Sara McCormick - Senior, Fiber major

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Materials and Process

• pencil
• graph paper
• compass
• computer (graphics program)
1. I began again with my triangular grid.
2. I played with the curvature of the circles to come up with a pattern I liked.
3. Then, I scanned my design into the computer and tried extracting the base unit for repetition, but it did not line up properly because it was hand-drawn.
4. So I used my circular array to draw out the triangular grid using straight lines.
5. Then, I then used the more shallow curvature of the diamond shapes and a compass to re-draw my design.
6. I then reconstructed this pattern in the computer and repeated it using offset translation.

Artist's Narrative

I have constructed Celtic knot work patterns before using a particular technique I know on graph paper. This time I wanted to try working a little more free-form with my design, and also work with the idea of a repeating unit that was more dynamic than a square grid. With the triangular grid, I tried using the curvature of the circles as a guide and eventually came up with a three-fold rotational pattern that I liked. What I got was a much more dynamic pattern with more interesting negative space of varying sizes and shapes; rather than my first design whose curves created triangular shapes approximately all the same size. Overall I think this pattern is successful in that it has more of an Islamic feel to me than a Celtic one.

Teacher's Comment

Notice the careful placement of line breaks that establishes a pattern of illusionary interlacing. See if you can find centers of three-fold rotation and six-fold rotation. Then try to locate centers of two-fold rotation. Now, observe the curved lines and see how they interlace. How does the interlacing affect the symmetries of the pattern? Is there symmetry?