to Scotland. It's beginnings in Edinburgh, and its connections with ECA and Sciennes.
Having travelled to India and now live in Edinburgh I sought to communicate the Indian ancestries of Paisley and its affiliation with Edinburgh; Paisley's Scottish beginnings are rooted in Edinburgh. By carefully considering the Edinburgh Paisley's distinctive features, for example, its black border and medallion layout, this provided the footing for my own design. The imagery is of iconic sites in Edinburgh, such as the Scott Monument and Calton Hill, combined with line drawings tracing the picturesque skylines of our historic city, of buildings in the Sciennes area (where Paisley shawl production originated) and the archetypal teardrop shape of the Paisley; these elements are playfully composed in the medallion formation I spoke of earlier.
5
6
Research::
Originally made from goat's wool, the Kashmir shawl was imported to Edinburgh in the early 19th Century. They quickly became fashionable in Europe. In order to cater to this new consumer; Edinburgh, primarily in the Sciennes area of Edinburgh, diversified its existing shawl production to support the market, and subsequently the
Paisley was adopted. Sir Robert Lorimer owns an extensive collection of Edinburgh Paisley's and as a founder of Edinburgh College of Art; its students have the privilege to study these textiles first hand.
Techniques and Materials::
My final piece has been naturally dyed with Madder and printed with Beetroot and Turmeric using current silk-printing techniques. I wanted to echo the natural dyes used in India. Originally shawls were woven with goat's wool so I have used wool fabric to correlate, and stitched with black wool round the boarder.
7
8
Did you have any expectations Phil?
I anticipated for the Chinese students to add to the areas with no print; maybe with bright colours and embellishment. Maybe to finish the borders of the sample.
What is your analysis of the reworked sample? The re-worked piece is heavier, aesthetically and physically. Their drawing makes sense with the research next to it.
What about the Technique?
Interesting. Not stitched on...added with wax? I like the cut outs, perhaps could have used a laser cutter to ensure a better finish?
What have you learnt?
Never stick things to fabric with glue. Others have different ideas from my own.
9
Xiao Xue, & Si fan Dong:: WTU student Wool:: Sample 1
Inspiration::
Copper money. China's traditional vein-bats (illustrated above). Paper cutouts. The fertile land. Bridges. Rapid development.
the Chinese flower `bats' to show the differences between the two cultures.
10
Techniques and Materials::
Firstly, we used a napkin(tissue paper) and glue to create areas of 'uneven land'. Secondly, we also used the traditional Chinese joss sticks(incense sticks) to burn the fabric. The sample we received was about the British cityscape and her travel experiences. Our idea was to combine the Chinese and British culture, to achieve the unification of the two ideologies. So responded to her by building on the existing fabric of the work. So we used tissue paper and glue to fill in (with paper mache) areas of `land', working in
between the lines of the existing print. The way we see it; a buildings first form is soil. So, we started to stitch and glue the iron rings and chains to represent the second stage of the building process: the reinforcement. To compare with the Paisley, we used the copper money and paper-cuts to make the Chinese culture mix with the British culture. We chose
11
‘Phillipa, would you recommend that your sample be further re-worked?
YES, maybe to finish the edges and add a little colour...?’
What was your very first reaction to the piece?
12
i liked the earthy natural colouring used and thought the white print, i was not impressed by the way glue was used on top of the design and I thought the chains and decoration did not fit in very well with the composition.
Please describe the sample in your own words, before you worked on it.
Sophie Dunster:: 2nd Year eca student
Digital Design for Sample 1 originator:: Philippa hill Wuhan partners:: xiao xue, & si fan Dong
the sample was a rusty ethnic terracotta colour with a bold white print which reminded me of batik techniques used in asia. the print design is circular and incorporates the landscape of edinburgh. on top of the print is green felt-tip pen markings and the centre print is covered with glued on metal coins and chains.
Describe your initial response to the additional material in the envelope? there was a large amount of information from Phillipa's project,
including all her research and large scale drawings before it turned into a print. these were all ordered and in booklets, so it was easy to see where she drew inspiration from and why. there was little work put forward from Xiao Xue and Si Fan Dong, other than a messy moodboard so it was hard to tell why her design choices were made or what she was trying to portray in doing so.
Did you have dialogue with the originator?....what was said?
Briefly. She said she wasn't keen on the final outcome.
What were you motivations to develop your sample in the direction you chose? E.g, technique, hand skills, history, colour.
i set out to eliminate the parts of the design i thought spoilt the piece as a whole, but at the same time not entirely illuminating the work from xiaoxue and keeping the ethnic touch. i thought it would be interesting to work with the historical shapes given but at the same time keep the print design of modern edinburgh and merge the periods together.
Talk us through the processes you went through to change the sample, eg Photoshop layers, tools, filters etc.
in order to change the sample i scanned in the design and started to cut away into the sample to find the pieces I like most and wanted to develop. i started to layer these up on Photoshop and decided to bring in shapes to work with, as well as keeping original shapes within the design itself. i tried out using some embroidery techniques which xiaoxue used. i developed a texture i really liked and decided that i could use the lasso tool to cut floral silhouettes into the texture, by changing the opacity of the top layer. continuing to play with versions of this technique, changing scale and composition, before finding my final design.
13
14
In 5 words:: the sample before your intervention::
Ethnic. Batik. Clashing. Earthy. Busy.
the sample after your intervention:: Ethnic. Flowing. Traditional. Textured. Intercut.
your experience of this project::
Cultural. Exciting. Informative. Challenging. Rushed.
the future for international inter-university collaboration:: Detached. Necessary. New. Unreliable. Interesting.
15
16
Kerri White::
3rd Year ECA student Wool:: Sample 12
Inspiration::
Traditional motifs I was inspired by traditional Chinese art and Chines crepe shawls where the patterns and motifs are a narrative, they have meaning, and there is a great deal of symbolism- for example birds, florals and faces.
Research::
Colour: red turkey dye. Placement: Paisley borders and composition. Patterns: Chinese crepe shawls and Chines art.
Techniques and Materials::
-dyed wool red with Acid Dyes -used Illuminating Dyes to colour discharge print -printed with black pigment -hand embroidery in certain areas
17
18
Kerri what did you expect for the sample?
Since my sample was heavily covered when I sent it off, I had predicted that they would take away instead of add to it.
What is your analysis of the reworked sample? It is barely recognisable, there was a lot taken away from it. The delicate colour palette I originally had is now overcome with orange and black. Personally I don’t like
the black mesh fabric, it is not pleasant in touch. The original sample was cut like
quilters quarters and then pieces of it were selected and appliqued onto the black mess. There is a lot of hand embroidery. The trails of embroidered thread have flow, this ties in nicely with the theme.
Which techniques and materials have your collaborators used?
Mesh fabric. Black, Orange, Royal blue, Crayon yellow, China red, and Grass green embroidery threads were used. Their technique has great potential… it’s just missing an attention to detail to finish it.
What have you learnt?
That by looking beyond the reconstruction of my sample, and my initial dismay, there are lovely elements that should be appreciated.
Research::
The original design has the feel of the different nations. By combining the inspiration from our two nations I wanted to create a dream like appeal. The gauze like fabric helped in achieving this.
HuFan::
WTU student Synthetic Mesh:: Sample 12
Inspiration:: ‘layers of sweet savoury secrets.’
The light coming through the darkness, hence the use of the black base fabric. The primary colours stimulating and connecting. I am communicating hope.
Techniques and Material:: This type
of gauze fabric is used in much tailoring in China. I see this used on a chimney(a type of woman’s garment).
19
  What was your very first reaction to the piece? Honestly, I thought it was a little bit horrendous – the fabric choice of the Wuhan
20
student reminded me of some kind of cheap Halloween costume material. The cut out parts of the Edinburgh students work were unfinished and looked shabby.
Please describe the sample in your own words, before you worked on it.
Lyndsay Mackie::
2nd Year ECA student Digital Design for Sample 12 Originator:: Kerri White Wuhan partner:: Hu Fan
The sample comprised of cut out embroidered parts of the Edinburgh students work arranged to a pattern and stitched onto a black netting fabric. The pieces of the pattern were interlinked by a trailing orange stitch. The colours ranged from the harsh black of the net to a variety of brights used in the embroidery such as yellow, green, red and blue.
Describe your initial response to the additional material in the envelope? My response to this was positive,
but my main thought was that the beautiful drawings included in the additional material had been lost in the final piece. The material comprised of mainly hand drawings and a small A4 mood board from the Wuhan student. I immediately saw the potential
to work from these drawings, and they inspired me much more than the actual piece.
Did you have dialogue with the originator?....what was said? no, did not have a dialogue.
What were your motivations to develop your sample in the directionyou chose? E.g, technique, hand skills, history, colour.
i wanted to focus on one of the drawings included in the additionalmaterial. for me, the back of the sample – wherein the black net contrasted with
the back of the orange stitch – was much moreinteresting than the front of the sample. as well, i wanted the background
of mypiece to be in keeping with the original design. i wanted to retain the notion of the colours used, but also to make them more subtle and pleasing to the eye.
Talk us through the processes you went through to change thesample, eg photoshop layers, tools, filters etc. i went through quite a variety of processes in my work: beginning with scanning the additional drawings and the actual sample into photoshop.i also created my own hand drawn designs based on the work which were scanned into photoshop. through a huge amount of layering and manipulation i created my design.
21
22
In 5 words:: the sample before your intervention::
Garish. Tacky. Cheap. Loud. Unfinished.
the sample after your intervention::
Engineered. Developed. Considered. Redirected. Enhanced.
Define your experience of this project ::
Challenging. Shocking. Interesting. Unique. Thought-provoking.
the future for international inter-university collaboration:: Exciting. Stimulating. Inspiring. Challenging. Interesting.
23
24
Anna Smith::
3rd Year ECA student Wool:: Sample 15
Inspiration:: Life. Growth. Death.
I communicated the rise and fall of the woad industry. Through illustrating the woad’s lifecycle; and the metaphorical symbiosis of its lifecycle in the textile industry.
Research::
I was inspired by Paisley initially and the theory that the motif derives from an Indian plant. In addition, after observing the Turkey red colour that was so distinctive of some paisley textiles I wanted to experiment with another natural dye- Woad. I looked at the woad industry and the shape of the plant itself and at its different stages of growth. I also admired draw thread work.
‘I was inspired by Paisley initially and the theory that the motif derives from an Indian plant.’
Techniques and Materials::
I utilized drawn thread work; this is extracting threads from the warp and the single threads lift along the weft are pinched and bound using interlacing stitch work in and between the exposed threads of the fabric to create deliberate gap formations. I dyed the fabric with woad, and scree-printed by drawings with normal printing binder.
25
26
Anna, What were your expectations for your sample?
I considered the different possibilities that I could make my sample inviting to interact with but no real expectation.
What is your analysis of the re-worked sample? Embroidery on the prints. Beadwork following the outlines of the drawings. An unusual drawing, in pen, of a lady carrying a pick axe, its outline loosely stitched along.
What materials and techniques did your collaborator use?
Tonal threads, sympathetic to the colour of the original sample. There are flashes of opposing yellow, but that’s fine. Black, pearlescent and yellow bead work.
What have you learnt? A lot.
27
‘Could your sample be further
reworked Anna?
Definitely!’
What was your very first reaction to the piece?
28
I was quite happy with what I saw. I really liked the print that Anna had designed and I did really like the embroidery that the Wuhan student had stitched into certain parts of the design.
Please describe the sample in your own words, before you worked on it.
Emily Collister::
2nd Year ECA student Digital Design for Sample 15 Originator:: Anna Smith Wuhan partner:: No name
Before I worked into the sample it was quite detailed in certain parts, with the beading and the embroidery. However
above Anna’s print there was a lot of space that was left for the Wuhan student to incorporate her ideas into the piece, but instead she worked into Anna’s design. Describe your initial response to the additional material in the envelope?
My initial response was there was not much in the way of explanation of where the Wuhan student’s idea’s had originated from. Anna on the other hand had included some of her drawings and quite a detailed description of where her ideas had originated.
Did you have dialogue with the originator?....what was said?
I had a very brief conversation with Anna. She liked the fact that the beading was sewn own rather than glued like some of the other designs.
What were you motivations to develop your sample in the direction you chose? E.g., technique, hand skills, history, colour. When lindy brought out the ayrshire embroidery on the christening gowns, i immediately said i have a very old one like that, although I didn’t know whether it was ayrshire embroidery or not. once i had seen which sample i was developing i knew that i wanted to try and incorporate my history into the piece. i also wanted to keep the colours of the piece tonal blue’s as Anna had looked into Woad, and dying the fabric in Woad to get the blue background.
Talk us through the processes you went through to change the sample, eg Photoshop layers, tools, filters etc. First I scanned lots of different sections of the sample and took photographs of it, i then cut out the sections that i liked on Photoshop to create new layers. once i had found my christening gown, i photographed and scanned that too. i used a clipping mask to layer it on to a section of the original sample and you could still see some of the embroidery the Wuhan student had stitched on. i also decided that i needed something else of my own in the piece so i looked up images of the Woad plant and did my own drawings to include into the piece.
29
30
In 5 words:: the sample before your intervention::
Blue. Detailed. Garish. Embroidered. Unresolved.
the sample after your intervention:: Busier. Background. Tonal. Simple. Calming.
your experience of this project::
Relaxed. Calming. Interesting. Exciting. Motivating.
the future for international inter-university collaboration::
Exciting. Diverse. Bright. Challenging. Thought-provoking.
31
32
A
yrshire Needlework, often mistakenly called ‘whitework’, are incredibly intricate embroideries that preceded the ever popular ‘broderie anglaise’ made famous by the mechanically produced Swiss embroiderers. This technique championed in South West Scotland incorporates both traditional embroidery onto fine cotton fabric using satin stitches and simple chain and stem stitches, as well as filling stitches which resemble lace insertions. Women in small villages through Ayrshire were delivered pieces of very fine cotton pre-stamped with designs, and were paid by the piece for completed embroideries which were then taken to be made into garments and sold as collars, neck insertions and most commonly recognised today in christening robes. The pain staking fine work had to be completed in daylight and folklore suggests that the women bathed their eyes in whisky to alleviate the strain of the fine work. Sitting around in groups stitching and gossiping these women were called the floo’erers (flowerers), due to the flowery patterns they were stitching with such skill. The mechanised Schiffli machines in Switzerland were able to produce imitations of this product far cheaper and thus took the market share away from Ayrshire. Many of the christening robes survive due to family tradition of preserving such garments. The ECA students were kindly loaned a collection of white cotton embroidered garments including christening robes of 19th and early 20th century by Gavin and Olive McCroan of Edinburgh.
33
‘...small villages through Ayrshire were delivered pieces of very fine cotton pre-stamped with designs, and were paid by the piece for completed embroideries...’
34
‘...stitching and gossiping these women were called the floo’erers (flowerers), due to the flowery patterns they were stitching with such skill.’
35
Lindy Richardson:: Cotton:: Sample 10
Inspiration:: Folktale,
motherhood.
I hope to communicate the intricacy of the beautiful Ayrshire embroidery we studied. By up scaling the details of the stitching by 200 to 500% I was able to magnify the embroidery emphasising how tiny and highly skilled our 19th century predecessors were.
36
Research::
Careful study of Ayrshire needlework inspired me to learn this refined embroidery technique practiced in Ayrshire Scotland around 18101870. A legend of Saint Kentigern finding a beautiful baby in a white robe and bonnet amidst the aftermath of a battle. He built a special chapel where the robe and bonnet were placed. Mothers came from afar to worship this symbol of motherhood. He piece I have made aims to tell this story.
Techniques and Materials::
Based on Ayrshire needlework techniques the hand embroidery stitches included:- padded satin stitch, back stitch, stem stitch, bullion and French knots, couching, whip stitch, buttonhole and detached buttonhole. Threads:- Anchor Coton รก Broder (thread count 12, 16 and 25), Stranded cotton, silk.
37
‘...I invested hours and hours in stitching to replicate the techniques of Scottish Ayrshire needlework...’
form of Chinese opera. I wanted to explore a kind of dream world; combining the fantasy created by these sung tales with the substance of the Peony flower.
38
Research::
Cheng Xin Peng:: Cotton:: Sample 10
Inspiration:: the northeast big flower cloth. The northeast big flower cloth is the traditional cloth style, commonly used to make quilt covers or swaddling clothes. It reminds the urbanite of village life. From these rural areas there are the classical arias performed by the Kunqu Opera, for example 'Sightseeing Awakens the Dream', the oldest surviving
The young girl, in the world of fantasy with flowers, dream or not, mutters 'figure and peach blossoms are set mutually red'. Women and flowers are a classic interpretation of beauty to people all over the world since ancient times.
Techniques and Materials::
I cut peonies from the bright cotton prints and used brocade threads to make a beautiful hair accessory for the girl (the traditional Ancient Opera adorns their clothing with copper equivalents to this brocading).
Lindy, what expectations did you have for your sample? As I had included a drawing of my original design I had imagined they might use the drawing but adapted it. I had purposely left lots of space for the Chinese partners to add to my sample.
What was your response to the reworked sample? To be absolutely frank I laughed as it was so over the top! Admittedly the
colour was entirely unexpected. However, the content, i.e. flowers, was sympathetic to the design. The work I'd sent was delicate, white on white and almost understated, so receiving a highly coloured and heavily collaged response was very surprising!
What techniques have your partners used? The techniques and materials used were equally unsympathetic to my original sample. I invested hours and hours in
stitching to replicate the techniques of Scottish Ayrshire needlework and the
Chinese partners glued printed fabric on top of it. The use of felt tip pens to draw directly onto the sample was also inconsiderate to the quality materials used.
39
40
What have you learnt Lindy?
Not to be too precious about something simply because I have invested hours, indeed days, of my time to it; it doesn't make it valuable to somebody else. That different cultures place quite different values on certain aspects of design. That I should not have preconceived ideas or expectations about different cultures. That projects like this take a long time. The
value of our own heritage as embroiders in Scotland.
41
‘My own work relies on the narrative. I like to tell a story through words and images...’ Shirley McLauchlan:: Cotton:: Sample 9
Inspiration:: Ayrshire White embroidery work. I needed to communicate my love of this embroidery. My own work relies on the narrative. I like to tell a story through words and images, and I greatly consider my clients personalities. I am passionate about my life and the two people dearest to me- so I have included my daughter’s name and special dates and symbols of love.
42
Research::
After physically seeing the Ayrshire embroidery I was completely in ‘awe’ of the skill and beauty of this work. The more I researched it he more inspired I became. It was apparent how many hours and how much skill these women had. Sadly for me I had limited time so I decided to try and replicate the feel of the Ayrshire embroidery with the addition of print.
Materials and Techniques::
Medium cotton. Aqua suede binder. Cotton thread. As mentioned I did not have the time to physically stitch detail like the Ayrshire embroidery so I drew from “The Tree of Life” and exposed these drawings onto screen. I then added several stitches: running stitch, French knot, daisy and cross stitch.
Did you have any expectations?
I expected that the Wuhan students would have excellent hand skills and that they would add to my original sample. I had left space and loose threads in the hope that they would add to my sample with perhaps some traditional embroidery techniques from China. I had hoped to learn something of their culture.
What is your response to the reworked sample? I was very surprised and somewhat distressed to see the amount of hard work and hand embroidery that I had done to be completely covered with no appreciation of the technique and work. I could not understand why you would glue over hand embroidery!! Very crude and brightly coloured. Nothing added onto my samplejust colour + glue + sequence + gems.
What techniques and materials were used?
No techniques used. A small amount of hand embroidery. And a lot of glue.
What have you learnt?
•Not to be precious about my time/work. •To be more generous in spirit. •Not to be so serious, in terms of (design+time) •Be more ‘open-minded’ •Not to have pre-conceived ideas!
43
Research:
44
Crisp white christening gowns that had extremely delicate Ayrshire needlework embroidery on them. I sought to combine the Scottish Paisley motif and Scottish Ayrshire needlework.
Natasha Khushi::
3rd Year ECA student Cotton:: Sample 5
Inspiration:: White on white. Mendhi designs.
As the Paisley shawls originate from Kashmir (India & Pakistan), I had a chance to express my own heritage. Their arrival to Scotland matches the path of my own ancestry. I am communicating that journey and my sense of belonging to both these diverse yet interconnected nations.
Techniques and Materials::
Cotton fabric and threads. Puff binder mixed with Pearl binder: to curb the puff binder’s tendency to puff up too much because my designs have fine detail.
Did you have any expectations Natasha?
Not really…actually, I expected them to have an all-together different approach, but I guess I took for granted that every institution schools you the same.
What was your reaction to the sample?
I was quite happy with my reworked piece. I felt that they did not clutter the design. The addition of black was complimentary, even though the colours ironically oppose. My fine white stitches and fluid paisley shapes are in conflict with thick black stitches, black 3D chiffon roses and black geometric line drawings on the other end of my sample…but it works!
What techniques can you observe?
Drawing with black pen. Black cotton thread used to embroider with. And black chiffon fabric cut into stripes, rolled up and then stitched to create flowers.
What have you learnt?
The huge difference in textile techniques; their development and refined expertise purely based on the area of the world they are in.
45
46
47
‘Natasha, would you recommend that your sample be further re-worked?
I’m not sure what…but I think there could be a chance to push it further.’
What was your very first reaction to the piece?
48
2nd Year eca student
i liked the piece very much. i thought that cream and black complimented each other for a classic look. It’s illustrative, contributed by both students. I did not like the fabric black roses or the heavy line running through the fabric, they were too bold for the piece and overshadowed the intricacy of the scottish design. the piece lacked structure as a whole. i instantly wanted to reconstruct it as there were elements that needed to be enhanced and framed.
Digital Design for sample 5
Please describe the sample in your own words, before you worked on it.
Kate Sinclair::
originator:: natasha Khushi Wuhan partner:: Unknown
it was a cream cloth with a traditional fine paisley print using white elastal. The design had then been drawn into with black biro around parts of the white print. not adding much but highlighting and outlining what was already there. Then finally a heavy stitch was made through the centre in the shape of a twig or map using black embroidery with 3 layered fabric roses placed amongst the thread.
Describe your initial response to the additional material in the envelope?
there was way more research evidence provided by the scottish student, which was important as it gave me my idea for pursuing my own paisley design, much like natasha had done.
Did you have dialogue with the originator?....what was said? i did not.
What were you motivations to develop your sample in the direction you chose? E.g, technique, hand skills, history, colour. my initial motivation was for my design to be constructed more dynamically with a clean composition. i was also inspired by the original piece to keep the colours as they were. i wanted to retain the balance between the two nations, so my final idea tackles this. i used the scottish drawing in black and inserted it into a Yin Yan paisley design.
Talk us through the processes you went through to change the sample, eg photoshop layers, tools, filters etc. i began drawing my own paisley design by using the lines of the drawing i found in the pack. i wittled it to a couple of simpler structures for the new design that i could work with. i then chose two areas, one scottish and one chinese, of the cloth that had designs i liked. i paired each design with one of my two final paisley shapes to insert into. i then played with the scale of each design and made some patterns using photoshop. once happy with the range of designs to insert into the shapes created by the two paisleys i used clipping masks to insert them. I also used black fills on opposing shapes to avoid pattern beside pattern.
49
50
In 5 words:: the sample before your intervention::
Delicate. Fresh. Traditional. Animated. Illustrative.
the sample after your intervention:: Clean. Dynamic. Modern. Oriental. Bold.
define your experience of this project::
Personal. Progressive. Playful. Considered. Organised.
the future for international inter-university collaboration::
Communication. Understanding. Subjective. Unguided. Considerate.
51
52
Nicola Lynch::
3rd Year ECA student Polyester Satin:: Sample 11
Inspiration:: Birds The colouration of Chinese birds and Scottish birds are very different. I wanted to use really bright colours…so I did. Texture being my main means of expression.
53
Research::
I looked at birds for inspiration: their colouring, their iridescent quality. Grouse- indigenous to Scotland. Abstraction.
54
Materials and Techniques::
Polyester Satin, using Dysperse Dyes to bring in the bright colours and textures. Dysperse Dyes are impregnated into the fabric using heat. So, by painting with them onto paper with expressive brushstrokes, letting it dry, and then layering the colours to create depth of colour. The paper with my mark making is then placed on top of the fabric face down and put in the heat press for 40 seconds to complete the process.
How did you expect our collaborators to respond? Judging from the samples we were sent, I had a feeling our samples would return heavily embellished.
What is your response to the reworked sample?
I like it. The organza adds to the iridescent quality that my research conveyed. I’m not partial to the gems though. The organza thumb print sized disks are a great development, however I would not have glued them on…maybe stitched them?
What techniques and Materials did your collaborator(s) used?
Silver shimmery organza, subtle. Tiny glass gems glued on with a glue gun.
What have you learnt Nicola?
I have learnt that I should always take photographs of my samples and the process whilst designing. The documentation which they sent was insightful , I’m regretful that I couldn’t reciprocate that.
55
56
Fan Lin, Miao Shi, Xue Wanqing, & Sun Dan::
WTU student Synthetic Organza:: Sample 11
Inspiration:: Fish The theme is the mystery of the deep sea which is a retort to the birds which fill the sky and land.
57
Research::
Mackerel scales; shoals of fish. Vivid colours in the sea and starry night’s reflecting into the ocean.
58
Material and Techniques::
Cutting coloured organza and transparent yarn into the scaly shapes.
59
'What have you learnt Nicola? I have learnt that I should always take photographs of my samples and the process whilst designing. The documentation which they sent was insightful , I’m regretful that I couldn’t reciprocate more of that.’
60
James Bruce::
3rd Year ECA student Wool:: Sample 4
Inspiration:: Popular Culture.
My sample relates to communication through its strong use of imagery. The visuals I have selected and composed represent the links between Scotland and China, and all the relations which are to be made: for instance, the pair of pandas gifted from China to Edinburgh Zoo.
Research::
Initially I was stimulated by Nero (a British electronic band). From observing their video clips I went on to look at graffiti in its broadest sense: image making, colour, surface, and content, then narrowed it down to graffiti directly communicating with its viewer. Graffiti communicates in its essence, and thus was a well of inspiration. Also, I followed the reports of the many trade deals in Edinburgh( and the UK as a whole) while VicePremier Li Keqiang was visiting.
61
62
Techniques and Materials::
Screen-printing and dying, and embroidery. The mediums I have used are: Acid Dyes::which are best for natural fibres(like the wool I was using). Colour Discharge Printing::which is used to take colour away from an Acid Dye base. Opaque Binder::which is a printing base that sits flat and solid on the surface of the fabric -this allowed me to put some more vibrant colours! Aqua-suede(or Puff binder)::which also sits flat on the surface of the fabric, however, when you apply enough heat, it reacts, and puffs up! The raised surface it creates acts as a means to stop the fabric from fraying so I could achieve a good finish when I cut areas out. Embroidered with thick orange wool.
63
64
Any expectations James?
Not really after receiving their samples to work on. I did consider that it would involve super glue and beading. I guess I am not accustomed to feeling it is acceptable to put glue on a sample that way.
What was your reaction to the sample when it came back? OMG! Was my first reaction, but
after looking through the research they sent back I understood their approach. Admittedly, I would have gone about it differently.
Analysis of technique?
Staples, paper, safety pins and metal hoops. No printing, just embellishment‌ through gluing. There was a lot of red and metal, and a little black net.
What have you learnt?
Always take photos of your work, so in the instance that something happens you have the original copy to make a comprehensive comparison. To be less
precious of my work, especially such a project, where relinquishing ownership is at its heart.
65
66
67
Fan Lin, Miao Shi, Xue Wanqing & Sun Dan:: WTU students Wool:: Sample 4
Inspiration:: Pop Art The pattern and colour I chose represents the people’s mind set and the social atmosphere during the Cultural Revolution. Meanwhile, the metal, i.e., the staples, metal hoops and safety pins, are a dramatic element I included to convey the pop culture’s dark humour.
68
Research::
The Inspiration came from the cultural impact between the Pop Art of England and the red culture of China from 1950s and 1960s.
Techniques and Materials::
Pins, staples and copper rings. Black netting fabric has been inserted into the design. Furthermore, I added the China red paper and its fivepointed star.
69
70
Erin McComb::
3rd Year ECA students Wool:: Sample 13
Inspiration:: Scenes of heritage.
I was communicating how, as a foreigner, I perceive Scotland. I wanted to communicate the beauty and antiquity of Isle of Skye.
71
Research::
19th Century sewing samplers from North America and Scotland. I wanted to incorporate some of my heritage into this project(USA) and samplers were something all young women would use to learn how to sew. I used imagery from a trip I took to Isle of Skye in Northern Scotland.
Techniques and Materials::
I did a series of woodcuts in the style and placement of a North American sewing sampler. I used wood cutting tools and wood to carve my design. With the three different sheets of wood, with my drawings shaved out of them, I rolled water based inks onto their surface and then placed them on my fabric; on a printmakers press I wound the wheel and left an even impression on the fabric.
72
“Any expectations Erin?
No...none. What have you learnt? I think the trick is to keep it simple.�
What is your analysis of reworked sample?
It's great! What more could I hope for then for someone to sympathetically, humorously and meticulously hand-draw (in a slightly different colour pen, to make a distinction) their respective scene of Heritage.
What is your analysis of the techniques used?
The drawings are hand-drawn with fine tip pens. The Chinese calligraphy is in marker pen (or something like that) and there is a little piece of writing at the bottom right hand corner that is written in English.
73
The Reality:: It is impossible to avoid assumptions; however this project has raised our awareness of allowing our assumptions to lead a project. We assumed that the samples from each institution would follow a specific format. We assumed that the cultural approaches of each institution would be easily understood and mirror or complement our own. We assumed that we understood our own textiles historical culture (both ‘Scottish textile techniques were of Indian derivation). In short despite our best intentions we had already envisaged the format of the output of our project before if truly began. We pride ourselves on promoting the value of the process in learning and teaching rather than focusing on the product/designs, yet in this project our initial expectation was to produce an exhibition of the textiles. Despite the visual and textural richness and the wonderful crossing of cultures in some of the final textile samples, the value in this project is undoubtedly seen in the reflective feedback from both the students and the staff. We have learned from the process of developing our own approach to this project, we learned from the involvement in other culture’s approach to the same brief however it seems that we have learned most in reflecting and it is here where we must place the value of this experience. Lindy Richardson MA(RCA) ECA Programme Director Textiles July 2012
Project Concept:: Lindy Richardson &
Robert Gillan
Participants:: staff & students of Edinburgh College of Art, Textile Department, & staff & students of Wuhan Textile University, Department of Fashion Design & Clothing Engineering. Book Compilation:: Izzy Bocchetti Contact Details::
Lindy Richardson Programme director, Textiles Edinburgh College of Art, 74 Lauriston Place, Edinburgh. EH3 9DF Tel:: 0131 651 5812 E-mail:: l.richardson@ed.ac.uk Professor Maggie Tao, Deputy Dean, The School of Clothing, Wuhan Textile University, 1 Fangzhi road, Luxiang, Hongshan District , Wuhan. Tel:: 86 027 87181099 Mobile:: 86 13971595240 E-mail:: maggietao24@126.com