Chapter 7 Simple button making

This chapter contains a selection of buttons using different cores, techniques and complementary colours of purple and yellow, in hand dyed or commercial fabrics, threads, wires and beads.

There are series of samples

1. Basic core shapes
2. Hoop cores
3. 3-D solid cores
4. Dorset buttons
5. Bottle top cores
6. Toggle buttons

The notebook contains techniques and materials used for each button with Health & Safety rules.

1.  Basic core shapes

 

Commercial fabric was used to add a consistency to the background, varying the design shape and size.  Each was wrapped with a first layer of wadding to soften the feel and add depth to the button.

No hollowed examples were made except for hoop cores (See 2 below). It can be more difficult to wrap fabrics and threads through the shapes and around corners, cutting off a bit of each corner helps.  They could be used as buckles, brooches or pendants.  Some of the techniques used on the hoops could be applied to hollowed shapes.

2.  Hooped cores 

There are many items that could be used to make these buttons, here are just a few.

I like the combination of colours and tried to use different textures of threads and torn yarns, including some hand dyed materials.

Some can be hung on bags, clothing or used separately as jewellery, with or without extra hoop to hang.

3.  3-D solid cores

Exposed cores of cork or wood might be useful to relate to the musical instrument theme.

I like 3d as it is more delicate and for the combination of commercial and hand-dyed threads.

4.  Dorset buttons

I like this technique and can see with a variation in threads or torn yarns quite a variety might be made.  5, 6 and 9 show several spiral applications.  These buttons could be added to a number of accessories.

5.  Bottle top cores

I had quite a lot of fun with these.  Each were initially padded. Circles of stretchy or soft fabrics were used, gathering a circle of running stitch near the edge of the circle of fabric.

The first two were left with fabric only, attaching the button to expose the spiral effect of the gathered fabric.

The other two were embellished with wire and beads or left with the wire showing its spiral effect.  (It was important not to have sharp points exposed). They were attached with stitch using the gathered fabric side.  I noticed that attaching using the flatter surface made it easier to hold the button in a particular position, the second two had minds of their own!

What a wonderful way for reusing all those bottle tops, hoops and card tubes.  Aluminium foil and cling film rolls are especially solid and a good size to cut up.

6.  Toggle buttons 

I displayed these samples on woollen threads or wire, showing that the buttons can be a string or single and act as buttons or beads.

  

Left hand samples

The strands from left to right were made of different fabrics: felt, with or without a layer of Lutrador; layers of Lutrador; leather or suede; cut up silk rod and on its own a hand-dyed silk cocoon wrapped with hand dyed silk string and tied with a ribbon.

Each were varying cuts of triangular material, rolled into a button (or bead), attached with PVA glue, and/or wire.

Some buttons were wrapped with wires spiralling around the button.

Right hand samples

These were made of hand painted Tyvek, one side of the Tyvek in shades of yellow, the other side in shades of purple.

The buttons were cut with designs using a soldering iron, especially for use in embroidery work.

I have noticed that I have not used metallic thread with the buttons or used a heat gun.  I can imagine the latter producing a bubbled or concave effect dependent on which side of the Tyvek is uppermost.

With most of the toggle buttons I was able to use spirals not only on the buttons but also to join some of them together.

It is very important to use caution with the soldering iron and heat gun and Health and Safety rules are provided in my notes.

As well as the button samples above I also have commercial buttons in the chosen colours and some hand dyed (Chapter 3).

Chapter 6 Simple tassels

This chapter contains simple tassel making techniques, using the complementary colours purple and yellow threads and torn fabrics

Hand made tassels

Machine made tassels

Hand made tassels

The following method was used to make tassels with a head, neck(s) and skirt(s):

Card 10cm x 20cm

Threads and yarn wrapped several times around the card

A thread or cord was pulled through and fastened at the top of the card

The threads or yarns were eased off the card

Thread or yarn was wrapped around to form one or more necks

The bottom of the skirt was cut through the loops (however loops could remain in place)

The tassels were either all in one colour or with a mixture of colours and textures

Illustrations show different techniques:

A1 to A2 variations of one colour

B1 to B3 used a mixture of complementary colours, varying the location of the neck(s)

C1 had a padded head covered with detached buttonhole stitch

D1 was a tassel made from twisted cord, releasing the twist to form the skirt

E1 was a tassel made from a plait, releasing the plait to form the skirt, using leather, suede and velvet

F1 was made using a longer card (A4 book) knotted in half to form the head, folded in half, torn ribbon wrapped around for the neck, the skirt from free yarns

G1 was made from a mix of threads and torn yarn strips and ribbon

A1 to A2

  

B1 to B3

C1 and D1

E1 to G1

Most of these tassels are quite bulky hopefully showing the technique used.

They might be used on bags, curtains, wall hangings or hanging from musical instrument cords

Finer tassels could be achieved using finer threads for jewellery, belts, or smaller gentler features on bags

Each tassel could be used alone or as a collection

I particularly like E1 to G1, C1 needs more practice using detached button hole but I like this as an addition.

Machine made tassels

The following method was used to make tassels with a head, neck(s) and skirt(s), using metallic threads:

Picture frames as a frame in metal or bamboo (not too deep so can go under the needle)

Threads and yarn wrapped several times around the frame

The machine was set for free machine embroidery: zigzag length O, width 6 or running stitch length 3, width 0

The head was stitched along the centre section within the frame

The threads or yarns were eased off or cut from the frame

Thread were wrapped around to form the neck below the stitched head

The bottom of the skirt was cut through the loops (however loops could remain in place)

The tassels were mostly made using Madeira metallic threads in various gold colours

Illustrations show different techniques:

Sample 1 Using zigzag stitch along the centre section of the threads to form the head

Sample 2 Longer length of zigzag stitch to allow a double knot to form the head

Sample 3 Using running stitch across the threads to make a short length of braid to form the head (a wider wrap of threads helped with this)

Sample 4 Using zigzag stitch along the centre to form the head, with extra lengths either side to make necks at the top of two tassels

 

With Sample 3 I added variegated purple cotton thread in the lower spool for contrast, but maybe metallic thread would run better, as the stitching was more problematical.  Overall I found this a quick and smooth way to make tassels.  The effect was a more delicate form.  I was amazed how manipulative the heavily stitched areas were to make shapes.

I like all four samples, but particularly the knotted head in Sample 2, with its Celtic design.

Tassels are an ideal addition to create movement in work.

Chapter 5 Cord making

This chapter contains machine and hand made cords and the threads and yarn lengths used in each sample were noted in my notebook
A. Machine stitched cords
B. Twisted cords
C. Knotted, plaited and wrapped methods
A. Machine stitched cords
Prepared the machine for free machine embroidery.
Set zigzag on pattern with width 4 – 6 and length 0
Used variegated purple thread in the bobbin and variegated yellow thread in the top needle.
And used plastic drinking straw to feed multiple threads and yarns together using approx. 50 cm lengths

 
Some cords are narrow and tight, others more haphazard with fringes and loops added.
Particularly like M9 (see labelling on card below) with its loose bits and different spread of zigzags along the length of the cord.  Some wanted to twist into shapes ideal for the project (M3 and M13)

B Twisted cords
This was a manual method where often samples became shorter than in A, initially using two lengths of thread or yarn, tied together one end held in place using the top spool holder the other end twisted using a pencil.  The cord was tightly twisted, brought the ends together, holding middle, then released to form varying thicknesses and twists of cord.  The ends were then fastened off to keep cord in tact.
Used 60cm and sometimes longer lengths:
 
Pleased with the amazing variety of cords.
Liked the fringed effect of T3, the clear twists of the leather and string of T9 and chunkiness of using yarns, threads and strips of suede of T13.
It is difficult to judge the length of threads or yarns needed for a particular length of cord, but it is a quick technique and easy to repeat.
C. Knotted, plaited and wrapped methods
Separate samples were made for each of these techniques
Knotted cords
I started off wrong with this technique, initially just knotting lengths of thread or yarn, then realised that more was required.  I have a couple of the mistakes filed, but here is a card showing 8 techniques:
K1 Simple knotted cord regular spaced; K2 irregular spaced; K3 Series of half hitch knots; K4 Square knot using same side; K5 Square knot using alternate sides; K6 Continuous twist chain; K7 Finger cord; K8 Double ridge hitching or alternate chaining

I used different types of thread and yarn including fine metal, and different numbers of strands.  It was interesting to find the cord twisted forming a spiral effect when using the same side (K4 and K8), but became flatter using alternate sides (K5), with a distinction possibly between a cord and a braid.
Plaited cords
I was used to making plaits in hair as a child and found it easy using three strands from the back of the plait.
However I soon realised that I needed to adopt a different technique when using four or more strands, and indeed equally for three strands, using a similar approach for each.  I used a sponge base to hold pins in place at the top or start of the plait.  The pins held each strand in place, then using an over and under approach for the left thread to the right in a consistent way was able to make different designs in the plait.  (This I recorded in my notes, taking some photographs to show each stage).
Because cords were required to make these plaits, I used existing cords as in string and wool as well as further machine made or twisted examples.
Here are a series of simple three cord plaits:

Followed by a series of multiple cord braids:

It was very satisfying finding a consistent approach to the plaiting technique; the variety of designs both in the cords and particularly the braids. The braid designs could be made into bracelets, bands or belts.
Another technique that  I decided to try was to use a lucet to make very strong cords.  I believe it was used in Medieval times.  I made some out of cotton thread (like wool) and raffia using variegated yellow or purple, and one colour yellow and purple, some using one thread others using two threads.  Gave good results.
Didn’t do so well with the Turk’s Head knot.  I was able to make a flat version but not a button or toggle.  I wondered whether a Monkey’s paw would produce a better button.  I need to practice both techniques as I can see how it can be used in a variety of ways, from the Scout’s toggle, rings and bracelets as well as attractive buttons and heads for tassels.
Wrapped method
For this method I made a lot more twisted cords.
I used one cord or a group of cords for the main core and another cord or group of cords for wrapping.  I enjoyed making the five samples.
W1 Single wrap: 1 cord around a 3 cord core; W2 Wrapped loosely and unevenly, twisted cord around a one string core; W3 Single cord wrapped tightly around a soft fat core; W4 Thick cord wrapped with fine thread; W5 Fine cord core wrapped with thicker cord

I liked all these techniques and I can see them being laid around a hat or bag.
It was a satisfying experience using these techniques and hope to use some in my final item.
Health & Safety was noted in the notebook.

Chapter 4 Decorate with stitchery

This chapter is divided into two sections

Section A. Hand stitchery

Section B. Machine Stitchery

Here are presented the samples, with just a note to accompany each.

Most of the work was stitched into hand dyed fabrics, but some samples especially in Section B included plain calico or commercial coloured fabrics, when experimenting with stitch techniques.

Health & Safety, techniques, stitches, fabrics and threads used were listed in my file.

Section A. Hand stitchery

H 1 A sampler showing hand dyed yellow cotton with darker purple mono-print, large spiral with several rows from central point,tiny continuous spirals, yellow or purple, series of overlapping spirals in shades of wool couched indicating background, middle and fore-ground, medium yellow spiral, all producing a spiralling network.

Helped by the mono-printing was pleased by the depth and movement in this piece.  Like the idea of keeping some of the mono-printing free of stitch, but could add more to it (possibly machine stitchery).

 

H 2 Using Sample 4 of the mono-prints Series of spirals in purple and different shades of yellow.

Particularly like the texture from gathering the running stitches, and the patterns from the spirals being close together.  Feel this would be ideal for making buttons.

H 3 Commercially random dyed purple and yellow cotton showing back stitch, running stitch, wide stem stitch and french knots, which I then wrapped around a cardboard core.  Inspired by the column on a harp.  (Shown as A).  When flat the pattern was depicting a spiral column in 2-D, but by wrapping around the card prefer the 3-D effect.

H 4 Stitched ribbon Back stitched continuous spirals along ribbon ( Shown as B)

Another sample: At the Summer school (Sue Dove’s workshop) using music as inspiration from part of a larger piece with text and oil pastels on orange card, I then enlarged and depicted the piece in stitch.  The dyed fabric was wet wipes used to clean off paint.  It was great trying to generate the original paper version into stitch, using different threads and stitches.  The text was duplicated using a felt tip pen on muslin from musical quotes.  The result I feel has earthy almost aboriginal elements.

The card was 5cm x 18 cm.  The finished piece 14 cm x 26 cm on calico

Section B. Machine Stitchery

The machine was set up for free machine embroidery as outlined in my file.        Initially I worked without a hoop as seen in the first three samples, but found it more effective using a hoop

The samples in this section include free running stitch, whip stitch, cable stitch and zigzag stitch.

The first on calico shows the three main stitches, without a hoop

Samples 1a and 1b on purple cotton with mono-print 1, show upper side and reverse of continual spirals, free running stitch (18cm x 18cm)

 

Samples 2a and 2b on calico show two threads in the needle, 2a without a hoop, 2b with a hoop (18cm x 18cm each)

Sample 3 on calico, same thread as 2, with a hoop (18cm x 18 cm).                                 To ensure the fabric is taut in the hoop need to use a larger size piece of fabric.     However this is quite a lively piece showing different spirals.

Sample 4 on calico, with a hoop showing whip stitch.  I hoped the variegated purple thread in the bobbin would have shown up better.  Whip stitch was achieved but this is rather a subtle coloured piece (18cm x 18 cm)

Samples 5a and 5b Whip stitch which came out as cable stitch.  Top and reverse of the piece are shown here (25cm x 25cm) Design smaller, moving the hoop to fit.

 

Sample 6 on linen Cable stitch (25cm x 25 cm)  Looks like a shell or snail!

 

Sample 7 on random dyed fabric shows a variety of stitches and mixed threads.  Plenty of overlapping giving movement and depth to the piece (20cm x 26cm).  Like this the best so far!

Sample 8 on cotton Mostly cable stitch and zigzag with different threads.  This continuing spiral could grow or be left this size.  Worked area has a diameter of 10cm.  Interesting gathered effect.

Sample 9 on purple dyed cotton with mono-print 11.  Used whip stitch, continuous small spirals in complementary colours to infill the negative space from the masks.  Feel this was effective.  (28cm x 20cm)  Later photographed a piece of chiffon with the same mono-print overlaying this sample to give another dimension.

Sample 10 on purple poly cotton.  This was made up with a series of different stitches each row starting at the same central position, finishing with a sequence of spirals.  Used running stitch, running stitch with two needle threads, whip stitch, cable stitch and zigzag stitch and complementary colours. (Diameter of 15cm)

Finally I tried to machine stitch some ribbon, the sort that has fine wire structure in order to give a 3-D effect (See C on the final hand stitched sample)

This next photograph shows the machine set up, working on Sample 10

I am conscious that I have not combined hand and machine stitching, but appreciate that this would give another dimension to the work. 

Chapter 3 Fabrics and threads

This chapter is divided into three lots of work

Fabrics and threads already available using my chosen colour scheme of purple and yellow (see above)
Cold water dyeing using acrylic paints to dye beads, dip dyeing and random dyeing
Monoprinting fabrics from existing stock and hand dyed from previous exercise

Fabrics and threads already available
Here are two images of a tonal sequence of purple then yellow fabrics
In addition I have a wide range of threads (not shown here).  Some will be seen in future chapters.

Cold water dyeing
Health & Safety and instructions are recorded in my file

Using acrylic paints to dye a selection of items, beads, buttons, silk cocoons, screws, spiral wires
A selection of items were divided into those to be yellow only, purple only, some of the yellow to also be yellow and purple. 
A drop of yellow acrylic paint was dropped into a jam jar, sealed with a lid with selected items and shaken.
This was repeated with purple and later some yellow items were added to the purple.
Dry dyes were picked up by the items giving a speckled effect.  Possibly a smoother coverage could be achieved mixing the paint with a little water or fabric medium.
After each colouring the items were left to dry on newspaper covered plastic sheeting.
It was important for as many items not to stick together.
The mixed items once dry were stored in a jam jar, shown in the following image

Cold water dyeing
Natural fabrics and threads were dyed using Dylon fabric dyes: Intense violet and Sunflower yellow
The Dylon dye was prepared using the instructions on the packets
Salt solution was prepared to allow dyes to penetrate fabrics
Soda solution (washing soda) prepared to help fix the dyes
Each of these can be safely stored separately in sealed labelled jars but once mixed will become old (can be used as inks)

A dyeing day was selected
Prior to this fabrics were washed to remove chemicals and ironed and cut into manageable sizes (A4)
Some fabrics were gathered using nylon thread into spiral as Tritik Shabori.
Some threads were gathered into small skeins for dip dyeing
Some fabrics and threads were set aside for random dyeing

A selection of baths were prepared for purple and yellow only dyeing
A black dye bath for dip dyeing of some yellow items
A tray for dip dyeing
The following day a tray for random dyeing

The last picture shows the different containers for dip dyeing, including separate pots of dye

Ordinary dyeing
After approximately one hour the purple and yellow dyed items were rinsed in cold water, washed in warm soapy water then rinsed again.  Items were left to dry on newspaper covered plastic sheeting, with some on a washing rack where it didn't matter if the dyes ran.
I was particularly pleased with the results, varying tones of colour achieved dependent on the material.

 I soon realised what I thought was silk was polyester - the dye just washed out!
I redid some dyeing later with pure silk, using dip dyeing and random dyeing techniques.

Dip dyeing
The different prepared fabrics and threads, having dipped them in salt then soda solutions, were dipped in the pots of dye and left overnight.  The next day items were washed in cold water only.  Here are two or three samples.  I particularly liked the difference between folded fabrics in squares or triangles.
The samples shown are in linen and silk.

There are areas of white on the samples, which are effective, but possibly if I'd dipped them further into the dyes or left them longer than a second or two, the purple and yellow would have merged in places into brown, and black dye where used given extra shades.

Random dyeing
A selection of fabrics were random dyed putting crunched up or folded fabric, then adding dye one at a time into plastic bags leading to more mixing of colour.  Once ready the items were rinsed in cold water only and left to dry as others.
Here are some samples: the first using the cotton Tritik Shabori was dip dyed and random dyed, others were linen and polycotton.

The first piece has a spiral effect from the stitching, the second an haphazard lively arrangement of colour and the last subtle shades (the newspaper print shows through while the fabric is still damp).

Monoprinting fabrics
Several samples of monoprinting were produced, with a musical theme and using:
Commercial dyed fabrics
Home dyed fabrics (including some previously dyed materials with coffee or tea)
Non-dyed fabrics

The monoprinting is in two sequences
The first sequence at home, consisting of at lease 42 samples, commercial and hand-dyed fabrics in cotton, chiffon, linen, wet wipes (coloured as wiped up paints), lutrador, muslin, velvet, silk, organza and polycotton
The second sequence at least 10 samples generated at the Summer School where Sue Dove was tutor, using mostly non-dyed fabrics: polycotton, muslin, linen, curtain lining, silk, calico and blanket

First sequence
A selection of fabrics were chosen with different textures and colouring.
Acrylic paints mixed with fabric medium were painted over an A4 glass screen.
Different brushes and sponge brushes were used to spread the colours or draw designs, then marked with different tools: sticks, cotton buds, serrated cut credit card, plastic fork
I also made masks from paper and plastic (for more permanency) to place on painted screen or used them to print paint from them on to fabric.
For each design a heavier fabric was followed by a lighter, such as organza, chiffon, lutrador to use up the paints. 
The lighter materials could be used for buttons or to layer on other fabrics, and lutrador can be burnt away.

The techniques used for each sample were listed in my file.
Health & Safety requirements were also recorded

Here are a few samples, showing different designs or fabrics, with or without dyed effect.
They were similar but not necessarily matching the earlier paper monoprints:

Where possible I'm trying to show movement, rhythm and rotation.  Some more effective than others.

With the last sample I tried to locate the monoprint so masks corresponded to bursts of purple.

Second sequence

Here are just a few monoprints from Sue Dove's workshop.

The fabrics were not hand-dyed first, but it was great having the opportunity to use a variety of fabrics: muslin, linen, silk, cotton, curtain lining and blanket.

The paints included an oil based paint on tiles (a new technique) and acrylic paints with fabric medium on glass.

The use of masks for both sequences of monoprints originated at Sue's workshop.