Saturday, 8 January 2011

Certificate. Module 1. Chapter 7 . Sample variations

I have sent all my preceding work for this module to Sian by post but wanted to start a blog now so I could have more contact with Sian and other students and, as a result, feel less isolated whilst working from home. This new way of working is exciting but feels a little strange and I have a niggling concern that some of the quality of my work may be lost by presenting my work electronically, given the visual / tactile nature of textile art. But anyway, here goes!

I'm starting with Chapter 7 and the sample variations. For the record I've previously worked with the shapes derived from the cross shape in a gorgeous red and green colour combination although I have started experimenting here with different complimentary colour combinations from the colour wheel as suggested by Sian in the module directions.

For the following samples I've used templates derived from the cross shapes from previous chapters and have discovered how to achieve different effects by layering them in a variety of ways and I've used 3 different colour combinations.
I have posted the samples below and typed in details of the working sheet for each as I go.

Sample 1

The first small image is a preparation sample of fabrics and stitching I made up to help me plan my piece of work and the next two are the templates I used.
I have chosen purple and yellow.
The finished sample has a background layer of yellow silk [unprinted] overlaid with purple chiffon [also unprinted], on the top is the purple polyester printed with yellow acrylic paint.
I was pleased with the vibrancy of these colours which is enhanced by the yellow printing on the purple synthetic fabric and the force with which this kicks in against the yellow silk.
I put the purple chiffon as the middle layer, I feel it has a softening effect and melts into the yellow silk underneath.
I 've used a running stitch in stranded cotton in both colours and I love the way the stitching dances with the linear marks of the printing.
Having the top layer a little smaller seems to give the effect of movement and shifting, the stitching seems to enhance this as it links in with the yellow print which appears to leap out from the top layer and connect with the yellow background. The stitching on the chiffon has a much softer effect.

Sample 2

Starting again with the preparation swatch I decided this time on the colours turquoise and red/orange. I used the same teplates as above but applied them differently by turning the middle turquoise layer 90 degrees and cutting away the inner shape of the top chiffon layer.
I decided not to print any of these layers as an experiment to see the finished effect given that these colours are so vibrant.

I started by using the shiniest fabrics turquoise and red/orange [both synthetics] for the background and middle layers with the matt chiffon on the top. I added a fourth layer underneath [red/orange] at the end to 'frame' the piece
The turquoise frays beautifully and has made a gorgoeus feature especially as the red/orange fabric is revealed below.
The darker turquoise fray is from a fringed yarn I found in my thread box, which I bought from a textile show several years ago; I thought it worked perfectly colourwise and I loved the complimentary effect of the fringe - I used a turquoise stranded cotton to work a chain stitch couching to keep it in place and couldn't resist the red/orange stranded cotton worked in running stitch through the chain to decorate and re-inforce.
The top layer of chiffon has been cut away as much as possible to reveal the layers beneath and I was pleased with the feeling of movement the stitching revealed underneath gives, especially that of the chain stitch, I also used some red/orange stitching in the cut away spaces to add to this effect.

Sample 3

This sample worked in orange and blue [beautifully bright and vibrant] brought me huge pleasure as I worked on it on a dull, wet day.
The templates have been used with a different sequence again with the top layer the same as previously but with the shape cut away around the outside.

On the finished larger sample the back ground layer is orange chiffon [I placed the orange silk behind it when I finished to frame the piece].
The chiffon has been overlaid with orange silk and then a royal blue synthetic, both printed with contrasting acrylic paints. I found it difficult as I constructed this to tell the 2 latter layers apart as the marks made by the contrasting printing made the 2 layers look very similar and played clever tricks on the eyes!
I had wanted to use the effects of the fray of the silk against the hemmed chiffon as seen on the small preparation sample but the acrylic paints used for the printing made the fray stick together and spoiled the effect and looked better trimmed away, although I have achieved this in other samples. On the preparation sample there is a linear mark which was produced by a piece of thread which acted as a resist - a happy mistake/discovery which could be used again later.
I've used royal blue machine embroidery thread in satin stitch on the orange silk and conversely, orange thread against the blue fabric. Alongside this there is stranded cotton worked in a running stitch in either blue or orange to match or contrast with the background printing for added effect.
I really love the strength and boldness of the machine stitching which is in turn softened by the running stitch which also gives the impression of movement, as in the first sample. I love the way the running stitches dance with the small linear marks left by the printing.
I cut away the top two layers in the centre rectangular shapes to reveal the soft chiffon beneath, I was interested to see the way the fray from the blue and orange layers mingled together in their layers and also with the stitching as they created little windows for looking through to hidden depths.

Sample 4

I wanted to work with softer colours
and to combine them with sheer fabrics to see what happened when the layers underneath were visible.
I've used 4 layers of fabric here starting with the mauve polyester cotton as the background which has been covered with a pale yellow voile, then a yellow netting and finally a purple voile.
I've used the same template every time and have turned this at 180 degrees for the second layer. I wanted to see what would happen if I used a fourth layer and so turned the template again but at an oblique angle.
I made up a tracing paper pattern to help me ascertain the effect and was intrigued to see all the new shapes within shapes which developed [see opposite].
The softness of the sample belies the four layers which make it up but I was really pleased with subtle contrasts in the texture of the fabrics revealed as I stitched and cut away the layers in turn to reveal the voile and net. The final layer of purple voile seems to add a shadow effect and looks quite matt over the yellow netting whilst the layer of yellow voile gives a jewel-like effect so I added the ribbon and beads to enhance this.
I am very pleased with this.

Sample 5
This is the final piece in chapter 7, here I've experimented with using one template and changing its position 3 times and using 4 layers of fabric.

The original template

Using the blue and orange colour combination I've tried out several things thinking I wonder what would happen if.....?
There is a background layer of synthetic royal blue which is covered with a second layer of an orange synthetic through which runs a line of ruching at regular intervals and is printed with blue acrylic paint. I've used some couching with the contrasting colours which created a vibrant effect, I loved the 'barber shop' look to the stitching at this stage. I used tapestry wool as I wanted to add the matt effect to contrast against the shiny fabric.
I wanted to see what would happen if I filled in some of the cut away spaces with more stitching so I worked in some detatched buttonhole stitch to fill in 2 of the 4 spaces.
This did in fact undermine the barbershop effect by making the work look much busier but I wanted to see how the filled spaces would look when the next layer was cut away.
The third layer is more of the royal blue printed with orange acrylic paint and has been placed half way along the template underneath. It has been secured with more of the same couching; the detatched button hole showing through the cut away spaces proved effective especially as the blue underneath this peeped through too.
The top layer of orange fabric [unprinted this time] comprises of only half of the original template and has been placed to the side of the last as I wanted to see if I could achieve a 'sliding door' look with movement to the side rather than in the round.
The overall effect is very busy and I'm really pleased with the conglomeration of layers, stitching and shapes especially underneath the top layer.
The fabrics have a beautiful fraying quality which I have experimented with by getting the third blue layer to reflect the fray of the first orange layer.
I also love the marbled look of the printing to the left and in the centre of the sample.
Lots going on here and I was pleased to produce a sample which contrasted with the softness of the last piece.

I could go on experimenting with these shapes and colours indefinitely but the next chapter beckons....!