Chapter 6 Cutwork

 Collecting together the work from Chapter 2 and selecting fabrics that could be used in layering I set out to explore a wider range of colours and weights and introduce some more threads and techniques.  Hoped this would give a  wider range of visual images to inform my future path.  Have given a visual reference to each piece before giving a close up of finished piece

Ref 6.6.1b

Ref 6.6.1a

Sample 1 used three fabrics, bottom layer hand dyed silk, second layer  green sateen, top layer green organza and a simple path of cutting back through layers.  Marked the shapes by a line of long machine stitch that could be pulled out at the completion of the piece. in some cut back I cut second layer but left top layer in place. Frayed second layer. Bottom layer zig zag stitch top layers circular stitch using variegated machine cotton thread.

Ref 6.6.2a

Ref 6.6.2b

Sample 2 as I was looking through my fabric selection realised I had included alot of chiffon or organza to portray water so resolved to drop that third layer in this sample and stick to just two layers and use a lurex thread on top layer and twin needle stitch with variegated thread on bottom layer. Enjoyed the pattern of the printed cotton and, in some instances, the twin needle machine stitch actually joining with it up with it!

Sample 3 

Ref 6.6.3a

Ref 6.6.3b

A cotton base layer was overlaid with organza and then a perle thread stitched together before being topped with a cotton print where a Wildflower Caron thread was used in bobbin with a random zig zag stitch, when top layer was cut through  the edges were frayed close to edge.

Ref 6.6.4b

Ref 6.6.4a

Sample 4 a felt base layer was stitched to one of my dyed cotton fabrics with random machine stitching.  The top layers of velvet and organza were stitched together with a light nylon thread and then random stitched with  a perle in bobbin.  The two separate layers were burnt with a soldering iron and then cut and attached to each other.  The difference in the effect of heat meant the base layer welded together rather than melted. The two sections were then sewn together.  I wanted to cut and move the pieces round again so that can be seen in sample 4c...think it could be cut again and rejoined  - perhaps left section put on top edge of right section - this could become an obsession!

Ref 6.6.4c

Sample 5

Ref 6.6.5b

Ref 6.6.5a

Using just two layers for this sample a hand dyed mono print cotton and an organza I stitched the base layer with a tight tension to encourage a pucker and texture.  The organza layer was sewn one with a variegate thread and less tension and then I used soldering iron to melt top layer away in places.

Sample 6 

Ref 6.6.6 'front'

Ref 6.6.6 'back'

An experiment with and embellisher  at the end of the last module shows a range of fabrics and paper felted onto a black felt background, this is very much work in progress.  While this piece was my first foray into the technique have a long way to go in experimenting with embellishing chiffon and other sheerer fabrics.  I have shown this piece as I was intrigued by several things  from this initial experiment that could inform my experiments with embellishing for this particular Module.

• the 'back' of the fabric intrigued me -  a felt background using this technique  could give a stable context to the resolved sample.  Pieces of all the fabric used in the 'front' layers of the hanging could be combined in this background.
• while not easily visible in the photo the 'gloss' finish of the plain cotton, the piece to the right on the front photo, got knocked back by the embellisher so leaving spaces of unworked fabric gave contrast of light.
• the different rate of fabric distortion and stability .
• the use of abaca paper on the front and back of the fabric gave a more interesting result on the back.
• The use of black fusex on the velvet prompted me to consider using white fusex in later part of this particular module.