Wednesday, 20 September 2017

Chapter 5 Quilting techniques


Quilting techniques involve layers of fabric with padding  placed below the top surface, stitching is added to hold the layers in place. This chapter looks at the wadded, shaped, padded and corded methods of quilting.

I've worked with some traditional methods of quilting in the past but have been fascinated by the experimental samples with unconventional fillings and padding used here.

I've uploaded my sketchbook pages starting with the wadded technique. I've started by using conventional methods and then moved onto more experimental materials in later samples .

Wadded method:












 I used the strips of fabric at random as wadding, I love the unfinished edges.


You can just make out the small circular shapes of the waste from my paper hole puncher here!


I think this feathered filling below is my favourite, I love the swirling effect of the feathers and the soft tonal qualities.
Sample 10, however, is taken from another piece of work completed some time ago but I felt it could be really useful - especially as a possible interpretation of the 'ivy clad ditch' in chapter 3 sample 5.



Shaped quilting:

This involves two layers of fabric with the shapes placed upon the backing fabric [ I used a little glue to keep them in place] before adding the top layer of fabric and carefully adding the stitching.

We were encouraged to try out different top fabrics and fillings for interesting results, especially see through top layers revealing the unusual fillings beneath!



Padded quilting:

 Padded quilting is comprised of a top and backing fabric which are stitched together first and the padding added afterwards through the back layer. To achieve this a slit is made within the stitched shape, the padding inserted and the slit slip stitched back in place.
It was fun trying out various shapes and unusual paddings. 



This piece of trapunto was completed previously, I apologise for the pink but I thought it was a lovely example.



Corded quilting

I tried some by hand - using back stitch either side of the cord, I especially love the effect of the sugar puff voille and the beads!  The others are by machine using straight stitch and a double needle was used for sample 4 which seemed to have a life of its own as it sprung to life! The backs views were good too especially sample 1!


Back views:








Wednesday, 23 August 2017

Back to chapter 3 module 5 - some amendments!

I hadn't felt satisfied with the paper workings for ivy roots sample 7. so decided to have another go.

I wanted to find a way of representing the hairy texture of the ivy roots so I tore and ripped strips of cartridge paper and then distressed the surfaces with with the point of my old and blunt embroidery scissors before pushing and manipulating the strips onto a glued surface.

I used a white background to exploit the shadows created by sunlight coming from the right. The ivy leaves have a different texture and a waxy / shiny surface. I used scrunched up tracing and grease proof paper papers for this. The creases leave white marks which could represent the veins on the leaves.




Also Sian suggested some more work to explore further my paper workings for sample 5 - ivy clad ditch.
She asked if using smaller scale leaves would have inspired a different response.
I realised I needed a denser patterning with repeated shapes and negative spaces. I'd been too hung up on trying to achieve a too realistic image and need to kick start the right side of my brain into seeing the diverse shapes rather than leaves.

I tried them out on black and white backgrounds to play with the effects of daylight and the shadows created on the latter.
For the two samples below I used tissue paper folded into a concertina, cut into and then spread  out unevenly removing and scattering some of the leaf shapes from their folds. Much happier with these!




I haven't used my sketchbook pages too much in this post as the focus is poor but added this one below to show the concertina workings in top right hand corner and the waxy ivy leaves worked on black and white backgrounds at the bottom of the page.




Monday, 21 August 2017

Chapter 4 continued

Having investigated the technical properties of my collection of fabric types in the first part of the chapter I've used knowledge gleaned to produce an experimental collection of edges which have been further developed into decorative bands.
I played around with different strip widths and edging effects depending upon the nature of the fabric. I really enjoyed this piece of work - lots of surprises which were exciting and inspiring!


Mix of natural and man made fabrics - please refer to the chart below



And more:



During my tutorial at Summer School Sian suggested I fray more samples and layer them for added effect. Really love these samples especially the silk muslin - sample 1. So beautiful.
See below:





And then fraying on the bias, layering, gathering and threading: 


Close up:




Some of the samples took on a similarity to my research pages in the first chapter:



Close up: 



Finally I added some layering with strips of man made fabrics slashed or penetrated with a soldering iron:


It was important to observe safety precautions with these samples as melting these fabrics emitted noxious fumes [ I worked in a very well ventilated work space as well as taking care to prop the heat tool up carefelly to prevent accidents.

Distant Stitch Certificate Embroidery Module 5 Chapter 4

Fabric Investigation

This chapter asks that we start by making a collection of different types of fabric in white or natural colours and identify them in terms of the fabric type [fibre content] and description of their structure e.g. thick, thin, see through, stretchy etc.

I started with cottons, cotton loose weaves and even weaves.





Followed by Woollen and silk fabrics:


Man made fabrics:



Support fabrics:




Nets:


The next task was to note how a selection from each category behaved on:

  •  crumpling, 
  • comparison of hold or stretch along the straight grain or bias, 
  • nature of the frayed edge, on both the straight grain and the bias.
I made a chart to document these starting with cottons:


And silks:



And woollen:


And Man made:


Nets:


And last but not least Support fabrics:
Tricky to photograph but top headings should read rug mesh, Bondaweb, iron on Vilene, Solufleece, Decovil and Stitch 'n tear.

 

Here are some experimental samples - please cross reference with the chart above for more information.

Fraying the straight grain and on the bias.
Firstly cotton and silk:


                                                   And man made:




                                                    Experiments with burning [cottons]





Silks:


Man made:


Support fabrics:


Nets and woollens: