Islamic Patterned Textiles
Exhibition Text
Title: Shell
Medium: Paint, Linen, Thread
Size: 152cm x 92cm
Month of Completion: December 2016
This fashion design piece applies inspiration from ancient geometric Islamic patterns to a simple hooded cape. This cloak brings form and function into sharp contrast, juxtaposing the bright and colorful pattern with the concealing purpose of a cloak.
Medium: Paint, Linen, Thread
Size: 152cm x 92cm
Month of Completion: December 2016
This fashion design piece applies inspiration from ancient geometric Islamic patterns to a simple hooded cape. This cloak brings form and function into sharp contrast, juxtaposing the bright and colorful pattern with the concealing purpose of a cloak.
Inspiration
This work was inspired by the geometric designs found in Islamic culture. I was drawn to recreate the endlessly repeating patterns often seen in Islamic architecture and design, and to formulate the same level of color and complexity in my own work. The finished pattern is not quite as intricate as many of the patterns seen, but it is comparable in terms of color and geometric design. I applied this to fabric in order to create a type of cape or cloak, also inspired by Islamic culture. I created this cape to the best of my ability, although it is not completely accurate to the way traditional ones would be made, the same idea is used. |
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Experimentation
I knew from the start that I wanted to develop a hexagonal pattern, so I began creating simple sketches based on the techniques I learned in the video. I created several designs, but the one I chose involved a six-pointed star surrounded by hexagons and small triangles. I thought this design had the best balance of complexity and simplicity. I also chose to leave space between the shapes because this would create a white outline in the negative space, as was done in many of the original designs I used for inspiration.
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The actual method of applying paint proved very difficult, and involved a lot of experimentation on my part. I had four different stencils with different shapes cut out, based on how I wanted to color them. I had bought spray fabric paint in the colors I wanted because I thought this would be the easiest method and could be used to formulate many tessellations very quickly. However, when I tried this on a scrap piece of fabric, I found that the result was very uneven and often bled outside the lines of the stencil, no matter the thickness of the coat I used. I began instead exploring different brushes to create the shapes, as shown, but the none of these yielded the precise edges that I needed. I attempted using a sponge, but this also bled through. Despite this I felt the sponge method still had potential, so I tried it again using a much lighter coat of paint, and it paid off. The results, although still not perfect, were the best I had achieved so far, and so I went on to apply this to the final piece. |
Process
First I started researching different styles of Islamic patterns, learning their history and how to create them. The video shown provided the best information on the latter, as well as the three basic types of pattern: square-based, pentagon-based, and hexagon-based. I quickly decided to use a hexagonal pattern because they appeared more complex and intricate than square ones, but they were simpler to tessellate than pentagonal patterns.
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After choosing my pattern (more information in the Experimentation section), I used Adobe Illustrator to formulate a cleaner, more precise version to eliminate incorrect proportions or mistakes in my drawing. I started with a circle inside a square, using this to form a hexagon, then drew lines connecting different points to use as construction lines. I then selected certain shapes to outline in bold, and copy/pasted these to use as my final pattern. Just to be sure, I also tessellated the pattern and applied color to see how the final design would look.
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I decided to use four colors in order to keep the complexity of my inspiration but avoid overdoing it. Many of the designs I looked at involved a few similar colors with a contrasting one, and sometimes a different texture such as a metallic. To demonstrate this in my own work, I chose two shades of blue, a light yellow for contrast, and a metallic gold for texture.
I printed four copies of this design onto heavy paper to use as stencils. I used an X-acto knife to cut out different elements of each copy, so that I could paint with one color at a time and not worry about getting color on the wrong shape. I wanted to use spray paint to easily and quickly color the shapes, as I thought using paint or dye with a brush would be too time consuming and prone to error. However, as discussed in the Experimentation section, I actually ended up using a sponge to apply the paint. I did manage to find fabric paint in each color that I wanted, I chose fabric paint instead of regular paint because this would remain flexible and allow the finished product to keep the drape and flow of unpainted fabric; using regular acrylic paint would make the fabric stiff and that was not what I wanted in the final piece.
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After choosing to use a sponge brush to apply the paint, I began tessellating the pattern over the entire piece of fabric, one color at a time. Working with only one color at a time sped up the process and also ensured I didn’t have to keep washing brushes to switch paint colors more than I had to. I did find that over time the stencils became messy and the paint built up on the edges to the point where I needed to replace them after 20-30 uses or so, despite this I think I was able to use them very effectively. Although this process was simple and straightforward, it took me quite a long time, and at some points you can see I made mistakes with the placement of the stencil, resulting in a few shapes being jumbled together or crooked.
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Once the entire length of fabric was painted, I cut out the pieces according to a pattern I found. I cut one large trapezoid for the cape, which I decided to do because it would drape better when hung off the body, and a rectangle for the hood. I used a sewing machine to make long stitches across the top of the trapezoid, then pulled the bottom thread at both ends. This technique cause the fabric to gather, or pucker, along the edge. I gathered the piece until it was the same length as the hood piece. I hemmed the short ends of the hood, then sewed the long end to the gathered edge of the cape. I then turned the hood inside out, and stitched the top edge shut. I was originally going to simply sew this straight across, but at the last minute decided to sew in a curve. I decided to do this because this would fit the head better and eliminate a point forming on top when worn. Lastly, I hemmed all three edges of the cape.
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At this point I thought I was finished, but when I tried it on I realized I had forgotten to add a closure. I found a large button, but I didn’t want to make a buttonhole that large because I had never done that before and because I feared it would interfere with how the cape fit. Instead, I stitched the button to one side, then used thick thread to create a series of large loops on the other. This way, I could use the loops to secure the button without making the neck opening any smaller or compromising the fit of the cape.
MeaningThrough this piece I wanted to communicate a contrast between the closed-off, reserved nature of a shroud and the loud, brightly saturated colors I painted it. In my life I have known quite a few people who use loud, overly friendly personalities to give the appearance of being open and free, when in reality it is a front to avoid exposing their true selves or revealing anything truly personal. I demonstrated this message both through the piece itself and the final photography of the work. The shroud itself has a clear juxtaposition between appearance and function, it appears to be bright and outgoing, however the function of a cloak is to conceal and shield the wearer. I furthered this message in the final photogaphy of the piece as well. I asked my friend to model the piece for me, and I positioned her so that her face was hidden in the photos, either behind her hair or the hood of the piece. This way I could present the immediate brightness of the fabric, and yet the person herself is concealed from the audience, again providing that contradiction of form and function.
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ReflectionWhat I liked: The colors work very well together, I think the yellow and blue compliment eachother nicely, while the metallic gold adds interest. I think the final pattern is seemingly complex, yet it was very simple to make and I like the complexity it gives the viewer. I also like the way the hood of the piece comes well over her head and the cape is large enough to wrap around her.
What I didn't like: The fabric paint I used added a considerable stiffness to the piece, and it does not drape or flow quite the way I wanted it to. I also think that while the size fit the model well, the shoulders do not fit quite right. I had to do a lot of adjusting and careful placement when photographing it to get the look that I wanted. Additionally, you can see on the back of the cape that the pattern got a bit out of place and some of the shapes became scrunched together, or I had to make some smaller in order to fit. |
ACT Questions
- There is a clear cause and effect relationship between my inspiration and work in the way the colors and repeating shapes of Islamic geometry are imitated in my work.
- From the video I used to learn to create these patterns, the narrator was very inspired by these artworks because of their amazing complexity. He also shared his opinion that there could be great potential in these patterns, that they could e pushed beyond what has already been made.
- I've come to the conclusion that people can find beauty in something as simple as geometry, and it's when they learn to push and develop this geometry that they create art.
- The central theme around my inspirational research was finding a way to express a contrast between bold openness and a concealed self.
- I made the conclusion that many people would rather maintain a false front of friendly personality than expose their actual feelings and thoughts.