Assignment 4 – Tutor feedback for part 4 – DIGITAL TEXTILES

Overall Comments

This assignment has been a huge learning curve. You have shown great tenacity in understanding and working through the necessary processes and have acquired considerable skills in doing so. There are areas which you recognize need further development but this is just the start of your digital experience and of the many exciting possibilities which you can build on in future work. Your final fabrics show this leap already and demonstrate innovative and creative ways of amalgamating a proficient level of technical and visual design skills.

Well done Penni. I look forward to seeing your final assignment. Unfortunately, I was unable to access your digital library on line.

 Assessment potential

I understand your aim is to go for the Textiles Degree and that you plan to submit your work for assessment at the end of this course. From the work you have shown in this assignment, and providing you commit yourself to the course, I suggest that you are likely to be successful in the assessment.

 Feedback on assignment

Project – Exploring the digital world

You made a positive start to the assignment. Attending the digital design course at the Knitting and Stich Show was a good opportunity to gain first-hand experience.  You sourced a good range of appropriate contemporary artists and designers who use digital aspects within their work and which are relevant to your own interests. As before, ensure you do reference your images correctly using Harvard.  There is a good mix of research, technical information and design development and you have systematically worked through set tasks to explore personal design ideas through digital testing.

 Project – Putting a design into repeat

You have introduced an interesting use of filters in your initial testing which seems to soften the bold Henry Moore pebble design. The ‘stained glass’ effect works particularly well and starts to add another dimension to the overall design. This stage shows you working methodically through the various stages of putting designs into repeat.

You have an impressive number of carefully executed digital print designs which competently explore variations of repeating motifs in repeat. It’s good that you explored a range of scales and different motifs as well as introducing colour ranges. The simplicity of your final (drawn circle) design works well and the scale and colour is sympathetic. I like the impact of the large scale motif also. Your suggestion of complimentary designs would be appropriate. Your supporting print designs work extremely well and suggest alternative design options through the different colour stories. Note how the motif changes with the different colour balances.

In comparison, the pebble and stone-shaped repeats appear more obvious as you say. (Much of this is to do with the process of cut and paste and composition). However, the textural surfaces explored within backgrounds, the large scale pebble designs and complimentary textural stripe with additional stitch effect are interesting. The stitching effects and less obvious background repeat creates a softer and more uniform visual effect. Much of this assignment was about learning a new process and you have covered and learned a great deal which you can build on within future projects. With regards to colour ways, the main thing to remember is to balance equal levels of depth or lightness of tone, strength of colour or highlights for example. By keeping the balance uniform, you can introduce different colour palettes rather than altering the design dynamics.

Have a look at Timorous Beasties wallpapers which play on the idea of unusual repeating motifs to create unusual and atmospheric designs and Orla Kiely’s seemingly simple designs. Also weaver, Margo Selby known for her trademark woven spot designs. Your reference to Escher was very appropriate here.

Project – Visualisation

You have been tenacious with this exercise and have resolved many features by testing different visualization methods and have sourced appropriate interior settings. The scale and appropriateness of the designs is less convincing in your initial studies with the exception of the large scale artwork visualiasation.  Your final versions are much more convincing and it is good to see you resolving these. The main area to consider for the future would be to incorporate drape, which would help to give a more realistic impression of the fabric in context. However, what you have learned and achieved is commendable. Have a look at Margo Selby’s designs within an interior setting. They are good examples of collections with regards to the use of scale, colour and complimentary fabrics.

Project – Digital craft

Again, you have sourced very relevant and inspiring artist and designer references. Ealish Wilson’s work which you site was part of collaborative project, Through the Surface curated by Lesley Millar. I have given you a link.  If you can get hold of the catalogue for this exhibition, do; it’s very inspiring and beautifully documents the artists’ creative design process.

You touched on some interesting thoughts on using digital processes. As someone who uses digital technologies to explore design work, I believe that using them in conjunction with hand craft skills is an important element in humanizing these processes.

This is a delightful and inventive development where you seem to come into your own. You have a particular interest in working three dimensionally. It is good to see you building on previous techniques and applying new design ideas. These work well, particularly sample 12 (the print design is also strong), 13, 3, 7, 9 (really interesting in terms of product) and 2. If you ever want to test commercial pleating, you should contact Ciment Pleating who can do small tests. You would love it!

I’ve mentioned the Nuno Nuno book series before. If you haven’t already familiarised yourself with the work of Nuno Corporation and the work of Reiko Sudo its director, you will find their range of fabrics (in terms of fibre content, manipulation, coatings, textile techniques etc.) very inspiring. If you are interested in creating contrasting surface effects, you might want to source some Revacryl, a coating used widely in printing for wipe ability and can be used to bond fabrics – supplier: Synthomer Ltd, Harlow Tel: 01279 436211 You might be able to get samples (of various coatings) sent.



This format seems to work well! It’s clear, easy to follow and has allowed you to develop visual ideas as well as present these accordingly. Creative methodology is very evident in your development of visual ideas. The work highlights an inquisitive and inventive approach to making. You have sourced interested fabrics and yarn types as well as contemporary references. The non-woven Japanese fabric works really well. You could think about using stitch (working at different scales) and rework ideas using both digital and hand craft means.


Learning Logs

Your ongoing documentation of work in progress demonstrates a mature working practice. You have sourced interesting and inspiring references and made appropriate visual connections with relevant written notation. You are articulate and reflective and demonstrate ownership of your working process. Information is written and visually clearly presented.


Suggested viewing/reading

  • Timorous Beasties:

White moth stripe & White moth circle wallpapers

Linear Stem – wallpaper

Margo Selby: com/

Interior spaces:



Lime and Gold Wallpaper & Turquoise and Pewter Wallpaper




Pointers for the next assignment

  • Use double sided tape to attach your fabric samples and the reverse of the header for notation/technical details. Apply masking tape first to protect your sample for assessment.
  • Enjoy your last assignment!
This entry was posted in LEVEL 2 - P4 - Digital textiles - Assignment feedback - Digital textiles, LEVEL 2 - TEXTILES 2 : Contemporary Practice. Bookmark the permalink.

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