Tucks, pleats and gathers

Ref 5.7.1

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 5.7.2a

Ref 5.7.2 b

For the next sample I chose a cotton poplin fabric to hand knot with a perle thread.  Pinching the fabric together and then tying the ridges together meant that you could vary the height and direction of the tuck.  The reverse of the piece gave a ditch or crevasse effect.  I was becoming increasingly interested in the back of my samples as they seemed to offer a more relaxed and often more effective appearance.

Ref 5.7.3

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

Ref 5.7.5

Ref 5.7.4

Tucks in sample 5.7.4 use the same sateen finished cotton fabric but in the sample the directions of the tucks have been alternated in the top line by clipping and turning back  and stitching some of the loops.  In the lower tucks indents have been cut which could house addition interesting threads or loops for hinge type attachments.  More clipping in sample 5.7.5 but this time a polyester knitted fleece has been clipped and then attached to a pleat of cotton muslin.  The cotton pleat acts as a 'spine' that can be twisted holding the piece in place and opening up the slits.

Ref 5.7.6a

Ref 5.7.6b

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 

Ref 5.7.7a

Ref 5.7.7b

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.

Ref 5.7.7c

Ref 5.7.8b

Ref 5.7.8a

For the next series the pleats were cut into triangular sections that were then joined and machined stitch in alternative directions.  I rather liked the selvedge version as it shows more movement and the threaded edges soften the lines of the sections.  While 5.7.8a is more dramatic in tonal contrast and clean lines the other offers a more diffused version.

Ref 5.7.9

 Exploring the frayed edges of lines 5.7.9 shows how a diagonally cut stripe of white cotton muslin is used to give an interesting lined surface to a piece of fabric by a tight machine stitch on the diagonal.  While neither a tuck or a gather in this picture the machine line could be pulled tighter to give a more gathered, rippled surface to the piece. 

Ref 5.7.10a

Ref 5.7.10b

Taking the idea a little further in the 'fake' tuck samples 5.7.10a shows how a series of silk sari ribbons sewn on a calico background can give a subtle colour effect as well as a textured finish by not ironing the ribbons but celebrating the creases.5.7.10b plays on silk sari ribbons on silk pleats with are woven into a square.

Ref 5.7.11

But now back to base and exploring gathers: 5.7.11 a large square 'ballon' of cotton muslin was made with the outer edge hand stitched and gathered.  This was then attached to a square of cotton calico with a hem stitch.  The top square was then manipulated to fall in clusters of gathers which were then hand stitched into the base. The gathers could be filled with more pronounced stitching or possible attachment of beads or shapes to embellish the piece.

Ref 5.7.12

Ref 5.7.13

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

Ref 5.7.14b

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!   

Ref 5.7.15a

Ref 5.7.15b

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!

Ref 5.7.15

The last series of samples are worked in heavier weight and more open and even weave fabrics. For 5.7.16 I have pulled threads in both directions and used this to shape the different fabrics. On the bottom sample you will see that the open weave clearly shows the lines where the threads were pulled.  While this sample was difficult to pull it allows the shapes to be concave or convex... a finger can easily alter this! The shapes could be stuffed to keep the shape but it was a bit like plastic bubble wrap I rather liked fingering them to change shapes! Didn't have the satisfying noise though...The top sample was a lighter weight but also even weave.  Machine stitches were worked as a grid and then each direction was pulled to give a cluster of shapes. While the shapes were pleasing the feature that added to the piece were all the pulled machine threads. So a key point to note, don't tidy up the piece let it rest before the next step or any trimming.

Ref 5.7.16

Ref 5.7.16

As a complete change this canvas took its shape with no stitching.  I loved the way it held the finger pressed pleat and then allowed me to curve it. What was a very stiff structured fabric was surprisingly malleable.  I need to experiment with this in the stitching chapter to see if it is better to stitch this once it is shaped. Maybe you could lay a lighter stitched fabric over it, could net be the answer? 

Ref 5.7.17

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

Using the hessian again the sample shows paper thread that was hand stitched, no needle, into the weave as a simple running stitch with an additional run of stitches used to make a tuck.  Gently pulling the thread brings the piece into a 3D ridge or seam.

Ref 5.7.19 original

Ref 5.7.19 solarise

For the last piece I decided to see how to manipulate one sample into four images so here goes.  Following on from sample 15 in this chapter there was some open weave fabric left that had withdrew threads.  Taking a black wired paper thread sample 5.7.19 appeared.  The adventure then began with a solarised image, then a whirl then a whirl and added coloured embossing!

Ref 5.7.19 whirl

Ref  5.7.19 whirl and colour emboss

Book type structures

Investigating book structures in preparation for my finished item I visited structures that had been completed over the years before embarking on new  samples specific to Module 4.  Hope this is acceptable! Ref 4.10.1 shows a shape I made for Module 1 


Sample 4.10.2 shows Button Book made in memory of my mother and father.  Using a tapestry made with my mother I made calico 'pages'.  Each page contained memories that my sister and I shared of them.  Linking the idea of 'pressing buttons' on different subjects i.e. music they liked, their hobbies and interests, places and journeys etc we shared together a collection of photos and memorabilia.

Over the years I have used origami books to record key memories of a year, business cards of inspiring artists, ideas from Christmas carols for making Christmas cards, diaries of a specific holiday- somehow a small piece of paper to fill a day is less intimidating than a large sheet of paper. Here are a some of the pieces:

Memories of 2010                Business card holder

                                  ' Outside In' exploration 2009,paper and fabric/board cover

Inspiration, 'In the bleak mid winter' lyrics, coloured threads, images

A month's diary at Woodbrooke

And now for some ideas not tried before:

Ref 4.10.1a and b above The stick, attached with rubber bands, was rubbed with bronze 'rub on' to match the acrylic painted and crunched magazine paper.  The inside Lokta papers chosen to give a feeling of nature.

Ref 4.10.2 a and b.  Using magazine paper that had been folded and glued to make a firm cover to black papers the book was held in place by cardboard letters and rubber bands.

Ref 4.10.3 a and b Magazine paper again folded and glued this book was stitched using a button hole stitch in a fan shape and thread to replicate the tree structures.  In side black paper was interleaved with tracing paper in varying sizes.

Ref 4.10.4.  Using an offcut of coloured newspapers from an earlier module this booklet used tissue paper to make the inside papers with a normal running stitch used on one seam and a knotted stitch used on the other seam to add interest.

Ref 4.10.5 a and b. A black and white theme inspired by this cartoon simplicity seemed the key with just a three hole joining stitch to alternative black and white pages.

Intrigued by the theme of this module I had decide to take a break to Burnbrae, Nr Kelso to sign up for a course with Mary Sleigh.  The book cover seen in sample 4.10.6 a and b and the final samples shown in 4.10.8 are the pieces made during a truly inspiring two days.  The book leaves shown in 4.10.6a and 4.10.7a, b and c were made on returning home and while they are not to be used in the book cover shown they were a trial run at how I would approach completing the project.

                                  Ref 4.10.6a cover and papers      Ref 4.10.6b inside book cover

Ref 4.10.7a, marking up to ensure holes were in correct position through all pages

Ref 4.10.7b and  4.10.7c ribbon looping with rayon perle - not the best thread to use as very slippy but colour was right and it was a very old thread that I had had for years!

And last but not least a book dedicated to the inspiration of Gudrun and Mary completed at Burnbrae.