Mandy Pattullo Autumn Workshop “Enchanted Forest”

Mandy Pattullo Autumn Workshop  “Enchanted Forest”
On the 22nd September 2017 a friend and myself attended Mandy Pattulo’s Autumn Workshop at Harley Foundation Studio’s in Worksop Nottinghamshire.
We arrived about 9.40 on the Saturday morning to be greeted by Mandy and two other ladies that made us feel very welcome. After being shown around and a welcome cup of coffee we all settled down to listen to Mandy tell us a bit about her life, and influences for her current work.
Mandy Recalls seeing in a forest once a huge white stag, and was very moved by its presence and she was greatly inspired to go home and wanted to create images of beings such as the stag and other woodland British mammals and birds in fabric collage. This Workshop was about us having a go at creating such an image for ourselves to take home.
We were asked to choose a template of an animal or bird to work with. There was quite a choice, including Hares, foxes- running and sitting, deer, rabbits and owls. Next we went to the back of the room to find a piece of quilted cotton for our base or ground. Throughout the day Mandy called us back to the front of the class to give us mini lessons on the next stage of our projects. Below is a list of the stages involved. Mandy handed out a worksheet that I have copied out in less detail.
Fabric collage 
  • Draw round a template of animal or bird with erasable pen
  • Assemble a palette of small pieces of coloured found fabrics that fit the description of your animal
  • Cut these pieces of fabric to build up tone and colour, cut these roughly or tear so you do not have any ugly straight edges
  • Start to layer these scraps on to the inside of the template image and pin down


  • Use small holding stitches to apply these scraps and remove pins
  • Then create various stitches on top such as long and short stitch, couching and seed stitch with embroidery thread or perle threads to describe the animals fur or feathers. The stitching should be described in the same direction that fur or feathers would lay on the animal or bird.
  • Highlight the eyes and nose with black thread in running and satin stitch.

Maybe add some flowers or foliage to contextualise the animal.IMG_2652.JPGmy final running fox picture 

Half way through the day we stopped for lunch. Below are some photos of the day. I asked permission if I could take photographs.


Two ladies at the pinning stageIMG_2446.JPGMandy showing Jackie a special stitch technique

I can strongly recommend Mandy Pattullo’s workshops. She has also published a great book, its full of beautiful images and projects.
Image 20180105 183125.png
Textile Collage
Using collage techniques in Textile art
Mandy Pattullo 
First published in 2016. Batsford 

Hannah Ryggen . Modern Art Oxford

Please note: some of the text that is in bold has been copied from a broadsheet and curated in conjunction with the exhibition Woven Histories.
Hannah Ryggen: Woven histories  (b. 1894, Malmo Sweden – d. 1970, Trondheim, Norway) 
On the 29th December I went to the modern art museum in Oxford to take a look at the work of Hannah Ryggen. This women was a talented artist who from her early married life created pictorial tapestries from her own home on a remote Norwegian island. Hannah’s husband made her a loom after she purchased a French one that she found cumbersome and difficult to use. She learnt how to spin and also dye her own yarn, foraging  from the surrounding countryside. She used moss, heathers, lichen, and leaves from birch and ash trees to create warm, tertiary colours including a colour called ‘pot blue’ made from fermented urine and indigo. Hannah was not interested in expressing the natural world around her of plants and the woods, she was more interested in the people and animals around her and laterly chose highly politicised subjects especially the oppression of individuals by authoritarian forces and people suffering in war.
This exhibition focuses on a selection of woven tapestries from 1933 – 1966. I have chosen three tapestries to reflect on, one from each of the three exhibition rooms.
We and our animals
Tapestry woven in wool and linen
187.5 x 491cm 1934
Photograph taken at Modern Art Oxford with permission
Room 1
This is a domestic scene of Hannah’s life in the 1930’s. We are shown images of her family and animals that were important to their survival. I love her use of space and her unique style of describing the human form and depictions of the faces of the animals. The constantly changing colour of the ground seems to be in response to the images and colours of the subjects of the foreground which makes the composition of this picture with a mixture of warm and cool colour palette so complete.
Mothers Heart
Tapestry woven in wool and linen 
195 x 190cm  1947
Room 2
I was drawn to this picture  because of the warm colour palette and the striking design that runs down the centre of the frame. This shape resembles a chain of wreaths that encircles images of faces like motifs. This design does not dominate but is an intrinsic part of the composition that seems to tie the picture together. The green trellis throws these faces forward showing groups of people connected by love.
The hues of different pinks are subtle and blend together really well against the sage green of the trellis chain. The sage green gives the picture depth and a dimension that depicts different levels to the story.
I felt warmth and love from this work because of the colours that are feminine and womb like and the closeness of the figures, hearts and roses that suggests intimacy, nurturing and motherly love.
The picture expresses Hannah’s feelings about her only daughter who suffered from epilepsy at a time when little was known of this neurological disorder.
 The way Hannah Ryggen’s Work is very stylised and I could imagine this picture almost as a repeat design as a print on a cotton ground.
Fishing the sea of debt
145  x 185cm 1933
Photograph taken at Modern Art Oxford with permission
Room 3
My initial response to this picture was the nauseating response to the people drowning. The use of green made me feel that these people were losing the battle and maybe had already perished, I felt a sense of despair looking at them. In the top left hand corner, there is a very different image, a rich woman is enjoying lunch, with not a care in the world, she looks out from the canvas with an expression of calm assurance.
Self Potrait of Hannah Ryggen aged 20. 1914
Oil on canvas. 40 x 33cm
Photograph taken at Modern Art Oxford with permission
Room 3
On the back of this portrait the artist has written
“ this portrait was made in 1914. This picture I have painted in oil and the only self portrait I was 20 years old at the time”
Hannah painted this self portrait whilst she was taking evening classes in painting. During this time Hannah was a school teacher in her Swedish home town of Malmo. I think this self assured and confident painting portrays a person with a natural talent of self expression with a destiny to do so.

Tutor feedback to assignment five. A Textile Vocabulary

Formative feedback

Student name                     Penelope Jane Day Student number                               515242
Course/Unit Textiles 1: A Textiles Vocabulary Assignment number 5
Type of tutorial Video Tutorial


Overall Comments


Congratulations Penny, You have completed the 5 parts of the Unit successfully!

You have submitted a very clear and professional presentation of your work. The hard copy of your learning log is very well edited. Your artwork has been presented in a very clean A3 Format and clearly labelled.


There is evidence through your work and detailed observation of nature that you have looked at interesting Artists that have helped you and inspired you to create your own pieces of work, particularly stands out the work you researched of Winifred Nicholson and her studies of natural forms. I would like to encourage you to continue researching and reading about other artists, maybe exploring creatives from different fields that can also inspire you on technique, process, colour, shape… They can also inspire your making.

In the next Module I plan to research a weaver that I know focussing on her design ideas and colour choices.

It is good to see you working well outside your comfort zone, its something that we have discussed through the units in tutorials and there is proof that you have been challenging yourself constantly on the exercises for Assignment 5. Moreover, you have been able to plan you work and at the same time allow yourself to take risks and continuously experiment on the exercises, allowing yourself to come with the unknown, unexpected and more unusual pieces of work. As you mention in your introduction, //I can never predict accurately the final outcome/result until the work is completed//. And indeed, that is the best way to learn new ways in your practice.


You have created intriguing floral and natural compositions, that it is a great body of work that compliments your portfolio and also proofs your skills on drawing and painting. You have worked with detail creating beautiful drawings of plants and flowers but also worked with different mark making tools and tried some experimental drawings with your left hand.

It is also great to see you working directly onto the fabric, there is an element of risk and colour experimentation in it.

You have also been working on colour proportion, both in your textiles and in your drawings, project 2, from part 5 is a great example of it, learning about colour through collage and painting with watercolour at the same time.

It is clear that you have been inspired by your Paintings to develop your textile pieces. You have worked sewing, knitting and embellishing and giving a new dimension to your work. I would like to make a special mention to your paper samples, where you have used a broad variety of materials, stitching, painting and drawing inspired on sections of your drawings that you have enriched with more detail and technique. Some of those samples would have been great to see them in bigger scales, specially to see how could you explore repetition, pattern and flow of your designs.


In conclusion this is a very complete body of work, you have demonstrated that you are able to take risks, explore different scales, work with different materials and techniques and build a collection of drawings, textiles and experiments. That is a great improvement from the first assignments. I hope you continue on this direction in your future projects!

Congratulations Penny! Hope you the best for Assessment on the new year!


Tutor name Pere Bruach
Date 16th December 2017
Next assignment due



Written reflection at the end of part Five

Written Reflection 
Conclude your work on Part Five by further reflecting on what you’ve learnt as you’ve developed your capsule textile collection from your work on the projects in this part of the course.
What went well ?
In my capsule collection I decided to include one insect. I realised half way through the development stage of the butterfly project, my image of the butterfly was becoming too childlike and simplistic. I needed to capture the characteristics of the insect. After all this was what I was attempting to achieve with the other subjects.
My initial thought processes focussed upon a simple image of butterflies because I wanted to include a busy garden ground. Maybe I lacked confidence because I couldn’t visualise how I was going to achieve this.
My predicament was developing a convincing lifelike image against a busy background without the final piece looking too busy and therefore confusing visually. I went back and looked at the initial tiny image of the butterfly and studied its intricate line and design and reworked another sample. I looked at the different areas of the insect in detail and copied the sections in detail this time.
I was also aware that I needed a careful colour selection, creating a warm background against a clear sharp image of the insect in the foreground. All of the sections of the body are connected well by the colour theme of black and white. This has allowed the image of the butterfly to stand forward from the ground giving a 3D effect.
What went not so well ?
I have a slight concern looking back at this sample. I am pleased with the stitchwork and maybe got so carried away with the stitch that I perhaps should have taken more notice of the placement images on the fabric ground. For example the top left of the sample where a flower head sits neatly on the top of a bud stalk without really making sense. I think if I had drawn a bud on the top of the stalk in stitch the sample would have more depth and would have been much more effective without the distracting image on the left.
Now that you’ve come to the end of the course, what do you feel the strengths of your work are ?
As I have said in previous written reflections I think I have an instinctive feel for composition; instinctive in the sense that I know if an image looks unbalanced, too sparse or full. My drawing skills are quite good, but this is something I want to improve upon. I also have a good appreciation of how colour works and I know that colour can suggest a mood and that at times a muted tone can describe form and dimension and even emotion. Most of the colours in my capsule collection suggest the end of the growing year in the woodlands, parks and gardens in the northern hemisphere. I think the subtleties of colour are really important to get right. What makes the sample above work is the pink berry, this colour holds the sample together really well and gives it a vibrancy and energy that otherwise would not be there.
What would you like to spend more time addressing ?
I am keen to learn more about using different media in order to build up surface textures and depth and I love working with paper in textiles so in future I will continue to include more papers in my sampling and experimenting. I also really enjoyed painting on cotton with textile paints, I loved the soft blending effects, deep colours and the excitement of having to work knowing if you make a mistake there is not going back, unless you start again. I feel this method might be good for me as I know I resist going outside my comfort zone and taking too many risks, However I am starting to realise that often risk taking produces exciting results.
Where are you going to go from here in your textiles practise ?
I am keen to address new practical skills such as printing and dyeing and weaving for example so I can build upon what I have learnt so far. So I will enroll sometime in the new year to start the course “ mixed media for textiles”.
Before you send this assignment to your tutor, take a look at the assessment criteria for this course, which will be used to mark your work at assessment. The assessment criteria are listed inthe introduction to this course guide. Here’s a reminder:
  • Demonstration of technical and visual skills – materials, techniques, observational skills,visual awareness, design and compositional skill (40%).
  • 36%
  • Quality of outcome – content, application of knowledge, presentation of work in a coherent manner, discernment, conceptualisation of thoughts, communication of ideas(20%).
  • 17%
  • Demonstration of creativity – imagination, experimentation, invention, development of a personal voice (20%).
  • 16%
  • Context – reflection, research, critical thinking (20%)
  • 16%

Part five Capsule collection

Part five                             Capsule Collection
These final projects are diverse in colour, composition and surface texture so I thought the best way to connect them up would be through the natural development of plant growth. The structure of any plant and all the many forms and shapes is such a resource for inspiration, alongside the amazing hues of colour, especially during a transitional time such as the Autumn in the northern hemisphere.
All of the samples are at least 30cm square. Instead of numbering my capsule collection I have named them and so connecting the collection together through the natural development of a plant’s yearly cycle. One of the samples is an insect, without which there would be no cross pollination and no fruit.
The ground is a patterened cotton print which I then painted on top with textile paints. Next, I sewed running stitch lines against the wavey centre section with DK pale green cotton to add dimension. I then appliquéd Hessian and lilac lace with coral quilting thread with overstitch to describe fern-like structures to the base and then finally I sewed on a neutral variegated netted yarn to accentuate the branching structure. The colours are a mixture of warm and cools.
I wanted to get away from any recognisable form and create something abstract. I like the sense of movement and depth that has been achieved due to the areas of tonal density and patterned ground beneath. The design is irregular, although there is a theme to the mark making.
I made approximately a 28cm length of French knitting with a DK maroon and a fine grey sock yarn. Next I cut circles and centres from a tobacco coloured crocheted doily and threaded that through the French knitting, which I then sewed and folded inside-out into place. I then cut out grey felt bract shapes from a paper template and also sewed them around the French knitting and folded them inside out.
I chose the metallic silvered oakleaf and lilac patterned print as a ground because it describes leaves breaking down in the Autumn, I thought that would suggest a woodland or naturalistic setting but I needed to add something more to give balance and weight to the narrow yarn concept sample so I added a band of grey felt to the right of the sample. I think the colours work well, particularly the tobacco bracts. Often dried out skeletal shapes remain on a plant in the Autumn and they are normally a similar colour to this. The colours are mainly cool.
This sample is focusing on the structured bracts found on the stems of plants, I incorporated the two different shapes that were in my previous samples sample five yarn concepts, sample seven experimenting and taking risks to make the sample visually intriguing and pushing the experiment further.
 I copied with fabric pen the shape of the buds and stalks from sample three textile concepts, then with 6 strands of dark red and coral embroidery thread I sewed in short and long running stitch up to and onto the outlined edge of the design. I removed the fabric pen marks and pressed around the shapes lightly with an iron. I wanted to exaggerate the space behind the lined stitch giving a 3D effect. I think this has worked particularly well with the stalks.
I chose the fine chintz ground for its cream, smokey pinks, sage green and ochre colours and widely spaced motifs because although I wanted some pattern to add depth and a narrative, I wished to draw attention to the dramatic line of the buds and the stalks without a distracting background.
The taupe, ivory and faded terracotta colours of the block silhouette and embroidery stitch ground are a good colour combination and I was also drawn to the acanthus fern like leaf shape and machine embroidery which has a satin sheen. I needed to have a busy ground to support the pale simple flower.
To start with I sewed different blue and brown ribbons onto the ground, these represent the filament section of the flower. Pewter metallic oval beads positioned above the filaments describe the anthers.
In the lower section of the flower I wanted to continue the theme of texture, especially as the flower is white. So I chose four different fabrics for the individual petals. The different surface textures help to define each individual petal. The polka dot petals are more  translucent so the layers can be seen beneath and therefore suggest depth.
These I sewed onto the ground with a bold running stitch in taupe embroidery silk and yellow crochet cotton. I choose a bold  running stitch to border the petals as opposed to overstitch as I wanted to highlight their defined shapes and delicate structure.
The centre section of lace fabric was over stitched with yellow cotton to blend the flower into the ground.
I am pleased with the different coloured ribbons and the overall shape of this flower. I believe I have captured the characteristics of a tiny flower.
With this project my aim was to create an image of a complex and elegant butterfly against a garden background. I found a monochrome print with an organic block silhouette design that was sympathetic to the project. Then I copied the butterfly by eye from the previous butterfly study with a textile pencil and cut out the design. I wanted part of the wings to show through to the background, so I glued on with textile adhesive a netted yarn stretched across the wing on the back of the fabric. I liked the pale yellow and busy pink ground with a blossom design as it helps to suggest perhaps one of the last summery days of Autumn when some butterflies are still around. I tried other colour combinations but cool blues and greens seemed to compete with the monochrome butterfly and there seemed to be little definition.
Finally I overstitched with 6 threads of embroidery silk in coral and bright red, around the line of the butterfly. Changing the colours gives a phased effect. The fabric for the body is a textured flock and linen weave and the antenna is a black cotton ribbon with a silvered running stitch.
My main objective was to suggest a lifelike insect. I wanted to describe a complex creature with form and a busy ground but I knew I had to rein back otherwise the image would be far too complicated so I made the butterfly monochrome. I feel I have tied the separate sections on the insect together quite well by sticking to black and white and complimented it with a warm background. I nearly gave up with the black and white print design for the wings because I tried so many grounds that did not work but I wanted to see if I could push this to an extreme and on reflection I am glad I stuck to it.
The ground for this last sample is a discontinued embroidered linen mix from Nina Campbell called “Arboretum”. This understated design was just right to support big bright berries. I found a satin chocolate brown ribbon and folded it in half and sewed that on in red thread with overstitch to make another branch. Then I sourced some cool pink and dark red fabrics to make the berries and sewed them on in overstitch in different warm colours. I wanted to highlight the line silhouette of the berry in a slightly darker tone to give the berries some dimension.
In the Autumn many colours start to dull back to muddy tertiary colours in the hedgerows and gardens and the odd remaining flower or berry that has still survived on the branch really stands out by its colour. I was directed by this imagined scene, allowing the meagre berry to amaze. I have made them larger in scale to add drama as well as dimension. There is movement and a mix of warm and cool colours.
These three berries make quite a statement and I am satisfied the image is complete.

Part five Project 3. Experimenting and taking risks

Part five     Project 3. Experimenting and taking risks


In this project you’ll translate the qualities in your drawings into material and stitch explorations and further develop your textile and yarn concepts into Textile results.
Your focus in this project is on experimentation, and particularly on taking risks with your method and materials. You may wish to identify a particular focus for this experimentation, based on what you have achieved in Project 2 already.
. Is there a material or technique that you can really take to
extremes ?
In this project I reworked the butterfly sample not being very happy with the first attempt and have chosen stapling silvered card and used netted yarn stretched and glued onto card to describe its body and wings.
. Would a bold exploration on a really large scale of stitch give you a new angle on translating your drawings and marks ?
In preparation for my capsule collection I have painted lines based on a previous exploration of large stitches to describe the directional growth of branches. The markings produce a bold and striking effect, see Textile sample four
. If colour is an area that you really want to push, you can tackle extremes of use and application, whether through pushing proportions and colour placement or your choices of material qualities and how they relate to their colour ?
I started this project five in the Autumn and it has been a very good year for Autumn colour so I will focus on utilising relevant bright colours to their best advantage and bold block silhouette shapes created through a more experimental choice of materials.
Work to develop at least 10 experimental textile samples. You may achieve less, if your processes are particularly time-consuming, or achieve many more than ten if you have some quicker responses.
sample one inspired by sample one of textile concepts
textile sample one project 3
The ground is made from an old seersucker shirt, I have incorporated the button band to give texture. The stalks are from one length of plaited variegated yarn looped around and stitched on to the ground.
The grass is knitted sock yarn in garter stitch and the beads are metallic.
My focus for this was an exercise in tone and texture. There is movement to this sample as described by the plant growth. I am pleased with the knitted base, the uneven rows of knitting describes a lawn receding, the texture and flat colour works well against all the other variations of tone.
 sample two inspired by sample five of textile concepts
textile sample two project three
I used grey felt for this leaf shape and had good fun sewing in all the different colours around the edge. I love all the variations of colours in autumn and how sometimes one leaf can be many different colours as opposed to green all summer. The orange ground was an appropriate colour which responds boldly against the dark grey and is sympathetic to the various different colours of the stitched edging. I folded the felt leaf to give texture and suggest decay and the purple button added some interest to the leaf. I am not entirely happy with this sample, I think it needs something more, maybe more detail to the leaf.
sample three inspired by sample seven of textile concepts
textile sample three project three
I wanted a bold ground for this sample but a faded pattern that would not compete or overwhelm the subject so I used the reverse side of this Osborne & Little Design. The edge of an old seersucker shirt was used to describe the leaf at the top of the sample, again I used the confectionery ribbon to describe the stalks. I am looking at the brash colours of nature during the autumn with the berries. There are lots of bold colours and clashing designs which I think expresses the drama of Autumn however the composition is right as it looks balanced and the busy paler ground supports the colourful subject and confident shapes and again suggests depth.
 sample four inspired by sample eight of textile concepts
textile sample four project three
I found a ground with the same sage green and copied the design from the previous sample on top with fabric paints. This particular set of samples as a group work very well. This may be because there is a limited palette. I like the colour combination and the lines connecting and changing in length and direction suggest movement and growth. The last sample has moved on from the two previous ones, I think this is because I have now introduced a patterned ground. I am becoming more interested in working with a limited palette but lots of tones. This so far, to me is the most successful of the samples.
 sample six inspired by sample nine of textile concepts
textile sample five project three
The hazy background that originated from the first sample of this series was produced by colouring in an old page from a book, to me it suggests a hot summers day. With this sample I used textile paints and scribbled onto the cotton ground to achieve the same results. The wings were formed by cutting out leaf shapes from a machine embroidery design and appliquéd onto the ground. I like the repeated design of the butterflies but feel they look rather crude in comparison to the original insects. So I am going to have another look and produce a new sample to rework the butterfly image.
sketch for sample six
So I am now going to redress the butterfly and work on a much larger scale with more detailing to the wings. I have stuck some netted fabric and plastic to black cartridge paper and I am  now planning how to create a section of a butterfly as per original design.
textile sample six project three
I was not satisfied with the last attempt at the butterfly sample so went back to the drawing board. To start with I realised that I wanted to express the intricacies and delicate designs found on a winged insect, which is on my original sample. I selected illustrations of winged creatures and insects from children’s fairytales and pasted them into A3 cartridge paper as a collage ground. Next I found some netted yarn and orange plastic netting, spread them out and glued them onto black cartridge paper. I decided to discard the orange plastic netting as the colour was too garish. Finally I cut out line silhouette of the wing shapes and cut pieces away from the wings.
I stapled them together in position and then stapled on a body made from silver card found in salmon packaging. I like the dramatic black and the way it has highlighted the fine latticework on the wings and the scene behind, sticking to the theme of the pastel colours overlaying the fairy tale images
 sample five inspired by sample four of textile concepts
textile sample seven project three
A stiffened linen with a metallic painted Damask design was used for the ground with the above sample. I then rolled a section of striped machine embroidery and cut round a piece of hand crocheted cotton and threaded the circles through the candy stripe tube then sewed that onto the ground. Building upon the lace-like designs created through crochet work  I explored using crochet shapes to describe the bracts. I was surprised and excited by the way the shapes created an additional dramatic effect due to the shadows cast across the sample.

Part five yarn concepts

 Part five   Yarn concepts
Consider developing at least six to eight yarn concepts.
sample one inspired by sample one of textile concepts
This initial sample on the right of this photograph was made up from a yarn base of French knitting, then metallic magnetic beads were wrapped with green cotton and stitched in to the yarn base. The base was then wrapped with emerald green sock wool, the same yarn that was used for the French knitting.
I have stuck to the original inspired sample for colour and attempted to mimic the randomness of the Ivy plant with similarly shaped beads for the fruits. The magnetic beads pull and attract from each other creating a tension to the yarn base giving a coiled effect simulating a vine. I like the effect of the variegated coloured vine and the shiny berry fruits of the beads. I feel the sample has achieved a naturalistic look through it’s irregular beading and colours.
sample two inspired by sample five of textile concepts 
For this sample shown at the top of the photograph I have used a double knit variegated yarn and knitted a flat braid using seed or moss stitch. Then I cut up small leaf shapes made up from dark grey felt and emerald sock yarn. I sewed a running stitch line down the centre of each leaf and attached them to the braid base.
I am pleasantly surprised by the visual effect of the wriggled pattern on the braid that has appeared coiling around the base of each leaf, creating a flowing design down the centre. I did want to cut a small hole on each leaf but decided the leaves were too small for that and was another detail that was not necessary.
sample three inspired by sample seven of textile concepts 
With this yarn concept I started by knitting in DK cotton a braid in stocking stitch. Next I took some of the same green plastic netting that I used for the original sample and with green sparkly yarn I appliquéd a zig zag running stitch line through the netting onto the ground. Finally I sewed on pink and red buttons in regular intervals with brown quilting cotton. This yarn sample has movement and I am pleased with the buttons as a good representation of the berries. What I think has worked really well is the three different tones of green.
Working with different tones of the same colour gives a real sense of completion and depth.
sample four inspired by sample eight of textile concepts 
The ground for this sample is made up of a loose weave of hessian with an overlay of lilac lace, onto which I gathered and stretched a netted variegated yarn which was attached by knotting with a pale green DK cotton. Here are fabrics with different surface qualities.
 I would associate hessian with sackcloth and lilac lace is clearly a delicate and feminine fabric as with the black netted material.  The diverse colours and fabrics give a vibrancy to this piece and suggests a sense of movement, growth and dimension. It is interesting to see the way plants grow around & accommodate each other for space when growing towards the light, I have tried to express that movement in this sample. So many interesting shapes and forms are found in nature as often there are irregular designs like vines and branches working amongst regular shapes like leaves, berries or flowers.
sample five inspired by sample four of textile concepts 
I knitted together two yarns in maroon and grey which naturally coiled in on itself when completed which I then sewed together to form a coil, the result was very similar to French knitting.
Then I had the task of copying the bracts and had to think about how I was going to achieve this engineered construction.
So, I made a paper template to create the spur shape around the stem of the plant. I cut five shapes from the template from grey felt, then sewed them around the base upside down, I then folded them inside out to get the right shape. This sample has a 3D quality which I am pleased with. The design looks organic, it has a randomness which is convincing but also it has a repeated complex design. The silver and maroon is a good colour combination and can be seen on plants in the Autumn / Winter. This process of studying a shape and thinking about how to copy it really has given me a better understanding of naturalistic form.
sample six inspired by sample nine of textile concepts 
Like the original sample I choose to use recycled paper for the ground, which I scribbled over with coloured pencils until it was virtually covered, leaving the children’s illustration visible underneath. Then I stitched a wavey running stitch line down the centre of the sample, incorporating the butterflies as I went, I wanted to give this yarn concept a real sense of depth as if you were looking into a garden, so I then folded some of the butterflies in half and left others flat against the ground.
 The faded images of the children in a garden, underneath the colouring has added to the depth and a dreamlike quality of the sample.