Design Process Portfolio 3

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n the past a weaver would take an oath to eat their shuttle rather than give away any secrets of the trade. Weavers trade crests therefore frequently show a tabby cat signifying the courageous daring and bravewith a shuttle clenched tightly between his teeth.

I am not a weaver of the past however and although I would love more than ever to keep all my design thoughts, reflections, and ideas to myself for the purpose of this final design process portfolio and perhaps because It is only now that I feel ready I shall try to explain myself. Firstly I shall open up and let you into a few truths of my own past that has sat lightly on my mind and occupied the innermost part of my heart throughout this Master’s year. Secondly I shall try and engage you in the design journey I have taken. The reasons behind the ideas and the motions my mind has travelled in to reach the point’s I have reached. Thirdly I will talk about the outcome. The what have I achieved, learned and physically done this year. Finally I will conclude the year by summarizing all the key points needed and will go on and let youknow my hopes, dreams and ambitions for the years to follow.

So with my shuttle staying safely on my loom and for the meantime no trade secrets being revealedI shall begin …

IntroductionWhat to expect to find within ...

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Contents

p5 - Feedback

p6/7 - Weave trust with truth

p8/9 - To date

p10 - 100 drawings

p11 - Yarn

p12/13 - Scarves

p14 - Goodbye/ Sky park

p15 - Fabric

p16/19 - Doing now

p19/21 - The course

p22 - The future

p23 - The Master Weavers Plan

p24 - Image List

FeedbackWhat to improve on this time ...

he feedback from the marking of my DPP 2 component brings to light a few issues, ideas and suggestions that will help me to create a clearer, cleaner and more full component within DPP3. I would just like to state briefly what this feedback was and how I feel I can improve on issues that have been raised.

Issues Solutions

To hefty in size Cut down number of pages and scale page size down.

Introductions to sections andindividuals design process are missing

Introduce each section with information such as what it draws upon, what has come before and what the focus and priorities are for this stage.

No objectives or directions have been spoken about for theweaving.

Always give context to work shown. How I will use it what its qualities are and so on.

Not obvious that the work is being produced for part of a course

To incorporate more information in about the course and thediscussions, influences andguidance I have received.

Say more about the process of making.

discuss the qualities thatcharacterise it for myself. What works what doesn’t, frustrations, compromises and breakthroughs.

Other aspects of the programme are not addressed.

discuss group reviews, Electives, Studio space, feedback from others.

It is stated at the end of the feedback form that I need more critical analysis throughout the component. This analysis should include reflection on both the developing design process and design outcomes.It should also draw out connections, new understandings and clarify positions whilst constantly speculating on potential direction. I am going to try throughout this 3rd component to resolve all of the issues that have been mentioned above by putting their solutions into practice. I have really struggled with this part of the course but want to pull all I have learnt together to create a final Design Process Portfolio I am proud of.

“Your best work is your expression of yourself. Now, you may not be the greatest at it, but when you do it, you’re the only expert.”

Frank Gehry

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Weave trust with truth A little bit of insight ...

had a dream the night before I started at GSA. In my dream I was standing in a studio space at the Art School. Across the studio was a bunch of students chatting and doing work. I caught the eye of one of these students, he gave me a huge smile, a young guy with reddish brown hair and green blue eyes. I knew this boy, I knew him so well but I didn’t understand why or where from. He walked across the room towards me and it was only when he was a meter away that it dawned on me. It was my father at the age of 23. The light was dancing in his eyes and we stood silently. He reached out and took my hand and as the dream started to fade away I heard his voice “I am proud of you Carmen” my body filled with warmth.

My father passed away when I was one year old. He was 32 at the time and had to leave behind myself, my three year old sister and my mother. I have no memories of him but what I do have is photographs, stories, dreams and his fabric to remember him by.Jonathan Masson was a textile designer he specialised inprinted textiles and started his degree in 1974 atThe Glasgow School of Art. In completing his degree he was one of the few students asked to stay on for a furtherpost diploma year. He left The Glasgow School of Art in 1979and started on his quest to finda job. A large suitcase of his fabrichas always been there to lookthrough at home.In the years to follow he met my mother an old friend from Art School and they began a family.

I never intended to follow in the same footsteps as my father, it just seemed to happen. I would never have thought that 32 years later I would be studying a Masters within the sameinstitution and department as he did. This thought has been sitting on my mind throughout the year and I admit at times it has become slightly overwhelming. It’s only now that I amapproaching the end I am able to share what this year hasbecome for me.

I have discovered who I am this year and in doing so have had to visit sad places within my heart along the way. My work has a personal depth to it that I never knew existed. Everything I weave has a little bit of my soul within it. I do not just do it for myself but I do it for my father and have been all year. In India where my father was born and spent his early childhood weavers of carpets leave a little flaw in everything they make to allow for the soul to come out. Everything I have created this year has a small flaw in it for this purpose to let the soul flow out from it.

My father and I in the lane behind my home. 1988

My work has a personal depth to it that I never knew existed.

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Jonathan MassonPrinted textile

(produced at the Glasgow School of Art 1979)

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To Date Where I have reached so far ...

he image to the right shows a sample dress I have woven and stitched together.This sample dress took me a week to make and although it will not feature in my collection it was an important process to go through before weaving my final garments. This dress is the starting point for the next stage of the course manufacturing. In creating the dress I have decided that the hem should be finished with longer tassels at least 6” if not more and that the neckline should be a straight slash to allow for it to be finished in the same way as the hem. This will give a more expensive and unusual feel to the collection. It will add a level of elegance that I feel is currently missing.

This dress is the first outcome of a years worth of work combining ideas taken from archive research, sampling, and silhouette experimentation.

Sample Dress

Sample dress

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100 Drawings

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100 Drawings collection roughs have to be drawn out ...

here it is again that word drawing that makes me come to a halt. The word 100 added to the front of it has not helped matters at all. For this part of the course we are expected to produce 100 different fashion drawings or roughs for our collection. I have struggled to even produce one I like. I am not even really sure if I have managed to grasp the idea of what is wanted here at all. Below is a collection of my failed attempts.

I feel that my drawings have progressed I just need to keep trying and hopefully something will click. I need to continue to work on it even though the hand in has passed just for my own piece of mind. It’s hard to find the time but I am determined to do so.

I shall keep trying and hopefully something shall click.

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YarnSelecting and sourcing ...

met a man in a pub a few nights ago his chat up line was “name 5 things you love In 5 seconds go…” The first thing that slipped of the top of my tongue was yarn. I was shocked at myself but it’s true I love yarn. I think I love it even more than weaving itself. I have been fascinated by it ever since I walked into the yarn cupboard in the weave department in Gala.- Towers of different textures.- hundreds of different colours.- All sorts of sizes - One single cone of yarn with one single end of thread wound continuously around it can become a fabric. - Yarn is fabric the weaving or knitting are only the methods used to hold the yarn together. - Without yarn there is no fabric !!

The man I was talking to loved tin foil I didn’t hang about long enough to find out why but I am sure there was justification for his love for tin foil as there was for my yarn.

I have managed to source silk yarn from a man named Jim Laycock in Huddersfield. His prices are extremely reasonable at only £12 for 1lb it is a steal. His price sheets and yarn swatches were sent out all written by hand and I can only assume by looking at his image on his website and his address that this is an old man that has been in the industry a long time. I am led to believe by the small quantities, that this collection of yarn is perhaps a personal one. Jim selling it on having collected it from mills shutting down in the area. I can only hope not his own.It is nice to know I am receiving yarn that has had a history stuff that has escaped the rubbish heap on many occasions. This yarn has not just arrived in the UK it has been here for a matter of years perhaps it was made in the UK. Perhaps it was made in Bradford. Perhaps I shall email Jim and ask instaed of assuming

It would be nice to know the history.

Without yarn there is no fabric.

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Scarves Weaving on the Jacquard ...

ow that all the fourth year students have left I have full access to the jacquard loom. I feel like I have had very little time over the year to sample on this loom and warp restrictions has not made it easy to achieve the desired look I am after for my collection. The warp stays the same on this loomthroughout the year and consists of an off white fine polyester yarn the reason being it is cheap and strong. This warp therefore means that 50% of my jacquard pieces will be made in white polyester. Polyester is not exactly a high-end luxurious yarn and I do not wish to give it a large part within my collection. This restriction has lead me to the conclusion that the best thing to weave on this loom is accessories.

I have created 3 different designs all originating from photographs of weavestructures taken in the GSA archive. I zoomed into key areas within the photographs I was interested in then scaled up theses images to around 100x their original size. I then used the pointcarre weave computer software to create repeats of these images and attached weave structures. The designs are then sent to the jaquard loom to be woven up.

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close up of archive image

woven on loom

image translated on weave software

Design 1

I have woven 5 scarves.Three of these scarves are 13” wide and around two meters long allowing you to wrap around the neck a number of times.These scarves are comfort every day items something you can grab from your cupboard on a crisp autumn morning and throw over your winter coat to add another layer of warmth to your outfit. The remaining 2 scarves are narrow only about 4” in diameter but again two meters long. These are show scarves something to add a little oomph to your outfit or coat they serve no real function other than decoration. They are woven necklaces. >

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Scarves hanging to dry in the back garden of 14 park view having been hand washed in the bath.

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GoodbyeLeaving the Newberry Tower ...

he Newberry tower where the Textiles department lives is being demolished this year to be replaced by a new building that will house the Textiles, Jewelry and Product design departments. This new build shall take two years to build and apparently will be an architectural masterpiece. It will be faced in glass at the front to capture the reflection of the Macintosh Main Art schoolbuilding that sits opposite, It will be lit from underneath so it lights up like a lantern at night. I have yet to look at the plans but this is how it was described to me by the decant manager that is in control of moving the Design School to a temporary residence for two years whilst this glass lantern is being built.

The busiest time of the course and the Mdes Fashion and Textiles students are packing away there work and moving it all to a new studio and praying that all the equipment they require to manufacture there work is available when they get there. I admit the whole thought of this decant has being playing on the back of my mind my only true concern being that the loom’s are not ready for my arrival we have been constantly reassured they will be though so all I can do is hope for the best.

Moving is nothing new to me this year. It dawned on me whilst I was packing my work in the Newberry Studio that I have moved home four times since starting the Mdes course in September a little insane. So back to the Newberry in 1978 my father studied his Post Diploma year in the Tower. It feels nice knowing that I got the chance also and was one of the last Masters students to study in the Newberry tower before it was closed for demolition.

My boxes are packed and I am ready to move on to somewhere new ...

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Sky ParkMoving into the new premises ...

-Arrived at Skypark at 9am Monday morning

-Directed to a parking space

-Walked down a flight of stairs into the courtyard

-Surrounded by office workers

-Looked down at scuffed shoes

-Walked round the corner

-Climbed 4 flights of stairs

-Entered the textiles department

-Saw lots of builders

-Wound my way through to the Mdes studio

-Nice big room painters still painting

-Walked into weave shed

-Electricians fitting lights

-Looked through the dust and gloom

and there was

Looms standing to attention. In one large row all up and ready to go.

Fabric Sourcing some fabric in ...

hree garments within my collection are going to be made with bought in fabric. This fabric will be for a coat a jacket and a long dress. I have been looking online and throughdifferent swatch books to find the correctfabric however I have been finding it a struggle. To begin with I was putting it off as I felt that my collection should consist only of my own woven fabrics and latterly I have been avoiding doing so as I know the cost of buying the desired fabrics in will be above my limits. I have bit the bullet however and have sourced two super fine worsted wool fabrics one in navy and the other camel. They are not cheap at £33 per meter but I have scrapped some savings together and am going to go ahead and purchase them.

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Navy fine worsted wool

Camel herringbone fine worsted wool

My collection should consist only of my own woven fabrics.“ ”

Sky ParkMoving into the new premises ...

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Doing Now What I am currently working on ...

The last few months of the course are here and the class has reached the manufacturing point of creating our collections. For the past few weeks I have been ordering fabric, sourcing yarn and planning exactly what and how much I need to weave. I shall have to put in long days and a lot of manual labour to geteverything done but I am determined that I will complete everything with time to spare.

It took me ten minutes to weave 1 inch the other day … I hope I get quicker.

I have worked out that I shall need to create 5 separate warps and altogether weave at least 20m to create my collection from. This is a lot of weaving.

In the next few pages I have given you an outline of what my collection will consist of and have summaridsed up different aspects of my views around my collection to date.

What do I think ?

What does it say ?

The collection I have created is one that I feel showcases myabilities as a weaver. I have pushed the boundaries of woven design and have introduced an innovative way of fashioning woven garments on the loom like a knitwear designer would doon a knitting machine. Weaving panels to exact measurements, using selvedge as raw edges and hemstitching the neck andhemline to the correct widths.

I have kept my garment shapessimple and have worked with thelimitations of the loom to achievethis idea. I have faced many difficulties along the way but havefound solutions to all of them and every wall I have reached I have challenged with determination and knowledge.

The collection I have created is all about the weaving and this is exactly what I set out to achieve. I don’t want to become a fashion designer I never have. I set out to transfer my weaving skills into fashion and in doing so I have created a collection of extremely bespoke one off woven garments.

I don’t want to become a fashion designer I never have.

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I want my collection to say

- Put me on

- I will keep you warm

- I will be soft against your skin

- I am carefree elegance

- I am a little bit of comfort

- You can wear me every day

- You can wear me out at night

- Its ok to let me unravel

- I look better with age

- Leave me on the floor

- No need to Iron

- I am bohemian

- But I am still shic

- I am individual

- I am a free spirit

- I will add to your beauty

- I shall drape from your body - I am created in silk

- But I still have a little linen

- Put me on

Outfit 1

Outfit 2

Finishing edges ... he woven fabric I have been weaving this year is very fine and delicate therefore I have been very aware of how I can make it suitable within a garment.I do not want the edges of my garments to appear bulky where they have been folded over and hemmed therefore I have tried a few different methods of finishing which will allow for the edge to be left flat but still tightlysecured.Knotting was my initial option however this still leaves the bulk of a knot and it is not the easiest to do with such fine yarn in the first place so I discarded this idea. I then found a technique named hemstitching on the loom.

Hemstiched edge

This technique involves leaving a large strand of the weft free at one edge around double the length of the width of the weave itself. This end is then threaded into a needle and through wrapping and looping this end around the edge of the fabric a tight stitch is created which secures the warp and weft threads in place.It leaves long tassels at the edges of the fabric, which I feel brings a little more cotoure to my collection.

I have also decided to leave some edges of my fabrics raw. I like the undone look it adds a little bit of interest and creates overall a more delicate look. There is something beautifulabout a fabric that looks like it could unravel at any moment.

Raw edgeI believe that sometimes things are better left undone. >

T utfit 1 shall consist of a short dress with scarf piece. The dress will be made in the stripy gold and navy fabric I have created. This fabric is a double cloth meaning it has two separate layers to it. I have woven theselayers so they are only joined atthe edges to allow for a littlemovement to occur between the front cloth and back this is intended to add depth to thedress and mix the warp and weft colours in a different manner. Layering them up as well as having them beside each other. Double cloth

Over the top of this dress I am imagining my full-length navy jacket with one of my Jacquard scarves draped around the neck to complete the look. The dress will be finished with 6” tassels around the neck and hemline whilst the coat and scarf will have a raw edge on show. I have been calling this dress my Pocahontas dress as the colours mixed with thetassels I feel will give off this Red Indian vibe.

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utfit 2 shall be a long dress with scarf piece in a single cloth fabric with extra figuring threads running down it from top to bottom at one side.The fabric is mostly light cream and off white and running through the weft there is sections of grey and orange as well as navy yarn. It shall again like outfit 1 be edged with 6” tassels around the neck and hem and the arm holes and split in the side will all show the selvedge edge of the fabric. The dress itself is 34” wide and nearly twice as long so it will take the longest to weave out of all my garments. The sample I am taking the fabric from is only 10” wide so a little creative tweaking is in order to create this dress.

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What does it say ?

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Outfit 3

What do I want ...

Outfit 4

utfit 3 shall have a dress the same shape as dress 1 however instead of having 6” tassels it shall havetassels that reach the floor at the bottom and come right down over the chest at theneckline. It shall be made mostly in mercerized white cotton and shall have flashes of silvery grey and orange runningthrough it. A short camel coloured coat shall sit over this dress and a slim scarfshall be wrapped around the neck

To the right is an image of a sample dress.The one mentioned above will look verysimilar to this dress but with all thetrimmings added. I made this sample dress in order to see how easily the edges could be sewn together and finished onand off the loom. It was a very successful trial and has allowed me to see what needs done differently for next time..

O utfit 4 remains a little unresolved currently.It is meant to be a dress made up of three rectangles one large that makes up the back and skirt section and two smaller that attach at the shoulder seams cross over and tuck into the front.I have come to the conclusion however that I do not have the facilities to weave this large rectangle as the looms only go up to 36” across and I need a width of 45”. I have been working on solutions in my head one simply being to cut the largerectangle down to 36” across. This will make the dress tighter at the hips. The other is to create two smaller rectangles and seam them together into one large rectangle. I can’t help but feel this will spoil the shape of the dress however.

For the meantime I will continue with everything else and hope a solution confronts my thoughts at a later date.

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outfit 4

I want lots of thing from my collection but at the moment what I want is as follows.

- I want a collection that showcases my talent as a weaver.

- I want it to look beautiful.

- I want it to be remembered.

- I want to feel the satisfaction of creating something I love.

- I want to see and hear what others think.

- I want the eye to be drawn to the fabric.

- I want to put everything I can in to it.

- I want to finish it.

- I want to be able to look and touch it rather than talk about it here.

- I want to get on with making it.

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Outfit 5

What would I change ? What do I like?

utfit 5 will be a long dress that comes down to the ankle made in navy fine worsted wool. This dress shall have splits up the side and shall taper in just slightly from top to bottom. Over this dress there shall be a small square waistcoat. The waistcoat shall be made with my hand done leno twist fabric. I love the delicateness of this fabric and the large gaps allow you to see rite through it, which will mean it, will look great against the navy of the dress. I have still not made up a pattern for this dress but it will only be a slight variation of the pattern used for dress 1 and 2 so it shall be ok.

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don’t feel like I can truly answer this question in relation to my collection until I have seen the completed 5 outfits. At this point in time I have only made the scarves and the dress for outfit one neither of which are made into garments yet.

I guess in an ideal world I wouldn’t have bought in fabric for the coat, jacket and dress. I would have woven it myself; just for the pure satisfaction of being able to say at the end yes I wove that whole collection.

Why stop at that though … in my ideal world I would have taken it even further. I would have a sheep that I could sheer, I would have treated the fleece, dyed it with home grown dyes before spinning it by hand into fine yarn. I would then weave from this yarn and create my fabric, which I would make into my fashion collection. Perhaps that is just greedy.

In answering my question above though I would like to say, having not completed my collection it’s impossible to know what I would change about it. What I could add to it to make it better and bigger now that is a different story altogether.

I - I like the way the silk yarns glisten.

- I like the tassels that are free to move.

- I like the layers I have created.

- I like the colours I have used.

- I like the price I bought the silk at.

- I like that my fabric is so soft to handle.

- I like that my work is me.

- I like that I have learnt this year.

- I like that I used 4 different types of loom.

- I like the idea that I fashioned the garments on the loom.

- I like that I hated making paper patterns.

- I like the carefree elegance. - I like that I still love weaving.

I like that I am the only one that knows that little green yarn that peeks into my collection unnoticed is a yarn that belonged to my Grandfather.

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The Course

Electives

What have I learnt ?

What I feelI don’t want to leave. I have loved every second of the course this year and I am sad that it is reaching an end. The course has taken me through a journey of new discoveries and has challenged my design abilities as well as giving me a little more experience in articulatingmy thoughts and expressions. The part of the course I enjoyed the most however was the studio work and creation of my collection. This is understandable though as it does take up the largest percentage of time throughout the year and is what drew me to applying in the first place.

I feel like I have learnt and experienced so much this year and although I do not want to leave I know that I am ready to.

I don’t want to leave“ ”

- How to create a fashion collection

- How to use an AVL loom

- How to use Poincare weave software

- How to create a garment pattern

- How to hemstitch on the loom

- How to make a leno fabric

- How to use in design

- How to create a book

- How to make a coat

- How to make a dress

- How to toile a collection

- How to express my opinions

The points stated above are only a small fraction of what I have learnt this year. The list is endless.

I didn’t enjoy the elective part of the course at all this year.

I felt that it took up a huge chunk of my time that would be better spent working on my collection.

I found it frustrating having to write essays on subjects that were of little interest to me.

I tried hard to draw on the positives and relate the work as much as possible into my field however it proved difficult.

I’m not averse to learning new things however when studying at masters level I wanted to study only what I was capable of becoming a master in this being fashion and textiles.

I have avoided talking about the elective subjects up until this point, as I know I have nothing positive to speak about. I would of rather spent my time weaving. I’m ashamed to admit this but it’s the truth.

Perhaps in the future something I learnt in one of these electives will come into use but until that day I shall leave them at the back of my mind.

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What would I do differently ?

DPP Where have I reached ?

If I was starting the year over there is a few things I would have done differently. - I would not have moved house four times.- I would have kept a better log for my DPP- I would have started to weave at the very start when I wanted to weave.- I would have spent more time in the studio and less time socializing- I would have kept better notes and in a more organized manner- I would have always given myself enough time for things to go wrong- I would have printed my DPP 2 the way I initially wanted it done - I would have kept specification sheets for all my weave samples- I would have made proper paper patterns for all my collection.

By the end of the course I am sure I will be able to add a lot more to this list but I believe there is no point in speculating to much about what could of and should have been done instead it is better to focus on what can still be achieved.

The DPP component of the course has been an interesting one for me. I have enjoyed doing it however I don’t feel that I have fully grasped the idea of it.

I have not been the best at keeping log books I tend to instead write things down on random scraps of paper that I rarely ever find again.

Letting others into my thoughts and reasons behind myself is tricky to do and as for showing my process of design I have found it nearly impossible as it has been all over the place.

At the start of the year I mapped my design process down on a large bit of paper. It showed one large circle with other circles coming from it …..It showed order.If I was repeating this exercise now I would show you a sheet speckled randomly with paint each little blob representing a part of my process. It comes in no order but when it just happens to overlap that is whenoutcomes arrive.

I have reached a point where I feel I can talk no longer about the course and my collection. I have reached a point where what I have to be doing is weaving the final garments.

but what I need now is a finished collection that can justify the information I have given in this final DPP.

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o 14 Park view is an old weavers cottage in KIlbarchan that sits in the middle of a terrace of houses. In the last few months it has become apparent that this house has been in the family a lot longer than any of us realized. My Grandmother who lived in the house since I was born passed away a few months ago and having been sorting through paperwork for the home the title deeds of the house were found. It just so happens that my Grandmother’s great Grandfather built the house and he himself is stated in the deeds as a Master Weaver from Kilbarchan.

My grandmother’s home is where my studio lies. I have been collecting yarn, and weaving equipment over the past few years in the hope that one-day I will have the space, determination and experience to start my own small business. In the last few months I have moved into the house and as my Master’s course draws to a close another door and pathway I have always dreamed of is opening up.

I can’t be certain of what lies ahead but I do know that weaving is part of my heritage and runs strong in my blood.

Fot the meantime the sound of the flyingshuttle is the only music I want to hear.

The Future

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“The Plan of the Master Weaver”

Author Unknown

Our lives are but fine weaving That “God” and we prepare,

Each life becomes a fabric planned And fashioned in “His” care.

We may not always see just how The weaving intertwines, But we must trust the Masters hand

And follow “His” design.

For He can view the pattern Upon the upper side,

While we must look from underneath And trust in “Him” to guide.

Sometimes a strand of sorrow Is added to “His” plan,

And though it’s difficult for us, We still must understand.

That it’s “He” who fills the shuttle It’s “He” who knows what’s best,

So we must weave in patience And leave to “Him” the rest.

Not till the loom in silent And the shuttles cease to fly,

Shall “God” unroll the canvas And explain the reason why.

The dark threads are as needed In the Weaver’s skillful hand,

As the threads of gold and silver In the pattern “He” has planned.

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Image listP6 – Image 1 = Scanned Photograph taken in 1988 of Author and Father

P7 – Image 1 = Scanned image of printed textile (real size) made by Jonathan Masson 1978 at GSA

P8 – Image 1 = Photograph of sample dress (own work) taken in May 2011 by Author

P9 – Image 1 = Scanned image of Drawing done in May 2011 (own work)

P10 – Image 1 = Scanned image of photoshop created fashion dress drawing A4 size May 2011 (own work) Image 2 = Scanned image of photoshop created fashion coat drawing A4 size May 2011 (own work Image 3 = Scanned image of hand drawn in pencil fashion drawing A4 size May 2011 (own work) Image 4 = Scanned image of photographed and hand drawn fashion drawing May 2011 (own work) Image 5 = Scanned image of hand drawn in pencil fashion drawing A4 size May 2011 (own work) Image 6 = Scanned image of hand drawn in pencil fashion drawing A4 size May 2011 (own work)

P11 – Image 1 = Scanned image of Yarn swatch sheet Jun 2011 (Ashleigh Yarns)

P12 – Image 1 = Archive photograph taken Oct 2011 showing German Weavers work name unknown. Image 2 = Screen shot from Pointcare weave software showing (own work) Jun 2011 Image 3 = Woven fabric created on Jacquard loom Jun 2011 (own work)

P13 – Image 1 = Photograph of Jacquard Scarf sample hanging to dry (own work)

P15 – Image 1 = Scanned Fabric swathes from Bateman and Olgen Jun 2011P17 – Image 1 = Scanned image of Double cloth scaled down April 2011 (own work) Image 2 = Photograph of long dress Toile June 2011 (own work) Image 3 = Photograph of hemstitched edge of fabric. May 2011 (own work) Image 4 = Photograph of raw edge of fabric. May 2011 (own work)

P18 – Image 1 = Photograph of sample dress (own work) taken in May 2011 by Author Image 2 = Photograph of cross over dress toile (own work) taken in May 2011 by Author

P19 = Image 1 = Scanned image of leno twist woven fabric scaled down May 2011 (own work)

P21 = Image 1 = Scanned image of pencil drawing March 2011 (own work)

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