Complex samples

Before doing fabric samples I reviewed previous chapters and samples to select  a variety of patterns that were not too busy...saved in a word document I was unable to put onto blog.  
To aid the process a selection of paper samples were made in the hope that this would clarify how I would undertake the fabric samples.  Notes and comments were made as to what pleased or jarred.  Strangely when taking note of these comments while working on the fabric samples even more ideas came to mind as the choice of fabric had bearing on finished item!  So much for sticking to a plan...  there's always the next three chapters!!!

Ref 25 Paper samples i - iv                 Ref 25 Fabric samples i - iv

                            Ref 25 Paper samples  v-vii                   Ref 25 Fabric samples  vi-vii          Ref 25 paper and fabric viii

Ref 25 Paper and fabric ix

Translating design

Working five designs samples the aim was to experiment with a variety of options in fabric and stitch and hopefully learn of the foibles that each brought to the translation.  While referencing back to the previous paper samples a twist was given so that none of the translations set out to be an exact replica.  Early on in the process I realised my 10cm squares of fabric needed to be larger as the paper patterns based on a 10 cm square did not fit easily on the fabric, particularly if I wanted to twist designs around the axis.  

Ref 24a: Using 22b as a source and maintaining three layers I reversed the top layer fabric and placed yellow silk on the first layer.  Perle thread was used for top layer and thin cotton thread on first ...in both instances a running stitch was used as an outline stitch.
Ref 24b: Using 19c as a source five layers were used. A base layer of calico, two layers of gold organza, purple stamp printed silk  and green stamp printed sateen. A chain stitch in rayon was used and a cross stitch with metallic thread. Top layer was twisted to lay parallel to base layer and negative shapes were selected.

Ref 24c: Using 19e as a source this sample used four layers, base layer purchase dyed calico, hand dyed muslin, muslin mop and purchased printed cotton.  A stem stitch in a variegated polyester thread and double row running stitch in crochet cotton were used.  I had previously considered changing the positioning of the top layer to run on the horizontal plane but forgot to enlarge the pattern and tacking ...for another chapter!!!
Ref 24d: Using 19b I enlarged the opening of the top layer to reveal more of the first layer.  coloured calico was used as base, silk as first layer and hand dyed calico as top layer  Using chain stitch to emphasis edging perle was used on top layer and rayon on first layer.  A variegated perle thread was run through the middle of the first layer and appeared in sequence on top layer.

Ref 24e:  As a follow up to the ideas of asymmetric design I played with the ideas inspired by 22a.  Using a running stitch throughout a variegated perle and two twisted variegated polyester threads were used.  Five layers were used, coloured calico, hand dyed muslin, two colour dyed mops and a purchased dyed cotton.

Bonding Applique

A great opportunity to play!  Enjoyed this exercise at it used up a host of bits and pieces I had been hoarding from previous chapters and, as you will see on the last sample, previous projects in making fabric.  The use of bondaweb seems more effective than the bonding  powder but as it had been in my store cupboards for a while set off to use it up and ended up with a small diversion from the module ...make a Christmas fabric to be used for cards!!

Fabric Selection and Decoration

Ref 20a)  numbers 1-12  from left top               Ref 20b) numbers 1-12 from left top

In my fabric selection I used a range of fabrics over my four key colours, these included dylon dyed muslin 20a 1 and 20a 3' mop' dyed muslin 20b 1 and 2, dylon dyed felt 20a 2. Felt 20a 4/8/9 and 20b 9. Shop purchased printed cottons 20a  5/7.  Dupon silk 20a 6. Sateen 20b 5/10.  Polyester organza 20a12, 20b 6/8/12. Cotton calico 20a 10, 20b 3/4(mops), 20b 7. Polyester sheen 20a 11.  Polyester with sequin 20b 11. 
The 'mops' were made during the paper colouring exercise.
The printing effects are shown below:
Apologises that they do not appear in the same order as the original board!! But all samples have been attached with original fabric details.
Ref 21 a,b,c,d.  Organza proved to be the most difficult fabrics to make an imprint on but when overlaid against self coloured papers the results proved more effective.  Felt fabric needed more paint as it absorbed.  Silks and cottons appeared to take prints more easily and effectively.

Design Shapes -revisted

Following contact with Sian four new designs were completed by setting  shapes out as a asymmetric sequence.  The two sequences, Ref 19 i and 19j. each show the inclusion of original design 17/4/q  but you will note that the original pattern had four squares filled - to allow a more open lattice these squares were removed thereby allowing some interweaving of shapes to be considered. Despite trying many options the designs appear a bit static and think that design options were limited by putting two designs on each page...I was trying to enable a flow through templates- the restricted colours were chosen to enhance this but the pictures show that some addition colour contrast or texture was needed.

The exercise, however, honed me in on considering how stitching and the width of the lines shapes would translate into fabric stitched samples.  Ideas on the potential of a raised or slipped surface through layers of fabric ( i.e. one two or even three layers of muslin, organza as a background)  or padding mulled around my mind.  The placement of stitch helped me consider which designs would be better suited for reverse applique, padding or fraying detail.  Also the idea of making samples to see how small areas of stitch within the body of the fabric using contrast /complementary colour was noted for later chapters. particularly when using a build up of one colour over a variety of shapes and layers. 

Reviewing the shapes, Ref 19 a-h, the dynamics of moving shapes beyond the background paper was enjoyable.  Thinking of how these would be transferable to future fabric samples also alerted thoughts of stitching lines. 

 

I was fascinated by looking at two of the designs, 19b and 19, using the two mirror image.  The revelation of addition shapes added an extra dimension!

 I was fascinated by looking at two of the designs, 19b and 19c, using the two mirror image.  The revelation of addition shapes added an extra dimension!

                                                                 Ref 20 a Page 33                                      Ref 20b Page 33

For the coloured papers selected, see Ref 18.

The variety of shapes Ref 17 a – t were influenced by original thoughts outlined in Chapter I and shapes made during Chapter 3.

Experiment was absorbing and in many cases I became more interested in cut shapes rather than accurate measuring, the result in some cases is acceptable but in some cases the lines looked a bit crude. When translating these black cut out designs to the production of coloured and layered shapes this crudeness became exaggerated.

NB all images are A4 unless otherwise stated

Design Development

 Surprised at the time it took to complete this exercise it was great to end up with lots of ideas of how further designs could be developed see Ref 16. 

                                      Photo 4 x 6                                                                             Photo 4 x 6

Design Sheet Ai and Aii.  The shape of a cross ( Ref 3 c2 ) chosen for the distort on nylon was placed over a triangle and circle see Ref 13.  In order to achieve the distort on design v) graph paper was used. It took several attempts to get a satisfactory result even with graph paper! see Ref 14

Design sheet Bi and Bii

A series of patterns were tried See Ref 15 before deciding on design G where an overlap had been used.  The design is a little too tight and does not leave enough space around its edges.  The new shapes, however, provide a much more dynamic result, especially a, and b, if one considers using them as a four component design see  ref 16.

Design Ci and Cii

NB All images are A4 unless otherwise stated

Coloured papers

Trying to interpret colour onto a variety of papers with my acrylic colour recipes I reread the instructions and appreciated I should have been using inks. 

With some inkjet refills to hand – they were no longer of use with ‘new’ printer - I set out to replicate the colours, see ref 10.  

The ink absorbed very quickly into the paper and the amount of papers being coloured soon made the workspace chaotic. It took several attempts, a range of papers emerged, some of which looked equally chaotic!  Against the first colour mixing with acrylic where the results were too thick the inks looked thin. The solution – to over print inks with acrylic paints as I had used up all my inks.  The reason for revisiting this part of the exercise can be seen in the star and cross shapes in ref 11.

                                                       A 3 sheet

Printing blocks were made up using a rubber, on both sides and lino cuts.  I also had string and card blocks of stars to hand as seen in ref 2. and other rubber stamps See ref 12a and b for printing blocks and samples of prints and papers.

                                                                             A 3 sheet

Star and cross shapes, see ref 11, were made and whilst pleased with some of the ideas that came when linking shapes I was becoming increasingly frustrated by the quality of my coloured papers and the cutting of some of my shapes!  I resolved to buy the book Colour on Paper and Fabric by Ruth Issett to double check my techniques.

I would make revisits to the colour palette in the following days as I was unhappy with recipe book samples and particularly unhappy with the greens made… the ultimate answer appeared to be to experiment with the two tones of blue and the two tones of yellow mixing them into one base colour before introducing white or black.  In order to allow the coloured papers to have more depth a layering process built up paint rather than making thick paint to start with.  I used white or neutral cotton muslin, calico to ‘mop up’ the colour thereby hoping to achieve empathy between paper and fabric colours.

Some of the papers that would eventually be used for Chapter 3 and 4 are in Ref 18 seen below.

NB all images are A4 unless otherwise stated