Chapter 11 Making a hanging, stage 3

The A1 scale was scary and needed to get some feel of not only colours and stitches but how it could be put together before I made full scale patterns.  To get rid of tension did an A4 free machine stitched sample using the orange highlight, you will see stitching is manic but wanted to consider putting contrast threads in bobbin so pieces marked up through to the top and also put some lustre thread to have spots of light.  

Ref  6.11.14a

Ref 6.11.14 b

 The surprise was when the back of the piece came into view!! The simplicity of the 'shadow' was a bonus. I had considered that the back of the hanging needed to be as important as the front, it could then hang in a space and be seen on both sides, if required. This 'back' image offered a simple image and contrasted the 'layers' that would be on the front, it took me to an important place... how could the pieces be worked?

• the blue and green central image a) could be worked and stitched and then the back outline b)  hand stitched onto a plain background that could be the full size of the hanging.  Note to self  - the outline of the central head shape in blue and green layers was crucial to the piece, it wobbled on image b), if it was to be seen from the back!
• subsequent layers on the front of the piece would be stitched to each other and then invisibly attached to backcloth or perhaps use a kantha stitch line?  A concept buzzed in my head that the words of TS Eliot could be worked around the back silhouette but all things could change on this journey and where was my,' keep it simple' reminder!!

When I washed sample to dissolve the Solvy paper the following appeared.

Ref 6.11.14c

Ref 6.11.14d

Back to the task in hand of small samples.  Using Fabric-Solvy to make A4 layers copying from my original papers.  The layers were attached to self coloured chiffon rather than the calico used in earlier sample. 
Working the whole of each colours A4 sample  before cutting the shape, this is the result...

Ref 6.11.15

While all this was going on thought I would write down thoughts for what I wanted the full scale piece to reflect:

• wanted the piece to move so kept hold of the idea of the 1,2,3 widths, although was prepared to abandon the 6 inch squares cuts
• needed fabric to be light in its layers but considered it should be weighted
• contrast of texture with space was important didn't want too much distraction...perhaps I should re read brief as to how this could pass muster!
• samples not used would be interesting to display beside the finished piece if I did get an exhibition space outwith my home.

Ref  6.11.16a

Ref 6.11.16b

Wanting to get a feeling of space and sky into the image the hill outline were sketched in.  The context seemed to bring in a perspective.  While the three panels were taped together to get an idea of pattern size for each zone the three panel concept remained in my mind.

Ref 6.11.16c

Put some pattern ideas and designs into my large sketch book.

Ref 6.11.17a

Started making layers on chiffon using machine free stitching and felting on chiffon.  Chiffon had lustre and advice was not to use but the light weight appealed and the idea was to cover it so that lustre didn't overwhelm.  The samples are not the best worked but my anxiety was in testing the theory of construction.

Ref 6.11.17b

Ref 6.11.17c

Ref 6.11.17e

Ref 6.11.17d

By layer two, seen above, it was evident that each layer would need to be made separately  before attaching them to each other. This would keep the simple back image in play. No comments please about layer 3, I know, I know I've found the Yeti in Glen Nochty!!!

At least I had found out how to diffuse edges but perhaps more appropriate in small sections and the  'higher' corners sections. I had learnt that the 'wrong side when embellishing the piece is possibly the more acceptable but have showed this effect in 17e.  All five layers were worked and placed under the A4 pattern they had been free machine stitched and /or embellished.

Ref 6.11.18a

I was constantly wanting to do kantha hand stitching and to get it out of my system decided to do it on the layers 1 and 2 together and 3,4 and 5 together. Selected and tie dyed yellow for the 3rd section instead of the 'yeti' piece. The results here show the first part

Ref 6.11.18b

Ref 6.11.18c

Then disaster stalked me again, in washing out the Solvy paper I found that the yellow was not colour fast but have put it up to remind me. 

Ref 6.11.18d

It could be time to pause,  reflect on my plan for how to make up the piece... Hopefully the layering technique is acceptable as the clean central feature appeals.
Will wait for guidance as to whether I should move onto trial of full size samples? In meantime will muse and rescue 18d so at least it is made more presentable!  

Fabric Investigation

Grouping the materials in fabric type small pieces of fabric were placed on grid prior to seeing how they performed in later experiments.  A record was kept on the fabrics and its characteristics and these are recorded beside the description.
COTTON

Ref 5.4.1a

A. muslin - a loose open weave fabric that frays and can be manipulated easily
B. cheesecloth - as with muslin but not so easily frayed
C. printed voile - a close weave with a soft handle that takes printed detail well
D. light weight calico - a cross between cheesecloth and voile with thicker yarns
E. scoured calico - a closer weave than D but similar weight of yarn
F. calico - a closer weave that gives a clear weave pattern
G. lawn - lightweight smooth fabric with see through quality
H. percale - close weave with smooth feel
I. printed cotton- more pronounced weave pattern than percale takes a print well
J. printed calico - a lighter weight than 
K. poplin - a smooth but very close weave that takes digital prints well
Natural
A. Linen natural - a firm even weave fabric that is used for embroidery
B. Linen bleached -  a bleached and more open version of A
C. Jute hessian - rough open weave with slubby yarns
D. Jute scrim - very open flexible weave

Ref 5.4.1b

E. Linen natural fine weave - a closer weave which gives a a lovely fluffy fray   

                                                                                                                  SILK

A. Noil natural - a slubby open weave 'rounded' fabric

B. Organza - a sheer close weave with fine yarns

C. Natural silk - even weave fine yarn with little lustre

D. Light dupon - a sheen but not slubby fabric

E. Habotai - lustre and fine weave

F. Sari ribbons - fine weave with slubs and remnants of different weights

G. Throwster silk ends - a compact rod that pulls out into fibrous surface

Ref  5.4.1c

MANMADE
A. Felt - soft, surface with no visible weave and difficult to fray but fibres can be teased
B. Fleece-  soft and more flexible than felt
C. Adhesive vilene - flexible fabric which can be pulled without losing shape, adhesive spots that melt on heat on one side
D. Polyester/viscose face wipe - soft malleable fabric
E. Tyvek - visible, soft but tough structure which belies its character when heated
F. Nylon lace - open weave and design which is flexible and decorative
G. Nylon - opaque, even weave with yarns that are long
H. Nylon organza - sheer open weave fabric with high sheen, soft and malleable
I. Jersey nylon - distinctive knitted surface which stretches
J. Lace *  heat test seemed to proved this piece was in fact a natural fibre
K. Nets- different weights of net which don't fray but are malleable.

The task was to then take a closer look at the edges and see how to translate and explore the characteristic of the fabric into decorative edges.  Looking again at the detail in my photos the ideas that came to mind were:  jagged, soften, erode but before these I realised that the selvedges of the materials were in themselves interesting.

SELVEDGE, photo: strata image from previous chapter 5.3.2. Selvedge described in the dictionary as, 'as a woven edge that stops fraying' set me thinking.   Taking the original strata photo for inspiration and then blowing it up the following observations were made.  The selvedges proved not only interesting in how they were made but how they curled  and when the material was torn away from the edge how the torn edges reacted against a firm edge.

Ref 5.4.2

Top item blow up of section of strata photo  from 5.3.2
14 hole canvas selvedge
Cotton showing tenter hook detail
Torn edge formed a 'stepped' selvedge on silk
This fleece edge curled and again tenter hook holes can be seen
folded over this torn selvedge edge of silk
Elastic 'selvedge' and torn lace
This lace ribbon had two different 'selvedges' and again the tear proves interesting

Ref  5.4.3

JAGGED, photo the rocks from Mull of Kintyre( ref 5.2.2) top right side
tear, fray, snip, pinked, vent:
A. Cotton poplin torn and opened
B. Linen frayed and snipped top edge, frayed and knotted bottom
C. Fleece straight snipped and twisted
D. Cotton angled snip and twisted
E. Two weights of cotton pinked and place over each other
F. Silk noil

Ref 5.4.4

SOFTEN, photo: lichen stone from Broch of Gurness (ref 5.2.3) bottom right side. curve, scallop, twist, knot, gather
A. Nylon lace
B. Net twist 
C. Net twist and knot
D. Fleece knotted
E. Cotton twist and loop
F. chenille wire curved
G. Linen cut curve and frayed
H. Cotton gathered on edge and in middle

ERODE, photo: Arbroath Abbey wall, central detail.

Ref 5.4.5

burn, sear, melt, hole, wear away
A. Silk 
B. Lace
C. Cotton
D. cotton muslin
E. Face wipe, polyester and viscose
F. Nylon
G. Nylon lace
H. Sari 
I. Nylon net
J. Tyvek
K. Nylon spot net
L.  Nylon spandex
The heat tests were done with a two sizes of soldering irons and a candle.  The soldering irons were easier to handle but the candle flame made it interesting to see what happened relatively quickly! Good caution in Module notes to have a water bucket close at hand.  Slowly lowering fabric onto the flame proved more manageable than approaching from the side.  The character of the face wipes, sample E, where amongst the most rewarding of the samples  -soldering iron opened up fabric but didn't destroy the fibrous nature and the candle burn produced globules.  Tyvek, sample J, an addictive performance with heat as it moves, melts and opens up into holes but the open stiff net , sample I, proved more manageable with the soldering iron.  I only had a small piece of nylon spandex and pulled it onto a bias and soldered it in sample L.