Nina's Textile Trail 2

– Textiles 1: Mixed Media for Textiles

Project 1 – Folding & Crumpling – Exercises 5 Crumpling, 6 & 7 Linear & Rotational Crumpling Techniques

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Crumpling has captured my imagination so I have chosen to work on the other exercises to improve my understanding of the technique and different media.

SAMPLE MAKING & RECORDING OUTCOMES

Inspired by two items in Paul Jackson’s The Encyclopedia of origami and papercraft techniques and his suggestion that layout paper can be used, an A4 sheet of paper was glued to form a cylinder and crumpled. The intention was to add rib creases to create a spiral effect (centre bottom) but the crumpled cylinder was a bit small and difficult to crease.  I preferred the look of the right hand shaping.

The above are created with plain white layout paper.

In the ‘Organic Abstracts’ section of Paul Jackson’s website, he comments

… Controversially for many origami purists, the paper is coloured with charcoal or dry pastel and sealed to create a surface with a matt lustre. I do this because the simple truth is that for me, untreated paper doesn’t have the ‘presence’ of paper customised with pastel. This customisation of the surface somehow changes a model or a craft object into an art object.

Interested to investigate colouring the paper to make any outcome more personal to me, the following were coloured with oil pastels after the paper was crumpled. Although done quickly just for experimental purposes, I think this method emphasises the visual texture and has potential.

I wondered what he had ‘sealed’ his charcoal/dry pastel with and tried Winsor & Newton soft matt gel, which gave a matt lustre but smudged the charcoal.

Fixing the pastel with spray fixative before creasing proved to be a possibility.

DSCF5107

However, the delicacy and nuance of colour achieved by Paul Jackson is far superior to my attempts and needs further investigation.

Another attempt at crumpling a cylinder and adding rib creases with an A2 gold metallic tissue showed potential as a technique but lacked the finesse and beauty of Paul Jackson’s sample.

DSCF5100

It was interesting to compare scale, suggesting that a series of crumpled forms could be grouped to good effect.

Using the technique recommend in the course notes, Exercise 6 Linear crumpling technique, the paper was rolled into a narrow cylinder 4cm in diameter and the cylinder crushed in up an down movement.  This definitely increased and improved the vertical creases.

Gold tissue paper, linear crumpling long ribs and short scattered ribs.

Exercise 7 Rotational crumpling technique

Using silver tissue and drawing the creases downwards from a central point and then adding a ribbed spiral was reasonably successful but bore little resemblance to Paul Jackson’s sample.  I got a bit hot and bothered trying to persuade the paper into sharper ribs and a more conical form.  I’m not sure if the tissue paper or technique were to blame, but suspect both.

Whilst working on the above silver form, some of my frustration was eased when I realised that a good valley crease improved a peak crease, so in spite of my rather vehement opposition to pleats, I can see that an understanding of folding would increase the possibilities and success of crumpling samples.  So, I may have to consider doing the pleating exercises….

Jackson,  Paul (1991). The Encyclopedia of origami and papercraft techniques. London: Headline Book Publishing PLC pp136-137

http://www.origami-artist.com/org_abstracts.htm(Accessed 5/12/15)

Thackeray, Beata (1997) Paper Making Decorating Designing Conran Octopus Limited

 

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