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You can read the text of my evaluation below, or as an embedded document above.

Name: Jayne Childs
Course: MA Fashion Textile Design PT
Sprigs, Brides and Prickings – Evaluation

As a textile artist, specialising in digital embroidery, I combine historical influences with contemporary design to create wearable pieces and art.

I’ve developed my own interpretation of lace ‘sprigs’ and ‘brides’, both terms used in traditional handmade lace. Sprigs is a term for smaller motifs in Honiton lace which would be made individually, then joined together to make a larger piece, brides refer to a type of join between lace motifs. I’m using these concepts to tell a story within my lace design, and within the making. The work I created during my MA features a strong narrative.

I highlight the discovery of an important fossil close to my childhood home, incorporating themes of girls and women not being believed, and how light can reveal but also distort what you see. I was delighted to be awarded one of three 2020 Scholarships by the Embroiderers’ Guild, allowing me to continue developing Sprigs and Brides beyond my MA.

Project Proposal summary
The proposal was to make an illuminated panel for installation or interiors. I proposed to explore the concepts of lace, shadows and borders, and include theoretical ideas, the work of other artists, makers and designers, investigations into the potential of new materials and practical studio-based experiments.

My outcome was to be a wall-mounted or free-standing illuminated installation for interiors, possibly accompanied by a small collection or concept for domestic lighting. Lace, or other materials, placed between the light source (LEDs) and the frosted sheet would cast a pleasing, distorted image onto the surface. Movement would come from the viewer moving around the object and the use of colour changing lights within.

Delivering the project
After submitting my project proposal in early July 2019, I felt confident that I had an idea to pursue, allowing for a short period of narrative development. I liked the idea of creating a free standing installation and gaining the skills I would need to construct an artwork of high enough standard to sit in a hotel or office entrance.

There were two major crimps in my timeline. First, a week after submitting my project proposal in July 2019 my mum had a massive stroke. She lost the use of her left side and spent eight weeks in hospital learning to speak, eat and walk again. She went home to live alone just as we were to return to university. I, as the youngest, most local and least employed of my siblings, took on the responsibility of her care.

Fortunately, she doesn’t need full time care, but took up enough of my attention to wash out some of my brain and time. I was unable to go to Karlsruhe for the GEDOK exhibition, but my colleagues installed my work for me. I said no to things I would normally pursue, and only did one selling show in the run-up to Christmas 2019. I had less time in the MA studio and had to cut my working hours further to accommodate my studies. I decided to make a simple wall-mounted installation and outsourced the making of my lighting installation to a local cabinet maker. I had commissioned the work just before the second crimp in the road, the Covid-19 pandemic.

The UK went into lockdown just as the first centre of the epidemic in China was under control. I sympathised with the Chinese students on the course who must have been beside themselves with worry about their friends and family back home.

We packed up our essential work from the MA studio, not realising we wouldn’t see it again until a week before hand in (maybe). I left all of my first year work there, and retreated to the JCM studio at home. I don’t feel I was as affected by CV-19 as other students, having most of the equipment I needed there. I had to outsource my laser cutting and engrave and that was a huge headache, but mostly down to my poor software skills. On reflection I would not try to do the design by myself but let Keith (Handytech) work the line drawing up.
The lockdown was an emotional shock, which set me back by at least a month. If it had not happened, I think I would have finished my boxes earlier, and had more time for reflection and 2D branding work.

I’m very disappointed that I won’t get the chance to exhibit in July but am sure I will have other opportunities. I have been awarded an Embroiderers Guild scholarship, and if lockdown eases sufficiently, I will exhibit at the Knit and Stitch shows in London and Harrogate in October and November. If it doesn’t and the events don’t run, I’ll show them another time.

The Narrative
The story behind the project was inspired by weeks and months of driving across the Charnwood Forest to visit my Mum in hospital. As youngster, I’d knocked around with friends on Beacon Hill and in the Outwoods, as did my Mum and thousands of other girls who grew up in that part of Leicestershire. In the 1950s, a young girl called Tina Negus had also visited Charnwood. But unlike me and my Mum, Tina visited the area with a purpose. She was a fossil hunter, and the area around Charnwood is rich in prehistoric fossils.

During that visit, Tina found a fossil and made a rubbing onto paper, intrigued because it was in a rock that was way too old to have fossils in it. She showed it to her geography teacher, who didn’t believe her that the fossil was where Tina claimed. A local boy, Roger Mason, was eventually named as the finder of that sea creature fossil, it is he after whom it is named -Charnia Masoni. Charnia was an important find as it proves that life existed in the pre-Cambrain era and eventually Roger Mason became an academic geologist.

I told this story to my Mum who is a few years older than Tina Negus. When she looked my work, she said ‘yes, that’s how it was in those days. Girls weren’t valued in the same way as boys, perhaps if she had been a boy, she would have been listened to’.

I’m an instinctively reflective practitioner, which probably comes from lack of confidence and overthinking. The difference here has been capturing that reflection and applying the outcome. I don’t know how much reflective journal I will continue to write as it’s so time-consuming, but I hope capturing technical file has become second nature. Having been caught out when asked to recreate some older JC Middlebrook work, I have learned the hard way.

I think even ‘noting’ thoughts allows me to make decisions in a conscious way, providing accountability to myself, rather than stumbling into actions.

Concept keywords
I found keywords helped keep my project on track. Referring back as I wrote my reflective journal helped me to see how my project was progressing, and how relevant (or not) my activity:
• Darkness -Alongside the use of real shadows/light I was interested in ‘dark’ motifs or design themes. I’m not sure I explored this idea to its fullest conclusion but was happy with the motif development I achieved.
• Negative space – using the idea of the shapes between the shapes. Exploring the concept of what is left behind when a part is taken away. Not as big an influence on my design development as I’d thought, but I like to think I can return to this for further exploration as my practice continues.
• Translucent –I like the way shadows pass through translucent layers. The entire lightbox is created through the translucency and delicacy of light and shadow. The ethereal, moving shadows are the most important part of the installation.
• Encrusted – I was in love with very heavily textured lace, for example the 17th Century chasuble in NTU’s lace archive. I saw encrusting as a way of creating chaotic design, adding individual motifs in a seemingly random way. Most of what I eventually made is flat but has as much texture as a heavily beaded and encrusted embroidery. The idea of laser engraving on the outside of the box allowed me to explore encrusted visuals without danger of it becoming a ‘dust-catcher’.
• Embellished layers – building up layers using translucent textiles and encrusted outer layers to hide some detail, which may be revealed when illuminated. In fact the layers came be hidden inside the lightbox, creating sharply outlined or diffuse shadow.
• Illumination – in their 2008 book ‘Bright’ Lowther and Schultz categorise light installations as static, dynamic or interactive. The lightbox is dynamic, with moving light patterns, and could be made interactive with the addition of simple controls, available to buy online. For example a sound-responsive Bluetooth controller for the LEDs would make the light patterns change in response to music.

Aims and Objectives:
Looking at my aims now they seem a bit too easy and obvious. It’s been a good exercise to reflect on them at this point.
Aim 1: to develop my own style of visual research and to produce a portfolio of ideas for future reference. This took the longest time and least obvious as to how I achieved it. I would prefer to be able to look back and say ‘if I did these steps again I would achieve the same goal’
• Objective: sample different materials and styles of visual research such as sketch, collage, ink, painting, print, stitch
• Objective: attend drawing classes and produce a number of sketchbooks.
• Objective: use keywords when producing sketchbook pages to explore meaning

Aim 2: to research historic lace as a potential source of design inspiration and to look at beyond common current use as a fashion textile
• Objective: incorporate historical references from the NTU Lace Archive. A joy, plain and simple.
• Objective: Sample lace techniques by hand, use the motifs and techniques to inform the final project installation. I did very little of this [sorry Gail I know you tried] but actually I can see where my work is informed by traditional hand made techniques.
• Objective: Visit lace centres overseas in Plauen, Caudry, Calais. Also MYB curtain lace makers in Scotland. I made it to Calais and would have gone further, had life not got in the way.

Aim 3: Learn about smart textiles, electronics and lighting, and explore alternative ways of making ‘lace’ parts/sprigs from other materials and new properties
• Objective: Materials research into smart textiles and the use of electronics in textiles (esp. for illumination). Once I’d decided on a lighting installation, I moved away from this objective, for ease I concentrated on designing textiles to use with pre-formed LED strips.
• Objective: Research and develop skills in use of other materials and techniques, including leather, resin, laser cut fabric etc. Much laser cut was utilised
• Objective: create machine embroidery samples using other materials as a backing, using embroidery on net as inspiration. I used embroidery on net, although one might consider that laser engraving on different materials is a type of thread on background.

Aim 4: to make an illuminated panel for installation or interiors with the possibility of producing a further lighting range for retail sale. I consider the production of the lightboxes under lockdown conditions to be my greatest achievement I managed to create something beautiful and impactful when viewed in real life. The challenge now is getting that impact through a display screen.
• Objective: research the use of lighting to create mood, darkness to reveal phosphorescent items and technical construction of lighting panel.
• Objective: Explore the importance of darkness as a lighting element.
• Objective: Conduct materials research into phosphorescence and other non-powered forms of illumination
• Objective: explore new markets for installation or interiors. Develop website to reflect new brand values

Research Methods
I’ve told anyone who was prepared to listen that the Advanced Research Module was one of my favourite parts of the last two years. Kerry told us to refer to ourselves as ‘researchers’ and this seemed to open a door in my mind, I found the both book research and researching through my practice to be challenging and exciting.

The research proposal I wrote for the module sought to unravel some historical threads in the embroidery sector of the Nottingham lace trade, investigating the phrase ‘Embroidery on net is not seen as the pure article’. In fact I didn’t follow up with it in my MA is not a problem, I saw it as a way of learning how to put such a proposal together and would hope that I’ve learned how to make successful proposals in the future.

I proposed to keep a multimedia approach, using digital technology such as video and photography where appropriate to record my visual research. Maybe I guessed Covid-19 was on it’s way with everything becoming screen based. However, at the beginning of 2nd year I’d pivoted to using lots and lots of paper-based records, having had my sketchbook woes turned to joy. Going back to digital has been time consuming and painful, I feel like I’ve done everything three times.

I planned to create a small website as the project portfolio and commercial brochures to be available online once the project is finished. Had I had more time, I would have spent more time on branding and producing more public facing material. I wish I’d had time to produce the accompanying brochure, but it’s inspired me to develop something like this for JC Middlebrook designs, perhaps a swing ticket telling the story behind a motif or design.

Practice based research – I spent much of my time in experimentation and sampling to explore materials and technique. This is true and I was on track to finish those experiments at the end of March 2020. Then CV-19 hit and I lost time and focus to worrying about our health.
Artefact based research – I’m interested in unusual uses for lace, materials or non-garment uses for lace textiles. I did less of this than I wanted but in reality, some things had to go and I’m glad it was this.
Contextual research – This will include a literature review, practice review, material review and potential areas for further research. Learning what was contextual research was a liberation, recognising what influences you helps you understand why you work in the way you do.

Ethical and Environmental considerations
If I had more time (no thanks to Covid) I wanted to make more of my project’s environmental credentials. I plan to have this as a section on the public facing part of my website. It is engraved on the back of the mid-sized box which may or may not be completed by the time I hand in. I used a mix of materials in the end, mostly natural materials (wooden boxes, beewax finish, cotton bobbinet) but some less natural (LEDs, phosphorescent polyester thread for some text, Perspex). I used ‘greener’ choices where I could (biodegradable foamboard backing, recycled and recyclable Perspex) I’ve produced a small statement document about living an examined life, which I’ll upload to the website, but I think it needs more work to make it customer facing.

The lacelightbox outcomes are better in real life than I ever imagined. I eventually learned how to create visualisations and am beginning to develop my own visual ‘handwriting’. I have learned how to research properly and spent much time reading and writing. I enjoyed the Advanced Research Module and would love to continue as a lace researcher.

The UFOs – Unfinished Objects

Lace Display Box

Completed LaceLightBox

a picture of a woman with a wall mounted frame

Complete lacelightbox in situ. Photographs by Jayne Childs, thanks to Toby Britton for being my model.

Close up photographs of the lacelightbox reveal the play of shadow through the lasercut, text and bobbinet (Click on the gallery to read captions)
Below, final images of the small lacelightbox and the large lacelightbox in situ and different light levels

Making the final boxes

Woodworking tools

I knew I wouldn’t be able to make a lightbox of the quality I had envisaged, so I commissioned a local craftsman to construct it for me. Ian at Custom Woodwork in Cotgrave took on the challenge and accommodated multiple changes of plan after the Covid-19 lockdown.
He suggested we use a French Cleat hanging system, which means the heavier the item is the more securely it is held in place. The cleat is screwed to the wall and therefore easier to level before lifting the box into place.
The build quality of the boxes is fantastic and they work perfectly.

I’d been using the laser cutting facility at NTU, which had been great. Just before CV-19 lockdown, I’d cut my final design in light card and decided on a design for the engrave. Then… nothing was avilable for me to use. After a number of failed attempts to find someone to engrave the box pieces, I found Keith at Handytech. Keith has been a great ally, who picked up my prject with gusto and helped me find solutions to seemingly intractable problems. His laser wasn’t as big as the flat bed at uni, but he cut the large Charnia design from six individual pieces of card, which slotted back together perfectly. He also engraved the outside edge of the medium size box, again splitting my designs to make them fit in his machine.


Final Layout, small box

Small Lace light box

The small lacelightbox is 475 x 310 x 175mm (landscape orientation). It is finished the same way as the other sizes, including the French Cleat hanging system. It is not engraved but I hope to get this done after the MA hand-in. I completed this box first, having decided to use embroidered lace and embroidery on net in layers within the box. The gallery shows some of my experiments with laser cut samples inside the box and layered in different ways

The final layers are (back to front) LEDs, single embroidered motifs, suspended on invisible thread, embroidery on net, perspex.

The embroidery on net comprises three vertical sections, stitched on one single layer of Swiss Tulle cotton bobbinet. From left to right the sections are the Charnia ‘fern’ design, undulating text as brides with single words picked out in phosphorescent thread, and the word ‘Charnia’ as vertical large text embroidery. (See image below)

Steps to the final lacelightbox

The largest Lacelightbox was made and delivered to my studio in early May 2020

Strips of self adhesive LEDs on biodegradable foamboard for inside the lacelightbox

Trialling embroidery on net with the perspex and LEDs

I tried just using text on net inside the box (above)but it needed the laser cut card give hard shadows. So I commissioned Handytech to make the laser cut after much backwards and forwards where I learned my understanding of Illustrator wasn’t up to much.

I made the embroidered picot onto cotton bobbinet from Swiss Tulle (see this post for more detail) while waiting for the laser cut . Click on the gallery below to see the construction step by step

The lacelightbox in action

Material choices for final project

laser cut lace designs

I’m at the stage where I’m thinking about my final piece, and how to bring all of my ideas together into one design. I’ve decided to make a wall mounted light ‘box’, using colour changing LEDs to light it from within. The feedback at the February formative assessment point was that I should consider making the story more prominent, so I’ve decided to have the light box engraved on the outside. I’ve been thinking about a new design, incorporating a number of net/filling patterns.

I’ve also been thinking about material choices for the box itself. I want to celebrate local craftsmanship, so the outer box will be in wood, probably a pale wood ply.

The front will be frosted Perspex, not polypropylene. Perspex is more rigid and gives a smoother finish. Engrave isn’t quite so deep but the perspex makes more sense for a large piece. I think I’ll continue to trial the flexible polypropylene for other lights once the MA is over. I have found a recycled (and recyclable) Perspex supplier in Nottingham. Perspex keeps the weight down and is safe to laser engrave to I can continue the pattern onto the front.

LED light strips with laser cut lace design will go behind the frosted perspex

Inside the lace will be made using my usual technique, using rayon thread here. This is the most sustainable choice for embroidery, there isn’t a thread more sustainable than this. In some way’s Rayon thread is still problematic, the use of chemical dyes to colour it and it’s a water intensive process. Cotton thread production is impactful, plus it isn’t kind to my machines, creating more dust and fibre, which impacts in terms of service and longevity. Both rayon and cotton threads are degradable, leaving no eventual residue.

Rayon is great for embroidery as it runs through the machine well, has a super sheen and comes in the most colours. The shine is maintained after laundering and I find it’s softer than polyester embroidery. The only drawback is that I can’t choose phosphorescent thread if I avoid polyester. So I won’t have a glow in the dark element, although I could use a UV dark-light to get white thread to glow… I’ll also use paper and thin card for the laser cut items, which can be recycled or composted at the end of life.

The LEDs will be run inside the box, probably stuck onto foamboard (biodegradable). The foamboard means I can use pins to attach the lace and laser items to the box.