I tried to select one of the designs that might be repeated in some way from one layer to the next, with links between the layers.
I chose the middle design as the main framework.
I reduced it to four columns to coordinate the layers and made a design sheet that was A3 in size and used coloured papers (31cm X 42 cm) the widths of the columns were based on the Fibonacci sequence 8, 13, 8, 2 cms
It was if column 1 represented the sky, column 2 sky but with smoke from the chimneys, column 3 water, column 4 a fine strip (the latter ribbon like which could be placed between different columns from one layer to the next.
In colour the columns were selected from the three layers.
I considered various options. Initially I looked at rearranging the four chosen columns from layer to layer, but eventually chose to keep the same sequence
In black & white I copied three layers:
Top layer: 2 A4 sheets top and bottom of the design (A3 size)
Middle layer: 2 A4 top sheets with a bottom A4 sandwiched between (A3 size plus another A4 length)
Bottom layer: 2 A3 sheets, alternating top and bottom A4 copies
Top layer
All three layers with wave effect at the end of each
I used this and the repeated copies to select fabric, threads, samples from this module and manipulated fabric in Module 5
Top layer:
Tonal variations from charcoal black to lighter grey with hints of purple and yellow (the latter just lines of stitch)
Column 1:
Grey organza pleated using gold and black metallic thread divided up in Fibonacci divisions 3, 8, 5, 5, 8, 5, 8, 1. Plain column other than pleated areas with tonal variation (An alternate idea might be to have haphazard pleating in the same sections or/and some cabled single rows in purple, yellow and white threads to overlap the each lower section of pleats. Another idea might be to have tonal variation darker, even black at the top each section containing flat and pleated area with torn frayed lower edges
Column 2:
Linen scrim overlaid with from top to bottom dissolvable fabric piece (See sample) same colours, strips of painted linen scrim (as shown) alongside painted bondaweb, plus chimney and smoke printed on silk and overlaid with torn strips of black net (tuille) to blend edges. (Transparent layer but less than the other columns
Column 3:
Considering tonal variation sections, fine black cotton with twin needle waves left complete or cut away in places, another section gathered machine stitching and a section of cable stitched waves on dissolvable fabric. Threads would be black and gold metallic thread, black Gutermann threads and a mixture of different thickness for the wave effect. There could be more than three sections with frayed edges between. Additional stitch could be long zigzag stitch over the waves especially in the top sample. Each section of stitch could match the Fibonacci sequence in the 1st column
Column 4:
Variegated ribbon 2-3 cms wide (Just shows in the above picture)
Some text related to Smog and the Clean Air Act 1956
Each column could be joined to the next or left loose
This layer could have a wave effect lower edge with frayed fabrics hanging
Middle layer
Although longer than the top layer by another half A3 the columns could match it in width and each section going down within Columns 1 and 3 increased by 1 and half times.
The tonal variations would be from mid grey to white with some hints of brown, green (in the water- column 3) and blue (sky - column 1)
Currrently
Column 1 grey organza or chiffon overlaid with grey and white painted Bondaweb (unless used in column 2), stitched to match Top layer. The Fibonacci would match the Top layer but each section 1 and half original. Pleats would fall in different spaces, stitched using grey threads with individual rows in cable stitch: variegated greys, white and hint of pale blue. Feel tonal change darker to lighter from top to bottom would work.
Column 2 A mix of fabrics on dip dyed grey fine linen scrim with dip dyed scrim (shown above) and accompanied with a similar sized but different chimney with smoke printed on silk.
Column 3 Similar mix of wave with dimension lengths 1 and a half times top layer. In the next photo is a sample being machine stitched in 2 layers, voile overlaid with organza using twin needle technique (threads metallic black and greens, metallic black and copper in lower bobbin, plus light brown Gutermann thread. This could have the top layer reverse appliqued away, both layers cut away the rest left in tact.
Other sections might include wave effect different stitches and threads on dissolvable fabric using blacks, brown (as shown) and a layered section without the felt background (as shown)
Column 4 a similar ribbon as on the top layer, but possibly located between columns 2 and 3
Text related to the Clean Air Act of 1983 would run across the columns
Lower edge wave effect frayed or frayed finer strips of fabric used.
Bottom or back layer
Likewise the columns would have the same widths as the other layers but each section double the length of the top layer and same types of fabric and content for each column
The tonal variation would be medium to lighter blue including white and silver
So, Column 1 would have a plainer pleated finish with some overlaid stitching Fibonacci as Top layer each area x2.
Column 2 on linen scrim mixture of fabrics and illustration of the taller chimney with smoke - images of the cleaner fresher divided up as shown on the top layer.
Column 3 variegated tonal blues and a stillness to the wave effects(see 3 samples above of twin needle work, cut work and dissolvable fabric and a lacey effect at the bottom edge (not shown) possibly using nylon and spiral stitching or again incorporating the vermicelli sttiching
Column 4 the ribbon as before but this time tones of blue and silver (darker one for use on top and middle layer is shown here)
It has occurred to me that this layer could be thicker (as the back layer of the hanging) and incorporate some quilting. Cotton fabric with its fresher appearance and manipulation could be used with cotton wadding overlaid with vermicelli stitching in column 1 and 2 for cloud effects in white and blue threads to leave raised areas in white. In column 3 there could be piping with pipe cleaners manipulated into waves within fine linen scrim and pulled apart, or pulled thread or gathered sections. However, the previous layers should hang and move so the last layer may be should not be too rigid.
Text related to Clean Air Act 1998 would flow through this layer
I 'll be following the designs in the paper copies where possible. I noticed that in some of the top and middle layers I used the darker wave design, rather than the finer wave design in my original. I think this is to give a rougher texture needed in the top two layers whereas the final layer is gentler and less chaotic.
I feel I need to get each layer completed before deciding on the final effect which is to cut out a section on Column 2 of each layer representing an area of black, grey or white smoke above each chimney then machine stitch grids, black and silver metallic thread on the top layer, mid- grey thread on the second layer and white thread on the bottom layer using dissolvable fabric (as the sample in Chapter 7. The threads would be thicker than used before so cable stitch would hopefully work to give a rigid grid to represent the Ringelmann charts.
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