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