Archive for the '1.2 Tearing and cutting' Category

T1-MMT-P1-p2-e4 Cutting holes

I wrote about ideas attracting me to this exercise in an earlier post (30-April-2015). I started simply, following the course suggestions.

Sample p1-112

Sample p1-112

Sample p1-112


Simple rectangles in A4 printer paper. I note the automatic alignment of rectangles and edges.

Thoughts captured as I was cutting:

  • Office blocks
  • Codes – morse code
  • Newspaper
  • Random book pages
  • Le Corbusier
  • Snail
  • Sample p1-113
    Strathmore toned gray paper.

    Sample p1-113

    Sample p1-113


    Based on window placement at Le Corbusier’s chapel of Notre Dame du Haut, Ronchamp

    Thoughts while working:

  • Surrendering control – random. Focus on the process
  • Corrugated cardboard
  • Sample p1-114
    Indigo dyed cartridge paper

    Sample p1-114

    Sample p1-114


    This was roughly designed as a snail / spiral, using pieces cut from sample p1-113 as templates with the idea of creating a subtle unity / correspondence.

    Sample p1-115
    With a few pages cut I tried some layering.

    Sample p1-115

    Sample p1-115


    Always a little puzzled by reflections and rotations, I had to take photos and arrange them to convince myself that a simple one page over another has four basic variations plus extra mirror/flip images. All these four look rather dull. They are sample p1-114 laid on p1-112.

    Sample p1-116

    Sample p1-116

    Sample p1-116


    Adding a more interesting background that the eye attempts to interpret makes it slightly more interesting. I think there’s just enough information here to get “landscape”.

    Sample p1-117

    Sample p1-117

    Sample p1-117


    More spaces combining reveal more. I also found in p1-116 that the stark white of the initial page (p1-112) is rather intrusive / insistent in combination with others.

    Returning to this after a week’s break – non-OCA life intervened. I re-started at the same point.

    Sample p1-118

    Sample p1-118

    Sample p1-118


    I tried many combinations of the indigo over the grey, trying to maintain the story of the landscape behind, and was unltimately unsatisfied.

    Sample p1-119

    Sample p1-119

    Sample p1-119


    Is this better? Unfortunately the photograph isn’t. I ran out of photo at the bottom, which also doesn’t help. Still, I like the ordering of the layers. It’s easier for the eye to move through the quiet, serene grey to the more complex colours and movement of the pages behind. It takes full advantage of the much more complex and sophisticated layout of holes in the grey paper, and there is more unity and more of a flow in the result.

    Sample p1-120

    Sample p1-120

    Sample p1-120


    I find the mix of straight versus organic lines, and the strong directions, interesting. The picture underneath is from a weaving calendar.

    Sample p1-121

    Sample p1-121

    Sample p1-121


    Thinking of organic | geometric I tried white, over indigo, over a soft white paper pierced with a grid of circles, over black. The repetition of white and the regularity in structure makes the top white page less stark in my eyes. I like the limited amounts of great complexity revealed by the broad area of simplicity – which has somehow become more solidity and stability, more forceful, rather than bland nothingness.

    Sample p1-122

    Sample p1-122

    Sample p1-122


    The holes in the indigo page were intended to follow a spiral. Layered over a picture of an ammonite fossil the fragments of curves assist the eye to identify the path. Suddenly the spacing makes sense again.

    Sample p1-123

    Sample p1-123

    Sample p1-123


    Backlighting allows the regular grid of pieced circles to be seen, partly obscured by a page of a very open paper of unknown material (perhaps natural fibres – jute? mulberry?). There are a lot of individual elements I like here, but I don’t think it works as a whole. I keep returning to contrasts – organic and geometric, informal and formal, natural and processed.

    Sample p1-124

    Sample p1-124

    Sample p1-124


    A deep red paper embossed with circles of different sizes replaces the regular grid. The layers appear better integrated.
    Sample p1-124 - backlit

    Sample p1-124 – backlit


    Backlit, the embossing is partly lost but a sense of depth is added.

    Depth – This leads me back to Ariana Boussard-Reifel’s works discussed previously, which had impact from the many layers used (as well as of course the conceptual elements).
    I don’t want to give a huge amount of time to this exercise, so will experiment with fewer, but thicker, layers.

    Sample p1-125
    Corrugated cardboard squares. First layer cut with many large holes, so depth will be revealed.

    Sample p1-125a

    Sample p1-125a


    The first layer, placed on a background of more cardboard, looks only mildly interesting…
    Sample p1-125b

    Sample p1-125b


    Until I change the orientation of the lower layer.

    Thoughts while cutting:

  • take the same area of material from each layer, but divided into different numbers and shapes of holes.
  • Sample p1-126
    The next page was cut more as if removing lines of text. I was very dubious while cutting, but the result is more intriguing than expected.

    Sample p1-126a

    Sample p1-126a


    Sample p1-126b

    Sample p1-126b


    Again varying direction of the ridges gives quite different effects, each with their charm.
    Sample p1-126c

    Sample p1-126c


    A raking shot takes advantage of shadows.

    Sample p1-127

    Sample p1-127a

    Sample p1-127a


    Sample p1-127b

    Sample p1-127b


    Three layers of cutting, with a fourth behind. I now find both aligned and perpendicular versions complex enough for interest.

    Sample p1-128

    Sample p1-128

    Sample p1-128


    Bringing one of the earlier flat layers in adds some fine detail which I think is effective. Some depth and shadowing is removed, but a different kind of contrast is introduced.

    Sample p1-129

    Sample p1-129a

    Sample p1-129a


    Sample p1-129b

    Sample p1-129b


    Throwing some of the offcuts in between layers adds height and complexity which really works.

    I’ve felt a bit rushed and disjointed in this exercise. I haven’t taken advantage of the idea of holes concealing – meaning removed. I also haven’t followed up many of the avenues that came to mind as I was working.

    I found the corrugated cardboard the most rewarding line to pursue for now. It gave the depth that interested me, with some wonderful shadows and space.

    Mandy Gunn Centro-Polis (detail)

    Mandy Gunn
    Centro-Polis (detail)


    I really must finish my write-up of the second Tamworth Textile Triennial (mentioned in passing 30-April-2015). Mandy Gunn’s work included in that exhibition is clearly relevant.

    With some reluctance I am moving on from this exercise. I think there is a lot more potential, but time has got away from me.

    T1-MMT-P1-p2-e4 Cutting ho1es
    Textiles 1 – Mixed Media for Textiles
    Part 1: Surface Distortion
    Project 2: Tearing and cutting
    Exercise 4: Cutting holes

    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


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