Friday, 26 June 2020

Authentication


The work is authenticated by my neighbour Jan Goddard of 28, Rugby Road, Brighton. BN1 6EB
jan.goddard77@gmail.com

Evaluation. Costings and timings. Health and safety. Storage.


DISTANT STITCH
Embroidery certificate Module six

Evaluation of wall hanging

The completion of the embroidered assessment piece for module six is based on the topic of Creative Conservation.


How do you feel about the resulting completion?
My original idea had been to create a piece of work which captured the power and majesty of the wind farm off the Sussex coast. These harness the power of the wind to produce a green, renewable energy source thus reducing emissions of green house gases which contribute to global warming.

I am delighted with the finished piece and feel that it has captured my love of the sea and wind as well as my concerns for global warming. I am satisfied that the simple shapes I used to represent the sea and the blades of the wind turbines in my original design have translated well into my embroidered wall hanging
I feel that the overall design captures the flow and rhythm required in the brief. I’m particularly pleased not only with the main body of stitching and it’s suggestion of the directional flow of water influenced by the tides and movement of air but also the contrasting and raised effect of the manipulated and embroidered fabrics which depict the rising, falling and rippling of the water’s surface.
The stitching also depicts effectively the patterning of the water’s surface whilst suggesting volume and depth.

These not only have a visual impact but also encapsulate the verbal prompts and verses I used during my research for the project namely ‘I am the wind that breathes on the sea, I am the wave, the wave on the ocean’ and ‘The answer my friend is blowing in the wind’.

I like the simplicity of the steely turbine blade surfaces against the textures of the watery surfaces and the way the blades appear to slice through the waves / air which in turn apparently produce bubbles which led me to think of them as gills breathing life into the sea and sky.

I am pleased with the spherical shape in the centre which represents our beautiful planet ‘hanging in the balance’, I like the simplicity of the reverse corded piping used here in contrast to the watery surfaces. The bamboo silk used took up the colours of the cold water dyes beautifully and gave an ethereal feel to the concept of planet Earth benefiting from the use of green energy sources.
Conversely the half spheres appear less refined due to the use of cotton organdie which gave a rougher finish perhaps suggesting a less stable Earth state or work in progress.
I particularly love viewing the wall hanging from the side where the raised elements and the textural stitching is in evidence.

I love the combination of the blue, turquoise and paler blue colours worked to make the most of a whipped stitch and the wonderful textural effects achieved.
To serve as a complimentary colour I added a variegated yellow ochre / orange thread to work the bubbles which picked up on the yellow / orange areas of random dyeing in the spherical shapes to good effect. These added vibrancy and energy.



Is it fit for purpose?
I feel the completed works well as a wall hanging and clearly symbolises the concept behind my original idea.

If you were to make it again what changes would you make to the way you designed and made it?
I would perhaps have preferred a space dyed background incorporating a subtle use of all colours within the body of work.
It would be interesting to try and make the hanging with freely suspended elements which would move with the movement of air thus adding to the rhythm and creating shadows in the spaces behind it.


Timings
Date research and design started 4.11.2019 Date completed 3.1.2020 [total no hours = 10]
Date converting into embroidery and making wall hanging started 18.01.2020
Date completed 26.06.2020 [total no hours =110]


Costings
A3 wirebound sketchbook £4
Tissue paper £1.50
Ink cartridges £5
Acrylic paints £2.50
Photocopies £1.60
PVA glue £1
Cold water dyes x4 £15.96
Oil paint sticks £1
Iron on vilene 1m £6
Decovil heavy £6.25
Wool felt £6.20
Lining fabric £5
Chinese silk 1m £10
Nylon chiffon scarves £5
Bamboo silk 0.5m £8.23
Water soluble fabric 3m £13.35
Threads variegated cotton 300m x2 £7
Rayon threads £13.50
Metallic machine thread £0.50
Stranded metallic thread £2.00
Stranded cotton £2
TOTAL 118.09


STORAGE OF WORK, MATERIALS, TOOLS AND EQUIPMENT
Design work in progress
Sketchbook kept up to date with designs inserted, secured flat on page and protected from direct sunlight and away from dust, spillages
Work actually in progress stored flat on work desk also protected from the above
Papers for design work stored flat and in order for use, away from direct sunlight
Tubes of acrylic paints stored upright with lids tightly secured in cool conditions.

PVA glue stored upright with lid securely fastened to prevent drying out or blockage of nozzle.
Embroidery work in progress
Kept accessible for continuous work on work desk and away from usual hazards

Cold water dye solutions stored away from direct sunlight in jars with lids securely fastened. Fixative [soda crystals] also stored in fastened containers ready to add to dyes as needed and then used within 24 hours.

Fabrics folded and kept with others intended for use in embroidery
Dry dyed fabrics away from sun. Store flat or rolled in colour or fibre order. Acid free tissue paper for storage

Threads store alongside fabrics in appropriate colour range and type order including metallics.
When dyed dry away from sun, untangled and in colour and/or type order

Beads and shells dyed and dried away from direct sunlight
Sewing machine Kept upright on desk in area designated for sewing for convenient use and to prevent having to lift heavy object unnecessarily. Ensure easy access to plug socket.
Keep at normal room temp and humidity.

Other electrical equipment namely an electric iron. Ensure safe storage in dry place with flex neatly wound. Protect iron surface with baking parchment when working fusible web and iron -on vilene. I like to keep an old iron for this purpose.

Completed embroidery wrapped in acid free tissue paper. 2D pieces wrapped separately in acid free tissue paper. When travelling work rolled in acid free tissue paper and bubble wrap, 2D pieces wrapped separately in acid free tissue paper.

HEALTH AND SAFETY RULES
Electrical appliances
Keep a sewing machine upright on a stable surface with flexes kept safely away from feet to prevent tripping, with use of an extension lead as necessary. Keep plugs away from wet surfaces.
Use an electric iron on a stable surface. Store in a secure place with flex wound safely when cooled

Sharp objects
Be aware of keeping fingers away from sewing machine needle during free machine embroidery, use embroidery foot whenever possible.
Use scissors / craft knife carefully to avoid injury to fingers. Store in secure place.
Store pin and needles in allocated containers which can be stored safely

Inhalation of powdered dyes and paints
Be wary of fly away powders and use away from wind or draughts

Naked flames / candles to melt or dissolve fabrics, be aware of type of fabric and how it may react to heat. Work in a well ventilated room to prevent inhalation of fumes. Work on a non flammable surface so that flammable fabrics can be put down quickly and keep a damp cloth at close hand to douse any flames. Handle fabrics during this process with tweezers not fingers.
Care of back, neck and shoulders whilst sitting at sewing machine, have machine at appropriate height to promote correct alignment of back and shoulders. Take regular breaks and stretch / move to relieve muscle tension.




composite sheet

Composite sheet 1 [paper and design exercises]



Key to composite sheet 1

a. Photogragh of an off shore wind farm [google earth]

b. Photograph of design exercise of shapes and layers using decorated papers

c. Photograph of sea water surface [my own]

d. Drawing / mark making [inktense pencils] of water surface

e. Drawing /mark making of bubbles [oil paint sticks]

f. Transparent surface [bubble wrap and acrylic paints] used to represent bubbles

g. Exploration of colour and complimentary colour ways [ Brusho paints]

h. Full size decorated paper collage [design with shapes and layers].
I was very excited by this collage with the cut away turbine shapes and the sense of movement achieved

I. Decorated paper, frottage sample. [Painted tissue paper which was then laid over a cardboard surface for rubbing]

j. Decorated paper. [Tissue paper glued to cartridge paper background, washed with acrylic paint and rubbed with oil paint stick]

k. Composition for design made up of decorated papers

l. Verbal prompts for design.



  Composite sheet 2 [stitched samples]



Key to composite sheet 2

a. Background fabric [space dyed wool felt].

b. Sample of free machine stitchery using directional side ways zigzag. Several layers of stitching on nylon chiffon.

c. Sample of single layer of free machine stitchery on nylon chiffon.

d. Photogragh of directional free machine stitchery used for rims of spheres.

e. Sample of corded quilting worked from the ‘wrong side’ using twin needle on space dyed bamboo silk. Fabric turned to right side and threaded with metallic threads.

f. Sample of corded quilting worked from right side and threaded with string on space dyed cotton organdie. Couching of metallic threads along edges of stitching

g. Samples of free machined ‘bubbles’ on nylon chiffon

h. Sample of Shibori dyed Chinese silk

i. Sample of above with machine stitching using twin needles to create tucks in pleated fabric and then gathered by hand [manipulated fabric].

j. Sample of Decovil painted with cold water dye with the addition of metallic oil paint sticks. Polished with soft cloth to buff and represent turbine blades

k. Photograph of space dyed Chinese silk. Free machine stitchery using sideways zigzag to create tucks. Cable stitch added in metallic thread. Hand gathered to roll. Manipulated sample

l. Free machine stitchery in circular shapes on background fabric.

m. Samples of fabric [space dyed bamboo silk] to represent bubbles

n. Sample of free machine stitched sideways zigzag on silk chiffon

o. Dyed shells and beads



Chapter 11. Making my wall hanging


This is the final project of my City and Guilds Certificate in Embroidery and Design, the end of a fascinating and rewarding journey under the expert guidance of my tutor Sian Martin. I have loved every stitch along the way in which I've learnt how to develop ideas into beautiful pieces of work and now have a library of techniques to look back on with pride and satisfaction.

Just to recap this final module has been centred on Creative Conservation, a study of the colours of sea and sky and culminating in a wall hanging based on the subject of conservation. I have been inspired by the wind turbine farm situated off the Sussex coast. In previous chapters I have collected reference images and created paper and embroidered samples before using simple shapes to develop my final design to represent and symbolise the movement of water and the rhythm  of the turbine blades as they slice through the atmosphere propelled by the wind, harnessing power and energy for our beautiful planet.

Now the final task in this module is to convert my paper design and embroidered samples into my wall hanging and to make a decision as to which method I will use to do so. In many ways the work made the decision for me as I proceeded. I soon decided upon the use a backing fabric onto which the embroidered pieces will be added in layers.

I have added a photo of each stage to make things easier as it's complicated!! I kept records and jottings in my diary as I worked as problem solving became very important, informing decisions and changes in the way I worked as I progressed. This was challenging at times but really enjoyable and rewarding. Many times I thought that I had certainly made life harder for myself by repeating the design rather than just enlarging the original as per the brief but I have to say having finished I'm very pleased with the result. Certainly Lockdown has given me a gift of time!


The backing fabric
I decided upon a supporting background fabric in wool felt which I coloured with a cold water dye in a dark blue.

11.1 Making my templates for the design
Having decided to repeat my design [see ch 10] I took a quarter and cut out each piece to isolate them and then work how many of each I would need to make templates for the entire design:




11.2 
Having marked the central point I repeated the pattern pieces using newspaper and placed them as required. At this point I felt rather daunted! Working methodically was the answer and I decided to stitch each layer [i.e. each set of four pieces] one at a time, using the image 11.1 with the numbered pieces as a guide.





11.3a  and 11.3b       
This is the stitching worked for the largest area [pieces no 10] and represents the swirling sea water.
I selected some nylon chiffon [gorgeous!] and used a backing of Solufleece cold water soluble to support it placing the latter in an embroidery hoop with the shape required drawn on and the chiffon laid on top. I decided upon a free style sideways zigzag [see 10.3a] using the variegated pale blue thread on top and turquoise on the lower bobbin with a whipped effect and then the addition of a darker blue thread on top for tonal value. It was important to pay attention to the direction of the stitching to ensure I captured the rhythm of the design and the watery tidal effect.
Each piece was then pinned out and dried on polystyrene.
I now had a slight dilemma as my piece of turquoise nylon chiffon was used up too quickly and I was dismayed to find that there was none available in shops or on line and with Lockdown approaching I was distraught. I decided to ask my trusted textiley friends who, like me never throw anything away! Fortunately my friend Barbara had a chiffon scarf but in a paler colour so I decided to work 2 of each shade and place them in opposition to become part of the rhythmic effect! Phew!






11.4
These are pieces no 5 and represent waves and tidal movement, it involved preparation of a piece of Chinese silk in the Shibori style using cold water dyes [see 10.3.e]. I needed finished pieces measuring 8cms in width. I therefore took pieces measuring 32 cms to allow for pleating and gathering. The beautiful Shibori pleated results were then stitched with a twin needle to capture and manipulate the pleats.
I then needed to work out how to further manipulate and shape the resulting pieces; I used the template as a guide as I hand gathered the pleats horizontally to the desired wave like and watery shapes.






11.5  
Pieces 10 and 5 in place. Looking promising and very watery with suggestions of movement and tidal flow.
I realised that there will be variations [welcomed] and that the trick will be to achieve rhythm, colour and tonal values captured with directional stitching and manipulation of fabrics allowing the undulations and shadows to speak for themselves.
I'm very pleased with the raised effects of the no 5 pieces against the flatter background of no 10.




11.6.a
This will become the central sphere.
I space dyed bamboo silk using cold water dyes with fixative added. I initially tried using Jacquard silk dyes and to set the colour as instructed but the results were very disappointing and in any case concluded that it was best to stick with the same colours throughout.






11.6.b 
Spherical shape in centre [pieces 1]. I decided to make this up as one whole shape.
 For the corded quilting I drew guidelines for stitching on the calico backing and lay the bamboo silk on top ensuring that the layers were secure. Twin needles created channels of stitching from the wrong side and then flipped over to reveal empty channels through which I threaded lengths of silver embroidery floss , turquoise stranded cotton  and space dyed linen threads, I used blue and turquoise threads on top and turquoise underneath. Space dyed threads picked up the colours in the bamboo silk beautifully. This central sphere represents our beautiful planet and I love this finish and the ethereal effect it gives.




11.6.c  Using a paper template I worked out how to finish the edges of the sphere.




11.6.d
I cut a piece of Decovil heavy vilene to size and having allowed sufficient turnings on the bamboo silk laced the edges behind the Decovil which gave a smooth finish when turned over to the right side.



11.7
 I was unsure how to work the surface of the side half circle pieces but I felt that I needed to maintain the rhythm achieved by the central sphere whilst putting in place a slightly different effect. I chose a cotton organdie and space dyed it in the same way but was interested in the less refined finish in contrast to the ethereal feel of the central sphere as if the side half spheres are less pure. This is a another style of corded quilting using 2 layers of fabric into which several rows of straight stitch have been worked in pairs through which I've threaded the string I used to tie the silk in place for the shibori dyeing in sample 11.4 which has taken up the colour of the dyes and shows through the slightly transparent cotton organdie. To emphasise the stitching I have couched the silver embroidery floss, stranded cotton and space dyed linen in place with a fine zigzag stitch so that the colours of the threads and cotton organdie dance together.





11.8 
These are the side rims surrounding the spheres worked on chiffon, supported by Solufleece and worked in sideways zigzag as in piece no 10. but in a different direction to represent an opposing tidal flow.




11.9
These pieces represent the turbine blades. I experimented with Decovil vilene [heavy weight] and pondered how I'd use it. My tutor had suggested I consider the surface rather than texture for the blades. I agreed, feeling that the surface should be smooth and metallic in finish. I knew that Decovil takes colour very well so painted it with navy / turquoise cold water dyes over which I added metallic charcoal / blue / turquoise oil paint sticks. I then used a soft cloth to buff and polish the surface. Very pleased with this!
 



11.10.a  
These are the pieces flanking the blades and represent moving water. I had originally planned to repeat the technique used for 11.4  but changed my mind favouring instead a dyed piece of Chinese silk covered in sideways zigzag which created tucks as I worked. I used blue and turquoise threads with a whipped effect. On top of this I added a cable stitch from the wrong side using a silver embroidery floss and a thick metallic turquoise thread [ Madeira Glamour].


         


11.10.b 
Gathering this by hand horizontally gave me a raised and rolling surface on which the blade will sit giving the impression that it is slicing through the air or water. 



11.11 
These are pieces 7,8 and 9. The bubbles worked on orange  nylon chiffon supported by Solufleece in an embroidery hoop using a yellow / orange variegated Madeira rayon thread. These have provided a complimentary colour interest adding vibrancy and interest.



11.12   
These are the last pieces to be added, bubbles cut from the remaining bamboo silk and appliqued in place with free machined  stitched circles alongside the  bubbles stitched into the bubble wrap printed  wool felt background. 




11.13 The pieces of embroidery were added as they were worked. I have left ends of threads  uncut in places to suggest movement.



11.14 For a final flourish I had fun adding some beads and tiny shells. The latter were once part of a necklace, so beautiful with mother of pearl swirls. I recycled them for use in this piece of work by dipping them into a bowl of the same turquoise cold water dye I used throughout the project. I wanted them to look as if they'd drifted with the tide and lodged themselves in the seabed. 




11.15 Some favourite close ups of detail across the wall hanging














11.16 The time has come to decide how to hang the completed work and as I'd hoped this became clear as I reached the final stages. I wanted to keep it all as natural as possible and sourced some dried bamboo canes from the garden. I cut these to the correct length and added a screw-in hook at each  end to take the supporting cord. I sanded the bamboo canes down, painted them with turquoise acrylic paint and finished with a coat of acrylic wax.  I made casements along the upper and lower edges through which the canes would be threaded. I lined the entire piece, measured and aligned carefully before being stitched within the seam of the casement hem and left to hang naturally. The cord is made from the string used in the shibori dyeing in chapter 10 which I then machine wrapped using blue and turquoise threads to add a texture similar to those in the main body of work. This was then plaited and knotted at the ends. I added 2 flat, circular beads at each end, one each in blue and apricot colours; I felt the shape and colours reflected shapes and colours in the finished piece. For storage and transportation I will roll the hanging layering with acid free tissue paper; the spheres and blades are detachable and secured with velcro when hung and stored wrapped in acid free tissue paper.






11.17 The finished piece:





I'm very pleased with final result and especially love the sense of rhythm and movement achieved through directional free machine stitching representing the movement of water and air . As always it has been a joy to work with space dyed fabrics especially the silks as they give such an ethereal effect. 

As I look out to sea in Brighton and Hove on a clear day and see the wind farm I feel I have a greater appreciation of the harnessing power of the wind creating and replenishing clean energy for our beautiful planet. 




The verbal prompts in chapter 8 were an important contribution to the formation of my design, especially the beautiful The Answer my Friend is Blowing in the Wind lyrics which often played in my mind as I worked!


                                                      Click on the link to enjoy Bob Dylan singing this iconic song.

                                                               https://www.youtube.com/watch?v=vWwgrjjIMXA



Monday, 10 February 2020

Chapter 10. Converting my design into embroidery


.
Chapter 10
Converting my design into embroidery

I have the go ahead from my tutor, Sian Martin to go ahead with my chosen design by repeating the image x4 so I took my decorated paper design to our local printer and had 4 black and white copies made which when taped together gave me the A1 design required.




And in colour:



This now gives me an idea of the scale I’ll be working to and I can use this to trace the outlines of the shapes of each separate area to produce a pattern piece to help me determine the size and shape of each piece to be embroidered.
The black and white copy also gives me a different take on the textures featured in the decorated papers, a useful reference compared with the coloured original over one quarter of the design.

The next task is to create samples which translate each decorated paper into an embroidered surface using mainly machine stitchery and manipulated fabric techniques. The embroidered surfaces must show a strong relationship to the decorated papers in my design.

I need to pay attention to:
  • colour and tone
  • the type of mark i.e. short, angular and linear or continuous, wide and curved
  • the size of textural marks i.e. large and bold or small and delicate
  • the rhythm and arrangement of marks

I now have to make 3 samples for each decorated paper in the design.
I could make these up to be very different to enable exploration of alternatives or very similar as I develop ideas.
When all 3 are complete I will chose one for each different area of my design but this needs to be considered carefully so that there is a sense of co-ordination when they come together as a whole.

I need to look for a common link between each of the embroidered areas. This could be through technique, a particular fabric or a stitched method. These became more obvious as I worked.

Samples 10.1
This is the conversion of my base layer of decorated papers [ 9.3.d Cartridge paper coloured with deep blue and turquoise acrylics and allowed to dry. Over printed with lighter blue acrylic using bubble wrap.]

The base layer will form the main stable backing for the wall hanging so I’ve chosen a heavier felted woollen fabric which has been space dyed using Dylon cold water dyes in Bahama Blue and Navy to which I added a fixative made up of soda crystals and salt. When dry I added some monoprinted patterning using bubblewrap and blue and orange acrylic paints with Fabric Painting Medium added.
This resulted in the rich, deep colour and texture I wanted

Sample 10.1.a 
Free machine stitching worked in circular pattern with deep blue on top and orange on lower bobbin. I tightened the upper tension in places to produce more of a whipped effect.




Sample 10.1.b
As before but with snippets of blue and orange fabrics appliqued in place.


Sample 10.1.c
Layer of space dyed felted wool overlaid with space dyed Chinese silk with a small amount of bubble wrap printing added. Free machine stitching added in circular and vermicelli style using blue thread on top and orange to lower bobbin with whipped effect in places to accentuate the orange printing. This was then washed in hot water to shrink the wool and silk to produce a subtle quilted effect.



Sample 10.2
This is the conversion of the third layer of my decorated papers representing the central sphere
[ 9.3.b. Tissue paper laid over a cardboard rubbing board and silver wax crayon used to create a rubbing. Aquamarine and turquoise Brusho sponged the surface over at random].

10.2.a
This is a manipulated fabric sample with free machine embroidery added.
Bands of fabric namely from top to bottom: space dyed silk, silk painted silk, space dyed cotton organdie, repeat space dyed silk.
Bands of these have been gathered on the machine using a wide straight stitch and gathered, tacked to a backing fabric and free machine embroidered using a wide zigzag and whip stitch horizontally following the direction of the gathers.
Blue thread on top and turquoise underneath with a hint of orange in places.
This has produced a beautiful undulated effect.  


10.2.b
Another manipulated fabric sample with added free machine embroidery.
Corded quilting using the back surface as the front.
2 layers of fabric. Space dyed linen and silk muslin [the latter becoming the front]. Pairs of machine stitching made in normal straight stitch using blue machine thread.
String previously used to make an Arashi Shibori sample threaded through the channels of stitching.
Sample then scrunched together and random free machine embroidery used to add distortion using the blue machine thread as before on top and ochre yellow / turquoise to lower bobbin. Whip stitch effect added.


10.2.c
A further corded quilting sample.
Backing random dyed linen and silk painted bamboo silk satin [the latter becoming the front].
I used twin needles to stitch channels with blue / turquoise threads to top and turquoise below.
Am embroidery floss and stranded cotton used individually or both together and threaded through the channels. I also added some small lengths of random dyed threads for dashes of orange.
Added channels added with free zigzag stitching with single needle but 2 threads maintained on top and turquoise below with loose bobbin tension resulting in a whipped effect. This stitching was also threaded with stranded cotton and one left as it is.


I love this last image and it has evoked other words describing the topic:
Ethereal
Balance
Elegance
Fragility
Serenity
Suspended
Atmospheric

I can’t help but think of the recently coined phrase ‘Blue planet’.

Samples 10.3
This is the conversion of the second layer of decorated papers representing the movement of the water’s surface
[9.3.a Tissue paper crunched into a ball, backing of cartridge paper covered with PVA onto which the tissue paper smoothed evenly over and flattened with a dry paint brush. Allowed to dry and then a wash of blue Brusho applied, Chalk pastel rubbed over the raised surfaced when dry].

My final design resulted in 2 shades of this decorated paper – the first are lighter and represented by samples a, b, and c whilst samples d and e the darker.

Sample 10.3.a
Supported on Solufleece cold water soluble fabric
Nylon chiffon fabric. Free sideways zigzag. Chiffon tucked as I stitched. Turquoise thread below, pale blue variegated thread on top [whipped effect] and blue thread added in afterwards for tonal value.
I envisage this [transparent chiffon] being laid over the dark background layer


Sample 10.3.b
Solufleece as a support. Random dyed scrim with free sideways zigzag. Blue on top and turquoise below. Whipped effect.




Sample 10.3.c
Solufleece to support, Twin needle with blue and turquoise threads through twin needles and turquoise below. Worked on chiffon which was tucked as I stitched. Followed by free sideways zigzag using a single needle but with the two top threads remaining.




Sample 10.3.d
Solufleece as a support. Free sideways zigzag in blue on top and turquoise below, whipped effect. Snippets of random dyed silk added 



Sample 10.3.e
Manipulted fabric plus machine stitchery sample
Shibori dyed Chinese silk. Pleats captured with twin needle using blue and turquoise to top and turquoise below. Horizontal gathering added by hand at irregular intervals

First 2 pics show Arashi Shibori dyeing process:


Absolutely thrilled with this result:



And the embroidered result:



Samples 10.4.
This is the conversion of the third layer of decorated papers repeated this time to represent the blade of the turbine
[9.3.a Tissue paper laid over a cardboard rubbing board and silver wax crayon used to create a rubbing. Aquamarine and turquoise Brusho sponged the surface over at random].
Because this represents the blades of the turbine I’m looking to achieve a sharper and more powerful image.

10.4.a
Quilted sample, 2 layers fabric, top dyed Chinese silk and underneath calico plus polyester wadding.
Space dyed silk lozenges and strips stitched with sideways zigzag in dark blue and turquoise and whipped effect and appliqued onto padded background and secured with line of straight stitch and couched silver metallic embroidery thread.





10.4.b
Quilted sample, 2 layers fabric - bamboo silk satin coloured with silk paints and linen, polyester wadding.
Horizontal wavy lines of silver metallic thread worked in cable stitch to show on bamboo silk satin side.





10.4.c
Base layer of space dyed silk, lozenge and strip of Crystal organza stitched with sideways zig zag and twin needle wavy lines in dark blue thread to add texture and then appliqued in place with couched metallic embroidery thread to outline shapes.




Samples 10.5
Decorated paper from previous sample repeated again, this time representing the half sphere on the far left and right of the design which is intended to depict the power of the waves and replenished energy

Sample 10.5.a
Crystal organza worked with twin needle channels, fabric tucked as I worked. Self coloured machine thread dark blue with touches of orange



10.5.b
Painted silk as base fabric with turquoise free sideways zigzag over stitched by sideways zigzag cable stitch in silver metallic embroidery threaded




10.5.c
Nylon chiffon stitched with sideways zigzag using dark blue and turquoise thread with whipped effect plus a touch of orange to add a pop of colour. Fabric tucked as I stitched. Over stitched with sideways zigzag cable stitch in silver metallic embroidery thread





Samples 10.6
This is the fourth layer of converted decorated papers [9.2.d Bubble wrap painted at random with orange and yellow ochre acrylics].

N.B
All these samples are laid over a snippet of the base layer [see samples 10.1] as they will be transparent.


10.6.a
Double layer of nylon chiffon worked with orange thread in free zigzagged circles. Underneath a strip of free tiny zigzag worked in circles on Solufleece.




10.6.b
Free zigzagged circles worked on cellophane



10.6.c
Free straight stitch and zigzagged circles worked on single layer of nylon chiffon

  






My choices - one sample from each section.

I feel the common elements throughout the final choices are
 The types of fabric  mostly silk for its watery qualities plus nylon chiffon for it's transparency
Colourways blue and turquoise with snippets of orange for added vibrancy
The stitching - mainly sideways free zigzag for directional impact
Metallic embroidery thread used for cable stitch

Base or first layer - 10.1.b I like the more defined and textured areas of the appliqued 'bubbles' which will be picked up in other areas of the hanging especially the 6th section.

Second layer - 10.2.c I love this sample, I feel it will convey the spherical 'earthly' qualities well and it has an ethereal feel which fits well with the Blue Planet portrayal.

Third layers - 10.3.a The stitching has a lovely watery feel and I love the way the chiffon's transparency will reveal the depths below the water's surface.

10.3.e - The pleats and gathers portray a more directional and powerful flow of water which suggests movement.

Fourth layer - 10.4.a I feel this has a more solid and metallic feel [ turbine like] and that the shapes within reflect the shape of the turbine slicing through the wind and harnessing power. 

Fifth layer - 10.5.b The stitching, especially the metallic cable stitch will link in well with the metallic thread elsewhere.

Sixth layer - 10.6.a The double layer of nylon chiffon has a lovely bubbly quality and the under layer of free circular stitching adds texture and body 

I have added a key below of one quarter [to be repeated x 4 as per pic at the beginning of this post]