Chapter 12 Stitched trial samples using extreme contrasts working towards resolved sample

As mentioned at the end of Chapter 11 selected Torn shapes of photo 049a to work on.
This is an A5 size.

Drew up an enlarged preliminary design  with some initial ideas for fabric manipulation and stitches including being selective with fabrics I'd want to use.  This A4 size.

The idea is to take each textured area and translate it into manipulated fabric and/or stitch.

First of all I needed to reduce the number of pieces as shown below to areas A to F in white print.  These areas are mentioned throughout as work on samples

Another decision was to change the colours from yellow pieces with brown markings on black back ground to mostly cream on dark brown background using mostly brown range of coloured yarns.  It helps having black and white photocopies. 

Selected a range of fabrics

 

 

 and a number of different yarns from fine machine threads to chunky fraying variegated wool.

In order to have samples for each shaped piece made trial samples from them as they were of a manageable size.
The samples were laid on dark brown Dylon dyed linen scrim as they were completed.

I tried to no longer think of the original photo, but refer only to the marks for working.

The trial samples included three sets, so each shape was worked into three different techniques

First: Examples of fabric manipulated methods
Second:  Hand stitched methods
Third:  Combined fabric manipulated plus hand stitching including two  of each
           (i   Hand stitch on fine fabric then manipulated afterwards
           (ii  Manipulate fabric with stitch
           (iii Manipulate fabric then hand stitch on top
I aimed to have different contrasts of texture between one shape and another

For each, an initial idea was noted, allowing for changes of idea and technique as I reflected on fabrics and yarns available.  I noted main elements of techniques on the reverse of each sheet.

1.  Examples of fabric manipulated methods
The pieces as completed were pinned to the dark fabric background

Liked the way in A the silk pleated; the gather effect in B, gathers in D and scorched marks on calico using a soldering iron in E.

2.  Hand stitched methods

There was more use of coloured fabrics in these samples which were effective but prefer those with a more cream background, when considering the resolved sample.
Pleased with the wadded quilting in A and C, but possibly too thick alongside some of the other pieces; managed to get more layers of yarns in B and F

3.  Combined fabric manipulated plus hand stitching including two  of each
           (i   Hand stitch on fine fabric then manipulated afterwards
          (ii  Manipulate fabric with stitch
          (iii Manipulate fabric then hand stitch on top

In these samples in A felt the pleats with beading wire worked well, pleased I could work two types of quilting in C with feathers and sand then small area of Trapunto quilting and finally both E and F fine fabrics hand stitched with fly stitch on one, blanket stitch on the other varying and overlapping the stitches in keeping with the design shape and markings.  Liked the finishing touches using soldering iron on E, and in F folded layers for thickness with additional folding on the top layer with inserted pipe cleaners.
Here is a photograph of me surrounded by the samples, fabrics and threads as I stitched the beading wire through the pleats in A.

Resolved sample
In order to produce the resolved sample I selected two pieces from each type of work, arranging them on another dark brown fabric background.  I selected cream backgrounds to contrast with the background fabric and a variety of techniques.

The background was made up of two layers of fabric and as a token to the original seascape, machine stitched a basic picture of the shore looking out to sea.  Most is lost once the samples were put in place. 
Here is a photo of the resolved sample before the beading, with realistic colours.

Some beading with stitching to hold the pieces in place completes the resolved sample. (Note the sample is only pinned in place).  This was a night shot which has resulted in an apparent colour change.  See on above for the actual colour range.

 

plus hidden background(this is its appearance before pieces were added)

 

 

Whilst doing the trial samples also tried a knitted version of a different cut design, this time on a pale blue and light brown machine stitched background, not complete but an interesting idea.  This was not timed or costed.

Time taken for Chapter 11 - 10 hours
Time taken for Chapter 12 - 13 3/4 hours

Costs for Chapter 11 - £21.67
Costs for Chapter 12 - £11.80

Finally, I did go on to work with marked pieces on the course with Sarah Burgess ( not Summer School one), but these are yet to be completed.  Will send a photo of a couple of pieces when completed, not sure when.

This was a fascinating module and it gave me an opportunity to manipulate fabric and work with so many different stitches to interpret marks related to the seascape.  I feel I would like to develop further outside the requirements of the module using natural coloured manipulated fabrics and layering and developing use of stitch.  I feel I have a better understanding of the different properties of fabrics and yarns, and with experience will develop this knowledge even further.

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.