Chapter 9. A resolved sample–so far–work in progress

For this chapter I have to demonstrate how some of the techniques I’ve learnt in previous chapters of this module can be brought together in an experimental way. I need to focus on two or more of those techniques. The idea is to have fun trying these out and to be inventive

It helped me to make up a composite sheet of the elements which have inspired me:

I made a series of window shapes and laid them over some of my design samples [refer back to text on first page].

Here are a selection:

Using coloured papers I looked at some simple design elements including shape, tonal value, and contrasts. All of these involve the principles of the Fibonnacci Sequence:

Having looked at these elements I am ready to start on my Resolved Sample on a chosen design based on movement.

This is to be interpreted by building up layers and considering design elements. Sian’s guidelines in the module are for our guidance only and we’re encouraged to be inventive with our own ideas

Layer one – dyed coloured fabrics  

Layer two – Bonded shapes, fabric segments,    trapped threads onto coloured fabrics

Layer three – Stitchery by machine or hand

Layer four – Added relief shapes, cords, toggles, button shapes, and beads                                             

*Please note that from here on I’ve added a photograph from my computer to accompany images on the scanned pages of my sketchbook as my printed images have been disappointing on this occasion                                                                               

Research into fish shapes:

I played around with ideas for fish in ripple pattern and decided upon my own fish shape:

Fish and Fibonnacci, I wanted to see if my fish could be presented according to the Fibonnacci Golden Section:

At this point I attended the Distant Stitch Summer School and presented my ideas as they were at this stage to Sian in a much valued tutorial. the pages from my sketch book give details of the work which has followed:

The photos above are pale because I’d overlaid some clear plastic which has affected the quality.

At this stage in the process I faced a quandary and felt concerned that although I loved the design elements I’d created I wondered if they worked together.  I e-mailed Sian for her advice [see below]. Should I consider splitting the images into the big fish with spiral petals background or the smaller fish over the monoprinted spirals – both images above.

Sian replied requesting that I update my blog to assist her review of my work. This has been a great help as I’ve been able to clarify my thoughts as I blogged.

I also spoke to my husband who gave his honest critique! I met with  friends in my stitching group which gave me a chance to step away for a while! Their comments were also helpful and we discussed ways of making links between the two sides of the work.

I therefore came to some conclusions and await Sian’s review which I’ve noted below

I

Unfinished but with some spiral clips added for the effect to demonstrate their effect. The large fish haven’t yet been stitched in place whilst I consider options.

Addition to chapter 8

I’ve decided to re-photograph the fringe piece with the fabric pinned to an erect board to ensure that the edging beads were hanging down to show them at their most effective.

Chapter 8. Beads.

In this chapter I collected many different types of beads within my colour scheme [turquoise and red / orange]. I had beads of many different materials, shapes and sizes in my stocks and enjoyed searching seeds and pips and re-discovered a beautiful shell necklace given to me by my Aunt [ throw aways are my treasures].

I sourced glass and ceramic seed beads and bugle beads, pearl beads of many types plus others of irregular shapes. I dyed the seeds and pips and shells to fit in with my colour scheme [very satisfying]

I forgot to add these bugle beads in the photo above:

Sewing beads on and making a bead sampler:

For this I chose a piece of my dyed cotton and backed it with muslin to support the weight of the beading and stretched this in my embroidery hoop to support the sampler as I worked [I didn’t appreciate the value of this until my bead sampler was complete and removed from the embroidery hoop and was surprised at the weight]. I used a strong sewing thread – one of each colour to add a contrast – and drew each length of thread through a piece of bees wax which served to toughen it. I used a very fine needle to ensure easy threading through the tiny lumen of  some of the beads

I worked across the fabric in the hoop introducing different beads and  patterns / methods of application. It was fascinating to see just how many different ways of working came up.  I’ve posted the sampler below and placed a key alongside it:

I’ve added a reference for shisha below taken from Embroidery Techniques from East and West by Munni Srivastava from which I reminded myself of the wonderful shisha stitch with which to apply the mirrors. I then outlined the shishas with chain stitch with which I trapped the shisha under a piece of net.

I realise that I haven’t marked the shisha on the key and these can be seen at the centre bottom and just to the left.

Beads as edging:

I thoroughly enjoyed this chapter and loved the sparkling spangly look and feel of the glass and ceramic  beads. As mentioned earlier I relished the rustic effect of the painted seeds and silky lustre of the shells.

Time spent: approx 19.5 hours

Expenses: 2 packs sequins £2.78, 2 packs seed beads £2.78, bees wax £1.99

Chapter 7. Simple button making

In this chapter I looked at making samples of 3D shapes which would make potential buttons and help me construct my own designed shapes later. I selected a range of core shapes for my buttons  and then fabrics with which to cover them

I also made some Dorset Buttons and whilst looking at traditional methods also had fun experimenting and with more unusual techniques.

In the third part of this chapter I had fun with toggles and playing with many different types of fabric and meltable materials [always wonderful]!

Simple button making first:

 

And the results:

Then Dorset buttons:

Really enjoyed this and had fun stretching the boundaries!

Now toggles:

Really liked these against some hand dyed fabric and because all the fabrics involved in making these are from the same dye batch the colour combinations are a joy.

Toggles made from ‘meltable’ materials:

I have photographed these pre-melting to demonstrate the changes the materials undergo, the first photo in each of these 3 sets are therefore taken prior to melting. The page numbers correspond with the text on the page above:

No 1:

Combination of layered materials some meltable and some not which are then zapped with a heat gun

No. 2

Layers of meltable materials [Tyvek and metallic threads] exposed to a heat gun:

No. 3

Layers of  Tyvek and nylon or synthetic fabrics pressed with the tip of a soldering iron:

Time spent -  approx 21 hours

Expenditure - Soldering iron [£23.50] and Bondaweb 1 metre [£4.75]  both from Art Van Go

Chapter 6. Simple Tassels

For this chapter we have to choose yarns, threads and fabric strips from our colour scheme to make a variety of tassels both by hand and using the sewing machine.

Tassels made by hand:

And by machine:

This page is from Tassels The Fanciful Embellishment by Nancy Welch and describes the Chinese Knot which I’ve used in samples 2 and 3

I have loved this chapter and have been so surprised at the characters I have created in the tassels from simple rustic peasants and gypsy dancers to Irish jiggers. Wonderful.

Time spent – about 13 hours

All materials in stock

Chapter 5. Cord making.

This chapter took us through the making of cords using fabric and threads plus a wonderful range of diverse materials in our colour scheme [in my case turquoise and red / orange].

The chapter is divided into 3 sections:

A. Machine stitched cords

B. Twisted cords

C. Knotted, plaited, wrapped methods

 Machine stitched cords

I selected a variety of core materials and contrasting threads to make the machine stitched cords:

I love the effect of the cords together en masse, a wonderful array of contrasting colours and textures:

Twisted cord experiments:

Knotted, plaited and wrapped cords which I found very challenging, I found it helped me to draw the knotting processes. Wonderful effects achieved with the juxtaposition of colour and texture:

The Turks Head Knot. Really challenging but the results are so rewarding:

Plaited cords. It’s fascinating to learn how different materials can bring such diverse effects:

Wrapped cords:

This was a fascinating chapter and, other than the machine stitched cords, many of the techniques were new to me and therefore time consuming as I found some of the workings very challenging. I was pleased to have the  opportunity to learn how to create many beautiful effects using the juxtaposition of colour and texture.