Time to explore tucks and folds which has an analogy in the making of the earth surface but first to explore techniques and possibilities in fabric.
For the first sample in tucks I used an off cut from my quilting sample from the previous chapter, using it to experiment with manipulating the stitched lines. Cutting open the layers of muslin and calico cotton that had been stitched over a polyester fleece and restitching and fraying the fabric to make a tucked sample seen on left.
Ref 5.7.2 b
The next series of tucks saw me using different fabrics and methods to change direction of the original tuck. In 5.7.3 a sateen cotton was machine tucked and then alternate lines of stitching were used to change the direction of the tucks. The effect of this was to not only to add textural interest but the shadows added drama. The crispness of this fabric seems to add to this impact, later samples will show a less dramatic effect
A more structured way of moulding the fabric can be seen in the back and front of sample 5.7.6. Machine stitched darts are used on this already relatively 'stiff' cotton sateen to produce a free standing shape. The piece could be worked with hand stitching to emphasis the indents thereby producing more textural visual interest and handle
The next set of tucks as seen in 5.7.7a were machine stitched on white cotton muslin and then pressed to one side. The piece was then stitched into pleats that were made on the vertical plane in random directions. Photos below show the back and front and will leave it to you to decide which is which. The fact that the fabric has a transparency makes this an interesting choice.
A more regular gathering was given to the following two samples. Following the guidelines for creating a smocking surface sample 5.7.12 shows a cotton organza was machine stitched in even rows of a long running stitch which were then pulled into a tight column. This sample contrasts with the hand stitched cotton poplin sample of 5.7.13 which shows a more regular series of columns. The hand stitch was easier to work in stitches that lay directly beneath each other than the more random appearance of the machine stitched sample which had more of a ruched appearance. This could be emphasised or evened out by working hand stitches over the ridges but I rather liked the idea of pulling some of the ridges apart to give a more sculptured appearance.
|Ref 5.7.14 a|
For 5.7.14 pleated some heavier weight cotton calico which was then cut and reversed. Enjoyed the little pockets that the pleats made which are best seen on the reverse. Decided to play so did a bit of stuffing and pulling apart and staked piece onto a diagonal!
Reverted to a lighter weight cotton calico decided to pleat on the diagonal for sample 5.7.15a. On reflection while writing this blog think it would have been better to have worked on a larger piece of fabric and done more random lines that cross at different intersections and angles. Again the reverse seems to be the more inspirational side... the key seems to be no peeping, allow it to happen!
The next sample 5.7.17 uses a loose weave hessian fabric and a bit of tongue in cheek. The curved wire used is in fact from a bra that was so uncomfortable it got cut up? The oblong piece of hessian did slide onto the stiff wire easily but the wires fixed shape resulted in a pucker in the fabric.
|Ref 5.7.18 ridge|
|Ref 5.7.18 seam|
|Ref 5.7.19 original|
|Ref 5.7.19 solarise|
Ref 5.7.19 whirl
|Ref 5.7.19 whirl and colour emboss|