Preamble
Art Quilts have featured on this blogspot and so for your convenience I have listed below previous posts in this series:
Art Quilts - Part I
Art Quilts - Part II
Art Quilts - Part III
Art Quilts - Part IV
Art Quilts - Part V
Art Quilts - Part VI
Art Quilts - Part VII
Art Quilters of the Netherlands - Part I
Art Quilters of the Netherlands - Part II
Art Quilters of the Netherlands - Part III
Four Selected European Art Quilters - Part I
Four Selected European Art Quilters - Part II
Four Selected European Art Quilters - Part III
Art Quilts of Jane Sassaman
Art Quilts of Michael A. Cummings
Four Selected European Art Quilters - Part IV
Art Quilts of Carolyn Crump
Jan Myers-Newbury
Art Quilts of Karin Franzen
Art Quilts of Emily Richardson
Four Selected European Art Quilters - Part V
Four Selected European Art Quilters - Part VI
Four Selected European Art Quilters - Part VII
Four Selected European Art Quilters - Part VII [1]
Jane Lloyd (Ballymena, Northern Ireland)
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Title: Journal Pages (2013).
Materials and Techniques: Indian cotten, paper and embroidery thread. Cut work, printing, stencilling, machine stitching, hand stitching collage.
Size: 187 x 52 cm.
Comment [1]: Ideas developed from a day journal.
Detail View I
Detail View II
Edwina Mackinnon (Droitwich Spa, United Kingdom)
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Title: Six Houses (2014).
Materials and Techniques: Cotton poplin, cotton thread, Bondaweb, snap fasteners. Breakdown printing, over dyeing, bond appliqué, machine quilting, appliqué using snap fasteners.
Size: 90 x 120 cm.
Comment [1]: This whole cloth quilt is one in a series on the theme of 'Identity.'
Our lives are ruled by numbers and we are identified by theme in so many ways. For this quilt I have used the numbers of the six houses I have lived in during my lifetime.
Detail View I
Detail View II
Hanna Mühe (Oberursel, Germany)
Full View
Title: Requiem for an Old Tree (2014).
Materials and Techniques: Printed cotton. Printed photograph.
Size: 138 x 115 cm.
Comment [1]: For many years I captured an old lime tree through the lense of my camera as it paid its debt to nature. However, as it grew older and more dilapidated, nature gave it the gift of rebirth by sprouting a young tree next to it.
Detail View I
Detail View II
Patty Muller (Rhoon, the Netherlands)
Full View
Title: Although the body decays, there will be nothing to fear (2014).
Materials and Techniques: Paper, hand dyed silk organza, natural dyed silk (back), encaustic wax. Encaustic wax paiting, machine embroidery, triple stitched ChoGakBo (seam), hand stitching (backside).
Size: 56 x 237 cm.
Comment [1]: This work is about our body, mind and spirit. The bigger picture is that all is transformation - from energy into matter and vice vera.
On top of the work there is a poem about destiny. Written by Laozi; Daodejing, 370 BC. Translation into Dutch by C. Schipper.
Detail View I
Detail View II
Reference:
[1] European Art Quilts VIII, Foundation, Molenschat, Netherlands (2014).
Preamble
This blogspot has a number of posts on felt and felted objects which have been listed below for your convenience.
Hallstatt Textiles
Nuno Felted Scarves@Felted Pleasure
Fabric Construction - Felt
Felted Garments
Felted Accessories
Felted Works of the 1980s
Felt Shawls
Felt Objects - Part I
Felt Objects - Part II
Felt Objects - Part III
Felted Headwear - Part I
Felted Headwear - Part II
Felted Headwear - Part II [1]
Side profile.
Creator and Title: VANDERBOS. Embracement #059 (2007).
Description and Technique: Industrial felt; sewn, steam molded.
Size: 60 x 45 x 25 cm.
Photograph: Courtesy of Mirjam Verschoor.
Detail View.
Creator and Title: Jean Hicks. Spiral Two-Part Brim (2009).
Description and Technique: Alpaco merino, Norwegian wool; hand felted, traditional millinery techniques.
Size: 30.4 x 22.8 cm.
Photograph: Jan Cook.
Creator and Title: Anastasia Bespalova. Pumpkin baby hat (2009).
Description and Technique: Merino wool, merino and mohair blend; wet felt.
Size: 20 x 15 cm.
Photograph: Artist.
Comparison between the baby hat and a pumpkin.
Creator and Title: Pam de Groot. Armadillo Hat (2009).
Description and Technique: Australian merino wool, recycled, silk fabric; wet felted, blocked.
Size: 25 x 25 cm.
Photograph: Artist.
Creator and Title: Phyllis Beals (2009). Pinnwheel (1999).
Description and Technique: Fur felt, vintage button; hand blocked, sculpted, appliquéd.
Size: 14 x 23 x 22 cm.
Photograph: Artist.
Creator and Title: Kirsti Ravnå Tverå. Ingela (2007).
Description and Technique: Merino wool; nuno techniques.
Size: 56 cm.
Photograph: Anne Kari MYRVK.
Reference:
[1] 500 Felt Objects, Lark Crafts, Sterling Publishing Co. Inc.,New York, NY 10016.
Preamble
This is the sixtieth post in a new Art Resource series that specifically focuses on techniques used in creating artworks. For your convenience I have listed below all the posts in this new series:
Drawing Art
Painting Art - Part I
Painting Art - Part II
Painting Art - Part III
Painting Art - Part IV
Painting Art - Part V
Painting Art - Part VI
Home-Made Painting Art Materials
Quality in Ready-Made Artists' Supplies - Part I
Quality in Ready-Made Artists' Supplies - Part II
Quality in Ready-Made Artists' Supplies - Part III
Historical Notes on Art - Part I
Historical Notes on Art - Part II
Historical Notes on Art - Part III
Historical Notes on Art - Part IV
Historical Notes on Art - Part V
Tempera Painting
Oil Painting - Part I
Oil Painting - Part II
Oil Painting - Part III
Oil Painting - Part IV
Oil Painting - Part V
Oil Painting - Part VI
Pigments
Classification of Pigments - Part I
Classification of Pigments - Part II
Classification of Pigments - Part III
Pigments for Oil Painting
Pigments for Water Color
Pigments for Tempera Painting
Pigments for Pastel
Japanese Pigments
Pigments for Fresco Painting - Part I
Pigments for Fresco Painting - Part II
Selected Fresco Palette for Permanent Frescoes
Properties of Pigments in Common Use
Blue Pigments - Part I
Blue Pigments - Part II
Blue Pigments - Part III
Green Pigments - Part I
Green Pigments - Part II
Red Pigments - Part I
Red Pigments - Part II
Yellow Pigments - Part I
Yellow Pigments - Part II
Brown and Violet Pigments
Black Pigments
White Pigments - Part I
White Pigments - Part II
White Pigments - Part III
Inert Pigments
Permanence of Pigments: New Pigments - Part I
Permanence of Pigments: New Pigments - Part II
Limited or Restricted Palettes
Testing of Pigments - Part I
Testing of Pigments - Part II
Further Refinement of Pigments
Color and Light - Part I
Color and Light - Part II
Color Effects - Part I
There have been another one hundred and thirteen posts in a previous Art Resource series that have focused on the following topics:
(i) Units used in dyeing and printing of fabrics;
(ii) Occupational, health & safety issues in an art studio;
(iii) Color theories and color schemes;
(iv) Optical properties of fiber materials;
(v) General properties of fiber polymers and fibers - Part I to Part V;
(vi) Protein fibers;
(vii) Natural and man-made cellulosic fibers;
(viii) Fiber blends and melt spun fibers;
(ix) Fabric construction;
(x) Techniques and woven fibers;
(xi) Basic and figured weaves;
(xii) Pile, woven and knot pile fabrics;
(xiii) Durable press and wash-and-wear finishes;
(xvi) Classification of dyes and dye blends;
(xv) The general theory of printing.
To access any of the above resources, please click on the following link - Units Used in Dyeing and Printing of Fabrics. This link will highlight all of the one hundred and thirteen posts in the previous a are eight data bases on this blogspot, namely, the Glossary of Cultural and Architectural Terms, Timelines of Fabrics, Dyes and Other Stuff, A Fashion Data Base, the Glossary of Colors, Dyes, Inks, Pigments and Resins, the Glossary of Fabrics, Fibers, Finishes, Garments and Yarns, Glossary of Art, Artists, Art Motifs and Art Movements, Glossary of Paper, Photography, Printing, Prints and Publication Terms and the Glossary of Scientific Terms. All data bases in the future will be updated from time-to-time.
If you find any post on this blog site useful, you can save it or copy and paste it into your own "Word" document for your future reference. For example, Safari allows you to save a post (e.g., click on "File", click on "Print" and release, click on "PDF" and then click on "Save As" and release - and a PDF should appear where you have stored it). Safari also allows you to mail a post to a friend (click on "File", and then point cursor to "Mail Contents On This Page" and release). Either way, this or other posts on this site may be a useful Art Resource for you.
The new Art Resource series will be the first post in each calendar month. Remember - these Art Resource posts span information that will be useful for a home hobbyist to that required by a final year University Fine-Art student and so undoubtedly, some parts of any Art Resource post may appear far too technical for your needs (skip those mind boggling parts) and in other parts, it may be too simplistic with respect to your level of knowledge (ditto the skip). The trade-off between these two extremes will mean that Art Resource posts will be hopefully useful in parts to most, but unfortunately may not be satisfying to all!
Color Effects - Part I [1]
Each paint pigment owes its color to the type of light rays it absorbs and reflects. White light (daylight) is composed of a number of waves or impulses of various dimensions or wavelengths, any single one of which, if isolated, would have the property of producing a specific sensation on the eye.
In fact, white light is composed of a continuous spectrum of all colors in the rainbow, including red, orange, yellow, green, blue, indigo, and violet. When white light passes through a prism, or a diffraction grating, it separates into this spectrum of colors due to the different wavelengths of light being bent to different degrees.
White light when passing through a prism.
Rainbows form when sunlight passes through water droplets, such as rain, fog, or mist. As light enters the droplets, it refracts (bends), then reflects off the back of the droplet, and finally refracts again as it exits, splitting the white light into its component colors. This separation of light, known as dispersion, is what creates the colorful arc, namely a rainbow, that you see when the sun is behind you and the water droplets are in front of you.
When a ray of white light falls upon a pigment, the pigment absorbs certain waves and reflects others; this determines its color effect. For example, vermilion, will absorb the waves which produce the effect of blue and most of the waves which produce yellow, and so it will reflect or throw back red waves. Hence, this is the color that our eyes pass onto our brain.
On the other hand, ultramarine blue absorbs almost all, but the blue waves, whereas pale cadmium absorbs all, but the yellow waves.
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White pigments absorb little or no sunlight, whereas black pigments absorb most of the visible light and reflect little.
Upon being absorbed, the energy of light waves is converted to heat. We take advantage of this in the summer by wearing white or light colored clothing, whereas in the winter, black and grey absorbs the light and so keeps us warm during the day.
None of the pigments in use, however, produce a pure color sensation; we can consider them faulty or impure in this respect. Vermilion reflects a certain amount of yellow along with red; alizarine reflects some blue with red; therefore we call vermilion a yellowish red, and alizarine a bluish red.
Another reason why body colors do not give a pure color sensation is that they reflect from their surfaces, as does a mirror, a certain amount of white light, which dilutes the intensity of the color to a variable degree, depending on the nature of the surrounding medium as previously explained.
The colors mentioned so far are called primaries; when any one is mixed with another, a secondary color effect is produced such as green, violet or orange.
This system of color mixing is known as the subtractive process, because the second color subtracts or absorbs still more waves from white light than the first color did. When three or several more pigments of different color are mixed, tertiary or broken hues are obtained. Because of the "impure" nature of the color effects of our pigments (each one reflecting some waves of a length different from the dominant one) all mixtures will contain blends of minor components and the effect of any mixture of two colors is invariably duller, less brilliant, or muddier than that of a single pigment. Viridian is a clear, bright emerald green of pure tone compared with any imitation which could be made by mixing a blue with a yellow, because it reflects none of the red waves that such a mixture would reflect.
Painters realize that mixtures of three colors will be still more "broken." A complementary color is one which will absorb the entire portion of white light reflected by another. Red and green, blue and orange, yellow and violet, are the three simple pairs of complementaries. The color circle below shows complementary pairs.
Reference:
[1] The Artist's Handbook of Materials and Techniques, R. Mayer (ed. E. Smith) 4th Edition, Faber and Faber, London (1981).
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