Texture 4.

1

These samples are displayed on an A2 sheet of card.


2

The decoration on this floor tile was in relief.


3

Back stitch and chain stitch were used in this sample.



4

This design is not as raised as I would have liked but as I could feel it with my eyes closed, I decided that it is textured enough after all.



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I used a little water colour paint in this example, just to emphasize the gaps between the flagstones.

Texture 3.

1

All portfolio samples are displayed on A2 sheets, unless otherwise specified.

I had noticed that a number of the old gravestones had interesting weathered textures on them.
Some of the surfaces were crumbling, others had lichen growing on them.


2

The rock salt gave the impression of some of the low relief textures I found.



3

Other surfaces were more badly eroded.



4

These were actually some used ion exchange resin beads. They are of no further use after the process is complete but they give a great, gritty texture.



5

I bought some Tim Holtz crackle paints for a workshop I attended. The crackle effect was so subtle that I was quite disappointed at the time - and continue to be so! If anyone has any tips to make them crackle really effectively, please let me know.

In the photo on the right, I left the masking fluid on, as it tends to look old and yellowed.


6

I always enjoy using Puff Paint and 3-D medium. They expand really well (which is very satisfying) and they take paint beautifully.

The crackle effect medium on the right worked very well. Although there are three layers to apply, it works quite quickly.

Module 3. Texture 1 & 2

1

These samples are displayed on an A2 sheet of card.

I originally went to photograph some wooden angels, high up near the ceiling, in Cilcain church. Unfortunately, my camera zoom couldn't cope so my husband took the photographs instead.

Whilst waiting for the church to be unlocked, I looked round the churchyard and found a row of very old gravestones which had been laid down horizontally. The carving was very weathered but water had settled in the indentations - and mossy letters and patterns had grown.

What an unexpected bonus this was! Even though it was a bitterly cold day and my feet were frozen through walking on the wet grass, I looked for a long time at the stones and took quite a lot of photographs. I thought that it was quite touching that these names which were practically eroded away (and whose owners were long forgotten), were now re-emerging in moss.


2

It was possible to read quite a lot of the text, although other parts were quite indistinct.



3

I tried several different methods of reproducing this effect.


4

I originally drew out a chart for 'Robert' which was the name on one of the graves. Then I decided to shorten it to 'Rob', as the process was quite time consuming. The letters were knitted in two strands of boucle, which kept trying their best to tangle together.



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This design was surprisingly clear and detailed. I was fascinated by it. I do hope that nobody scrapes it off, as the text will probably be illegible then.



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This yarn looks a bit 'mossy' anyway, as I spun coils into it. I did wind a few more curls into it as I stitched it down.


8

I normally prefer machine embroidery to hand stitching but strangely, this was quite therapeutic to do. I can't believe I just wrote that! I must be suffering from lack of chocolate.



9

I used this stitch years ago, round the brim of a baby hat (but with thicker needles). I always knew that it would come in useful again.


10

It turned out to be very lucky for me that I love spinning very textured yarns.


11

Here, I revisited the dried ivy stems which I touched on in my sketchbook.


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More horizontal gravestones. The text had completely disappeared on these but I liked the way that they are still emphasized by the moss and short grass growing over them.


15

Not handspun this time. Shame on me! It just goes to show though, that it pays to be a hoarder!