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’.
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.