Sunday, August 2, 2009

Process Report #1

For this next project, I'm going to walk you through the steps that I use to create an original piece of wearable art. As the 1950's coat is created, I'm going to post photographs each step of the way. That way, you all can see how I get these things created.

The first step is "Inspiration".

People are inspired in lots of different ways by lots of different things. For my previous projects, I was inspired by my great-grandmother's china paintings of roses and such, and wanted to be able to replicate that feeling on a piece of fabric. I'm still working on capturing her essence, but it will come with time.

This garment was inspired by the color of the velvet. I had not worked on an obviously neutral background before, and I am realizing that I paint in a much more "free" manner when I am not burdened with representational realism in the subjects I paint. So I was looking to create something that was a bit more abstract, and the grey velvet reminded me of rain and fog filled drab and dreary days. What could spice up those kinds of days but something beautiful to look at?

I chose a 1950's pattern because of the idea of using abstract painting. And when I think of abstract art, I think of it really starting to come into it's own in the 1950's for some reason.

The type of abstraction... Hmmm... Well, I had completed a project for a play a long while ago that had a velour robe inspired by Van Gogh's "Starry Night". I really enjoyed creating the swirls on that robe, and I had received so many compliments regarding it, I thought I might try something like that. (In actuality, the experience of the robe had inspired me to create a wearable art company and continue painting on fabric for Relished Artistry in general...)

ProcessStep1 msnd090a_171_big ProcessStep3

I took these two ideas, and tried a painting sample on the fabric. I use Jacquard Fabric Paints--Neopaque, Lumier, Textile Traditionals, and Dye-na-Flow--all by the same company. After experimenting with these thoughts and trying to exploit the metallic nature of the Lumier Paints, I concluded that the colors and the application could come across as quite complimentary to the neutrality of the velvet. The cut of the coat would simply enhance it's "period painting" quality.

And so, I transfered the "medium" size to a 50# craft paper (so I wouldn't need to cut up the pattern paper itself), selected a button closure and a lining, and now I am going to cut the fabric out and start painting.


And now, all there is left to do is dive in! More soon!

Until then, live life with relish!

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