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PHIL-EZE BIBIAN N. (MRS)

PG/MFA/06/41257

TEXTILES,,MIXED MEDIA: EXPLORING APPLIQUE AND

COLLAGE TECHNIQUES

FACULTY OF ARTS

DEPARTMENT OF FINE AND APPLIED ARTS

Chukwuma Ugwuoke

Digitally Signed by: Content manager‟s Name

DN : CN = Webmaster‟s name

O= University of Nigeria, Nsukka

OU = Innovation Centre

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TEXTILES, MIXED MEDIA: EXPLORING APPLIQUE

AND COLLAGE TECHNIQUES

A PROJECT REPORT SUBMITTED TO THE DEPARTMENT

OF FINE AND APPLIED ARTS; UNIVERSITY OF NIGERIA,

NSUKKA

IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR

THE AWARD OF THE DEGREE OF MASTER OF FINE AND

APPLIED ARTS (MFA)

BY

PHIL-EZE BIBIAN N. (MRS)

PG/MFA/06/41257

FEBRUARY, 2013

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CHAPTER ONE

INTRODUCTION

Cloth is a flexible woven material consisting of a network of natural or artificial

fibres often referred to as thread or yarn. Yarn is produced by spinning raw fibres of

wool, flax, cotton, or other materials. Textiles are formed by weaving, knitting,

crocheting, knotting, or pressing fibres together (Balter, 2009).

The words fabric and cloth are used in textile assembly trades (such as tailoring

and dressmaking) as synonyms for textile. However, there are subtle differences in these

terms in specialized usage. Textile refers to any material made by interlacing fibres

(Abamowicz, 1998). Fabric refers to any material made through weaving, knitting,

spreading, crocheting, or bonding that may be used in production of further goods

(garments, etc.). Cloth may be used synonymously with fabric but often refers to a

finished piece of fabric used for a specific purpose (e.g., table cloth). The word textile is

from Latin, from neuter of textilis, woven, from textus, past participle of texere, to weave

(Bethany, 2008).

The discovery of dyed flax fibres in a cave in the Republic of Georgia dated

34,000BC suggests textile-like materials were made even in prehistoric times (Scheman,

2002). The production of textiles is a craft whose speed and scale of production has been

altered almost beyond recognition by industrialization and the introduction of modern

manufacturing techniques. However, for the main types of textiles, plain weave, twill, or

satin weave, there is little difference between the ancient and modern methods (Lazarov,

2004). Incas have been crafting quipus (or khipus) made of fibres either from a protein,

such as spun and plied thread like wool or hair; from camelids such as alpacas, llamas,

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and camels or from a cellulose like cotton for thousands of years. Khipus are a series of

knots along pieces of string. They have been believed to only have acted as a form of

accounting, although new evidence conducted by Harvard professor, Gary Urton,

indicates there may be more to the khipu than just numbers (Abamowicz, 1998).

Preservation of khipus found in museum and archive collections follow general textile

preservation principles and practice. Before the 15th century, textiles were only in a few

towns but during the 15th century, textiles were the largest single industry and they

shifted into districts like East Anglia, and the Cotswold (Scheman, 2002). The picture

below shows Sunday textile market on the sidewalks of Karachi, Pakistan.

Plate 1: Sunday textile market Karachi, Pakistan (Fonte, 2005).

Also below is a small textile fabric shop in Al-Mukalla, Yemen

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Plate 2: A small textile fabric shop in Al-Mukalla, Yemen. (Fonte, 2005).

Textile fabrics are decorated in different ways. Decorations are done either

directly on the loom, by varying the colours and fineness of warp and weft yarns, or by

decorating woven cloth by dyeing, painting, collaging or using appliqué methods.

Appliqué is a method of cloth decoration which has become popular in many African

countries such as Ghana, Sierra-Leone and Cameroon (Godden, 2008). However, in

Nigeria, this method of cloth decoration has not been given desirable attention by

traditional artists.

There are reasons to account for this. The first is derived from the fact that many

contemporary Nigerian artists especially seem to work in diverse media such as Clay,

water colour, plaster of paris, wood, among others. Textile artists in particular opt for the

use of fibre rope, tie and dye, dyes for fibric printing and other pliable media.

Textile exhibitions tend to concentrate only on wearing apparels for the

promotion of tourism, and strictly, for economic and commercial profits to the neglect of

creative textiles in such areas as mixed media and textile sculpture. In this instance, one

can readily recall that a textile artist, by name, Ifedioramma Dike, has devoted his

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creative energy to the exploration of indigenous textile ideas, materials and forms to

produce unique products. Art traditions in Nigeria are filled with the use, and

application of appliqué and collage, in producing veritable works of art. Among the Igbo,

the maiden spirit mask players in the Awka area, the monumental Ekwe masquerades, the

latter with strong tradition among the Nsukka Igbo, provide good examples of artistic

brilliance and richness which can be achieved with the appliqué. What this suggests is

that while masking traditions in Igbo land, for example, provide adaptive potentials for

effective, and aesthetically driven textile creation, contemporary textile artists‟ designers

have not taken advantage of this. Pleasing textures, contrasting colours in their chromatic

balance, and even brilliance, complimented by enhancing production of techniques,

remain a creative challenge to the textile artists. It is therefore of research interest to

explore into the manifold potentials of collage and appliqué for designing contemporary

wearing apparels, and other aspects of creative textiles. This is the challenge facing

present research effort over the issue of adapting and exploring into appliqué and collage

techniques, using conventional and unconventional materials.

Conventional materials are conceived mainly as imported textile fabrics as well as

those produced by various textile mills in Nigeria. Unconventional materials, on the other

hands, refer to those discarded fragments of fabrics and other discarded materials from

the immediate environment.

These can be adapted inventively and by improvisation, in producing textile art

forms. Appliqué has been described as the application of pieces of fabrics cut to the

surface of another. It is a rather heavy and unattractive way of constructing most

attractive and decorative art. In appliqué, areas of fabrics are cut out and stitched onto the

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background fabrics in a variety of ways depending on the use of the finished work,

whether it is to be utilitarian or decorative (Agujiobi, 2002).

Textiles have an assortment of uses, the most common of which are for clothing

and containers such as bags and baskets. In the household, they are used in carpeting,

upholstered furnishings, window shades, towels, covering for tables, beds, and other flat

surfaces, and in art. In the workplace, they are used in industrial and scientific processes

such as filtering. Miscellaneous uses include flags, backpacks, tents, nets, cleaning

devices such as handkerchiefs and rags, transportation devices such as balloons, kites,

sails, and parachutes, in addition to strengthening in composite materials such as

fibreglass and industrial geotextiles. Children can learn using textiles to make collages,

sew, quilt, and toys.

Textiles used for industrial purposes, and chosen for characteristics other than

their appearance, are commonly referred to as technical textiles. Technical textiles

include textile structures for automotive applications, medical textiles (for example:

implants), geotextiles (reinforcement of embankments), agrotextiles (textiles for crop

protection), protective clothing (for example: against heat and radiation for fire fighter

clothing, against molten metals for welders, stab protection, and bullet proof vests). In all

these applications stringent performance requirements must be met. Woven threads

coated with zinc oxide, nanowires, laboratory fabric has been shown capable of "self-

powering nanosystems" using vibrations created by everyday actions like wind or body

movements (Green, 2009).

Many artists have explored the use of fabric and stitch in mixed-media art, but

often do not have the time or desire to create big quilts or complicated sewn pieces. Easy

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sewing projects plus favorite mixed-media techniques such as raw-edge appliqué designs,

surface design, heat transfer images, fabric, and paper are utilized in textile industries to

procure superb textile products.

One of the most unique aspects of mixed media collage art is that the creative

possibilities are endless! From paper and paint, to fabric, stitching, and found objects,

you can create a collage with just about anything you can think of. But making a collage

isn't just about the end product; it's about what you learn along the way. The process of

finding your materials, figuring out where to put each element, and exploring new ways

of creating collage designs, is in itself an exercise in art. Some of the techniques you

unearth may also help inform other areas of your art, strengthening your abilities through

the process of creative discovery (Good, 2006).

There are varieties of collage techniques for creating mixed media collages using

fabric, paint, stitch, found objects, handmade paper, and more. Each artist reveals how

careful planning and spontaneity combine to inspire you to create collages that are truly

unique works of art.

Plate 3: A mixed media collages

The experts at Cloth Paper Scissors put together this collection of free mixed

media collage techniques, dedicated to the creative possibilities of creating mixed media

collages, (see Plate 3). From trinkets and found objects, to fabric and paint, just about any

material can be used to make a collage. One can learn how to get started with the expert

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guidance and plethora of collage techniques that he/she will discover in any good mixed

media text books or e-books. With their helpful tips and individual approach to collage

design, one will be on his way to creating his own mixed media collages in no time!

Collage (From the French: à coller, to glue, French pronunciation: (kɔ.laːʒ) is a

technique of art production, primarily used in the visual arts, where the artwork is made

from an assemblage of different forms, thus creating a new whole (Adamowcz, 1998).

A collage may sometimes include newspaper clippings, ribbons, bits of colored or

hand-made papers, portions of other artwork or texts, photographs and other found

objects, glued to a piece of paper or canvas. The origins of collage can be traced back

hundreds of years, but this technique made a dramatic reappearance in the early 20th

century as an art form of novelty.

The term collage derives from the French "coller" meaning "glue". This term was

coined by both Georges Braque and Pablo Picasso in the beginning of the 20th century

when collage became a distinctive part of modern art (Ruddick, 2006).

Techniques of collage were first used at the time of the invention of paper in

China, around 200 BC. The use of collage, however, remained very limited until the 10th

century in Japan, when calligraphers began to apply glued paper, using texts on surfaces,

when writing their poems. The technique of collage appeared in medieval Europe during

the 13th century. Gold leaf panels started to be applied in Gothic cathedrals around the

15th and 16th centuries. Gemstones and other precious metals were applied to religious

images, icons, and also, to coats of arms. In the 19th century, collage methods also were

used among hobbyists for memorabilia (i.e. applied to photo albums) and books (i.e.

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Hans Christian Andersen, Carl Spitzweg). The Plate 4 below portrays Kurt Schwitters,

Das Undbild, 1919, Staatsgalerie Stuttgart (Ruddick, 2006).

Plate 4: Kurt Schwitters, Das Undbild, 1919, Staatsgalerie Stuttgart P39.htm -

cite_note-Origins-2

There are certainly many approaches to creating mixed media collages. The joys

of creating collage art are great, and since collage is not as structured as other techniques,

you have a lot of freedom in what you choose to create. Collage artist Liz Berg

demonstrates how to alter found papers with paint and marking tools to create unique

collage art papers to use in your collage designs. She shows how to add visual interest by

adding texture and adding and removing paint from found papers, artist papers, and more

(West, 1996).

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In "Painted Paper Collage," artist Serena Wilson Stubson shows how mixing

found or decorative papers with paint and glue create mixed media collages that are full

of depth and interest. This fun collage/mixed media technique allows you to use nearly

any sort of paper in an artistic way. Over the years, Serena has accumulated a huge

collection of papers from all over the world, but had hesitated to use them in collage art

making. One day, she decided to include some of her beautiful papers in a new painting,

and her own style of painted collage art was born (Mark, 2001).

In its broadest sense, an appliqué is a smaller ornament or device applied to another

surface. An appliqué is usually one piece. In the context of ceramics, for example, an

appliqué is a separate piece of clay added to the primary work, generally for the purpose

of decoration. The term is borrowed from French and, in this context, means "applied" or

"thing that has been applied."

Appliqué was first discovered when clothes ripped and needed fixing so they used

to sew over the top of the rip patches of different material otherwise known as patchwork.

In the context of sewing, an appliqué refers to a needlework technique in which pieces of

fabric, embroidery, or other materials are sewn onto another piece of fabric to create

designs, patterns or pictures. It is particularly suitable for work which is to be seen from a

distance, such as in banner-making. A famous example of appliqué is the Hastings

Embroidery (Brandon, 2008).

Appliquéd cloth is an important art form in Benin, West Africa, particularly in the

area around Abomey, where it has been a tradition since the 18th century and the

kingdom of Danhomè.

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Appliqué is used extensively in quilting. "Dresden Plate" and "Sunbonnet Sue"

are two examples of traditional American quilt blocks that are constructed with both

patchwork and appliqué. Baltimore album quilts, Broderie perse, Hawaiian quilts, Amish

quilts and the ralli quilts of India and Pakistan also use appliqué (Godden, 2008).

Applied pieces usually have their edges folded under, and are then attached by any of

the following:

Straight stitch, typically 2-3mm in from the edge.

Satin stitch, all around, overlapping the edge. The patch may be glued or straight

stitched on first to ensure positional stability and a neat edge.

Reverse appliqué: several layers of material are stitched together, parts of the

upper layers are cut away, and the edges are stitched down. The largest cuts are

made in the topmost layer.

Appliqué is also used for school badges. The picture below (Plate 5) shows a Quilt block

in appliqué and reverse appliqué.

Plate 5: A Quilt block in appliqué and reverse appliqué.

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Modern embroidery machines quickly stitch appliqué designs by following a

program. The programs have a minimum complexity of two thread colors, meaning the

machine stops during stitching to allow the user to switch threads. First, the fabric that

will be the background and the appliqué fabric are affixed into the machine's embroidery

hoop. The program is run and the machine makes a loose basting stitch over both layers

of fabric. Next, the machine stops for a thread change, or other pre-programmed break.

The user then cuts away the excess appliqué fabric from around the basting stitch.

Following this, the machine continues on program, automatically sewing the satin

stitches and any decorative stitching over the appliqué for best results.

In modern fashion, appliqué refers to using fabric shapes or designs usually on the

trim of a garment. This can be sewn or glued. Many appliques are more often imported

from China. Since many designers use appliqués that are mass-produced, one can easily

find matching accessories and such from competitive stores. Each may carry various

items with the same appliqué (Perani, 1999). The production and use of this technique in

Nigerian textile design and fashion industry is poorly researched and documented hence

the need for this study.

STATEMENT OF THE PROBLEM

From the earliest development of Western Civilization, the textile arts were

prevalent to some degree. There are references to stitching, appliqué and collage work in

the bible and in Homeric writings. Through wars, travel and trade, the ancient world

came to know and cherish hand-decorated cloths.

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In contemporary Nigeria context, appliqué and collage decorations are not well

known because of their absence in modern designs. It is therefore obvious that the use of

appliqué and collage decoration in fabric is rare. Therefore, there is need to study why

this practice has become seldom in the local fashion industries. In other words, the

research is designed to identify the problems of appliqué and collage decoration in

contemporary textile design, using Enugu State as a case study. The latter are chosen

because of vibrant appliqué dress costumes in such areas as Udi, Nike, Agbogwugwu in

Awgu and so on.

However, what is known as contemporary works in both appliqué and collage can

only exist in the imagination of those who are yet to explore these areas of textile arts and

techniques. Yet the richness of appliqué and collage provides the basis for creative

exploration into textile arts using conventional and unconventional materials. In the

absence of any serious creative production related to these, this study is confronted with

many research issues. These can be stated as research questions.

RESEARCH QUESTIONS

1. What is appliqué and how has it been used as relevant artistic and textile

resources?

2. What technical and production techniques can be adapted from them using

conventional and unconventional materials?

3. What directions of creative exploration are possible in appliqué and collage in

relation to any chosen creative production techniques?

4. What kinds of textile designs and composition are possible with appliqué and

collage in textile studio practice?

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OBJECTIVES OF THE STUDY

1. This study hopes to identify some of the attributes that constitute appliqué and

collage in textile art.

2. To explore levels of production technique which can be adapted as appliqué and

collage using conventional and unconventional materials in textile studio practice.

3. To examine the kinds of textile composition, media and creative techniques that

are appropriate.

4. To compose and produce textile designs, which can be used for different

purposes.

SIGNIFICANCE OF THE STUDY

The study will provide ideas that will open up new vistas into the textile arts in

Nigeria. The study will give inspiration to already existing and on coming textile artists

on how to excel in the field of textile arts.

The study will be useful to textile industries in Nigeria and Diasporas; because

through it they will learn more about the techniques and dynamics of textile production;

especially in Appliqué and Collage and adopt it to improve their standard of production.

The study will also add to the existing literatures on textiles, mixed media,

appliqué and collage.

SCOPE

The focus of this practical studio project is appliqué and collage methods of

textile decoration. The research intends to identify some motifs and materials which

could be used to enhance the modern ideas of decorations. More importantly, present

study would explore the creative range of appliqué and collage as both concepts and

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technique for creative studio production in textile art using conventional and

unconventional materials. The primary focus is on creative improvisation innovation and

inventiveness.

LIMITATIONS

The researcher had some challenges in the course of this study. She found it not

quite easy travelling from one village to another in other to get some locally made

materials used for this work. Some villagers whom she tried to interview about some

appliqué and collage materials used in some of their cultural materials, including their

masquerades declined comments. Some stubborn ones mocked her and also hurled all

kinds of insult on her. They taught she was just a foe who has come to explore their land

because they saw her with a digital camera. The researcher ran into trouble when she

snapped a masquerade without his consent in other to capture some appliqué and collage

materials depicted all over his body. She was embarrassed and fined to pay the sum of

five thousand naira (5000) as a ransom before the followers of the masquerade released

her. Some of the villages she went to carry out her research were so remote that there was

no good road network for her to shuttle, no power supply for her to charge her camera

and phone, and no good drinking water.

ORGANIZATION OF THE STUDY

The study was organized around five chapters. Chapter one provided an

introduction to the study, statement of the problem, research question, objectives of the

study, significance of the study, scope of the study, limitations and organization of the

study. The second chapter provided a review of the literature relevant to the topic of the

study. Chapter three reports the methodology employed in the study, including the data

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gathering, technical procedures, materials and techniques employed in the production of

studio works. The fourth chapter presents the studio production made by the researcher,

while chapter five concluded the research project.

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CHAPTER TWO

REVIEW OF LITERATURE

Textiles are woven materials made from four main sources: animal (fur, hair,

silk, skin, wool), plant (cotton, flax, jute), mineral (asbestos, glass fibre), and synthetic

(nylon, polyester, acrylic). In the past, all textiles were made from natural fibres derived

from plant, animal, and mineral sources. Fibres from cotton, flax, jute, hemp, modal and

even bamboo fibre are all used in clothing (Fisher, 2003). Piña (pineapple fibre) and

ramie are also fibres used in clothing, generally with a blend of other fibres such as

cotton. Nettles have also been used to make a fibre and fabric very similar to hemp or

flax. The use of milkweed stalk fibre has also been reported, but it tends to be somewhat

weaker than other fibres like hemp or flax (Lazarov, 2004).

However, in the 20th century, these were supplemented by artificial fibres made

from petroleum. Synthetic fibres have, due to modern technological development,

widened the scope and usage of textiles. All synthetic textiles are used primarily in the

production of clothing. Polyester fibre is used in all types of clothing, either alone or

blended with fibres such as cotton (Green, 2009). Aramid fibre (for example: Twaron) is

used for flame-retardant clothing, cut-protection, and armor. Acrylic is a fibre used to

imitate wools, including cashmere, and is often used in their replacement. Nylon is a fibre

used to imitate silk; it is used in the production of pantyhose. Acetate is used to increase

the shininess of certain fabrics such as silks, velvets, and taffetas (Balter, 2009).Thicker

nylon fibres are used in outdoor clothing. Lurex is a metallic fibre used in clothing

embellishment (Green, 2009). Milk proteins have also been used to create synthetic

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fabric. It is marketed as a biodegradable, renewable synthetic fibre. Carbon fibre is

mostly used in composite materials, together with resin, such as carbon fibre reinforced

plastic. The fibres are made from polymer fibres through carbonization (Picton, 2008).

These various fibres are the basic materials used in textile production upon which

appliqué and collage works are embedded.

From some literary sources, it has been shown that appliqué is used extensively in

quilting. Good examples in the United States of America such as “Dresden Plate” and

“Surbonnet Sine” are referred to as American quilt blocks. These are constructed with

both patchwork and appliqué. Such a construction process has been used in the

production of Baltimore album quilts, Hawaii quilts, Amish quilts and the Ralli quilts of

India, and the Pakistanis also use appliqué (Picton, 2008).

Of decorating with appliqué and collage, the following can be noted. The basic

idea of appliqué seems easy, that is “cutting a shape out of one fabric and sewing that

shape unto another fabric”. Appliqué is a simple and effective method of decorating

fabric, whether done by hand or by machine. Appliqué does not just use fabric; it can be

used with other materials such as beads and cowries and combined with other types of

needle work such as embroidery to create the desired effect. It is also recognized that

appliqué is suitable for small and large works. However, not every material is appropriate

for the technical process of appliqué. Available literature also reveals a lot about the

richness of appliqué (Perani, 1999, Wolf, 1999).

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The collage process may differ as a technique and as an art form from appliqué.

This is because in collage, things may be pasted, whether sewn, stitched, embroidered or

even knitted.

The two technical skills of appliqué and collage offer bright prospects for creative

textile explorations, given the rich fabric and appliqué cloth/costume traditions in

Nigeria, (Schneider, 1986). In either case, colours and design can be combined in rich

and rewarding artistic ways. Both essentially, offer unique creative skills in the hands of a

contemporary textile designer and artist.

There are two approaches to designing with appliqué. The first involves working

directly with materials; cutting shapes, arranging and rearranging the shapes, and sticking

them to a background, either by hand or machine without any planning. The second

approach is to plan a design on paper using cut paper, tracing shapes out of books, or

drawing simple forms such as leaves, butterflies, fish and so on. Another method is by

bonding, which is said to be much faster and easier method of stitching.

An example of appliqué lace is that in which decorative motifs are applied (sewn)

to an existing openwork fabric, such as tulle, filer or „drawn-thread” and “cut-work”.

Decorative motifs used on it can be hand made using needle, bobbin lace or embroidered

fabric or simply machine made. This is also true of the ground fabric.

Literature, as shown below, also provides useful examples from the different

regions and countries of the world as regards appliqué costume culture including Cyprus,

Australia, Palestine, Pakistan, Algeria, Norway, Oman, Panama, North Korea, India,

Papua New Guinea, and Orissa. (see plates 6, 7, 8 and 9).

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Plate 6: Funky Flowers. Plate 7: Owl

Godden (2008) Mallet (2008)

Plate 8: Pelican. Plate 9: Carrickmacross Applique

Godden (2008) Mallet (2008)

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Appliqué dresses were already well developed in Palestine before 1948, (Perani,

1987). Northern Palestine is said to be one of the richest regions in costume design even

while they reflected differing social classes and religious sects that inhabited upper and

lower Galilee. Lithuanian national‟s costumes, on the other hand, are classified into

several regional varieties in the Aaukastaitika, Dzuikija, Kapsai and Klaipedia regions.

Their construction process seems to have drawn heavily from the appliqué

technique. Each region has its particular technique, pattern, colour, accessory,

ornamentation, style or tailoring and manner in which they are worn. The great coats

worn in winter, spring and autumn had strips of matted woolen cloth in a contrasting

colour. Plaited narrow- bands, card or leather were appliqué to the edging cuffs, collar

and pockets.

On the other hand, appliqué references are found in Dzukain shirts. Aprons were

checked or striped; wide sashes were woven in picked-up technique. In many parts of

northern Thailand, dresses and costumes reflect the use of the appliqué technique. A

woman of Sagan Karen in Northern Palestine might wear a blouse where the upper half is

plain fabric. However, the lower half is hand-decorated with embroidery and the appliqué

in geometric designs of dried seeds.

The skirt fabric has intricate patterns using batik technique. However, the wide

border or the bottom is made of appliqué or elaborate cross-stitch embroidery in bright

colours. Lisu women of the same regions go in more for appliqué works to decorate their

costumes, and for brighter colours than other group as shown in plate 10 below.

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Plate 10: Lisu Women in their brightly coloured Applique dresses.

Source: Natakiya, (2007)

Traditional clothing for Lisu women consists of a blue or green 'apron' dress

which falls to the knees in the front and the calves in back. It is split up the sides to the

waist, allowing a great freedom of movement. The dress always has a black yoke tight

around the neck which is decorated with rows of bright strips of fabric appliqued in a

circular pattern at the seam. According to Natakiya (2007), matching rows of applique

define the shoulder seams. The dresses are generally still of the traditional colors, but the

sleeves are fashionably pink. Here you can also see the tassles hanging down from the

belt in the back. Akha women wear black, long sleeves jacket decorated with fine,

colorful appliqué work in geometric patterns and decorations may include sewn on silver

studs or cowry shell. Leggings worn by the women are appliqué in a pattern similar to the

jackets. Men‟s loose black jacket is colourfully appliquéd along the placket and the lower

half of the black.

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In Nigeria dress and costume traditions, appliqué has offered technical skills that

bring out the beautiful qualities of appliquéd fabric worn or used as masked spirit

costumes. “Among the Igbo, maiden spirit costume outfits are hand sewn to be tight

fitting, so as to reveal the elegant beauty of these spirit maidens” (Cole and Aniakor,

1984). The ultimate spectacle in Igbo masking is the Ijele masquerade (Henderson and

Umunna, 1988).

Plate 11: Ijele Masquerade from Achalla in Anambra State

The towering Ijele head dress is skillfully embellished into brightly coloured

appliquéd fabrics, and adorned with several images, spirit and vegetal. The lower region

consists of several appliqué cloth panels. These sway from side to side as Ijele displays in

the village or town centre known as “Ama”. This beautiful appliqué consumes and

displays have been studied by Agujobi, (2002). Incidentally, the beauty of appliqué

costumes of Igbo masquerades derives from the intensity of colour contrasts, yellows,

reds, greens, and black as shown in plate 12 below.

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Plate 12: A Close shot of the Ijele Head dress.

In addition, Yoruba Egungun and Gelede mask costumes provide good examples of the

creative skill in appliqué mask costumes among the Yoruba (Drewal and Drewal, 1983).

There are other examples of appliqué clothing traditions from both Nigeria and

elsewhere in Africa. The appliqué cloth banner from the Fon of Benin Republic have

become world famous for their large appliqué composition of human and un-human

symbols. In the Encyclopedia Britannica’s Guide to Black History” Fon appliqué banners

are said to represent a lion hunt.

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Plate 13: Fon Applique of Lion Hunt; Benin Republic (Dahomey)

The same Fon banner is described as the most widely formed technique. They are

variously described as “Appliqué Banner”, “Abomey Tapestry” or “Fon Appliqué

Cloths”. They are also described as power quilt. They are strikingly similar in design and

technique to the appliqué cotton textile made by the Fon people in Abomey”. Herskolits

(1938) says that “appliqué works were done for the Fon by a restricted guild in Abomey”.

He adds that appliquéd banners are in the collection of museum Von Landen

Vokerkunde, Rotterdam, and Netherlands. Recently, appliquéd banners are used in the

campaign for the self determination of the Palestinian people as shown in the plate below.

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Plate 14: Palestinian Solidarity Campaign Banner

Collage is one of the techniques of textile production in Nigeria and different

countries of the world. Despite the pre-twentieth-century use of collage-like application

techniques, some art authorities argue that collage, properly speaking, did not emerge

until after 1900, in conjunction with the early stages of modernism.

For example, the Tate Gallery's online art glossary states that collage "was first

used as an artists' technique in the twentieth century" (Tate, 2009). According to the

Guggenheim Museum's online art glossary, collage is an artistic concept associated with

the beginnings of modernism, and entails much more than the idea of gluing something

onto something else (Guggenheim, 2002). The glued-on patches which Braque and

Picasso added to their canvases offered a new perspective on painting when the patches

"collided with the surface plane of the painting." In this perspective, collage was part of a

methodical re-examination of the relation between painting and sculpture, and these new

works "gave each medium some of the characteristics of the other," according to the

Guggenheim essay. Furthermore, these chopped-up bits of newspaper introduced

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fragments of externally referenced meaning into the collision: "References to current

events, such as the war in the Balkans, and to popular culture enriched the content of their

art." This juxtaposition of signifiers, "at once serious and tongue-in-cheek," was

fundamental to the inspiration behind collage: "Emphasizing concept and process over

end product, collage has brought the incongruous into meaningful congress with the

ordinary." The picture below depicts Hannah Höch, Cut with the Dada Kitchen Knife

through the Last Weimar Beer-Belly Cultural Epoch in Germany, 1919, collage of

pasted papers, 90x144 cm, Staatliche Museum, Berlin (Brandron, 2008).

Plate 15: Hannah Höch,

Collage in painting

Collage in the modernist sense began with Cubist painters Georges Braque and

Pablo Picasso. According to some sources, Picasso was the first to use the collage

technique in oil paintings. According to the Guggenheim Museum's online article about

collage, Braque took up the concept of collage itself before Picasso, applying it to

charcoal drawings (Guggenheim, 2002). Picasso adopted collage immediately after (and

was perhaps indeed the first to use collage in paintings, as opposed to drawings):

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"It was Braque who purchased a roll of simulated oak-grain wallpaper and began

cutting out pieces of the paper and attaching them to his charcoal drawings. Picasso

immediately began to make his own experiments in the new medium." In 1912 for his

Still Life with Chair Caning (Nature-morte à la chaise cannée), Picasso pasted a patch of

oilcloth with a chair-cane design onto the canvas of the piece (Leeland, 2004).

Surrealist artists have made extensive use of collage. Cubomania is a collage

made by cutting an image into squares which are then reassembled automatically or at

random. Collages produced using a similar, or perhaps identical, method is called

etrécissements by Marcel Mariën from a method first explored by Mariën. Surrealist

games such as parallel collage use collective techniques of collage making.

Plate 16: Tom Wesselmann, Still Life #20, mixed media, collage

The picture above shows Tom Wesselmann, Still Life #20, mixed media, collage, 1962,

Albright-Knox Art Gallery Buffalo, New York.

Another technique is that of canvas collage, which is the application, typically

with glue, of separately painted canvas patches to the surface of a painting's main canvas.

Well known for use of this technique is British artist John Walker in his paintings of the

late 1970s, but canvas collage was already an integral part of the mixed media works of

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such American artists as Conrad Marca-Relli and Jane Frank by the early 1960s. The

intensely self-critical Lee Krasner also frequently destroyed her own paintings by cutting

them into pieces, only to create new works of art by reassembling the pieces into collages

(Enslem, 2002).

The wood collage is a type that emerged somewhat later than paper collage. Kurt

Schwitters began experimenting with wood collages in the 1920s after already having

given up painting for paper collages. The principle of wood collage is clearly established

at least as early as his 'Merz Picture with Candle', dating from the mid to late 1920s.

It is also interesting to note that wood collage in a sense made its debut,

indirectly, at the same time as paper collage, since (according to the Guggenheim online),

Georges Braque initiated use of paper collage by cutting out pieces of simulated oak-

grain wallpaper and attaching them to his own charcoal drawings. Thus, the idea of

gluing wood to a picture was implicitly there from the start, since the paper used in the

very first paper collages was a commercial product manufactured to look like wood.

Plate 17: Wood collage

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The picture above illustrates what may be called wood collage which is a

dominant feature in 1964 mixed media painting by Jane Frank (1918–1986)

Much wood collage art is considerably smaller in scale, framed and hung as a

painting would be. It usually features pieces of wood, wood shavings, or scraps,

assembled on a canvas (if there is painting involved), or on a wooden board. Such

framed, picture-like, wood-relief collages offer the artist an opportunity to explore the

qualities of depth, natural color, and textural variety inherent in the material, while

drawing on and taking advantage of the language, conventions, and historical resonances

that arise from the tradition of creating pictures to hang on walls. The technique of wood

collage is also sometimes combined with painting and other media in a single work of art

(Colin & Fred, 2008).

Frequently, what is called "wood collage art" uses only natural wood - such as

driftwood, or parts of found and unaltered logs, branches, sticks, or bark. This raises the

question of whether such artwork is collage (in the original sense) at all (see Collage and

modernism, Cohen, 2010). This is because the early paper collages were generally made

from bits of text or pictures - things originally made by people, and functioning or

signifying in some cultural context. The collage brings these still-recognizable

"signifiers" (or fragments of signifiers) together, in a kind of semiotic collision. A

truncated wooden chair or staircase newel used in a Nevelson work can also be

considered a potential element of collage in the same sense: it had some original,

culturally determined context. Unaltered, natural wood, such as one might find on a forest

floor, arguably has no such context; therefore, the characteristic contextual disruptions

associated with the collage idea, as it originated with Braque and Picasso, cannot really

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take place. (Driftwood is of course sometimes ambiguous: while a piece of driftwood

may once have been a piece of worked wood - for example, part of a ship - it may be so

weathered by salt and sea that it‟s past functional identity is nearly or completely

obscured as Adamowcs (1998) remarked.

Decoupage is a type of collage usually defined as a craft. It is the process of

placing a picture into an object for decoration. Decoupage can involve adding multiple

copies of the same image, cut and layered to add apparent depth. The picture is often

coated with varnish or some other sealant for protection.

In the early part of the 20th century, decoupage, like many other art methods,

began experimenting with a less realistic and more abstract style. 20th century artists who

produced decoupage works include Pablo Picasso and Henri Matisse. Most famous are

Matisse's Blue Nude II.

There are many varieties on the traditional technique involving purpose made

'glue' requiring fewer layers (often 5 or 20, depending on the amount of paper involved).

Cutouts are also applied under glass or raised to give a three dimensional appearance

according to the desire of the decouper. Currently decoupage is a popular handicraft

(Sommer, 2004).

The craft became known as découpage in France (from the verb découper, 'to cut

out') as it attained great popularity during the 17th and 18th centuries. Many advanced

techniques were developed during this time, and items could take up to a year to

complete due to the many coats and sandings applied. Some famous or aristocratic

practitioners included Marie Antoinette, Madame de Pompadour, and Beau Brummell. In

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fact, the majority of decoupage enthusiasts attribute the beginning of decoupage to 17th

century Venice. However, it was known before this time in Asia.

The picture below represent Henri Matisse, Blue Nude II, 1952, gouache découpée,

Pompidou Centre, Paris

Plate 18: Henri Matisse, Blue Nude II

The most likely origin of decoupage is thought to be East Siberian funerary art.

Nomadic tribes would use cut out felts to decorate the tombs of their deceased. From

Siberia, the practice came to China, and by the 12th century, cut out paper was being

used to decorate lanterns, windows, boxes and other objects. In the 17th century, Italy,

especially in Venice, was at the forefront of trade with the Far East and it is generally

thought that it is through these trade links that the cut out paper decorations made their

way into Europe (Belfer, 1992).

Collage made from photographs, or parts of photographs, is called photomontage.

Photomontage is the process (and result) of making a composite photograph by cutting

and joining a number of other photographs. The composite picture was sometimes

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photographed so that the final image is converted back into a seamless photographic

print. The same method is accomplished today using image-editing software. The

technique is referred to by professionals as compositing.

Just what is it that makes today's homes so different, so appealing? was created in

1956 for the catalogue of the This Is Tomorrow exhibition in London, England in which it

was reproduced in black and white. In addition, the piece was used in posters for the

exhibit. Richard Hamilton has subsequently created several works in which he reworked

the subject and composition of the pop art collage, including a 1992 version featuring a

female bodybuilder. Many artists have created derivative works of Hamilton's collage. P.

C. Helm made a year 2000 interpretation (Comstock, 2002).

The pictures below shows Richard Hamilton, John McHale, Just What Is It That

Makes Today’s Homes So Different, So Appealing? 1956, photomontage collage, (one of

the earliest works to be considered Pop Art) and Romare Bearden, The Calabash,

photomontage collage, 1970, Library of Congress.

Plate 19: Richard and Johns works Plate 20: The Calabash

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Other methods for combining pictures are also called photomontage, such as

Victorian "combination printing", the printing from more than one negative on a single

piece of printing paper (e.g. O. G. Rejlander, 1857), front-projection and computer

montage techniques. Much as a collage is composed of multiple facets, artists also

combine montage techniques. Romare Bearden‟s (1912–1988) series of black and white

"photomontage projections" is an example. His method began with compositions of

paper, paint, and photographs put on boards 8½ × 11 inches. Bearden fixed the imagery

with an emulsion that he then applied with handroller. Subsequently, he enlarged the

collages photographically.

The 19th century tradition of physically joining multiple images into a composite

and photographing the results prevailed in press photography and offset lithography until

the widespread use of digital image editing. Contemporary photo editors in magazines

now create "paste-ups" digitally.

Creating a photomontage has, for the most part, become easier with the advent of

computer software such as Adobe Photoshop, Pixel image editor, and GIMP. These

programs make the changes digitally, allowing for faster workflow and more precise

results. They also mitigate mistakes by allowing the artist to "undo" errors. Yet some

artists are pushing the boundaries of digital image editing to create extremely time-

intensive compositions that rival the demands of the traditional arts. The current trend is

to create pictures that combine painting, theatre, illustration and graphics in a seamless

photographic whole (Green, 2009).

Digital collage is the technique of using computer tools in collage creation to

encourage chance associations of disparate visual elements and the subsequent

36

transformation of the visual results through the use of electronic media. It is commonly

used in the creation of digital art.

The term "eCollage" (electronic Collage) can be used for a collage created by

using computer tools. In the African context, what may be closer to collage in textile art

are the numerous mixed media costumes worn by masked spirits in many parts of Africa.

Many of these costumes combined the use of cowries,

raffia and cloths. They come in several mixed

combinations as Plate 21 indicates the use of sea shells,

cowries and pebbles to create collage media in ulism.

Some of these can be combined and applied on textile

fabric.

Plate 21: Collage Image of Ulism

The direct historical links between collage and textile art are hard to trace. In

Nigeria, for example, putting any trace on this technique in the works of modern Nigerian

artists particularly textile artists and designers is very much like trying to create a form

out of a reflecting shadow. This is because Nigerian textile artists and designers have not

seriously produced any experimental works in this direction. Indeed, the only known

examples are the Ijaw textiles known a Pelebite, mask costumes of the Igbo, the Igala, the

Ibibio, the Efik and other cultures in pre-colonial Nigeria. And yet the history of art

generally celebrates the creative achievements associated with this technique.

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Curiously though, it is in the contemporary fashion shows in Nigeria that one

glimpse something of an avant-garde handling in the contemporary Nigerian fashion

scene have seriously began to experiment with creative courage; possibilities can open

with the collage technique. Some of them have used unconventional materials such as cut

out gourd shapes which are glued to fabric surface in combination with other skillfully

sourced materials (disc, raffia, rope and others) to create highly daring and innovative

dresses. While such dresses may never be worn on public occasions, they nevertheless

provide creative contexts for experimental exploration into textile art using the collage

technique in combination with other unconventional creative approaches. The picture

below taken at night depicts a party dress designed with discarded discs.

Plate 22: A Party Dress Designed with Discarded discs

The reviewed literature has aided in the identification of some attributes that

constitute appliqué and collage in textile. It has uncovered some durable production

technique which can be adapted as appliqué and collage using conventional and

38

unconventional materials in textile studio practice. The literature reviewed has enabled

the researcher to discern some suitable textile composition, media and creative techniques

that can be applied in her studio work. The existing literature reviewed in this work has

given the researcher an insight on how to adequately compose and produce some textile

design, which is used to create and design some textile products depicted in chapter four

of this work.

In the light of the literature reviewed in this study, it can be deduced that textile

production is not just “made in Nigeria” only, but practiced globally. The review

uncovered that there are various sources and types of textiles in existence in Nigeria and

beyond. Some of these textiles are; animal textiles which are commonly made from hair,

fur or skin. Plant textile which includes grass, rush, hemp, and sisal that are all used in

making rope. In the first two, the entire plant is used for this purpose, while in the last

two; only fibres from the plant are utilized. We have mineral textiles which include

asbestos and basalt fibre. They are used for vinyl tiles, sheeting, and adhesives, "transite"

panels and siding, acoustical ceilings, stage curtains, and fire blankets. There also exist a

synthetic textiles used primarily in the production of clothing. The literature also made

known that there are numerous appliqué and collage techniques in existence in the world

of textile, which can be utilized in order to obtain some innovative textile products.

Information gathered from the literature has helped the researcher tremendously

in the studio work design. It helped the researcher to improve on her textile artistic

proficiency as she introduced more modern textile concepts in her studio work. The

literature was elaborate enough and has covered virtually all aspect of textiles, including

a variety of appliqué and collage techniques. Looking prudently into the reviewed

39

literature, it can be established that textile products, appliqué and collage output are

indispensible in our daily life. It is worthy to note that they are useful in various aspects

of human endeavor. They are very useful in our fabrics and clothing industries. Their

significance in advertisement and politics cannot be over emphasized as the work of John

Chamberlain depicts in Plate 23 below. It can also be a source of livelihood for man.

Plate 23: Collage work by John Chamberlain, Untitled, ca.1961.

Mixed media relief, 11-1/2 x 11-1/2 x 5 inches. Courtesy of Allan Stone Gallery

40

CHAPTER THREE

METHODOLOGY

The researcher employed a number of methodological procedures for the project

work.

DATA GATHERING

The researcher obtained information from both primary and secondary sources.

The primary sources included oral interviews, diaries, and photographs, among others.

The secondary sources, on the other hand, comprised published materials such as books,

journals, postgraduate and undergraduate thesis and project reports as well as magazines

and newspapers from Nnamdi Azikiwe Library, UNN and other library and research

centres in Nigeria. The internet was another secondary source of materials for this

project work.

Oral interviews were conducted so as to obtain useful knowledge on the

traditional practice of mixed media. Appliqué artists were interviewed in Nike, Enugu

State because of their appliqué masking tradition of which the monumental masquerade

stand out. Interviews were also conducted in Agbogwugwu, Udi, Okpatu and Ezeagu

areas. In these communities, the practice of mixed media is common, and Odo and the

Ekwe masquerades are classic examples. Oral interviews were also conducted with some

textile artists such as Ifedioramma Dike, for his contributions in this genre of professional

studio practice.

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TECHNICAL PROCEDURES

Several sketches were made from different photographs and other data sources.

The sketches were further studied with consideration for their potentials for more textile

compositions. In some cases, the different design compositions were integrated so as to

enhance their design quality. These were also used to produce some of the fabric

compositions as colour swatches to select the appropriate colour schemes suitable for

appliqué works when executed. Finally, the colour layout was transformed into appliqué

and collage works. The researcher had to ensure that design elements when cut into cloth

pieces are technically fitted to achieve enabling contrast and balance, with an eye for

colour so as to achieve the chromatic intensity of appliqué works as done elsewhere by

Agujiobi (2002). Sometimes, it was considered necessary to adjust some of the fabric

designs in use and also result to on-the-spot improvisation. Sometimes, the reinvented

designs were modified in order to meet ongoing design and technical needs. These three

technical procedures facilitated the design conception and production of appliqué and

collage work.

As for the use of both conventional and unconventional materials for present

project, it can be said that conventional materials were easily sourced from commercial

fabrics, not necessarily newly bought ones, but those already in use as cloths and wearing

apparels. Unconventional materials such as beads and cowries were sourced from the

immediate environment as discarded items. In any case, attempt was made to integrate

both the conventional and unconventional materials with the creative and production

process. This was to achieve effective and pleasing appliqué and collage creations, and at

the same time, interconnect them to their cultural and materials environment. Stitching,

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embroidery, rope work, hand sewing, overlapping of shapes and colours, indicates some

of the creative and technical processes of creative production at work.

MATERIALS

The materials used for the production of these works are not of a highly

specialized nature. They designate the physical elements of the works produced. They are

the kinds of materials and objects we encounter and respond to in our day-to-day living

(Asogwa, 2006). They are familiar to us in many kinds of contexts.

The interesting thing about working with them is that there is enormous range of

the materials. They are abundantly available both in their manufactured and natural

forms. For instance, choices can be made from an amazing selection of the materials such

as threads, yarns, fabrics, beads and others. They also offer great diversity in colours,

textures, patterns, and weight. The yarns, threads, and fabrics show characteristics of

flexibility, softness and delicacy often associated with the feminine nature of textiles.

Textiles are the most feminine of all visual arts.

Fabrics

There was almost an endless diversity of the tremendous variety of fabrics to be

chosen from. They presented so many weave structures, patterns, colours weights and

textures. However, the selection of fabrics for each work produced was determined by the

nature of work. For instance, some fabrics are flat, pliable and were manipulated into

well-defined forms. They were folded, coiled, gathered, twisted, and pleated and so on.

Examples of the fabrics used in this studio work included locally woven white fabrics and

different assortment of manufactured fabrics.

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Yarns

Yarns were used in a variety of ways in this studio work for stitching, braiding

and to form fringes in most works produced. Yarns present a vast rage of colours from

the palest tints to the most vibrant hues, and neutral colours of white and grays. They are

easily obtained from the local markets. Examples of these yarns included banana fibre

yarns, jute yarns, acrylic yarns, raffia, wool, and other synthetic yarns. They are usually

soft and supple yarns ideal for stitching, braiding and for forming fringes. Occasionally, a

few stands of the yarns were collected and twisted to form two-ply, three-ply or four-ply

cords depending on the design and thickness desired. Still in other cases, ready-made

four-ply yarns were split into two-play strands for thinner yarns. However, most jute

yarns used for this studio work were unraveled from jute sacs.

Beads and Buttons

Beads and buttons of different types, sizes, and colours, were used to enhance the

aesthetic qualities of the studio works. They are used to contribute additional interest and

natural richness to the work. They were used in different ways and manners in the studio

work.

Stuffing Materials

In working with flat, floppy materials such as fabrics to produce works in

sculptural forms, it needs to be stuffed with materials such as foam, kapok fibres, scraps

of cloths, down feathers and so on. These light materials were used to stuff the works to

exert force on the flat, floppy shape. They remove the idea of emptiness and infuse in the

materials the impression of fullness. Once well stuffed, the image assumes a vibrant and

44

forceful, three-dimensional form, that when hung on the wall seems to be moving out

from the wall.

Colours

The textile artist made extensive use of local dyes in the studio works. This is

because working with colours within the context of the medium of fibre has led her to

making valuable discoveries about colour affinity. In the course of this studio work, it

was discovered that local fibres and yarns have very poor affinity to synthetic dyes. Local

dyes ngalula - gives brighter tones/ shades than the synthetic dyes. However, dyes were

also sparingly used where necessary and more appropriate than local dyes.

Adhesives

In addition to threads and cords used for stitching, adhesives were also used. They

were used to hold some materials in place before stitching. Adhesives such as contact

cement adhesives and general-purpose white glue were made use of in the studio works.

TECHNIQUES

The techniques employed in the production of these studio works are more or less

of the past being revived with new interest to merge with modifications and creative

attitudes of the present (Asogwa, 2006). They major ones are appliquéing and collaging.

Other techniques applied include knotting, stuffing, plaiting or braiding, quilting,

stitching, piling, tying and padding.

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CHAPTER FOUR

STUDIO EXPERIMENTS

The experimental studio works of this project were more of wearing apparels,

house furnishing and decorations including other modes of creative textile expressions.

The formalistic analysis of the studio works entails revealing the technical structural

aspects of the works. In this, the formal properties and aesthetic qualities that

characterised the works are X-rayed for proper perception of the forms, media and the

techniques of production of the studio works. Here are some examples of the works to

authenticate the creative belief. The message in each work should be appreciated in terms

of the aesthetic qualities of textile art.

THE STUDIO PRODUCTIONS:

EBUBE DIKE

The work, “Ebube Dike”, is a creative wearable textile. It is an occasional outfit. As the

name implies, it is a special clothing for men of valour. This work is a typical example of

the application of appliqué and collage in producing a wearable dress, in the following

order. First, a plain black cotton fabric was sewn to get the designer‟s base T-shirt.

Secondly, the printed English fabric was used to trim the flaps and sleeves of the T-Shirt.

This was followed by the application of some unconventional materials such as broken

glasses, shinny metallic objects, beads and discarded discs sourced from the immediate

environment in order to achieve the desired effect in producing this piece. The fanciful

fibre cords were used to beautify these tiny metallic objects in a repeat pattern. This

studio work is wearable while in some instances, it could serve as an installation.

46

Plate 24: Ebube Dike

Dimension: 225 x 128cm

Media: Broken discs, broken mirrors, synthetic fibres, English design fabric

A BRIGHT DAY

The work in “A BRIGHT DAY” is a throw pillow commonly found to

accompany sofas in our living rooms. Very often the throw pillows are adorned with

monotonous fabric that does not arouse the interest or attention of waiting guests.

Consequently, the textile artist has designed the throw pillow with true bright colours of

the natural sun flower in a pattern that brings out the rich texture and beauty of appliqué

design.

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Plate 25: A BRIGHT DAY

Dimension: 30cm x 45cm

Media: Cotton fabric and lint, silk, foam and beads

The design of the sunflower was first made on plain paper. The leaves and the

stalk of the sunflower that appeared in green colour were marked and transferred onto the

synthetic glossy green fabric. The petals of the flower were cut out from another colour

of the synthetic fabric which was yellow. These pieces of fabric were sewn together as a

whole and finally with the aid of embroidery machine, it was appliquéd onto a 100%

cotton fabric. A piece of foam of about 10cm was used for quilting the work in order to

cushion out the beauty of the appliqué on the design. The brown colour of the synthetic

fabric was also used to represent the pod from which the flower busted. Cotton lint was

appliquéd around the pod to make it look real. More so, the same colour and fabric of the

leaf was used to trim the edges of the work. Tiny brown beads were used to depict the dry

leaves that grew together with the sunflower. Finally, the throw pillow was stuffed with

foam to give it quality robustness, shape and aesthetics. In the same way, Plate 26 shown

below was produced following the method described above.

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Plate 26: Throw pillow

Dimension: 29 x 39 cm

Media: Cotton fabric, silk, threads and foam

MORNING GLORY

This work is an installation. “Morning Glory” as titled suggests the brightness of a new

day because of the colourful nature of the Pea cock‟s feathers. The work is a product of

many production techniques including batiking, dyeing, appliquéing, glueing, and

collaging. The batik technique used is known as Tjanting. It makes for textile design

sharpness, a clear definition of images with captivating design details.

For this work, one hundred percent (100%) white cotton fabric was chosen for its power

to absorb dyes. After the direct drawing of pea Cock on the fabric, bee wax was used

with the aid of Tjanting to cover some areas where dyes should not touch. Afterwards,

the fabric was dyed and de-waxed accordingly revealing the pictorial effects of a pea

cock. Finally, the designer carried out the major work of appliqué and collage decorations

using beads, leather, textile fabric, sea shells and grasses.

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Plate 27: Morning Glory

Dimension: 98 x120cm

Media: Leather, sea shells, beads, grasses and wool fabric.

The concept of this work seeks to capture the bright colourfulness and proud nature of a

pea cock similar to the flower called morning glory. The work is most suitable for

installation in hotels, tourist centres and such public places.

Bold Eyes

The title of this work “Bold Eyes” is derived from the motif of the design as shown in

Plate 26. In the execution of the work, brocade cloth was chosen for its power to absorb

dyes and its shinny effect. The studio production method is as follows. Firstly, the spray

dyes of three primary colours were used for the background colours to create the cross-

hatching effect on the work. This was allowed to oxidize before it was washed and fixed

by ironing. What is unique about this production technique is that the spray dyes did not

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bleed or stain the inside of the fabric. There was a clear decorative surface and aesthetic

effects on the background fabric.

Secondly, the circular design patches were cut out from the English designed wax

fabric and were glued unto the different positions but in a well arranged manner on the

background fabric. Finally, the motif is appliquéd with a machine embroidery technique

and as well quitted with foam to cushion out the effect of the appliqué design. The work

is most suitable for a bed cover.

Plate 28: Bold Eye

Dimension: 248cmx214cm

Media: Brocade fabric, printed fabric, synthetic fabric, spray dye and foam

Celebration Time:

The work titled “Celebration Time” is a table cover with the serviette placed inside the

glasses ready for use as shown in Plate 29. The designer chose to use floral design for this

work. An English printed floral designed material was sourced. Different floral shapes of

design were cut out of the printed textile material.These pieces of the flower were

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appliquéd with needle and thread of matching colours onto the plain brocade textile

material forming a semi-circle design at the centre and then at the four edges of the textile

brocade material in a repeat pattern. The same repeat pattern was used for the serviette.

Plate 29: Celebration Time

Dimension: Serviette 40x59cm; table cover 115x171cm

Media: cotton fabric, printed fabric and gum

A Piece of Love

This work is a vertical wall hanging executed on a background of a wine red

woven fabric with double stripes of cream colours to match the colours of the sea shell as

shown in Plate 30. The work depicts a piece of flower, a symbol of love, which can be

used to express the inner feelings of love to one another.

This piece is a product of collage and appliqué techniques. Firstly, flexible

electric cord wires were cut into shapes to form the stem of the flower. They were glued

together on the woven background but bound underneath with a synthetic textile fabric to

form the ribbon holding the flowers.

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Plate 30: A Piece of Love

Dimension: 66 x 42cm

Media: Sea shells, cowries, woven fabric and leather

In this work, periwinkle shells were used to depict the full blown petals of the

flower while the sea shells represent the emerging petals. The cowries and other brown

beads represent the little pollen grains of the flower. Decorative strings of fine beads are

used to secure the bottom fringes of the woven fabric to give it a firm drop. These

decorative beads also contribute additional interest and great deal of textural richness to

the surface of the work. They contrast each other to give vitality to the overall scheme of

colours of the piece.

This work is an interior decorator object suitable for both contemporary homes

and public buildings.

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Good-Time:

The designer succeeded in the making of an unconventional hat to be worn with the most

elegant outfits or with the beach outfit as shown in Plate 31.

The designer chose to work with printed textile fabric. In order to make a normal,

average hat, the designer used a hard cardboard paper to support the fabric to make it

firm. The design started by cutting a piece of cardboard paper to go round the head. The

height depends on the style of hat. Afterwards, the fabric was wrapped around the

cardboard with the aid of gum.

Plate 31: Good Time (A).

Dimension: 14 x 40cm

Media: Printed fabric, hard paper, gold dust, and beads.

The head is measured by using the covered cardboard around the head in a circle. This

was glued together to form a circle. The second part is the top of the hat. The

circumference of the head was gotten but another circle inside it was made to about 2cm

away from the actual circle. This was covered with textile material. From the line of the

outer circle to the line of the inner circle, lines were cut around so that the designer can

54

fold them in to fit the head. The last part was the base, the part that comes out the most.

The circumference of the head was gotten this time from the open side since it is the side

the base will be stuck to. Two centimeter (2cm) inside was gotten from the line of the

innermost circle to the line of the outer/actual circumference, the lines were cut and

folded

Plate 32: Good Time (B)

inwards so that it would easily enter and stick into the open area of the head. When this

was done, the designer sticks it on and covered the inside with textile material. The top

and short knicker was designed with a black cotton fabric coloured material to contrast

with the colours of the hat as shown in Plate 32.

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Mma-Nwuli:

This is a design on a fabric for aesthetic purposes to enrich the surface of the

fabric as shown in Plate 33. The title suggests a play of uli design using different colours

of cotton fabric - yellow, red, green and blue – appliquéd on a synthetic white material

using embroidery technique to achieve it. The designer first used needle and thread to

sew the pieces of coloured textile materials onto the synthetic background in a slant

arranged pattern. The sewing was done by hand. The fixing of the pieces of cotton fabric

on the background fabric was painstaking and took a lot of time.

Finally, the embroidery machine was used to bring these floral shapes together

with the colour contrast used to communicate effectively in the appliqué decoration. The

concept of this work was drawn from the uli designs used on the shrines and Ijele

masquerade costumes of the places under study.

Plate 33: Nma Nwuli

Dimension: 215x 213cm

Media: Cotton fabric, printed fabric and synthetic threads

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Shoprite:

A lady‟s hand bag and jean trouser was titled Shoprite as shown in Plate 34. On the hand

bag and the jean trouser, symbols of fish were appliquéd in different contrasting colours.

Tiny beads were used to depict the eyes of the fishes while the printed textile materials

were cut and appliquéd on the fishes representing the scales. These combinations gave

the work a unique outlook most suitable for ladies going out for evening shopping.

Plate 34: Shoprite (a) (b) Dimension: 105 x 42cm

Dimension: 45 x 48cm Media: Jean, leather, hard paper, beads and Media: Leather, hard paper, printed fabric printed fabric

and beads.

Figure 8:

This work is a lady‟s camisole. It goes together with a suit. Firstly, the designer had many

sketches and finally arrived on this work as shown on Plate 35. The beaded collage work

was done on a net material. Strings of brown colour beads were first used to bring out the

overall “Y” shapes. At the base of the “Y” shape, the same brown colour beads were used

57

to symbolize a rose flower with bolder beads inside the flower. Afterwards, the green

shiny beads were used to break the monotonous use of the brown beads and stones.

Finally, the designer appliquéd the beaded “Y” shape panel unto a lady‟s camisole.

Plate 35: Figure 8 (a) (b)

Dimension: 28 x 48cm

Media: Synthetic material, beads, stones and net.

Grandfather’s Clock:

This work symbolizes an ancient wall clock enclosed in a wooden shelf in the 1980s.

However, the designer tried to depict this with synthetic yarns, fabric, cowries and metals

and cardboard as shown in Plate 36. Firstly, the designer started weaving on a loom with

two colour stripes of navy blue and brown synthetic yarns. Afterwards, the design of a

wall clock was introduced into the weaving using other colours of cream and wine red to

contrast with the background colours. Cowries were appliquéd with thread to show the

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position of the figures on the clock and metals for the timing. Both cowries and metals

were collaged unto a hard paper to make it firm. This wall hanging is suitable for

contemporary homes to reflect that used in the olden days.

Plate 36: Grandfather’s Clock

Dimension: 69 x 93cm

Media: Woven fabric, metal, cowries, yarns, foam and acrylic fabric.

Tenderness:

This work is executed in two contrasting colours – cream and brown. It is a baby‟s

quilted bedspread. The heart shape which is the symbol of love were cut out from a

synthetic fabric and was appliquéd unto the cotton fabric in a circular form and pattern as

shown in Plate 37 below. The same synthetic was used to trim the edges of the cotton

59

fabric in a decorative aspect. On the reverse side, foam was used for the quilting to

cushion out the rich texture and beauty of the appliqué design.

Plate 37: Tenderness

Dimension: 112 x 174cm

Media: Cotton, silk foam and synthetic fabric.

COAT OF MANY COLOURS (A)

As the name implies, this work is a piece of different designs, colours and materials. It is

a puff with its pillows placed around it. First the synthetic woven materials of different

designs and colours were sewn together side by side with a sewing machine. Then a

double strand of thread was used with a needle to sew the top ends of the woven material

together in order to get the base of the puff. At the base, leather was used to make it firm

when it is stuffed and also at the top a thick synthetic textile material was appliquéd.

Through the opening created at the top, pieces of foam were used to bring out the round

shape. This work is an interior decoration which can be situated at the centre of a room

with its throw pillow placed all around it.

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Plate 38: Coat of many Colours (A)

Dimension: 110 x 116cm

Media: Woven fabric, leather and cotton fabric.

Plate 39: Coat of many Colours with many throw pillows.

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COAT OF MANY COLOURS (B)

This work is a blanket made from the combination of different designs and colours of

woven fabric. The woven pieces of fabric were sewn with the aid of a machine side by

side to get a squared shape of a blanket.

These pieces of work that made a whole were design arranged according to their colour

contrast and harmony. The work was finally trimmed with 2cm of a cream cotton fabric

in order to sharpen the contrast of different colours on work. The work is most suitable

for use in hotel room.

Plate 40: Coat of Many Colours (B)

Dimension: 193x225cm

Media: Woven fabric and silk fabric

The Time Keeper:

This work is a throw pillow with a symbol of a bird. The title “The Time keeper” implies

that mostly in our local Igbo setting, this is a type of bird that normally sings in order to

alert the people that the day breaks.

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The design was firstly done on a paper, followed by the trace of the same design in

patches using different colours and materials for different parts of the bird.

Lastly, the synthetic twine of black and brown colours were applied to form the nest

where the bird is laying eggs. And the whole design was appliquéd onto a cotton fabric.

The boarders of cotton were treamed with a one colour printed textile fabric. The whole

design or work was quilted with a piece of form.

The work is most suitable for contemporary rooms.

Plate 41: The Time Keeper

Dimension: 29 x 39cm

Media: Printed fabric, acrylic, leather, jute, beads, silk, cotton and foam.

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CHAPTER FIVE

CONCLUSION

What has been done in this project report is to conduct a thorough research with

respect to the subject of this study by way of textile production “Textiles, Mixed Media:

Exploring Appliqué and Collage Techniques”. Literature used for the study shows how

various people of the world, including, Nigeria, have utilized these techniques to arrive at

end products also known as appliqué, collage whether as wearing apparels, caps, cloths or

even as mask costumes in the case of Nigeria.

The study shows that appliqué and collage are a highly demanding technique for

textile art. Attempt has been made to create sample of works, and indicate something of

the kind of sewing, or stitching and embroidery skill required in exploring the appliqué‟

technique with even conventional and unconventional materials such as cloth fragments.

These have been subjected to creative manipulation in the appliqué process of handling.

The samples presented show clearly that appliqué and collage in this context, hold

out immense prospects and possibilities for creative exploration. Works demonstrate the

kinetic colour qualities of appliqué in their various hues, contrasts, and intensity. The

dazzling colours of appliqué activate design fields with their intensely visual qualities.

Both colours and designs delight from the distance in keeping with the visual character of

appliqué when collaged with other fabrics. It is hoped that these observations will provide

useful insights into both appliqué and collage aesthetics in textile art and creative studio

production.

This study has enabled the researcher discern some of the attributes that constitute

appliqué and collage in textile art which she acknowledged as she carried out her studio

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work. The researcher was able to discover some levels of production technique which she

applied in appliqué and collage using conventional and unconventional materials in

textile studio practice. The researcher was prudent enough to use various kinds of textile

composition, media and creative techniques that are appropriate in her studio work. The

researcher composed and produced some textile designs, which she displayed in the

chapter four of this work. The researcher‟s studio works were capable of interesting and

motivating future textile artists to work harder and make more achievements.

65

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APPENDICES

MORE STUDIO WORKS

Title : Throw pillow

Media: charcoal

Dimension: 55 x 35cm

Title: Throw pillow

Media: synthetic fabric, cotton, and beads.

Dimension: 52 x 33cm

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Title: T. shirt and trouser

Media: pen and ink

Dimension: 68 x 38cm

Title: Lady’s gown

Media: pen and ink

Dimension: 68 x 38cm

70

Title: T-shirt

Media: pen and ink

Dimension: 68 x 38cm

Title: Reflection

Media: mirror, beads, buttons, and synthetic wool

Dimension: 84 x 42 cm

71

Title: T-shirt

Media: beads, designed fabrics and cowries.

Dimension: 72 x 36 cm

Title: Girls’ skirt

Media: pen and ink

Dimension: 51 x 37 cm

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The Artist in her Studio working on a textile design