Friday, 26 January 2018

Module 5 chapter 8 continued....

A full set of samples!

I'm very proud of these samples and love the contrasting features of the paper and fabric!

Module 5 Chapter 8 Paper relief into fabric relief

This chapter involved the translation of paper relief surfaces which recorded our interpretations of landscape features in chapter 3
The task set was to translate five of the above into any appropriate fabric manipulation technique with the additional challenge of producing different tactile contrasts for each one and translating each of the five paper relief surfaces in two different ways in fabric.

Each sample had to be presented surrounded by copies of the original source images and the manipulated papers. These were arranged digitally on a sheet of paper, printed and applied to a pieces of card into which  windows were cut to frame the fabric samples.

I've thoroughly enjoyed this chapter and have tried to include as many different fabrics and techniques  experimented with in previous chapters plus some new ones!

8.1. Ivy clad ditch
Top: Cotton calico layer over wool fabric. Free machine embroidery [polyester thread] worked in straight stitch in random patterning. Machine washed at 60 degrees to shrink the backing and calico to produce the raised textural surface to represent the patterning, shapes and tonal contrasts of the ivy clad ditch. Gathered strips of chiffon added to surface by hand to represent the tissue paper relief.

Bottom: Dupion silk and stranded cotton. Revised North American lattice pattern smocking. Two rows of wrong side, one row of right side and a further wrong side of workings to represent leaf patterning.

8.2 Ivy in hedgerow
Acetate satin, calico backing with polyester wadding and polyester machine thread.
Padded quilting with repeat pattern of ivy leaf shape randomly stitched and padded from behind. Fabric manipulated to produce tucks between leaf shapes and around edges to represent stems.

8.3 Ivy in hedgerow
Top layer of silk muslin machine gathered both horizontally and vertically, polyester machine thread to give impression of leaf patterning and tonal contrasts. Bottom layer of cotton muslin. Channels machine stitched through which a shoe lace was threaded and then gathered to represent the branches. Shaped quilting with leaf shaped pelmet vilene under silk muslin and brown metallic thread, by hand.

8.4 Cow parsley.
Spandex lycra fabric. Polyester machine thread with shirring elastic on the bobbin. Vermicelli stitching worked in embroidery hoop and pulled to gather and produce raised surfaces of flower heads. Machine stitched tucks to represent stems.

8.5 Cow parsley
Dupion silk and polyester machine thread. Free machine embroidered circles stitched repeatedly in the embroidery hoop until the fabric distorted to translate as flower heads. there were then wrapped by hand at the neck to raise their surface. This, in turn, produced the gathered tucks between clusters of flower heads.

8.6 Ivy roots
Three strips of textured cotton fabric in graduated widths cut on the bias and gathered with one line of hand worked running stitch to represent the root patterning.

8.7 Ivy roots
Left: Bottom layer of spandex lycra and top layer of organdie with various scraps of thread and fray sandwiched between. Machine stitched gathering worked horizontally using polyester machine thread. Some of top surfaces slashed to reveal textures of threads beneath. The gathered channels were then further manipulated to represent the roots.

Right: Textured Cotton fabric into which wide tucks have been machine stitched with polyester thread and then filled with wool fibres and over sewn with silk yarn. One row of hand gathers stitched horizontally to further manipulate the ‘roots’.

8.8 Teasels
Calico base fabric with machine stitched tucks worked horizontally and vertically. Overlaid with strips of silk muslin also worked with horizontal tucks and one vertical featuring a line of cable stitch [stranded cotton on the bobbin]. The tucks represent the background of stems and grasses and some have been slightly gathered. Teasels worked in linen scrim using 3 pieces cut on the bias and frayed and secured with lengths of linen scrim frays couched in place by hand to make stems.

Base layer of calico into which fine machine stitched tucks have been worked horizontally and vertically using polyester thread. Top layer of cotton scrim also worked with machine stitched tucks horizontally and vertically. The tucks [stems and grasses] came together as a cluster of their own volition! Teasels worked in calico as several layers which have been  snipped with small scissors and ruffled to produce texture. Machine zig zag used to shape stems and secure base fabrics.

This chapter has been great fun and I've really enjoyed the processes involved as the fabric samples took shape and became representations of their paper origins. This really helped me to look as I worked.

Sunday, 31 December 2017

Module 5 chapter 7 Tactile Contrasts

This chapter involved making an experimental sampler using different fabrics in different manipulative ways.
The brief was to use plain white fabrics, a black or white background and a toning sewing thread to produce a set of samples measuring about 4 x 4cms arranged in a grid like fashion whilst paying attention to the edges which would add to the finished effect.
The idea was to make as many differing contrasting squares as I desired as long as they felt different. 

This meant that a range of textures would need to be worked out by choosing suitable techniques, fabrics and stitchery. I've used the samples worked in previous chapters to guide me whilst bearing in mind the research images gathered in chapter 1.
The techniques and fabrics I've chosen demonstrate how these characteristics can be achieved through manipulation whilst paying attention to the individual differences of each.
I wanted to make the most of the interesting shadows and reflections cast by the samples and to achieve this I decided to use a white background and paid attention to the edges of each square and the spaces between them to add to the finished effect.

I've arranged the squares to try and promote the best contrasts for touching and feeling namely hard or soft, high or low, smooth or ridged / spiky  and experimented with a video  taking a close up journey over the surfaces of each one to try and evoke a sense of how they might feel.

                                                Finished sampler with written guide below:


Tuesday, 19 December 2017

Further experiments with North American Smocking for chapter 6

My last set of samples of North American smocking revealed an interesting pattern on the reverse which seemed to resemble patterns on the Ivy Clad Ditch research photos in chapter 1.

Sian suggested I try making samples combining the front and reverse patterns on one side of the fabric. Great minds think alike as these had been my thoughts too! So glad Sian suggested it.

These are my trials:
Lattice patterning:
Sample 1 shows two rows of reverse and two rows of the right side stitching
Sample 2 shows alternate rows of reverse and right side stitching

More lattice patterning:
Sample 3: Alternate stitching along the rows. I worked a stitch and then flipped it over to work the next on the other side.
Sample 4 : An alternate simplified  form of lattice stitch 
Lozenge patterning:
Sample 5: Lozenge pattern [right side]
Sample 6: Lozenge pattern - alternate rows of right side and reverse side stitching.

Lozenge stitch reverse:

I thought it would be fun to lay some of these samples against the original research in chapter 1

I enjoyed this and can see interesting tonal shapes and patterns which may be wonderful in later stages when I start to pull ideas together. I'm thinking ahead to stitching and maybe introducing some needle weaving along the threads on the reverse sides to add texture at a later stage.

Wednesday, 15 November 2017

chapter six post script

I came across some beautiful North American smocking which reminded me of the ditches and ridges in my research pics in ch 1 and 3.
I had a go and very pleased

And the reverse of the lattice pattern which reminds me of my ivy clad ditch in ch 3

To await development................!

Chapter 6. Tucks and pleats and gathers

This chapters is all about tucks, pleats and gathers and the many ways in which we can experiment with different ways of tucking, pleating and gathering a piece of fabric.

A tuck is stitched along it's length
A pleat is pressed into shape
A gather is pulled along a thread, stick or ribbon.

The following pages show how I have investigated these methods.
I have so enjoyed this chapter - so many surprises and gorgeous effects as I worked my way through the chapter's contents. So inspiring. Thank you Sian!
I've used a wide variety of fabrics and threads to demonstrate how different textural and tonal effects
can be achieved and tried to use my imagination to create a diverse set of samples.

Tucks first:
Looking at various methods, each method is labelled and spans over 13 samples:

This sample shows a selection of tuck methods combined every which way!

Gathering techniques:

In experimenting with gathering techniques I've used a variety of hand and machine techniques to achieve many effects. I haven't, however, been able to find a gathering or pleating machine for this section but hopefully this selection will suffice.

A selection of gathering techniques attached to a background fabric and worked to show textural and tonal effects:

Below are samples whereby different weights of fabric have been joined and gathered and then fashioned into a circular shape. I love this sample and feel it is beautiful inn it's own right.

Following on from the gathering methods we now move on to the use of stitching both by hand and machine to demonstrate the holding and decoration of gathers.
The next samples look at smocking firstly on scrim and then a more delicate tana lawn. I especially enjoyed working the irregular cable stitch on sample b.whilst thinking of the ridges and channels in the ditches in chapters 1 and 3.

A variety of fabrics stitched together and gathered before being placed on a separate background fabric and then decorated with enhancing machined satin stitch

Further gathering methods:

The use of buttons, beads, shells etc to add more delight!

I have so enjoyed this chapter and can't wait for the next to take these techniques further.

I have another image to add showing North American smocking but will have to postscript as it has failed to download

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: