M5 Chapter 10 - Stitch to Translate

This was another enjoyable chapter. It required some thinking about before putting needle to fabric. I found my samples grew and I became more involved in them - I kept building stitches on stitches! I used one of my frames from chapter8.

Sample 1:
For the first sample I decided to make the rubbing onto the fabric and the neo colour crayon worked very well. I liked the grid like structure of the paper rubbing and used straight stitch to represent this.

10.1

10.2

I used mainly various ribbons for the verticals and then coton perle for the horizontals. The ribbons were quite prominent so I added more straight stitches with machine cotton. I liked the effect of the rubbing behind the stitch.

10.3

Sample 2:
For the second sample I used mainly fly stitch, with some straight stitch. I used a variety of thread of different weights and thicknesses.

10.4

10.5

I like the geometric shapes which formed and the negative shapes. The rubbing looked like a folded and flattened ribbon and I wanted to represent the image without using an actual ribbon.


Sample 3:
For this sample the rubbing reminded me of ropes. I used couching and chain stitch to form raised ridges from stitch.

10.6

10.7

 

I chose rope and string to be couched down. Before I added the top layer of thicker rope I decided to add some lighter background stitching. I used long overlapping chain stitches, before adding the top layer of rope. I wanted to highlight some of the ridges to represent the highlights on the rubbings. I used coton perle and although it did catch the light I could use a metallic thread for a better effect. This is quite a 'heavy' sample and very raised. I could use lighter threads to couch.

10.8

Sample 4:
For the final sample I used mainly sorbello stitch with some straight stitch. I felt this would represent the small star shapes that appeared on the paper rubbing. I started using a variety of threads. It needed some more texture so I added some stitching using ribbon.

10.9

10.10

The rubbing appeared to run mostly horizontally and I tried to follow the flow of the rubbing throughout the sample. I could have used a metallic thread to highlight some areas.

10.11

I did not make a background rubbing on three of the samples because I wanted to see how the effect of the stitch and thread clearly. I felt quite connected with the samples and stitching and they became more considered. I particularly liked using the string and rope. Using white thread on a white background would produce a more subtle effect but it is useful observing the effects on the black background.

M5 Chapter 9b - Rubbings From Relief Surfaces

I found I produced many, many rubbings for this exercise. I found Neocolour water soluble wax oil crayon worked extremely well and dried very quickly and I tried some metallic rub, applied with a finger, and this also produced good results. Here are just a few of the samples.



 

9b.1

9b.2

9b.3

9b.4

9b.5

9b.6

9b.7

9b.8

9b.9

9b.10

9b.11

9b.12

I ended up with lots of ideas and potential design ideas for use with fabric and threads.

M5 Chapter 9a - Threads & Stitchery

I decided I would form my samples into a long rolled, fabric book when I had worked them, so I started by marking some black light weight cotton fabric, used doubled.

9.1

I decided to use chain stitch for this exercise. I do use this quite a lot but mainly in the same ways so I wanted to explore more ways to use it.

9.2

Detached chain used as couching - string; raffia; yarn; leather; yarn

9.3

Wide chains in formal lines - heavy coton perle

9.4

Double chain in formal stripes - heavy coton perle

9.5

Detached chains - coton perle; hemp; ribbon; raffia; yarn

9.6

Forming chains in different ways - still fairly formal.

9.7

Rows close chains - yarn; leather; cord; ribbon

9.8

Forming a regular grid with long chains - light coton perle

9.9

Cable chain stitch, joined and woven - heavy and light coton perle

 

9.10

More informal couching. Base of detached chains - string; hemp; ribbon; yarn, couched with detached chain.

9.11

Detached chains worked over rings of yarn, built up layers by piling stitches - yarn.

9.12

Irregular wide chains using various weights of thread - embroidery silk; cotton yarn; rayon

9.13

Detached chains with long tails, layered - yarn; cotton yarn; cotton

9.14

Detached chains on raised bands - string; coton perle

9.15

Wide chains worked in leather and string, wrapped with detached chains of thick hemp, layered with chains of finer hemp.

9.16

Groups of long stitch - raffia - held with detached chains.

9.17

Scrunched boucle yarn and left over thread held down with detached chains, some piled and raised band with cable chain over the top.

 

I really enjoyed working the samples and found I became much looser in my stitching as I progressed. I am pleased with the variety of threads I used and enjoyed working with natural fibres.

 

I decided to continue and make a rolled book with my samples and firstly framed them all with black fabric.

 

9.18

Fortunately I have a lovely, long worktop to work on, fitted at the correct height for me.

9.19

The whole book ended up approximately 70 inches long.

9.20

For the backing fabric I raided my 'left overs' and scraps and I had lots left from Module 2. So I cut and layered to make my backing strip.

9.21

Finally, I made a quick cord to hold the book together.

9.22

9.23

 

I enjoyed both stitching and book making and now have a nice book of chain stitch samples to refer to.  It is very flexible and folds easily for looking at a specific sample.

M5 Chapter 8 - Paper Relief Into Fabric Relief





The first samples are based on the mud flats.

8.1

Twisted cotton fabric held with hand straight stitch.

8.2

Muslin gathered and pleated with hand straight stitch and folded.

The second samples are based on the remains of jetty posts.

8.3

Muslin gathered with hand straight stitch in two directions.

8.4

Pulled threads caught under muslin with free motion machine stitch, random folds and pleats.

The third samples are based on dried, hanging seaweed.

8.5

Loose woven linen with threads pulled and torn, threads pulled to gather fabric.

8.6

Italian quilting on muslin with free motion machine stitching.

The fourth samples are based on piles of cockle shells.

8.7

Foam board cut and trapped under muslin with free motion machine stitching.

8.8

Fabric wrapped around sticks and piles of torn fabric attached with hand stitch.

The fifth samples are based on oyster shells.

8.9

Polyester satin fabric melted and burnt with a soldering iron, held in place with free motion machine stitch.

 

8.10

Tyvek and Lutrador, melted with a heat gun and hand stitched into place.

 

This chapter really made me think carefully about the ways to translate from paper to fabric relief. I tried to refer back to the previous chapters to try different methods of manipulation, and I tried not to add too much stitch so the fabric stood out as the main relief.