Hitomi’s Week One Texture Study Notes

Compiled by Hitomi Gilliam

SAMPLER #1
IKEA ‘SVENSAS’ Cork Sampler Board

It is very disappointing that this product has been discontinue at IKEA.  I love the dark cork texture and the ability to be able to pin-up this sampling experiment.  You might be able to find an alternative cork bulletin board elsewhere.

TEXTURE LIST: 

• Cork | dark, dirty, earthy, gritty, bumpy, grippy

• Banyan Root Tatami | earthy, fibrous, linear, dirty, fleshy, circular

• Washi Paper | matte, grainy, thin, airy, hole-y, porous

• Skeleton Leaf | veiny, transparent, fine, delicate, thin. Airy

• Leather strip | fleshy, grippy, grainy, nubby

• Waxed Rice Paper | waxy, hard, crusty, chunky

• Mulberry Paper | bumpy, lumpy, rough, stringy, matte

• Dried Rosehips | wrinkled, round, bumpy, shrivelled

• Dried Anthurium Spathe  | wrinkled, crumpled, curled, parched, dry, crispy

• Dried Calathea leaf | curvaceous, parched, fragile, crispy

• Wood Medallion | carved, patterned, woody, matte

• Copper Bead | shiny, metallic, ribbed, furrowed, rounded

• Turquoise Medallion | polished, smooth, semi-gloss

SAMPER #2
Paper Sampler

Take the time to narrow down the Texture groups to see the differences in the variations of the same materials… also appreciating the similarities to play up the subtle differences.

Paper has a static surface texture but can have a different edge texture when torn.

Shaping it also introduces additional texture…. It can be manipulated to create additional textures.

TEXTURE LIST:

• Card Stock | semi-smooth, grainy, papery, flat or it can be bent or curved

• Mulberry Paper (thin) | thin, light, opaque, variable, uneven, can be shaped, crumpled

• Mulberry Paper (thick) | solid, thick, fibrous, bumpy, lumpy, matte, papery

• Corrugated Cardboard | rolly, rounded, vertical, ribbed, tubey

• Washi Paper | open weave, hole-y, fibrous, thin, matte

Added texture with torn or deckle edge – irregular tear vs. straight cut fringey, ruffled, wavy, ridgey, frilly

Transformative textural effects… pleated, concave, convex, folded, undulating…

SAMPLER #3
Fiber Sampler + Metal

Every example in this sampler is viewed primarily from TEXTURE point of view.

As with every design materials, whether botanical or others… they also can be viewed from LINE, COLOUR,  and SHAPE/FORM perspective as well.

There are variations in the thickness, color, shape, structural strength (soft/stiff, breakable, etc.)

TEXTURE LIST:

• Yarn, Loose Strands | woolly, warm, soft, fuzzy

• Yarn-wrapped Wire | fleecy, matte, fibrous

• Yarn/bullion Medallion | stringy, shiny, fibrous, soft, layered, piled

• Wool Cording | rounded, tubular, fuzzy, thick, warm

• Yardage | fluffy, lightly matted, soft, fibrous, woolly

• Floss | fluffy, airy, shapeless, loose, lumpy, wispy

• Leather thong (strip) | fleshy, grippy, skin-like

• Flatwire | shiny, bendable, curvy, hard, slick, metallic

• Silver Decorative Motif | square, braille, bumpy, crafted, patterned, shiny, decorative

TEXTURE DESIGN #1
Dried Botanical Sampler

BOTANICAL LIST (DRIED):

Brunia albiflora; Feather Reed (Calamagrostis acutiflora); Clematis floss (Clematis vitalba); Lichen & branch; Birch bark (Betula var.); Lily foliage; Douglas Fir Needles & cones (Pseudotsuga menziesii); Berzellia; Dried Button Flowers; Dried Gourd; Craspedia; Moss; Passion Vine (Passiflora caerulea)

BOTANICAL LIST (FRESH):

Spray Rose ‘Sahara Sensation’; Ceropegia woodii ‘String of Spades’; Scindapsus pictus

SUPPLY LIST:

Plastic horizontal tray; Hot melt glue; Washi Paper; Cold Glue

MECHANICS:

• Chosen mechanic inside of the rectangular container for this design is rolled thick paper good for hot gluing dried materials. 

• Another option is chickenwire roll with loose moss or branches inside.  The materials can be glued into this structure as well.

• The fresh materials are cold glued into the dried structure. Used fresh botanicals which will dry into the structure.

In order to truly appreciate fine details of texture used, the design should be sized to proportionally highlight your ‘Treasures’.

TEXTURE DESIGN #2 (Version 1)
Dried Botanical Wood Frame Flowering

BOTANICAL LIST (DRIED):

Birch bark (Betula var.); Douglas Fir branch and cones (Pseudotsuga menziesii); Western Hemlock bark and branch (Tsuga heterophylla); Green Moss; Pacific Silver Fir foliage (Abies amabilis); Sitka Spruce branch (Picea sitchensis); Common Juniper branch & berries (Juniperus communis); Lichen; Calathea foliage; Anthurium spathe; Scabiosa stellata, Magnolia grandiflora Foliage; Protea & foliage; Eryngium; Clematis vitalba vine/floss; Forsythia branch; Cardiospermum pods

BOTANICAL LIST (FRESH):

Cytisus; Forsythia x intermedia; Spray Rose ‘Sahara Sensation’;Germini; Chrysanthemum button ‘Doria Peach’; Carnation ‘Lege Marrone’ (Dianthus caryophyllus); Rose ‘Barista’; Cymbidium var.; Pincushion Protea (Leucospermum cordifolium); Spanish moss (Tillandsia usneoides); Equisetum hyemale

SUPPLY LIST:

Plywood (1/4”); Hot glue; Bindwire; IKEA ‘Torka’ Willow whips; Sisal fiber mat; Spun Wool (blue green); Water tubes (3” spiked green); Cold Glue

STRUCTURE (FRAME):

• The base for the frame is ¼” Plywood cut into a 4” wide 2ft x 3ft. frame.

• Birch barks were hot glued to the frame, some torn into strips with irregular edges, some with curls, building depth. 

• Branches placed and glued or bindwired to the plywood, through drilled holes. 

• Dried mosses are glued, stuffed, as well as dried sprigs of Fir, Spruce and Hemlock. 

• Some clusters of Fir cones, Brunia, Eryngium, Berzellia, Scabiosa stellata, Cardiospermum pods and Magnolia foliages (both sides different) add distinct texture groups for the woodland frame. 

• Sisal fibers and blue green spun wool (which mimics the color of Fir) are squeezed and glued into spaces to add additional textures.

• Overlay across part of frame with the light vine of Clematis floss.

• Forsythia branches are attached to bridge the frame to add attach points for fresh product.

FLOWERING THE FRAME:

• Crisscross over the opening with Cytisus and Flowering Forsythia branches (in water tubes). Insert into cavities and openings in the frame to slip in the pointed water tubes.

• Drape the Spanish Moss to add soft hanging texture.

• The button mums and carnations are cold glued to the structural cavities in the frame.

• Roses and spray roses are cold glued in for short term decoration… or in short Equisetum water tubes fitted tight with chenille – they are designed into spaces in the textural surfaces, some requiring cold gluing.

• Germinis and Pincushion Protea are water-tubed and placed in the design to float inside the open framed space.

• Water tubed individual Cymbidium blooms add the final textural touch.

TEXTURE DESIGN #2 (Version 2)
Dried Botanical Wood Frame Flowering

BOTANICAL LIST (FRESH):

Umbrella Fern (Sticherus cunninghamii); Flax (Phormium tenax); Alocasia zebrina sarien; Cytisus; Obake Anthurium; Peony ‘Henry Bockstock’ (Paeonia lactiflora); Dried Cotinus coggygria floss; Hypericum ‘Magical Cherry’; Scabiosa stellata; Cymbidium var.; Spanish Moss (Tillandsia usneoides); Chrysantheum button ‘Doria Peach’; Equisetum

FLOWERING THE FRAME:

• Cytisus and vertical placement of a weathered branch adds an extra attach point.

• The multiple stems of variegated flax placed vertically, and Umbrella Fern add the mixture of botanicals that better support the Tropical Nouveau combination.

• Exquisite Obake Anthuriums and Cymbidium stem float into the middle of the frame, complemented by the gorgeous Alocasia foliage.

• Peony depending on the fullness of bloom are placed to give the right proportion of its textured surface

• Cherry red Hypericum berry clusters and single Cymbidium blooms are  Some are in watertubes and cold glued or water tubed into the texture frame.  

TEXTURE DESIGN #3
Vertical Wire Mesh Mixed Media Texture

BOTANICAL LIST:

Germini; Cymbidium var.; Spray Rose ‘Sahara Sensation’; Carnation ‘Lege Marron’ (Dianthus caryophyllus); Eryngium ‘Questa Green’; Scabiosa stellata; Equisetum hyemale; Plumosa Fern (Asparagus setaceus); Chrysanthemum button ‘Doria Peach’, Lily Grass (Liriope repens); Banyan Roots (Ficus benghalenses)

SUPPLY LIST:

Glass Cylinder (4x12”); Wire Mesh; IKEA ‘Torka’ Willow Whips;  Bindwire; Yarn-covered wire vine (Yarn, Aluminum Wire, Midollino of thick bindwire); 3” Green spiked Watertubes; 4” Watertubes (optional to attach to structure)); Assortment of Yarn; Bullion Wire; Cold Glue

STRUCTURE:

• 4x12” Glass Cylinder is used as the base/weight (filled with water) to build the vertical wire structure/canvas.

• Wire Mesh (Smithers-Oasis) is cut into a sheet with 13 cells wide + 3 cell overlap and next cell cut for spikes = 16 cells total plus spikes.  Cut a duplicate piece.

• Place the first sheet around the cylinder with 3 cell overlap and close and fasten the roll to fit over the cylinder.

• Make the second roll with 2 cell overlap to extend the height of this vertical wire cylinder.

• Bindwire 3 or 4 willow whips in multiple spots along the vertical spines of the cylinder to add strength to the structure – make it rigid.

• Wrap various yarn and bullion wire crisscrossing to add textural surface.

• Attach the yarn covered wire vine to bring depth and dimension to the surface.

• Overlay with thin Banyan root garland for earthier, natural texture.

• Design Germini and Pincushion Proteas flowers through the cell and into water into the cylinder.

• Carnation calyx are squeezed into the square openings, fitting tight to the surface.

• Place the watertubed (3”green spiked) Cymbidium blooms randomly into the grid. 

• Equisetum watertube added for Spray rose and Plumosa fern.

• Lily grass woven into the yarn adds extra dimension.

  This design have great vertical presence on a small footprint.  When spaced apart in random configuration and bridging between them with branches and stems, they can create attractive transparent flower wall. It allows for maximum visual size with minimal amount of flowers.

TEXTURE DESIGN #4
Diaphanous Cloud Design in REUSE Container Treatment

BOTANICAL LIST:

Cloud Grass (Agrostis nebulosa); Hydrangea macrophylla; Callicarpa bodineri; Chrysanthemum button ‘Doria Purple’; Mini Calla ‘Majestic Red’; Sweet Peas (Lathyrus odoratus); Steel Grass (Xanthorrhoea quadrangulata); Equisetum hyemale

SUPPLY LIST:

Pottery Container; Cardstock Paper; Yarn; Bullion Wire; Yarn-covered Wire Vine (yarn, aluminum wire, thick bindwire); Cold Glue (Oasis FloralAdhesive)

STRUCTURE

• Reno a ceramic container (with 6 budvase openings) by adding various textures that change its ability.

• The budvase opening has cardstock paper cone covered with color yarn inserted into it. Equisetum stem was inserted into the neck to serve as water tubes.

• Yarn-covered wire vines playfully twists and wrap around the base to add attach points for the lower canopy. 

• Dried Callicarpa berry cluster were bullion wired in, as well as button mum heads cold glued to yarn surface.

• Bundles of 7-8 stems of Cloudgrass were wrapped decoratively with silver bullion. These were woven and attached to fill the lower canopy of wire vine.

• Mini calla stem ends were sealed with cold glue and wrapped over with lavender yearn and silver bullion to seals and cauterize.  These stems are draped curvilinearly through the cloudgrass.

• The upper canopy was created with dried passion vine crisscrossing across the top with overlay of long steelgrass arching through and attached with bullion wire.

• Sweetpeas are in Equisetum watertubes, arching and extending out beautifully through Steelgrass.

• Clumps of Hydrangea in Equisetum tubes are dropped into the top of design for textural contrast.

TEXTURE DESIGN #5
Mosaic Fiber Tiling to Reno Container

BOTANICAL LIST:

Forsythia x intermedia; Grevillea robusta; Craspedia globose; Butterfly Ranunculus asiatica; Steelgrass (Xanthorrhoea quadrangulate); Equisetum hyemale

SUPPLY LIST:

Plastic Bowl (used and worn out); Hot glue; Hard Corrugated Cardboard; Fibrous Mulberry Paper; Bicolored Wool Sheet; River Rock; Bullion Wire; Bindwire

STRUCTURE

• Corrugated cardboard was cut into a ring shape to sit across the top of plastic bowl to repurpose into an exciting container. 

• Cardboard ring was attached to the bowl via 2 holes (side by side) threaded and tied with bindwire in each of the 4 quadrants.

• The mosaic tile work begins from the outside in, one ring at a time. 

• 2 outer rows are turquoise Mulberry Paper tiles… the outermost have the stringy fiber extension.

• They were hot glued in an imperfect playful pattern. 

• 3rd row has a random mix of paper and wool tiles (turquoise).

• Each row is transitional from the one prior, eventually ending with lime yellow green to the center.

The cardboard ring provides a ledge that becomes an easy insert and hold of branches under it.  

The finished tiled ring becomes the canvas for the fresh botanicals to flatter. The flowers will bring this container to LIFE.

FLOWERING

• Flowering Forsythia branches are wedged underneath the cardboard ring and built into a dimensional structure, bindwired together to sweep up and out horizontally. 

• Silver bullion bundled Steelgrass with tapered bullion tips flow and arch curvilinearly to provide sleek extension.

• Black river rocks fill the bottom of the bowl for weight and anchor for stem placement. It also darken the water for aesthetics.

• Grevillea stems, buds and blooms provide an array of beautiful textures wedged into one side of the circular opening against the fiber canvas. 

• Butterfly ranunculus are inserted in position to flutter its waxy wings, randomly landing on branches over the still pond.

TEXTURE DESIGN #6
One of a Kind Textured Container for REUSE to REDUCE

BOTANICAL LIST:

Clematis ‘Amazing Roma’; Eryngium ‘Questa Green’; Lily Grass (Liriope repens)

SUPPLY LIST:

Wide mouth Glass Budvase; Yarn-covered Wire Vine (Yarn, Aluminum wire, Thick Bindwire); Bullion Wire; UGlu Dashes; 4” Clear Watertube

Usually my hand-made container treatment is made to design into the top of the vase.  But with this Reno container, a deliberate gap opening was left above the top of the glass vase to be able to design the flowers into water there.  This allows for the flower stems to be in the foreground of the artful texture and color structure.