Chapter 6 Drawn thread work stitchery

Following on from Chapter 5 this chapter contains samples of hand and machine stitching into drawn threads from fabrics
I chose to change the fabric from previous chapters, to one that was easier to withdraw threads.  It is a natural cotton fabric which was obtained from Art Van Go and is that used by Jan Beaney and Jean Littlejohn.  I dyed this fabric using the same technique as in Chapter 4 using better strength dye and ensured cling film was between layers and left over night before rinsing.  (You will find that going on to Chapter 7 I use a linen scrim).  The pieces worked on were generally smaller than earlier, matching the size of paper made, 10cm x 15 cm.  All withdrawn threads were saved for later use.
Hand stitching
Samples 1 and 2 were not dyed, using red on the natural cotton (10cm x 25cm):

• Ribbons, string, threads, lengths of fabric and other materials were stitched through bands of withdrawn threads, or sequences of stitches including running stitch, back stitch, herringbone and raised chain
• Needle weaving on bands of withdrawn threads – including, in sequence: blocks with pairs of threads; tapered shapes moving threads gradually across the design; rows of raised chain; tapered pattern, alternating increasing and reducing the length of stitches to form triangles; blocks to form chequered effect and series of columns in blanket stitch, chain and open chain, working down columns

 Sample 1

Since scanning the above have added a guitar string across the sample
Particularly enjoy doing raised chain.  Should have painted the stick red.
Sample 2
Before working on other samples, dyed 4 A3 size pieces of fabric using dye from Chapter 4, but changed the consistency to 100ml Dylon dye mix, 50 ml salt and 50ml soda.  Used red and green painting on patterns some with a musical theme. With spare dye I coloured threads leaving them to soak overnight, then to dry naturally.

Samples 3 and 4
These required a grid formation of withdrawn threads leaving a border, into which threads could be run.
It took a while to get the hang of it, helped by an Embroiderer’s Guild friend.  Now I enjoy using this technique.
Sample 3 shows diagonal stepped stitching across bars, needle weaving over 1, 2 or 3 stitches at a time or blanket stitch (Hardanger is based on this form).  The fringe threads were attached either by cross stitch in a row or by threading the bundles of threads through the fabric
Sample 4 shows diagonal stepped stitching across intersections using running stitch, back stitch, chain stitch or fly stitch (Russian Drawn Ground work is based on this form).  Used running stitch, back stitch and half cross stitch to trap the fringe threads.
Samples 3 & 4
Machine stitching
Sample 5
Shows vertical lengths of zig zag stitch along lengths of withdrawn thread.
This sample also includes tucks (see also Sample 6) made from wide withdrawn thread columns folded and joined with a row of zigzag stitch.  The piece was finished using hand stitching, rows of stitching fly stitch, blanket stitch, raised chain and running stitch using bundles of threads withdrawn from this and earlier pieces. A wave of tucks were made by hand stitching a group of threads.
Sample 5
I was pleased with this piece, showing overlaying of the colours and texture from the hand stitching on the different dyed areas.
Samples 6 and 7
These samples show different uses of zigzag stitching. 
Sample 6 shows tucks  made by withdrawing wide columns of thread, folding then joining them together with zigzag  machining.  The central column has been further manipulated using hand stitching to produce a wave effect.  Lovely texture is produced.
Sample 7 shows the same as in Sample 3 where bars using a stepped sequence and ends of threads are trapped with zigzag machine stitching .  It can be very fiddly.
Samples 6 & 7
 Sample 8 clearly shows zigzag stitching along bars between columns of withdrawn thread (a musical theme – using the coloured fabric for symbols and columns as the lines on a musical score) where the stitching forms the lines and the withdrawn thread the space between the lines.  I am hoping to develop another piece to get other musical symbols in place.
Sample 8
Samples 9 and 10 show further methods using zigzag stitch on the machine, but using a wing needle to help gather more threads.
Sample 9 is zigzag stitching in varying directions on withdrawn threads, vertically and horizontally.  Some threads are only partially withdrawn to provide an haphazard fringe effect and to stagger the colours used.  The zigzag widths and lengths were moved whilst stitching to give a variety to the pattern. The top thread was green and the spool thread variegated red.  In order to mix the colours turned the fabric over.  So the back is similar to the front!
Sample 10 includes zigzag stitching across bars (not stepped), or in areas where threads were not withdrawn.  The grid was made from a varying number of withdrawn threads providing smaller and larger holes accentuated with zigzag stitch around them.  Some bars that were stitched left single threads alongside, left to give a different effect.  Also needle weaving and blanket stitch was used.  The fringe threads were either stitched down with zigzag, bundles of threads sewn together into the border or knotted and hand stitched in place.  What could be added are lengths of fabric or other threads woven through the holes, but felt this sample could be left (see also samples 1 to 4 for woven through techniques and Sample 5 for added hand stitching) 
   Sample 9 
Sample 10
I found this chapter challenging but now that I am beginning to get to grips with the techniques hope to use some within my final piece.
Finally thoroughly enjoyed the Summer school this year. 
Our tutor was Alison King who introduced us to a new way of viewing pattern and colour, reverse applique, printing and stitch. 
Here I am absorbed in the task in hand.  Applying her techniques with Module 4 in mind .  These are the pieces I completed, considering a panel for a book cover.  

 


Sample in paper, no dots!                                                          A4 Book Panel reverse applique plus grid!  Decided to leave it free of dots
….and the display board showing how I got to where I got!

Chapter 5 Drawn thread work

This is in three sections, where fabrics were selected and dyed using white red and green to follow the Wales theme and some designs linked to the music theme:

Section 1 Experimenting with drawn threads on non-coloured fabric

Section 2 Colouring fabric

Section 3 Drawn thread samples using coloured fabric

Section 1 Experimenting with drawn threads on non-coloured fabric

This section shows use of five different fabrics from which three were chosen for further work

For further work chose to work with the fabrics on the red page - cream linen scrim, white linen scrim and textured linen

I found doing this work difficult because of the closeness of the threads and fineness of the fabric.                                                                                        Managed some counting and using tapestry needle and tweezers removed threads in pairs as recommended.                                                                             Saved threads pulled from the fabric.

Section 2 Colouring fabric

This highlights the preparation of Cold water dyes using Dylon Rainforest green and Tulip red.

I followed the same methods as in Module 3 Chapter 3

1. Selected three fabrics from Section 1 which I felt accommodated drawn threads; Linen scrim (creamy coloured), white linen scrim and a textured linen
2. Washed, dried and ironed the fabric, cutting into roughly 25 cm squares
3. Prepared 50g of Dylon dyes as indicated on the pack (not adding salt at this stage) – 500ml of each in plastic sealed containers, clearly labelled
4. Stirred together 125g of salt solution in 500ml of hot water, needed to help dye penetrate the fabric.  When dissolved and cool stored in sealed labelled container
5. Stirred together 100g of washing soda in 500ml of warm water, needed to fix the dye.  When dissolved and cool stored in sealed labelled container
6. When ready to dye fabrics or paint on designs, made up two baths of dye (100ml) with extra warm water
7. Prepared two surfaces, one with plastic sheet to colour fabric, transferred to second surface plastic sheet and newspaper to dry naturally 
8. Dipped fabric piece in salt solution then soda solution then brushed over bands of colour (using separate brushes for each dye)
9. One sample of each in solid colour were made by placing in the dye bath – these also gave a better idea of depth of colour, most samples otherwise were quite bland.
10. Possibly next time use 200ml of dye for the dye bath and mix in 200ml of salt solution, less water added, for a darker colour

   

Showing dye baths, dye containers, soda and salt containers and plastic surface

Used a well ventilated room, clearly labelled containers and kept out of reach of children when not in use.

Here are a few pieces of coloured fabric:

 

Section 3 Drawn thread samples using coloured fabric

Here are the samples made, ten in all.  They are roughly 25 cm square .  Some samples were cut in half and were kept together.

I have a feeling that I will need to produce more for further work.  I am not sure that these emphasis each method well enough. 

These show several techniques with comments on the accompanying labels. 

Most samples have fringes and threads removed were saved as also any edges cut from the piece.

 

This sample shows haphazardly spaced drawn threads where the fabric was left gathered for texture – rather like this!

 

This is a sampler showing how thread was drawn across, then stitched back along or around the line from which the thread was removed, in different ways

This sample also shows withdrawn thread re-stitched back into the fabric with a little more adventurous stitching, using a tapestry needle

 

Since doing these I was recommended a fabric which Jan Beaney and Jean Littlejohn use, supplied by Art Van Go.

Perhaps I should use this for further samples.  I feel the fabric and spacing of threads will be easier to use!

I can see the advantages and adventurous samples drawn thread work will produce, as well as the beauty of traditional techniques.  It takes some mastering.

Interlude Using a guitar to decorate work

Whilst on the music theme I suddenly thought that if I could find a cheap old guitar and carefully dismantle it I might use those bits in any container I might make.

I did and here are pictures of what it was like and the bits I’ve now acquired. 

It cost £7!

What lovely pearly effect, spirals and screws…no I’m no longer doing module 3

The shell of the guitar is still there but the bits are……

  

Will take care with the hooks, but I do love the pattern and think they would look well on a box or book cover!  The strings would make lovely dangly bits.

Module 4 Chapter 4 Paper making

This chapter is about making paper from recycled media related to music.

Section 1: Paper making techniques

Two methods were used Method A or Method B, as described here and in my notebook.                                                                                                             Health & Safety are given in the notebooks.

The pieces of paper produced are roughly 10 cm across and 15 cms long, using a fine metal mesh as used in car repairs, same size to lift the pulp.

Section 2: Selection of samples: Plain paper & Interesting effects

• Plain paper
• Embedding
• Laminating
• Fringing
• Embossing
• Coloured pulps

Section 1: Paper making techniques

Torn stamp sized pieces from recycled paper other than 1.

1. Cartridge paper
2. Cardboard (brown packaging from posted CDs or DVDs)
3. Covers from old music scores
4. Old music scores (torn music pages – browning with age)
5. Old photocopied lined music manuscript
6. Brown paper packaging (recycled decorated pieces – mixed one with red design the other with gold layer on one side)
7. Newspaper
8. Leeks
9. Mixed Record sleeve pulp with waste Dylon dye

Method A

Requirements

• Approximately A4 quantity of torn paper kept separate from one another
• Large old saucepan (no longer needed for cooking), half filled with water
• Old wooden spoon
• Hand blender (to use with embroidery projects only)
• Deep tray for made paper pulp
• Waterproof to cover surface
• Old towel
• Kitchen cloth towels (e.g J Cloths) to lay wet paper samples on to dry and to remove moisture from samples
• Aluminium mesh (pieces 10cm x 15 cms)
• Large fine sieve
• Other items net, different sized net grids, items to lay paper over, threads, lace, small bits of music related papers, sequins or beads

Showing the blitzed pulp in the pan ready for pouring into the vat, wooden spoon and kitchen cloths, used in Method A

Method

1. Simmer torn paper in pan for 1 hour, then allow to cool a little
2. Using hand blender to blitz the mixture in the pan (not too long just to break up softened paper – leaving some bits in tact for texture)
3. Pour mixture into plastic tray big enough for using mesh (Add some extra warm water if pulp is very thick (half of pulp amount))
4. Place about 4 or 6 kitchen cloths on top of an old towel, on top of waterproof cover to protect surface
5. Stir the pulp with wooden spoon
6. Take the metal mesh, place at right angles at edge of vat, carefully take under the surface of the pulp, gently move to collect pulp to cover the mesh
7. Lift out flat so excess water can drain out of the pulp
8. Lay upside down on kitchen cloth
9. Press with extra kitchen cloth to flatten paper
10. Remove mesh by removing any pulp that has curled over the edge of the mesh with your finger (gently brushing it outwards where necessary) then easing up a corner peel back the mesh.  The paper stays on the cloth and comes off the mesh.  Some practice is required but it does come right.  Found the back of my thumb nail was also very useful when easing off any curled pulp or helping the pulp stick to the kitchen cloth
11. Leave the resulting paper to dry naturally

(I found it useful to carefully remove the towel to help with the drying process – some pieces could be placed on a dryer clinging to the kitchen cloths)

  12.  Once dry it is relatively easy to peel the resulting paper off the kitchen cloth

  13.  Repeat this technique using interesting effects as described in Section 2

  14.  To save unused pulp and prevent clogging up the drains pour pulp through a fine sieve into the sink

  15.   Knock the sieve contents on to a spare kitchen cloth, then after a short while roll into a ball (using cloth initially) then hands, squeeze out excess water and leave to dry naturally (make sure totally dry), to reuse another time 

Method B

Requirements

• As Method A except rather than simmering the torn paper in a pan, require litre sized bowls, one per recycled papers

Showing the vat, hand blender cloths and some papers drying as in Methods A and B, and red bowls used in Method B

Method  

1. Place torn paper in a bowl
2. Cover with water, half boiled water plus half cold water and leave overnight
3. Then follow Method A from 2 to the end

Section 2: Selection of samples: Plain paper & Interesting effects

The paper samples are numbered 1 to 9 as indicated in Section 1 above

Plain paper

Embedding

Laminating

Fringing

Embossing

Coloured pulps

Plain Paper

The plain papers are made allowing the pulp to dry naturally

The last one is made from leeks, very fragile.  Later, in ‘coloured pulps’, I mixed the leek pulp then laid over another paper pulp sheet to give it more strength.  Particularly like the mottled effect in 3 made from the covers of music scores and 6 where there are glimpses of red and gold from the patterned brown paper.

Embedding

This is where the pulp is laid on a textured surface, such as scrim which then attaches to the pulp.                                                                                               The samples shown include scrim, fine hessian, rug canvas, and bits with a musical theme.                                                                                                             The rug canvas shows paper with bits of leek pulp also trapped

 Laminating

This is where bits are trapped between two layers of paper.                                                                                                                                                                 The samples shown include trapped red threads, green fibres, sequins and bugle beads, and lace.                                                                                            Texture is clear on 4e, possibly a fine, larger lace would show up more in the sample from paper 6.

 

Fringing

I really like the textured effect in this method. Perle threads work well, wool sometimes fringes but in this sample some of the wool just slid out.               Fringing is where lengths of thread are sandwiched between two layers of pulp paper while still wet.  The top layer can be finer paper than the bottom layer.  Just before the paper is totally dry tear the threads out.  Threads and paper bits can be kept, to add later as layers.                                                                         I like the idea of having a lighter colour on top, so the other colour shows through.  In the green sample horizontal threads were removed, vertical threads were left (laminated).

Embossing

This is where the paper pulp sheet is laid on top of textured surfaces, removed when dry.  Net and meshes come away easier than some items leaving textured paper, on both sides.  These samples included a plastic net, cheese grater, wide spaced material net ad rug canvas.  It was really difficult, removing the dry paper from the cheese grater, but worth the small sample that could be added to work.

 

Some samples were attempted where larger shapes were placed under the kitchen roll, such as chains, knife and fork, but none worked.  The kitchen roll did not mould around the shapes, so neither did the paper pulp sheets.

Bits including plastic templates of letters can be pressed on to the wet paper pulp, removed when dry leaving an imprint.  In these samples I used the Welsh ‘Cerddol’ which in English means ‘musical’.

 

The top sample has a very fine imprint, where fine wire was bent into script for the same word.  Each could be used to form a water mark.

These samples show different ways of making letters separately, using a cut mesh template in the shape of the letter either dipped into the pulp and removed or placed on the main mesh and removed afterwards, left to dry separately and the final one (top right) was using a stencil with the word ‘Cerddol’ cut out, laid on top of the mesh in the pulp, brought out together, then removing the top layer when drier.  Each sort of worked but could do better!  To ensure the stencil or templates do move off the mesh could have sewn it on to the mesh. 

Coloured pulps

This is where colour is used in making the paper.  I used four methods:

• ready coloured paper
• Brusho dyes to colour the wet paper
• cold water dyes
• natural plant fibres

Ready coloured papers were use in the first method (not recycled).  Red and green were chosen relating to the colours in the Welsh flag.                               These samples show: first, three smaller amounts (partly covering mesh) laid next to each other and overlapping (like the flag, but no dragon!); the next was an embossed piece on rug canvas, two layers one white with a bit of green on top; the next a blob from gathering remnants of the red pulp in a small sieve then knocking it on to a white background; and the final sample, blobs of green dropped on to the lighter background.

Brusho dye powders have been sprinkled on to these samples whilst the paper was still wet.  Left to dry naturally and allowed the colours to spread. Red vermilliom, Blue, and Gamboge yellow. If only I had a plainer cloth under the samples, as the lower cloth also absorbed the dyes and could be used.  I did not have green so tried to mix blue and yellow, with only a degree of success.  With another piece used turquoise instead of blue which was more successful.

Cold water dyes were used in these samples – Rainforest Green and Tulip Red Dylon dyes mixed according to the packets and as in Module 3 Chapter 3.             The instructions are also covered in Chapter 5 of this module for colouring fabric for the drawn thread work.                                                                              These samples were made at the same time as the fabrics.  The paper pulp used was made from the old sleeves from inside record covers, mixed into each vat of dye.  First is green with embedded musical paper bits and embossed guitar plectrums and a plastic treble clef; the second smaller dyed bits laid side by side; the third pulp laid and embedded on large net; the final piece mixed leek and paper pulp using natural plant fibres for the green.                                                      The green dye was not a very strong colour, maybe next time I will provide more concentrated dye mix and/or add salt to the dye bath.

This shows materials ready to use including dye baths, soda and salt mixes, paper pulp vat, pan from which pulp whisked, and hand blender.

I now have a lovely collection of papers which ideally I’d like to keep as a record, so I can see myself making more paper for later work and why not, enjoyed it.

With Anne Kelly at Plas Tan y Bwlch

Each year our Embroiderers’ Guild have a super weekend school at Plas Tan y Bwlch in North Wales.

This year I chose to work with Anne Kelly, the tutor for ‘Travels in textiles’.  I thought it also linked well with this current module.  It was great fun.

Using maps, photos, postcards, fabrics and other bits, Pritstick and watered down PVA, threads and hand stitch, prints and text, I produced a zigzag book;          a memory of travels to Vancouver Island last year with my husband.

Here are a few photos of the not yet but almost finished item:

 

Right hand end of the first length with buttons ready to add cords to fasten it together

One side of the book unfolded, showing glimpses around the coast of Vancouver Island

On the other side, the middle bit depicting the green tropical forests

Concertina book with the two sides tacked together.

The text added was from a book called ‘The elders are watching’ a beautifully illustrated book of land and seascapes interwoven with an environmentally conscious poem by First Nation’s artists.

I look forward to completing work on this.

Others in our group produced fabulous pieces and it was lovely seeing them altogether at the end of the course.