T1-MMT-P1-p2-e6 Tearing

I started thinking about this exercise earlier in the week with general musing about tearing. The course notes give the definition “the act of breaking a material without the use of tools”.

Tearing
Uneven edges
Broken, distressed
Hidden inner revealed – different colour, texture?
Loss of control
Partial control – crease first?
Scallops of nibbles
Lacey, delicate, fragile
Combine to form pattern
Tension between linear and random
grain of material
stretching and fluting of edges
strength, force, disintegration, overpowered, overwhelmed
loss, void, parted
Reassembled, darning, mended, scar
sensitive, follows lines of weakness, least resistance
not cutting, imposing – responding
Damaged. Resilient

How many of those will I find in my materials?

Sample p1-79. Using A3 indigo-dyed cartridge paper – thinking it would show the inside clearly.
The page has a few wax/crayon marks from my January indigo experiments (post 9-Jan-2015, with this page produced Thursday 1st).
Folded down centre, held on table on left side. Tore quickly down.

Sample p1-79 Quick tear

Sample p1-79 Quick tear


Tore mostly straight. Felt a little soft – gave easily. This could be a combination of the previous dyeing and the fold, but I suspect it is also humidity – Sydney has had lots of rain and storms, flooding in areas, over the last week. The internet tells me 77% humidity, and it is raining again at the moment.
Sample p1-79 Detail

Sample p1-79 Detail


Quite an organic, varying line, highlighted by the soft centre white of the paper.

Sample p1-80
A quick tear, no pre-folding, left side held down.

Sample p1-80

Sample p1-80 Rotated – “left side” is shown as top


Unintentionally tore at an angle (no influence of grain?)
Broad edge of white, each side of which has its own slightly different tear, giving a lot of variation in detail.
Sample p1-80 Detail

Sample p1-80 Detail


The thin edge curled – another characteristic to explore.
Sample p1-80 Detail - edges folded to show both faces

Sample p1-80 Detail – edges folded to show both faces


The white border is on one face of each side, giving opportunities for variation and contrast.

Sample p1-81
A slow tear, left side held down on surface, trying to maintain a moderately straight edge but encouraging the border of white.

Sample p1-81

Sample p1-81


Worked as intended.
The edge is thin, a bit fuzzy and frail. Depending on use would need to think about stabilising it – or leaving to show further signs of age and use.

Sample p1-82
Grabbed a side in each hand and pulled paper apart. Harder than I expected, needed a lot of force.

Sample p1-82

Sample p1-82


Sample p1-82 Detail

Sample p1-82 Detail


Get a dimensional effect from the gripping of the hands. The white edge varies, showing on one face and then the other of each side. It reminds me of a river, with sand banks building up depending on curves and current.

Sample p1-83
Returned to other half of the original A3 paper, trying repeats to see if there is any impact from the grain by tearing at 90 degrees.

Sample p1-83

Sample p1-83


Similar to p1-79 in method. Line is more controlled, slightly less exposure of the white centre.

Sample p1-84
Repeat of p1-80, looking for any impact of grain of paper.

Sample p1-84

Sample p1-84


Broad edge, but straighter tear overall. I was probably more careful. The inner blue edge on the left seems to have less variation at a detail level.

Sample p1-85
Repeat of p1-81, looking at grain.

Sample p1-85

Sample p1-85


This also felt easier to control.
Sample p1-85 Backlit

Sample p1-85 Backlit


There is an extra level of layering in parts of the torn area, easier to see when backlit. In this photo there is also an impact of the patterning of the indigo dyeing on the other face.

Sample p1-86
Repeat of p1-82, looking at grain.

Sample p1-86

Sample p1-86


Not as intended! I guess I didn’t have enough of a handhold.

Sample p1-87
Exploring the combined effect, still working with the single initial A3 page.
Sample p1-87a. Layering

Sample p1-87a

Sample p1-87a


I like the extra shadows, giving darker lines.
Sample p1-87b. Weaving
Sample p1-87b

Sample p1-87b


Weaving is less interesting with this set.
Sample p1-87c. Recombined
Sample p1-87c

Sample p1-87c


The exploded page. This suggests possibilities with spacing.
Sample p1-87d

Sample p1-87d


Sample p1-87e

Sample p1-87e


Sample p1-87f

Sample p1-87f


Sample p1-87g

Sample p1-87g

Sample p1-88
A sheet of handmade paper, roughly A4, from MakerSpace.
It has lots of little inclusions. I can see fragments of text, a little plastic (sticky tape?)…
A quick tear, 1 side supported.

Sample p1-88

Sample p1-88


Quite a gentle line.
Sample p1-88 Detail

Sample p1-88 Detail


The edge is a little fuzzy and fibrous. Perhaps the path of the tear has been influenced by the fragment components of the paper.

Sample p-89
A slow, careful tear.

Sample p1-89

Sample p1-89


A very rough but overall straight line.
Sample p1-89 Detail

Sample p1-89 Detail


It tore in uneven little jumps, as if pausing to consider which way to go around fragments of different density.

Sample p1-90
This was meant to be scallops, lots of little tears one after another, new pinch point on the left side with each tear in the sequence.

Sample p1-90

Sample p1-90


Doesn’t seem to add anything new.

Sample p-91
For contrast, and given I haven’t done the earlier cutting exercises, I cut some strips.

Sample p1-91

Sample p1-91


So much of the life and interest gone! The cutting subdues the paper, removes its individuality.

Sample p1-92
Sample p1-92a. Weaving play

Sample p1-92a

Sample p1-92a

Sample p1-92b. A combination.

Sample p1-92b

Sample p1-92b


For me the materials don’t enhance each other. Not similar enough and not different enough.

Sample p1-93
An A3 sheet of Detail paper, 50gsm
A quick tear, one side supported.

Sample p1-93

Sample p1-93


Difficult to control. A little rough at edges.

Sample p1-94
Detail paper. Slow tear, supported on the left on the surface.

Sample p1-94

Sample p1-94


It was easier to control and keep roughly straight.
Sample p1-94 Detail

Sample p1-94 Detail


I like the layering of the edges at the detail level.

Sample p1-95
Detail paper. Short tears, pinched between thumb and fingers on the left.

Sample p1-95

Sample p1-95


Almost the scalloped edge I’m looking for.
Sample p1-95 Detail

Sample p1-95 Detail


The edges of the tear are harder, creating a thin white line.

Sample p1-96
Detail paper. A slow tear, supported on the left, at 90 degrees to the previous tearing.

Sample p1-96

Sample p1-96


No real difference apparent.

Sample p1-97
Detail paper. Tried bundling grip in each hand and pulling apart.

Sample p1-97

Sample p1-97


I’m not strong enough

Sample p1-98
With hands held closer and gathering in from the side, I was able to pull the paper apart.

Sample p1-98 - Grip!

Sample p1-98 – Grip!


Sample p1-98 Result

Sample p1-98 Result


I quite like the crumpling! The edge is quite clean and sharp.

This exercise is feeling quite tedious at the moment. I need to find a way of livening it up.
Try some different types of materials.

Sample p1-99
The thin pink plastic seen in earlier exercises (see especially p1-62, 20-April-2015).

Sample p1-99

Sample p1-99


I wasn’t able to tear it by just grabbing two sides and pulling, but it stretched and created some nice parallel lines.

Sample p1-100

Sample p1-100

Sample p1-100


Lots of little tears, pinching between thumbs and forefingers.
A nice, stretched, fluted looks with lots of variety at the detail level.
Sample p1-100b

Sample p1-100b


Gathered in to make a flower. I wouldn’t have said I was a pink plastic flower sort of person.

Sample p1-101
Carrier bag plastic.

Sample p1-101

Sample p1-101


Difficult to get started, with lots of stretching. Once I had it going it tore easily, with some delicate little flutes at the edges.
Sample p1-101 Detail

Sample p1-101 Detail

Sample p1-102
Crepe paper
Attempted a quick tear, supported on the worksurface on the left. The tear was meant to follow the lines of the crepe crinkles.

Sample p1-102

Sample p1-102


Very difficult to control. Would stretch, then suddenly tear in unexpected directions.

Sample p1-103
The same general approach, but this time across the lines of the crepe crinkles.

Sample p1-103

Sample p1-103


A fluttery line – soft yet jagged.

Sample p1-104
Layering with earlier samples.

Sample p1-104a

Sample p1-104a


Sample p1-104b

Sample p1-104b


Sample p1-104c

Sample p1-104c


It enhances other tears.
Fresh and white, so doesn’t fight (perhaps gives a resting place to the eyes), and builds the texture.

Sample p1-105
Thin ply.

Sample p1-105

Sample p1-105


Tearing with the grain was easy, but not particularly exciting.

Sample p1-106
Thin ply.
I didn’t expect to be able to tear across the grain without pre-folding.

Sample p1-106

Sample p1-106


Using sudden, sharp force I was able to make a start, but didn’t get all the way across before the tear changed direction to follow the grain.
Dramatic jagged lines.

Sample p1-107
A sheet of cork, 3mm thick.

Sample p1-107

Sample p1-107


A quick tear quickly found the edge. A slower tear didn’t go much better. Third attempt (on the left) was carefully supported on the work top, with short, careful, nibbling tears.
Sample p1-107 Detail

Sample p1-107 Detail


I like the rugged coastline look at the detail level.

Sample p1-108
Tissue paper. A slow, supported tear.

Sample p1-108

Sample p1-108


More even and less exciting than I expected.

Sample p1-109
A repeat, going the other way across the tissue.

Sample p1-109

Sample p1-109


I hadn’t realised tissue paper is so strongly grained! A bellringing method, seismograph, heartbeat?

Sample p1-110
The course notes suggest repeating in tearing exercises previously done using cutting. I haven’t done the previous exercises (yet?), so can’t refer back. Here however is tearing tissue paper from one edge.
Sample p1-110a

Sample p1-110a

Sample p1-110a


Sample p1-110b. Coiled around.
Sample p1-110b

Sample p1-110b


Sample p1-110c. Curved into a tunnel
Sample p1-110c

Sample p1-110c

Sample p1-110c
I wasn’t feeling positive about the strips back on themselves and through the base (sample 110c) so tried curling the other way.
Sample p1-110d

Sample p1-110d


A slightly more convoluted wrapping over and protruding through didn’t work. Even backlighting didn’t help, so not shown. Usually tissue will show lovely layering.

Sample p1-111
Indigo dyed cartridge paper, A4. This follows up the previous sample, but in a firmer (although not crisp) paper which may hold shape better.
Sample p1-111a. Torn from one edge.

Sample p1-111a

Sample p1-111a


A curve from the tearing. All the tears were with the same side facing, so each has the white inside appearing on the same side (the left of each strip in the photo). It could be interesting to vary this, so both sides of a strip match.
Sample p1-111b. Curled around.
Sample p1-111b

Sample p1-111b


Sample p1-111c. In a tube.
Sample p1-111c

Sample p1-111c


Not easy, given the variation in width of the strips (overlapping, given the splitting of layers of paper) and that I hadn’t left enough untorn area to be able to stagger the slits well, so the end part is just tucked around.
Sample p1-111d.Tube arranged differently.
Sample p1-111d

Sample p1-111d


Sample p1-111e.
Sample p1-111e

Sample p1-111e


Sample p1-111f. I used the blade of my scissors to curl the strips in opposite directions. (Using a tool! So outside the strict parameters of the exercise)
Sample p1-111f

Sample p1-111f


Sample p1-111g. Trying to get a bit of height and a less formal arrangement, in an improvised stand.
Sample p1-111g

Sample p1-111g


A fountain of curls?

Tearing didn’t excite me as much as some of the other exercises. Perhaps it’s more familiar so I didn’t get as many surprises or unexpected insights. Changing to more unconventional materials helped briefly. If I have time later I’d like to go back to the earlier exercises in this project – crisp cuts and a clean structure building impact through repetition seems appealing.

Proof-reading this post gave me another look at the definition given. Breaking without tools. Perhaps I should have tried something unexpected like punching and kicking.

T1-MMT-P1-p2-e6 Tearing
Textiles 1 – Mixed Media for Textiles
Part 1: Surface Distortion
Project 2: Tearing and cutting
Exercise 6: Tearing

T1-MMT Polymorph sidetrack

More sidetracking – Polymorph pellets

Mat from madmat3dprinting.com.au sent me some polymorph pellets and flexible filament to try. I started with the polymorph pellets. These are thermoplastic that melts at around 60° C and can be moulded by hand.

Sidetrack sample p1-5 Can I make a multi-coloured plastic lump, roll it out and shape or emboss it?

Sidetrack p1-5 Materials

Sidetrack p1-5 Materials


Polymorph beads and tubs ready to go.
Sidetrack p1-5 In dyed hot water

Sidetrack p1-5 In dyed hot water


Beads in tubs with hot water. Some drops of old silk dyes in a couple.
Sidetrack p1-5 Result

Sidetrack p1-5 Result


Basically the colour was unsuccessful. The colour was squeezed out with the water. There is a slight trace of the pink visible, but I suspect that is more trace “foreign matter” remaining in the plastic (just as there are smears of dirt in the plain sample – the garage is partially open, so always dirty.)

Sidetrack sample p1-6. Can I remelt and remould plastic no longer in beads?

Sidetrack p1-6 Remelted in hot water

Sidetrack p1-6 Remelted in hot water


One part back in hot water. It went transparent, suggesting it had remelted.
I quickly kneaded it and rolled it flat with a rolling pin, working quickly as it was already turning white. I pressed in a plastic shape (originally the side of a peg basket, I think)
Sidetrack p1-6 Embossed

Sidetrack p1-6 Embossed


The embossing worked. I think my palm-print is in it – not visible, but the roughness can be felt. The plastic is slightly flexible.
Sidetrack p1-6 Backlit

Sidetrack p1-6 Backlit


Backlit the pattern is very clear.

Sidetrack sample p1-7.
Can I print with it?

Sidetrack p1-7

Sidetrack p1-7


I rolled on acrylic paint using a foam roller, and tried to print onto cartridge paper.

The first two prints (on the left) weren’t successful. The first had too much water in the roller. Both the first two were on a hard surface.
The third and fourth were printed on a softer surface and are more successful, but I think I can see the influence of my palm print.

Sidetrack sample p1-8
Can I clean the paint off and reuse the plastic?

Sidetrack p1-8 Cleaned and re-embossed

Sidetrack p1-8 Cleaned


A toothbrush and cold water got rid of most of the paint. I might have got more with soap and warm (not hot!) water, but I wasn’t too fastidious – I’m curious as to how much colour sticks around after reuse.
This time I remelted, kneaded and rolled, then back into the water for a soften. Then out, roll and emboss – pressing with the rolling pin rather than my hands.

The plastic is beginning to look rather grubby and there are some bubbles in it. Air? Water? A reaction to impurities?

Sidetrack p1-8 Prints

Sidetrack p1-8 Prints


On the left I pressed down by hand. On the right I tried to keep the pressure more even, by putting a piece of 3 or 4 mm perspex on top and pressing on that. Although not at all “clean” I rather like the one on the right – it seems to have some character.

Sidetrack sample p1-9
Can I use the original object and combine the prints?

Sidetrack p1-9 Overprinted

Sidetrack p1-9 Overprinted


The first attempt, top right, I didn’t think about where I’d put the paint on the stamp. Quite a lively, interesting result. I like the unintended inclusion of the second underprint (the one to the left). It all seems to work together.

Lower down is the second overprint. I thought much more about placement, and the underprinting was my favourite. I find the result a little dull. Too predictable?

Sidetrack p1-9 Stocktake

Sidetrack p1-9 Stocktake


I now have a rather grubby stamp and two other pieces – one faintly pink, the other faintly yellow.

Sidetrack sample p1-10 I want to try some inclusions, and make a lacey, fluttery shape.

Sidetrack p1-10 Inclusions

Sidetrack p1-10 Inclusions


A rather amusing interlude later, and I have a flower-like shape firmly attached to some pvc pipe, and little bits of colourful foil all over my work area.
Sidetrack p1-10 Top view

Sidetrack p1-10 Top view


The inclusions work quite nicely (although the leftovers are going into a secure bin as soon as I can track them down).

I was trying to mould around the pipe and it was a nasty shock when it wouldn’t come loose. Still, this is very useful information. The molten pellets bond very firmly to pvc.

Sidetrack p1-10 Backlit

Sidetrack p1-10 Backlit


Backlit looks good, and there is a clear sense of layers in the inclusions. I think this has a lot of promise – always being careful of the application (no hot water anywhere, and probably not any heat).

Sidetrack sample p1-11. Can I colour the polymorph plastic using disperse dyes?
I ironed the back of the relatively flat embossed piece with a paper of disperse dye – between baking paper to protect iron and surface.

Sidetrack p1-11 Plastic still warm with disperse dye

Sidetrack p1-11 Plastic still warm with disperse dye


It looked great when still warm. Above it is still on the paper and the view is actually through the warm plastic to the back.
Sidetrack p1-11 Dyed plastic

Sidetrack p1-11 Dyed plastic


Once cool the paper was removed with just a little patience. The baking paper hadn’t stuck at all when ironing.
Sidetrack p1-11 Remelting plastic

Sidetrack p1-11 Remelting plastic


A little colour floated away in hot water, but most stayed.
Sidetrack p1-11 Cool remoulded plastic

Sidetrack p1-11 Cool remoulded plastic


Strong colour remained in the moulded, cooled plastic!
Sidetrack p1-11 Backlit - striations visible

Sidetrack p1-11 Backlit – striations visible


The backlit view shows striations where the colour isn’t completely mixed through. Rather a nice flower petal effect.

Sidetrack sample p1-12. Will adding another colour lead to colour mixing?

Sidetrack p1-12 More colour - still warm

Sidetrack p1-12 More colour – still warm


It’s hard to judge what’s happening with colour when the plastic is still warm and transparent.
Sidetrack p1-12 Stuck paper

Sidetrack p1-12 Stuck paper


Patience failed, and some disperse dye paper was left stuck to the plastic.
Sidetrack p1-12 Cleaned

Sidetrack p1-12 Cleaned


It was easy to rub off the paper in cold water.
I had softened and partly flattened the plastic before ironing with the dye, but the surface was still rough and uptake of colour uneven.
Sidetrack p1-12 Part mixed

Sidetrack p1-12 Part mixed


Part-mixed the plastic shows a lot of colour variation. Of particular interest are some thicker edge parts which remained pink and didn’t soften a lot when remelting. This suggests all sorts of possibilities for colour variation.
Sidetrack p1-12 Result

Sidetrack p1-12 Result


The final, cooled result was a rich purple – the mix of the pink and dark blue dyes added.
Being able to add strong colour like this really opens the polymorph to all sorts of applications, especially with the ease and flexibility of mixing colours.

Sidetrack sample p1-13. I decided to return to earlier crumpling experiments with ribs – see for example sample p1-13 (30-March-2015). Very happy with the result.

Sidetrack p1-13 Ribs

Sidetrack p1-13 Ribs


Sidetrack p1-13 Reverse

Sidetrack p1-13 Reverse


Sidetrack p1-13 Backlit

Sidetrack p1-13 Backlit

Unfortunately this session was cut short. Some ideas to continue with next time :
* Adding powdered colour. Not my dyes – bad / hazardous to use in powdered form. Other pigments.
* inclusions – How far can you go? What happens as it loses cohesion or structural integrity?
* Apply heat in other ways than immersion in hot water? Can one work more precisely?
* Tendency to catch to itself – avoid by wide / flat container
* adherence to other plastics -especially ABS filament?
* Can I write with 3D pen on to /from it?
* how would it react to scraps of filament included in it?
* would a stainless steel bar work better than a wooden rolling pin?
* can one cut/ pierce the hardened plastic – hot needle; awl; various knives?
* if it adheres to carrier plastic, can I smear it on to use as shaping support?
* I wanted to get lacey effects, but it pulls more like toffee. Accept this and go for gothic? Fight it -say use tools (awl?) while moulding?

T1-MMT-P1-p3-e2 Using a heat gun – third session

For my third session I choses two focus points – a quick test of a range of materials, and some experimentation with colour in fabrics.

Sample p1-65. The gridded foil shelf liner.

Sample p1-65 Before

Sample p1-65 Before


Sample p1-65 After

Sample p1-65 After


After heating the shiny side

Sample p1-66. The same gridded foil shelf liner.

Sample p1-66 Before

Sample p1-66 Before


Before, on the reverse side.
Sample p1-66 After

Sample p1-66 After


Sample p1-66 After - detail

Sample p1-66 After – detail


Sample p1-66 After - reverse of reverse

Sample p1-66 After – reverse of reverse


After heating the reverse side. The plastic backing dissolved, giving a distressed effect, and a textured foil material that isn’t super shiny. The front (or reverse of the reverse) has a potentially useful unstructured grid effect. The material is quite strong and I think would survive stitching. A useful result.

Sample p1-67. Polyester fill

Sample p1-67 Before

Sample p1-67 Before


Sample p1-67 After

Sample p1-67 After


Sample p1-67 After - detail

Sample p1-67 After – detail


At first it seemed to be dissolving away like fairy floss, but it ended with a deep texture effect.

Sample p1-68. Thick acrylic felt, leftover from a sound-reduction project.

Sample p1-68 Before

Sample p1-68 Before


Sample p1-68 After

Sample p1-68 After


The effect is more apparent to the touch than the sight. I would like to try printing off this.

Sample p1-69. Non-slip liner.

Sample p1-69

Sample p1-69


No photo of after – there was no apparent reaction at first. I put the heat up, but could see fumes so stopped working with it.

Sample p1-70. Some thin acrylic felt, two colours, layers partially overlapped.

Sample p1-70 Before

Sample p1-70 Before


Sample p1-70 After

Sample p1-70 After


The melting them together idea went nowhere. Treated separately I got some nice distressing of the surface plus variation in colour. It could make a good concealing/revealing layer. Alternatively the mottling could help texture an area.

Sample p1-71. Polyester satin

Sample p1-71 Before

Sample p1-71 Before


It took a lot of heating to get this moving.
Sample p1-71 After

Sample p1-71 After


Some nice texture, and it really breaks up the shine to give a much more interesting – and less cheap – look.
It still doesn’t feel nice for hand-sewing – if you spend a lot of time handling a material you want it to feel good. However it should be fine for machine stitching.
It could be effective to combine this texture with colour from disperse dyes.

Sample p1-72. Synthetic velvet.
A small sample – I only brought one piece out with me, and I want to try heating from both sides. First the front (textured) side.

Sample p1-72 Before

Sample p1-72 Before


Sample p1-72 After

Sample p1-72 After


Very hard to get moving, de-lustred, hard and nasty where it shrunk most.

Sample p1-73. Synthetic velvet.
I’m very not keen, but going ahead with the plan. This time heating from the knit side.

Sample p1-73 Before

Sample p1-73 Before


Sample p1-73 After - knit side

Sample p1-73 After – knit side


Sample p1-73 After - pile side

Sample p1-73 After – pile side


A much quicker response to the heat. The result is not so hard and plasticky, except where the edges rolled a bit. The lustre is still there, and because it is now dimpled it is not as harsh a shine as the original fabric.

Sample p1-74. A light, synthetic silver lamé thing.

Sample p1-74 Before

Sample p1-74 Before


Sample p1-74 During

Sample p1-74 During


Sample p1-74 After

Sample p1-74 After


Sample p1-74 Backlit

Sample p1-74 Backlit


A nice textured and disstressed look. The fabric is a bit crunchy and fragile, so would probably be a pain to work with.

Sample p1-75. Pink synthetic crystal organza.

Sample p1-75 Before

Sample p1-75 Before


Sample p1-75 During

Sample p1-75 During


Sample p1-75 After

Sample p1-75 After


Sample p1-75 Backlit

Sample p1-75 Backlit


Some interesting texture. It’s lost some shine, which I consider a good thing. It provides some variation in colour and transparency which could be useful. Ridiculously coloured rocks???

Sample p1-76. Pink and blue synthetic organza.
I want to try colour mixing, also whether I can get the two fabrics to join at all. I’ve used the kinetic sand for at least a little control – the pink on its own was very flighty.

Sample p1-76 Before

Sample p1-76 Before


Sample p1-76 After

Sample p1-76 After


Sample p1-76 Layers separated

Sample p1-76 Layers separated


The fabrics didn’t bond at all, but they fit together with related shaping, which could be useful.

What I’m really attracted by is the protection and shaping given by the sand.

Sample p1-77. Purple synthetic organza.
Areas covered by sand. Is this too detailed for the reserving effect to work?

Sample p1-77 Before

Sample p1-77 Before


Sample p1-77 After

Sample p1-77 After


Sample p1-77 Sand removed

Sample p1-77 Sand removed


Either that was a different kind of material, or the weight of sand and amount of material available for shrinking was the wrong mix.

Sample p1-78 Green synthetic organza.
A simpler set of sand shapes, and lots of spare material available.

Sample p1-78 Before

Sample p1-78 Before


Sample p1-78 After

Sample p1-78 After


Sample p1-78 Sand removed

Sample p1-78 Sand removed


That worked better.
I think this technique could be useful.

T1-MMT-P1-p3-e2 Using a heat gun – third session
Textiles 1 – Mixed Media for Textiles
Part 1: Surface Distortion
Project 3: Heating and fusing
Exercise 2: Using a heat gun

T1-MMT-P1-p3-e2 Using a heat gun – second session

I finished the first session using the heat gun on a high (see post 19-April-2015).

Sample p1-57

Sample p1-57


Sample p1-57 seems full of possibilities.
However…

Sample p1-58.
Starting a new day rather annoyed with myself, but determined to see it through. Last night I tried designing and making a 3D plastic support to shrink plastic over. I was tired, clumsy, hurried, lost my way, kept going, and created a montrosity nothing like what was in my head or on the plan.

Sample p1-58 Plan

Sample p1-58 Plan


Sample p1-58 Filament Frame

Sample p1-58 Filament Frame


Stubborn set in last night, and continues. Let’s see if I can get plastic on this thing. It occurs to me I don’t need to capture between two layers.
Sample p1-58a Before

Sample p1-58a Before


Not over-covered – maybe I’ll be able to layer. Plus using just a bit of kinetic sand.
Sample p1-58a

Sample p1-58a


Not sure what that is, but it doesn’t look promising.
Sample p1-58a Detail

Sample p1-58a Detail


Although at the detail level there is some piercing, and mysterious lumpy distortions. The opaque wrapping disguises and makes dull – although it makes me think of Christo’s work, particularly some packages I saw at AGNSW (http://www.artgallery.nsw.gov.au/collection/works/249.2011/). Apparently no-one knows what’s inside them. Masterpieces? Junk? Better than the wrapped trees, which just accentuated that they were long dead (http://www.artgallery.nsw.gov.au/collection/works/250.2011.a-b/).

Back on topic, what would cellophane do?

Sample p1-58b before

Sample p1-58b before


Sample p1-58b During

Sample p1-58b During


The cellophane was doing nothing, so I turned up the heat a bit – and my plastic filament armature softened and collapsed.
Sample p1-58b After - collapsed

Sample p1-58b After – collapsed


Poor little thing. The cellophane wasn’t attached at all, and I have a slumped mess.
If the cellophane wasn’t attached, is the carrier bag?
Sample p1-58b Bag detached

Sample p1-58b Bag detached


No! Just a little fiddling where things were curled around, and it separated. (I also stopped to shade the direct light from the window, so hopefully photos will improve).

Sample p1-59. Recycling the previous sample!
First, a new mould in kinetic sand.

Sample p1-59 Mould

Sample p1-59 Mould


The old form cut open and spread on.
Sample p1-59 Before

Sample p1-59 Before


Sample p1-59a. Initial result:
Sample p1-59a

Sample p1-59a


It softened and wriggled around and suddenly what was an awkward mistake has me intrigued. The outside is very textured, the inside less so, but not smooth.
Sample p1-59b.
Sample p1-59b Before

Sample p1-59b Before


I put on and scattered around some more bits.
Sample p1-59b After - on mould

Sample p1-59b After – on mould


Extra bits went on, I learnt to work on one area at a time, to be conscious of the force of the blowing, to press with tongs after a blast for shaping and to encourage connections.
I toòk it off the mould, realised there were some weak points and bad connections, and was able to improve them.
Sample p1-59b - Bowl turned down

Sample p1-59b – Bowl turned down


It’s a bit more crazy and fun on the outside than the side facing the mould. You could break it without any trouble if you wanted to – and probably when you didn’t want to too. But if I wanted to I could keep going, add more layers and more strength.
I can see lots of places to go with this – additional layers and strength; using an impression mould so the crazier bits are on the inside and more visible; preparing a loose mass of squiggles and placing on form to trace it (the thicker pieces of filament which either had not gone through the pen or went through quickly at similar diameter were the least successful in shaping and melding); preparing a relatively flat piece, then warming and shaping it freestyle…
It means any little piece of scrap filament can find a use.
However at this point I’ll move on.

Sample p1-60.

Sample p1-60 Before

Sample p1-60 Before


Some clear polythene folded over. It may look boring, but if it distorts interestingly there could be possibilities.
Sample p1-60 After

Sample p1-60 After


Definitely distortion, although not as much bonding of the layers as I was hoping for. Still, enough to continue.

Sample p1-61.

Sample p1-61 Before

Sample p1-61 Before


Feathers and rubber bands inside polythene.
Sample p1-61 After

Sample p1-61 After


Sample p1-61 Shadows

Sample p1-61 Shadows


Perhaps I tried to do too much with one little sample. Are there possibilities to exploit here? There are some coloured shadows, which could be interesting. It’s not speaking to me.

Sample p1-62. Would that light pink plastic that shrivelled under the iron do anything interesting (sample p1-52)?

Sample p1-62 Before

Sample p1-62 Before


Before – bit of a blurry action shot, as the afternoon breeze picks up.
Sample p1-62 After

Sample p1-62 After


Wow! Look at that cell structure!
Sample p1-62 Backlit

Sample p1-62 Backlit


Backlit. How nice is that???

Sample p1-63. I have some light white plastic, sold at a cheapy shop as “heavy duty table cover”. It’s a little heavier than the pink and has a slight texture. Will that act in a similar way?

Sample p1-63 Before

Sample p1-63 Before


Sample p1-63a After

Sample p1-63a After


Quite similar. This is exciting because the table covers come in a range of colours. They are also large and cheap.
It’s certainly soft enough to stitch into, although it might tear.
Sample p1-63b. On an impulse I cut it into a length.
Sample p1-63b Cut

Sample p1-63b Cut


And made a little chain of finger crochet.
Sample p1-63b Chained

Sample p1-63b Chained


Sample p1-63b Backlit

Sample p1-63b Backlit


More interesting in the photos than in life. It’s just so limp and drab.
I could heat it and see what happened next.
Sample p1-63c. Instead I decided to twist it
Sample p1-63c Twisted

Sample p1-63c Twisted


Sample p1-63d. And ply it back on itself.
Sample p1-63d

Sample p1-63d


The twist was a bit too soft perhaps, but it might make an interesting texture in a weaving, especially as one can play with colours.
Sample p1-63e. I took out the twist and did a new crochet chain.
Sample p1-63e

Sample p1-63e


Sample p1-63f. Then used the heatgun
Sample p1-63f

Sample p1-63f


Sample p1-63f Backlit

Sample p1-63f Backlit


Good shape. I like the irregularity that is also linear. It’s moderately flexible, a little crackly. You could probably stitch through it, or bits of it, but I think it wouldn’t be pleasant. For some reason I think of it in a coiled basket, but you wouldn’t want to compress the life out of it. I should use it as a printing tool the next time I have the paints or inks out.

Sample p1-64. I have no idea what kitchen wipes are made of, but wanted to try one.

Sample p1-64 Before

Sample p1-64 Before


Sample p1-64 During

Sample p1-64 During


During. Lots of movement, which you can control to an extent by where you direct the air.
Still pliable. Some holes forming, so I want to push further.
Sample p1-64 After

Sample p1-64 After


Sample p1-64 Detail

Sample p1-64 Detail


More shrinking and some holes forming. Still strong – didn’t tear with a sharp tug. Still pliable. It just doesn’t excite me. I think the pattern is too strong.

T1-MMT-P1-p3-e2 Using a heat gun – second session
Textiles 1 – Mixed Media for Textiles
Part 1: Surface Distortion
Project 3: Heating and fusing
Exercise 2: Using a heat gun

T1-MMT-P1-p3-e2 Using a heat gun – first session

Starting a new exercise, creating surface distortions using a heat gun.

Sample p1-50. Started very simply, with some coloured carrier bag.

Sample p1-50 Before

Sample p1-50 Before


The table top is covered with loose left-over tiles from a bathroom renovation. They protect the surface and could also be useful in indicating scale.
I aimed at fairly steady heat, seeing how far I could go.
Sample p1-50 After

Sample p1-50 After


Quite a way.
It was difficult to keep the plastic straight, given it was in a hot breeze.

Sample p1-51. Looking for more control. Can I shape the plastic over a mould?
Kinetic sand, turned out from a plastic tub. I’m confident the heat won’t hurt it, or at least not cause it to act in an unstable way, having seen in a video a man use it as a mould for molten aluminium.
Two layers of carrier bag over, with a little more sand at the corners in an attempt to manage flipping up.

Sample p1-51 Before

Sample p1-51 Before


Sample p1-51a. I only nudged the corners once or twice – the shrinking of the plastic was generally strong enought to pull it in.
Sample p1-51a Turned out

Sample p1-51a Turned out


Sample p1-51b. After taking it off the mould I still had unshrunk areas at the corners, plus the layers hadn’t fused in the centre (the base of my new bowl).
I attempted some fine-tuning, freehand.
Sample p1-51b Fine-tuned

Sample p1-51b Fine-tuned


The corners are more integrated, but there wasn’t enough plastic left in the centre to support the extra shrinkage. The layers are now pretty well fused, but holes are appearing.
Can I push that?
Sample p1-51c. It doesn’t really fit the mould any more, but I put it back on to provide some resistance to shrinking, thinking that would encourage holes.
Sample p1-51c Back on mould

Sample p1-51 Back on mould


Sample p1-51c end

Sample p1-51c end


A couple more small holes, but it was mostly the existing ones getting bigger. Perhaps where the layers had already fused there was too much strength, and only the weak points responded.

Sample p1-52. Now looking to create holes, how about a single layer, with blobs of sand scattered to stop flipping and to force uneven shrinkage.

Sample p1-52 Before

Sample p1-52 Before


Sample p1-52 During

Sample p1-52 During


After the first round of heating. Some of the sand blew/slid around. You can tell I’m right-handed.
Sample p1-52a. Some more heating
Sample p1-52a Front

Sample p1-52a Front


Sample p1-52a Reverse

Sample p1-52a Reverse


After shaking the sand off you can see bubbles of undistorted plastic that had been covered. The weight of the sand dots possibly wasn’t enough to stop movement and force holes, but enough to give protection to areas.
How will it respond to heating?
Sample p1-52b. For no particular reason I decided to heat from the reverse side. Nothing much interesting so I did some more from the front.
Sample p1-52b

Sample p1-52b


Seriously uninteresting.

Sample p1-53. Similar idea, but “cheat” by cutting some starter holes.

Sample p1-53 Before

Sample p1-53 Before


Just a little sand in the corners to discourage flipping.
Sample p1-53 During

Sample p1-53 During


Part way through. Always the question of how far to take it, but I might as well keep going and see what happens.
Sample p1-53 After

Sample p1-53 After


I tried to be very conscious of the direction of blowing, working to lift up and “blow out” weak points. At times the plastic stuck slightly to the tiles, which challenged the plan, but I do have a piece of plastic that looks damaged but is actually quite strong.

Sample p1-54 A change of track, wanting to let go of control. I’ve already seen this US postal bag shrink (Sample p1-39). What about a larger piece, which includes some holes cut for the ties and a thicker seam area in the middle?

Sample p1-54 Before

Sample p1-54 Before


Sample p1-54 After

Sample p1-54 After


Lots of shrinkage and surface distortion.
Sample p1-54 Closeup

Sample p1-54 Closeup


Under the light there is a look of icy crystals.
Sample p1-54 Backlit

Sample p1-54 Backlit


Back-lit it looks like an island terrain.
It’s got a little flexibility – I suppose like the crumpled paper – but I wouldn’t want to try stitching through it.

Sample p1-55. A square of foam stuff, used for packing pieces of fruit (it might have been a sleeve for a nashi pear).

Sample p1-55 Before

Sample p1-55 Before


Sample p1-55 After

Sample p1-55 After


Sample p1-55 Backlit

Sample p1-55 Backlit


This changed very quickly, and there is a little discolouration in spots so I wouldn’t want to take it further. I also wouldn’t want to, as it is very nice like this. There is lots of distortion, lots of variation in the size of the grid, it will stretch and move, and is soft enough for easy stitching.

Sample p1-56. A square of bubble wrap.

Sample p1-56 Before

Sample p1-56 Before


Sample p1-56 After

Sample p1-56 After


Unexciting.

Sample p1-57. Some fragments of plastic filament on a layer of carrier bag. I thought everything would blow away, so I put another layer of bag on top and weighed it down.

Sample p1-57 Before - first layer

Sample p1-57 Before – first layer


Sample p1-57 Before - ready to go

Sample p1-57 Before – ready to go


Sample p1-57 During

Sample p1-57 During


Sand and plastic was sliding around, but there is some very interesting surface distortion going on.
Sample p1-57 After

Sample p1-57 After


Sample p1-57 Detail

Sample p1-57 Detail


Sample p1-57 Backlit

Sample p1-57 Backlit


Speechless!
Wonderful!
There’s contortion – trapped, struggling.
There’s sinister visceral wriggling.
There are hidden surprises, a party or fireworks. Or a machine that’s bursting apart. That last photo makes me think of a scroll of glyphs, a story of a journey.

Definitely ideas that could be explored further.

T1-MMT-P1-p3-e2 Using a heat gun – first session
Textiles 1 – Mixed Media for Textiles
Part 1: Surface Distortion
Project 3: Heating and fusing
Exercise 2: Using a heat gun

T1-MMT-P1 Sketchbook

With little in my sketchbook so far this course, I thought it would be interesting to revisit some samples and use them as drawing tools. What more would I discover about them?
Sample p1-15 (30-March-2015). Can I capture the shapes formed when crumpling by using it to print on paper?
First a general crumple, and blue.
2015-04-17_01
Recrumpled and some ribs added. Tore the paper slightly where it was damp. Need to be careful.
2015-04-17_02
Rolled on some red.
2015-04-17_03
Actually it was two lots of red – the first was rather dark, being mixed with the blue.
Wanting the crumpled paper to last for a few more prints, I spread it out to dry for a while.
2015-04-17_04
I like it more in real life, where it’s easier to see the dimensionality of the page, which lets the paint distribution make more sense somehow.
The next was meant to be lots of little sub-peaks. It gets harder and harder to see the form as more chaotic colour is applied.
2015-04-17_05
Golden yellow applied, again in two lots with the second a clearer colour.
2015-04-17_06
2015-04-17_07
I don’t feel this is getting anywhere. It’s all a bit muddled and formless. The blue looks out place. It could be used as a background element, adding a bit of texture and interest without fighting for attention.
Wanting to push a bit further, rather than just moving on to the next thing. How to add something coherent? I thought of the linear accordion folds. Wandered on to Blue Poles (see 26-December-2013).
Try for lines, not entirely parallel, in a dark blue-black.
Page folded
2015-04-17_08
After rolling on the paint I pulled the folds out, to get positive and negative areas in the printing.
2015-04-17_09
Dreary. The page was underneath the crumpled paper as I was rolling the paint, and the edge parts are stronger than the print itself (of course!), destroying any sense of order. Overall I got some OK textures, but not the history of a sequence of events that I wanted.
2015-04-17_10
The crumped paper is more interesting, at least in areas. The colour is stronger, and the slightly more formal patterning in the final dark layer.
Almost all the colour is on one side. I noted this as I was working, but didn’t try to control it one way or another. Looking at areas within the page there are a few with attractive colour mixing and/or patterning.
I ironed the crumpled paper, with the ideas of clarifying the patterning produced and that there was potential to use the paper elsewhere – for example suitably strengthened with medium of some kind it could be used on book covers.
2015-04-17_11
2015-04-17_12
There is still physical texture. The paper feels more stable and usable. I don’t think it could stand up to stitching, plus at the moment can’t think of anything it could enhance or to enhance it.
Next I wanted to try the old classic of the rolling ball, but using my filigree ball of plastic (see 16-April-2015). Considered using a different background, but wanted to get a general idea of the effect first, so continued to work on A3 cartridge paper.
Black paint applied with a brush, and ball rolled over paper.
2015-04-17_13
O dear. More paint on my hands than the paper.
I added some red paint to the tray, and applied it by rolling the ball in it.
I have a photo of the result (of course!), but there’s so little change it’s not worth including.
Some scarlet paint added, then dipped ball into paint and directly dabbed onto paper, rolling slightly but with hand pressure ongoing.
No improvement, so no photo.
Added golden yellow. Left it in a thick blob on the tray and dipped the ball in, pressing down and rotating in place. Then did the same press and rotate on the page, concentrating on spot areas.
2015-04-17_17
Not thrilled, and couldn’t see a way of taking it forward. Might try some computer work on it later.
Annoyingly, the next idea came as I was cleaning up. So back out with some paint, this time using some random bits of leftover plastic as stamps.
Again, disappointing at first. I tried a few more bits.
2015-04-17_19
I’ve arrowed the most interesting bit, plus the plastic fragment that made it.
Overall a disappointing session, but important in that at least I’m back to it.
Later I played around on the computer. The result I liked best:
2015-04-17_20
T1-MMT-P1 Sketchbook
Textiles 1 – Mixed Media for Textiles
Part 1: Surface Distortion
Sketchbook

T1-MMT 3D pen and kinetic sand sidetrack

Nola (http://inchtextiles.blogspot.com.au/) suggested Kinetic Sand for mould / support making. The website describes Kinetic Sand as “98% sand and 2% Magic”, the Magic being a synthetic polymer which the Product Statement reveals to be polydimethylsiloxane, a silicone with unusual flow properties.

sand sidetrack

sand sidetrack

Fascinating just to handle. It packs like wet sand, but flows like … I can’t describe it. Check the video on their blog http://www.kineticsand.com.au/blogs/news/9080183-kinetic-sand-australia-video.
Sidetrack sample p1-1. I started with a simple shape – a kitchen bowl.
Sidetrack p1-1 Mould

Sidetrack p1-1 Mould


Traced over with the 3D pen…
Sidetrack p1-1 with plastic

Sidetrack p1-1 with plastic


Lifted it off the mould…
Sidetrack p1-1 unmoulded

Sidetrack p1-1 unmoulded


And embellished.
Sidetrack p1-1 Result

Sidetrack p1-1 Result


Structural integrity is very poor, but a reasonable proof of concept.
I also like the colour – it looks like pulled sugar. A little more sturdy and it could make an amusing bowl for lollies.
Sidetrack sample p1-2. What about a more solid shape?
I rolled smooth some kinetic sand, and pressed in a spring clip that was lying nearby.
Sidetrack p1-2 Impression

Sidetrack p1-2 Impression


Tricky at the start, but a result of some sort, with the impression filled with wriggles of plastic.
Sidetrack p1-2 Filled

Sidetrack p1-2 Filled


It came out cleanly – a few extra indents in the sand, suggested I pressed too much at the beginning.
Sidetrack p1-2 Impression after filling

Sidetrack p1-2 Impression after filling


Sidetrack p1-2 Comparison

Sidetrack p1-2 Comparison


Not an exciting example, but another world of opportunities has opened.
One oddity possibly of interest for specific needs – a short length of colour mixing in the nozzle when changing filaments.
Sidetrack p1 Colour mixing

Sidetrack p1 Colour mixing


You don’t get much length and it would be a bit of a fiddle changing the filament, but perhaps an ombre effect could be useful sometime. Or I might want a small amount of a particular colour I don’t have.
Other ways of colour mixing?
Sidetrack sample p1-3. An imprint of today’s earring (itself claimed to be made from old silver cutlery).
Sidetrack p1-3 Impression

Sidetrack p1-3 Impression


Bits of colour pressed in – snippets of plastic from earlier experiments. (Sorry the photo is rotated. I thought it would fit the screen better)
Sidetrack p1-3 With inclusions

Sidetrack p1-3 With inclusions


The T-pin is to keep a hole for connection to a potential ear-wire.
Sidetrack p1-3 Result

Sidetrack p1-3 Result


The earring came out cleanly, the colour fragments well attached, but the hole flawed.
Sidetrack p1-3 Flaw before and after

Sidetrack p1-3 Flaw before and after


The fix turned out to be easy.
Sidetrack p1-3 Sideview

Sidetrack p1-3 Sideview


It’s very light, but feels solid. I think this is a greet way to make beads and dangles.
Or I could make shapes relevant to a particular theme in a work. Perhaps work at making it smoother. Or else a series of more or less wriggles, or more or less complete shape, or different colours…
Sidetrack sample p1-4. Can I create a 3d shape, go over it entirely with filament, and extract the sand?
Sidetrack p1-4 With Plastic, and small insert showing initial mould

Sidetrack p1-4 With Plastic, and small insert showing initial mould


Drawing on the shape was awkward at first, but one could build skills.
Next was getting the sand out.
Sidetrack p1-4 Removing sand

Sidetrack p1-4 Removing sand


It took a few minutes, but I now have a somewhat fragile filigree ball. I could add more decoration, say some extra snippets of colour, but didn’t feel I’d learn anything extra from that.
While this was successful in the sense of doing what I set out to, I don’t think it’s the best way of achieving the objective. It also wouldn’t work for more complex shapes.
I think depending on the project you need a mix of working on the flat; freehand 3D; over a mould; into a mould; creating as a whole; joining pieces… I really like this pen, and the Kinetic Sand is a great addition to the toolbox.


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