Free machine stitchery to interpret different textures from drawings

This chapter shows some machine stitching where drawings captured in Chapters 1 and 2 from photographs of water and sky are interpreted into stitch. 
Each sample was drawn within a 10cm by 10cm frame.  This was drawn on the fabric to help limit the area covered.

Needles:  100 and twin needle
Threads: colours were those related to drawings some textured especially for the cable stitching

Just some of the machine threads from which I could select

Fabrics: mostly those coloured in chapter 4, extending into commercially produced materials where applicable
It was interesting to see how different fabrics affect the stitch
Fabrics were chosen from different types:

• Felt or padded layers - quilting gives bulges between stitching, including fabrics with sheen if using fabric and wadding
• Flimsy or stretchy:  Loose in a ring or out of a ring, or tight in a ring
• Transparent fabric (Dissolvable see Chapter 7):  using 100 needle or twin needle
• Open weave: scrim or muslin:  consider direction of stitch and production of holes resulting from the technique

Stitch: Look at the mark in the drawing and select appropriate one from the following:
Types

• straight stitch
• zigzag stitch
• wavy stitch
• pattern on the machine

Not types

• whip stitch
• cable stitch

Rhythms of stitchery:  showing movement in the drawing
Layers: of thread or fabric with changes in colour.

In this chapter I tried to get away from using the photographs, the samples representing the marks or drawings.
However in order to get a bit of structure in the sequence of samples I used drawings related to clouds in Samples 1 to 4 and to water in Samples 5 to 9.  Samples 10 and 11 show use of loose weave fabrics in a hoop without background fabric and use of  twin needle without a hoop respectively.

Samples 1a to 1c quilting using wadding or felt and straight stitch

Bottom image was used for this sample

 

 

 

The looser muslin and voile with wadding gave a plumped up effect a better texture for the images.
These fabrics were laid over the wadding in the hoop only loosely attached with pins in each corner
The felt gave a flattened image where stitched left raised a little where not stitched.

Samples 2a and 2b were on felt varying the direction of zig zag stitch to capture the lines.  Image 2b was the best to show this.  Not only was the direction of stitch not as effective in 2a but also the use of a metallic thread was not as appropriate to capture the darkness and dullness.

Top image was used for each of these samples

 Samples 3a to 3c were using transparent fabric, voile and scrim with a spiralling effect stitch on the first two and straight stitch on the third

 

Reversed the colours on this using blue thread on white and changing the tones from darker blue at the top to paler blue at the bottom


 

Samples 4a to 4d using mostly dyed cotton and calico with whip stitch in the first two samples and cable stitch in the last two

 

 

Whilst doing this I realised I'd not increased the tension on the upper thread, although I had changed the lower bobbin to a looser one.  The upper lines had the tension altered 

 



Samples 5a to 5d Mostly wavy lines in straight although also tried zigzag on 5c.  Matt and sheen organza fabrics were used. Also wanted to a quilted effect for the water theme so all samples were either with wadding or felt.

 

 

 



The first two I feel were simple but effective, I don't know what went wrong with the third just could not get the zig zag to work properly, and because the colours of the dyed fabric in the fourth was so vivid it worked alongside waving and interlinking lines of stitch.

 

 

Sample 6a Used organza over a space dyed cotton varying the zigzags to reflect the drawing

 

 

 



 



Samples 7a and 7b. 7a was Pattern 1 on the machine using muslin on felt and a frottage image and 7b was a mix of cable stitch and straight stitch with nylon on cotton.  The tensions in both could be improved.

 



Sample 8  Used an open weave cotton muslin with straight cable stitch

 



In using the reverse of the fabric I managed to alter the curve of the stitch, so need to remember to reverse the image accordingly to get the direction correct when using the back.  The glitter in the wool adds the effect of the shine linked to a waterfall effect.

 

Samples 9a and 9b.  Used scrim on different fabric backgrounds

 

 

 

 

This image is from an ink coloured paper where the ripples on a shore are depicted using fine lines of bleach

Samples 10a to 10e Using different coloured scrim in a hoop - drawings are highlighted in my notebook

 

Samples 10 d and 10 e using narrow zig zag.  10e was the least relevant to any drawings

Samples 10b and 10c using narrow zig zag in waves with different effects dependent whether followed creases or crossed them

Sample 10 c

Sample 10 a using straight stitch

 

None of these samples have distinct shaped holes as in the Distant Stitch notes and am unsure how to do this.  Zig zag stitch captures threads together and using a lighter lower thread gives highlights to the rows.

 

 

 

Samples 11a to 11d:  Using flimsy fabric and twin needles

Reference was made to the book 'Machine embroidery: stitch techniques' by Valerie Campbell-Harding and Pamela Watts, Batsford 1989(2000).

Really like the twin needle effect of stitch, raised fabric and added shading from the fabric and can imagine them working well as layers

Sample 11a used pale blue voile, Sample 11b pale yellow silk

Sample 11c used shiny grey organza and 11d white polyester silk

 



In Samples 10 and 11 I noted each alongside drawings in my notebook.  Those for the twin needle were easier to manipulate to follow the drawings.

 

Chapter 4 Fabrics and threads - Colouring and bonding

In this chapter commercial fabrics and threads were collected to match some of the sky and water examples in earlier chapters.  I also made my own coloured fabrics and threads, using different techniques.  Threads were dyed alongside the fabrics.
Commercial threads are recommended for machining, although both commercial and hand coloured thicker threads can be used for cable stitch on the lower spool.  Both commercial and hand made threads can be combined.
I used natural fabrics to dye and when I accidentally used man made this was confirmed as the colours washed out.  Luckily only 2/3 mishaps on the way.  Forgot to use the burn methods, natural fabrics produce an ash, man-made melt!
I made several colourful fabrics as backgrounds with accompanying threads with random colouring which will be later stitched into to give more pattern and rhythm.

Selection of blue toned commercial fabrics

Selection of green toned commercial fabrics

Selection of natural fabrics ready to be washed

The techniques used included:

1. Dip dyeing
2. Painting on fabric and Bondaweb
3. Space dyeing

I'd used some of these techniques before but it is easy to forget them.
My previous notebooks and Distant Stitch guidelines were helpful but I also referred to a super book:
Helen Deighan  'Dyeing in plastic bags' Crossways Patch, 2001.
The instructions and diagrams were so clear and I tried to follow them as best as possible.

Health & Safety:

• When using Procion dye powders in powder form I used a mask
• Rubber gloves were used when handling all the solutions, making sure dye, salt and soda solutions were stored in separate air tight containers, using separate weighing jugs and spoons to avoid mixing ingredients at the wrong time
• Fabrics and threads were dried either on a rack or flat with plastic cover and newspapers to protect the floor
• Any children about, need to ensure the above are stored out of their reach and if helping with the techniques, are supervised throughout
• An apron was worn

The methods used for each technique were recorded in my notebook.
Notes:  Different quantities of dye solution added to water give weaker or stronger effects.
            Using mostly primary colours and some black, gives varieties of colour as they overlap with some tonal change
            Avoid overmixing all colours so do not get a muddy mix (unless this is wanted!)
            The soda solution is a fixative used to fix the dye
            The salt solution to help fabric pick up the dye
            Likewise, whether the fabric is dry or wet and when the salt and soda solutions are added gives different results.

1.  Dip dyeing see also book by Helen Deighan

Using Procion dyes in water solution

• Washed natural fabrics before dyeing and allowed to dry: cottons, calicos, linen, muslin, scrim
• Prepared fabrics and threads for dip dyeing: flat or scrunched, rolled on tube or ruler, pleated or scrunched up and tied, threads in skeins (some threads wrapped around old CD cases)

• Prepared dyes (used previously made procion dyes in air tight jars) Ultrablue, lemon and golden yellow

• Prepared salt solution
• Prepared soda solution
• Mixed dyes, salt and soda solutions in a bath (tray) (Use within 3 hours after which no longer reacts)

First bath was using ultrablue procion dye (thinking of skies)
Second bath was using lemon yellow and golden yellow procion dye with blue to make green

Threads and fabrics were generally placed in or at the sides of the tray turned from time to time.
The fabric wrapped around rulers to get a tonal change in the colour were dipped into the dye, initially a short length, then every 15 minutes  more of the fabric (turning the fabric) into the dye over 1 hour.
Scrunched fabrics were placed in plastic bags with the dye

Then excess dye was poured from the bath some placed in plastic bags.

• The next day washed the fabrics; rinsed fabric in cold water, then warm soapy water, finally in cold water 
• Left to dry (using a rack) (may be better to lay flat on a newspapers on a plastic sheet)

Really like the tonal effect in the blue pieces from the rolled rulers, almost like clouds in the sky
Also, the mixed blue and yellow producing green dye on calico like the colours of water in a pond or river

Because I had no black procion dye but had some Dylon dye:
Using black Dylon dye in water solution

• Used ready prepared black Dylon dye in sealed airtight jar
• Added salt solution and set up a bath according to the instructions on the Dylon package
• Selected some fabrics and dyed as those above 

(Insert results from black dyeing)
     
2.  Painting on fabric and Bondaweb

For all of these samples used natural fabrics and coloured commercial fabrics

These are the results of using different techniques:
Painting with acrylics blue, lemon yellow, black, white and silver on natural and coloured fabrics.
Blobs of colours were scraped from left to right across the fabric using an old credit card.
The two on the left were dry fabrics those on the right wet.
Added table salt to the top right

Prefer the wet samples - There was more merging of colours on the wet pieces, but the effect from using the salt was smaller than expected.
The creases shown are from dragging the card across the fabric not creases in the fabric.

Drawing with coloured and black inks
Samples on the left were dry fabrics on the right wet fabrics.
It does not matter whether the fabrics are natural or manmade as the ink is absorbed by both

The coloured Winsor and Newton inks were applied using cotton bud sticks (one for each colour)

 

Like the merging of colours on the wet samples but also the way the textured fabric bottom left picks up the lines of colour in a rougher way.
Addition of salt to the bottom right piece produced effective results.
Also, those two samples are possibly more effective showing the changing colours of an evening sky.

 

 

Also experimented with rug canvas as this photograph shows. The ink applied more quickly on the wet (right) samples.  This also clearly shows the different colours of inks used.


The two black inks used were Quink Ink and Khandahar
I wanted to show tonal change  in the inks as I applied neat then more diluted black (using water added to the inks) as in the grey skies and seas of previous pictures. 
The Quink ink lost its colour more quickly than the other - care needs to taken as to the amount of water added.
With the first was expecting diffusing of black into blues especially on wet fabrics.
Discovered that the Khandahar was more intensely black.
Samples on the left were dry fabrics on the right wet fabrics, on the left Quink ink, on the right Khandahar
It does not matter whether the fabrics are natural or manmade as the ink is absorbed by both
The inks were applied using different sponges dabbing or brushing across the fabrics.
Also added a brown acrylic paint in the same way.

 Salt added to this last sample absorbed the inks in an interesting way - more atmospheric!

 Painting and drawing on Bondaweb
In the first sample the oil pastels were applied using the end or side of the crayons. 
Used a wave mask with the Markel crayons
Paints and inks were brushed on over the edge of the mask

Using oil pastels and markel pen marks on plain Bondaweb - skies or water

Using white oil pastels overpainted with watered acrylic paints - clouds and water

Using brown and white oil pastels as a resist overpainted with acrylic paints- rivers and reflections

Using white oil pastels and watered Quink ink - water and cloudy skies

Using grey and white oil pastels with watered Khandahar black ink - in skies and water

Mix of watered Acrylic paints.  The paints seem to always follow a flow at right angles to the direction paint is painted on

The Bondaweb pieces can be added as another layer to a fabric or stitched piece with a translucent effect

Used a fine linen scrim to clean credit cards and mop up, which could be used in their own right

Later on I added some further marks to the Bondaweb using Khandahar black ink applied with a nib - waves, lines and words.

The main problem with all the samples in this section they could wash out, except the resists, and many may fade in the light..  However if making a wall hanging the first may not necessarily be a problem.

Captured this sky yesterday - amazing!  A photo not dyed sample!  Nature is so beautiful.

3.  Space dyeing

Using the guidelines in the Helen Deighan book tried three different methods using trays or baths.  The fabrics were scrunched up in the tray before dye was added, then using gloves kneaded the fabrics to help most fabric reach the dyes.

Method 1:  Dye is mixed with salt solution, soda is added later in the process
Method 2:  Dye, salt solution and soda solutions mixed together
Method 3:  Fabric is prepared in a solution f soda and salt, before adding the dye

Of the methods Method 3 required preparation of the fabrics so started with this leaving the fabrics to dry overnight.

Then used Method 1 which produced more muted effects of the three.  It was the quickest method.  After 5-10 minutes for the dyes to penetrate the fabrics added soda solution leaving for 30 minutes before draining off the solution to wash and rinse.

Results

Dry fabric once dried

Collection of wet fabrics once dried

Method 2 gave more vibrant colours and unlike Method 1 the effect of both dry an wet fabrics were equally dramatic.  Used those fabrics that reacted best from Method 1, leaving others.  Cotton, calico, linen and cotton scrim were particularly good.  The thread sample involved wrapping it around a tube and spooning on the dyes.

Dry fabrics

Wet fabrics

Tube wrapped with thread

The fabrics were wrapped in cling film and left overnight to complete the process.  The tube and scrunched up ball of fabric were put in plastic bags. 
Reaction of dye, soda and salt solutions usually only lasts for 3 hours once all mixed together.

Cling film wrapped around individual pieces of fabric

 Results still appear subtle colouring.
It is strange that of all the dyes Magenta seems to predominate

 

The above pictures may actually be from Method 1.  The samples from Method 2 are definitely more vivid.

 



Results of scrunched ball of linen and wrapped thread

There is an interesting reflection in the dyeing of the linen.  I had forgotten that this was  part of the sleeve of a top.  When cut open gave subtle shades of green and yellow - the green mixed using ultramarine and a little golden yellow and a mirror image!

Method 3 produced the most dramatic colours.
This time I chose to make up three baths, using blues, yellows and turquoise - no Magenta
The third bath was my attempt at producing black from the procion dyes I had.  Mixed Ultra blue, golden yellow and magenta.  Since this produced a black mix at the end of each process in Method 2 - drained away.  But as the results show it didn't happen in Method 3.  This was the longest process finishing with covering fabrics with cling film overnight, before rinsing washing and leaving to dry.

Fabrics and threads wrapped in cling film to leave overnight



 

 

Bath 1 with dry fabrics - for water

Bath 2 with wet fabrics - for water possibly some skies!



Bath 3 These definitely don't look black - not suitable for grey seas and skies!

 

I find the process of dyeing quite daunting, so feel especially happy with this learning curve.  Certainly need to try a few more mixes in order to get required colours, but also had some happy results.  I do have a lot more fabrics and threads to add to those commercial ones at the start of this chapter.  I am so grateful that I now have Helen Deighan's book to hand.

Just had an idea to stitch into man made fabric with natural threads, then dye the whole piece, where the fabric will rinse clean and the threads hold the colours.  That's for another time.