Chapter 11 Design from landscape

The aim of this chapter is to use inspiration from landscape as in earlier chapters based on a seascape.
In this chapter I will decorate papers in flat texture and raised texture, cut and/or tear them based on shape in the landscape to make designs.

In sequence:

• Selected landscape images, four views from Chapter 1
• Decorated papers with flat and raised textures
• Shapes collected by drawing a selection of divisions in the landscape
• Cut and/or tore shapes related to various divisions in the landscape
• Applied each images shapes to a contrasting coloured background paper.

Much of the work in earlier chapters has been done in black and white, for this work I have selected a main colour of brown with variations between cream and ochre, different browns and some orangey effects including gold

From the previous work I will select one design idea to use for manipulating fabrics and using different stitchery methods as shown in Chapter 12.  Notes on techniques were made as progressed through the work, applying H&S to methods.

Photo of prepared kitchen area where made marks on different papers - wide range of different thicknesses and colours of paper based on my colour decision

Decorated papers with flat and raised textures
Making flat textures
Initially I chose four viewpoints, shown here alongside flat textured papers:

Photos 044 and 048: mono-prints using hard roller with acrylic paints: burnt sienna, yellow ochre and gold
Making marks with sequin waste, cocktail stick, lollipop stick, sponges, stippled stamp, skewer and corrugated card

Photos 049 and 052: rubbings using oil pastels: yellow ochre, burnt umber, pale brown, ochre with sand, previous paper manipulation, seaweed, feathers, shells and wood grain in a door

Photo 049:  drawn scene using oil pastels as above and copper coloured markal stick over some rubbings

Photo 087:  mono-printing based on a course with Sarah Burgess (Embroiderers Guild N Wales, 20th - 21st June 2015)
These show some of the initial mono-prints, positive and negative images using special inks with some folded papers and different mark makers
The second photo includes use of masks, tearing and rearranging papers and inserting fabric

Making raised textures
Picked out textured surfaces by looking at all the pictures then applied different materials mostly to a layer of thick PVA glue with annotated explanation alongside.  Used techniques used earlier in Chapter 2 and in Module 3.
The surfaces were then rolled over gently using a mixture of acrylic paints: burnt sienna, yellow ochre and gold

Collection of surfaces using different materials:

Manipulating card to produce different layers

Shapes collected by drawing a selection of divisions in the landscape
Using the originally selected photos drew a range of pictures where the landscape was divided up into shapes following lines of main features.  I then selected 1 or 2 of each shaped arrangement and using the back of postcard sized pieces of selected flat textured papers drew the shapes then made a sample of a torn or cut shapes laid on to a contrasting coloured card.  The pieces cut or torn were replaced in the correct order with gaps between each.

Another approach might have been to select an abstract grid of squares, triangles or other shape, or produce a Fibonacci arrangement, but decided to develop one of the torn images

These examples showing the drawings on the first scan, followed by a reminder of the photo/scene and a resulting torn/cut layout from which a fabric and stitched piece might be made.

Sample 1

Sample 2

Sample 3

In the last of the above samples are drawings from the step photos and some examples showing how areas of shapes can be found by drawing around an area that you could possibly look through.
By this stage as I needed to choose just one image to develop further I didn't include the last image or torn, cut pieces realising I wanted to develop Sample 2.  In the back of my mind the textures of the wooden groin and seaweed effect seemed to draw me to developing this further.

The design which I decided to develop was the torn sample of  049a, which is developed in Chapter 12.

Chapters 9 & 10 Stitch to translate

This chapter is in two parts:
a.  Translating rubbings on to paper
b.  Translating rubbings into stitches on fabric

a.  Translating rubbings on to paper

Rubbings from relief surfaces on to paper

I selected a number of relief surfaces from previous chapters to take 2-dimensional flat images.  Some of the rubbed marks will eventually be translated into stitch, 3-dimensional textured surface.

Mostly black papers were used:  tissue, art paper, pastel paper
White on black tools: chalk, white crayons, oil pastels, chalk pastels, Markal painting stick
Some rubbings were with candle on white paper then given an ink wash, but these were not as successful.

Rubbings that were just smudges were discarded and some surfaces selected did not produce good marks with distinct images, such as the paw print images and the grid of varying textures causing paper to tear.
Generally used flat side surfaces of sticks, sometimes using different amounts of pressure and trying different directions.
I tended to use one type of stick for each rubbing, although could have tried several together.
I retained all samples.
The chalk like images were fixed using a fixative spray.
The Markal stick images were left for a couple of days to naturally dry, not needing the spray
On all samples I noted the stick used and showed the direction of rubbing as well as naming the original relief, commenting on the best rubbing tool.

From the collection I selected what I thought were the best examples.  Tissue paper worked best, with three effective tools, chalk pastels, oil pastels and Markal stick.  Chalk was only successful if wanting a very delicate subtle design.
The four chosen included, from Chapter 3:

• Steps - scratched crepe paper
• Ripples with one pebble - textured wallpaper shapes overlaid with grease proof paper then scrumpled tissue
• Barnacles on a groin - gathered sheet and gathered strips of crepe paper

From Chapter 2:

• Ripples in the sand - rolls of tissue paper forming waves across the paper

(Others from Chapter 3 of a shell and of pebbles on the beach also worked well but did not go on with these in stitch)

Insert 4 A4 sheets showing photo, textured surface and a couple of rubbings

b.  Translating rubbings into stitches on fabric

Of the four samples shown above I selected THREE to translate into stitch.

The idea was to use mostly ONE STITCH on each, considering which of those new ones learnt in Chapter 9 might be best suited to the image.  This stitch could be varied in size, thickness, using a range of threads and yarns and other items.
I also considered which black fabric could be used for the background.
I also wanted to use fabric with Markal stick rubbings, selecting a smooth polyester satin fabric which was particularly effective.

Using Markal stick
Rub over the fabric using the end of the stick, at a slant, in one direction
Leave the rubbing to dry naturally over two days for the paint to stick (fixative spray not needed)
Iron the fabric with the rubbing face down between two sheets of baking parchment
The rubbing can be part of the finished stitched sample

The three samples are accompanied with an image of the textured surface, then a second with the main image, the textured surface, the main rubbing on paper, and Markal image on fabric and the finished stitched piece.  For each will be itemised the choice of background fabric, stitch(es) selected and threads used.

Sample 1
Steps

Insert two photos

Background fabric:  Black cotton dyed with a mottled effect (commercially produced)
Selected stitches:  Fly stitch
Threads used: White 2-ply wool, white cotton machine
Comments:  I decided to leave this piece with only two threads, varying their size and arrangement, picking up the marks from the rubbing.  To help replicate the lay out tacked a border and simple 4 x 4 grid on the fabric.  I feel the stitching does reflect the rubbing, but not necessarily the bulk and metallic nature of the steps

Sample 2
Ripples

Insert two photos using organza

Background fabric:  Reverse side of the black cotton dyed with a mottled effect (commercially produced).  The mottled effect on the reverse fits better with the background of the rubbing
Selected stitches:  Chevron stitch - adapted weave effect to give an indication of change of direction in the ripples
Threads used: White cotton wool for the running stitches, white organza in strips woven through the running stitches
Comments:  I decided to leave this piece with only two threads, varying their size and arrangement, picking up the marks from the rubbing.  To help replicate the lay out tacked stitches at each end of the rows of ripples.  I feel the stitching does reflect the rubbing and using the organza gives a more 3-D finish and good texture.  The fringes released at intervals were retained to capture the occasional streaking from the rubbing.

Sample 3 is another version
Ripples

Insert two photos using Cretan stitch

Background fabric:  Reverse side of the black cotton dyed with a mottled effect (commercially produced).  The mottled effect on the reverse fits better with the background of the rubbing
Selected stitches:  Cretan stitch - altered size and direction of stitch to give an indication of change of direction in the ripples (Other stitches considered were blanket stitch, wave stitch and/or filling stitch)
Threads used: White 2-ply wool and white machine thread, the former for more intense white the latter where the image was more faded.
Comments:  I decided to leave this piece with only two threads, varying their size and arrangement, picking up the marks from the rubbing.  To help replicate the lay out tacked stitches at each end of the rows of ripples.  I feel the stitching does reflect the rubbing.   I considered adding extra layers to enhance the raised texture or wrapping some parts with other threads, but preferred to leave it to show the effect of the Cretan stitch.  This sample was not as textured as the first ripples.

Sample 4
Groin with barnacles

Insert two photos

Background fabric:  Black polyester satin with Markal stick rubbing to guide stitching and part show alongside stitched work.
Selected stitches:  Couching using blanket stitch - altered size and direction to attach yarns for the wood textured background.  Felt the blanket stitch could also be used to build up layers for the barnacles - the finer thread stitched into background fabric the raised centres interlaced within the lower stitch.  Tried adding some bullion knot stitching.
Threads and yarns used: White viscose machine thread, white cotton thread and white cotton wool.  The couched yarns were raffia, bundles of cotton perle threads cut from a previous worked sample, 2-ply wool with silvery thread and Welsh hand spun wool.
Comments:  Feel this sample reflects the rubbings.  It may be interesting to produce a dense bullion knotted sample if time allowed, interspersed with French knots using different threads.  Another idea may be to layer the background fabric with one or two layers of fabric cut using a soldering iron.  The next three photos show the results of some experiments.  Like plastic packaging, organza (both white and black) and hand cleansing cloth.  I also produced a sample of natural scrim distressed to form gaps and holes in the grain. The barnacle stitching could come up through spaces.

Chapter 9 Threads and Stitchery

In this chapter we are looking at threads, stitches and stitching, stitch effects both formal and informal, going into looking and making further rubbings from which stitch can develop

Threads
In this module and course a thread is anything that can be threaded into a fabric surface, both traditional and non-traditional.  This includes knitting yarns, machine threads, metallic threads, wire, string, ribbon, fabric strips, plastic strips, grasses, sea weed, shoe laces, and raffia.  Non flexible includes solid items such as pins, twigs, and wooden sticks.
Where the appropriate needle cannot punch through fabrics, or the thread has qualities that resists easy sewing or the fabric restrains puncturing then the items can be held in place through couching or weaving, wrapping around stitches in a lower layer of stitching.

This chapter contains work mostly in white threads on black fabrics.

A collection was made of a selection of threads and put in an open tray:

Insert picture of tray of threads

It is useful to keep a dictionary of threads, with a note of its name, where obtained and cost for calculating expenditure on the final sample.  A dictionary is in alphabetical order, this is not, but I have tried to arrange them by natural threads on the left and man made on the right, trying to group them by type e.g cotton, silk, wool or pipe cleaner, polyester, viscose.

Insert picture of card file

Since producing this file I have transferred the cards into a walleted photograph album, not so bulky and easier to look through.  The sequence remains the same.

Stitches and stitching
The same stitch can often have different names, sometimes related to the location where it can be found.

It is interesting to try and learn those that give different variations in shape and formation.  I have tried to extend my knowledge by learning new ones, with help from different publications.

Insert photo of some reference sources

I have a record of  those stitches used in this chapter, by reference to books with pages in my notebook including some indication of additional information.  100 Embroidery stitches is grouped by categories, (shown below), Erica Wilson's book is arranged by sewing technique with those stitches of use in that technique, such as Crewel embroidery.  Most books have black and white illustrations, whereas The Embroidery Stitch Bible is in colour.  I particularly liked Jan Beaney and Jean Littlejohn's as well as Constance Howard's as illustrations were in monochrome and gave a vast range of both formal and informal approaches to stitching using a particular or variations on it.

Here are five categories of stitch based on how they are physically formed.
I have tried 4 or 5 from each type, the names given alongside the category in order as shown in the sample below:

1. Flat stitches, formed with a simple straight stitch, such as Herringbone, Thorn, Dot or seed, Chevron and Cross
2. Looped stitches, formed by looping the thread under the needle, such as Fly, Cretan, Feather, Blanket and Wave
3. Chained stitches, formed by connecting loops, such as Chain, Chain cable, Wheat ear, Split, and Twisted chain
4. Knotted stitches, formed like a loop but pulled firmer, such as French knot, Knot (Snail's Trail), Bullion, and Coral
5. Composite stitches, formed in different ways combining two layers of stitch.  An initial stitch with another stitch formation by needle threading, whipping or lacing, such as Laced running, Whipped chain, Laced Herring Bone and Interlaced Herring Bone

Insert Photos of sampler

 Stitch effects   
Once a basic stitch is learnt it is fascinating to see how it can be manipulated into different effects, by varying size, spacing, direction and using different threads or different numbers of strands of the same thread.

I chose Fly Stitch in order to make a series of Formal stitching rhythms and Informal stitching rhythms.

Formal stitching rhythms
Used 6-ply cotton embroidery threads with variation in the number of strands used

Insert photo of Sampler with formal stitching using frame to stretch and firm the fabric layer

This is a grid of  3 x 5 4cm squares
Going down in rows starting with the top row, from left to right

First row: Worked in a linear pattern - four rows altering the length of the tail; as the first, but stitches on their side; Separate marks
Second row:  Varying the size of stitch - four rows, Alternately altering the direction of the stitches, first individual stitches then alternate rows
Third row:  Using one strand Varying the direction, at an angle, elongating the stitch and spacing different groups
Fourth row: Increasing the number of threads for tonal change; Arranging the threads to form a circular design; Altering the angle in rows to form a new pattern
Fifth row: Altering the main stitch into a variation of it, in this example twisted fly stitch - frequency direction and size; Inserting stitches in rows within each other to form a shape; Mixture of stitches, varying size, direction and thicknesses with some overlapping

Down the side: a snake like arrangement - varying size, length of tail to smaller individual fly stitches

Informal stitching rhythms
For this produced an array of  rhythmical patterns, varying stitch size, direction, arrangements, overlapping, creating new shapes, with different threads, weaving and adding beads.  Great fun trying different ways of using fly stitch and twisted fly stitch. The sampler is the length of a ruler 30cms

Insert photo of  Sampler with informal stitching

In further chapters as well as using Fly stitch will try to vary the stitches and threads to capture the texture of the work.

The following illustration is showing the back of pebbles held within fabric and is an addition to an earlier chapter.
It is not related to the chapter 9 content.

Chapter 8 Paper relief into fabric relief

Five paper relief samples were selected from Chapter 3 related to textures I liked in the seascape.
These are now translated into manipulated fabrics and stitch; two for each, one soft texture the other harder texture.  They show tactile contrasts using different materials and manipulated methods.

1. Ripples around a pebble (see Sample 2, Ch 3)
2. Pebbles on the beach (see Sample 3, Ch 3)
3. Groin (barnacles on wood) (see Samples 5a, Ch 3)
4. Seaweed on groin (see Sample 5b, Ch 3)
5. Combined steps and paw prints (see Samples 7 & 6, Ch 3)

For each, there is the soft textured piece followed by the hard textured.
In order to vary the techniques, fabrics and stitches between the samples I set up an A3 sheet divided into two, labelled 1 to 5, noting on the left ideas related to soft textures, on the right harder textures.  Sometimes techniques changed as I progressed so these were noted alongside the original thoughts.

1.  Ripples around a pebble

2.  Pebbles on the beach

3.  Groin (barnacles on wood)

4.  Seaweed on groin

5.  Combined steps and paw prints

I particularly enjoyed making the harder textured sample for 1. and it was a good opportunity to use soldering iron and candle for the harder tactile texture for 4.  I like the look and feel of the softer texture in 2.  It was suggested maybe I could combine steps and paw prints to form a story which I feel these two samples divided on the diagonal show for 5., although the paw prints using wadding cut away with a soldering iron have worked better than the Tyvek bits heated using an iron and parchment paper above and below the material.  The only sample not complete is the hard textured sample for 2 where pebbles were spaced and trapped behind one piece of cotton scrim, gathered using stitch at the back to prevent them escaping.  The amount completed on this sample does show matching patterns for seven pebbles.

Health & Safety was kept when using the heating items: using a well ventilated room, ensuring the flex did not provide a trip hazard, the soldering iron was kept in a upturned flower pot with a glass cutting surface, and the candle held steady in a candle holder, using prongs to hold the fabric and some water at hand in a metal container to quench any flaring fabrics.

Chapter 7 Tactile contrasts using fabric manipulation

Made an experimental sampler using different fabrics in different manipulative ways. 
The sampler contains 16 triangles with 5cm edges. 
In order to obtain contrasts in texture I considered a selection of ideas divided according to R - rough textures; M - medium textures between rough and smooth – S ( 5 or 6 of each) based around fabrics collected in white or neutral colours. I set up a plan showing variety of texture, including fabric, technique and threads, either hand and machine stitched, then worked through each.  Techniques were used from previous chapters with some new ones, altering some as I went along.  Where possible I made sure like textures were not placed next to each other so contrasts were more evident.  The original plan changed accordingly.
Sometimes triangles that had depth (rough texture) were actually soft to the touch, reflecting the softer fabric used and the wider spacing of the stitches.  The look of the technique may be sufficient to show the contrast, if the feel is not relevant.
Insert sampler

Followed by description of triangle: fabric, techniques including any inserts

The sampler also shows different edges to the triangles.
So how can different contrasts be formed;
Choice of technique:  each has its own characteristics which can be varied
Choice of fabric:  each manipulates in a different way because of its physical characteristics. (See sheet accompanying the photograph of the sampler)
How stitchery is used to hold and manipulate the fabric to give different surfaces.  The cotton samples particularly show this variation.