Chapter 5 stitching

Ref 6.5.2

Ref 6.5.1 a and b

 First attempts and a play with a shapes in my blue green watery series. Rather than replicate the whole picture Sian encouraged concentration on an aspect of the photo.  Samples 1, 2 and 3 take different fabrics and explore ripples and sunlight and for a bit of fun, bubbles in Sample 2 - I found this shaped piece in my fabric stash and as it was already backed with felt experimented with trying to free up my movement, gave it a whirl! The central sample a) in 6.5.1 two cotton fabrics were used the lighter being dyed in Chapter 4 and then cutback once the variegated gimp stitching had been completed.
Sample b) was a shop bought print covered with organza, oddments of organza was stuffed in the channels.

Ref 6.5.3 a

Ref 6.5.3  b and c

For sample 3a) I decided to colour the photo as I liked the ripple  and reflection shown and wanted to see how colour would compliment the effect. Tearing the cotton fabric I then used a variegated thread in zig zag stitch.  Experimenting a step further I decided to use my shibori printed fabric topped with chiffon in b) and then chiffon and organza in c).  I have shown the shibori dyed fabric below the two samples to show why I wanted to use the creasing.  The dyed fabric I had left unpressed as I felt the textured surface had its own unstitched texture.

 For sample 4  I used a velvet and polyester fabric that was already dyed in colours that complimented the image. The interest was in how the fabrics would respond to the stitching, the velvet distorted more easily while also giving depth as a backing fabric to the polyester.

Ref 6.5.4

Ref 6.5.5 a and b

In sample 5 image a) on the left shows a sample completed after Chapter 3 where I decided to paint the calico background with watered down brusho ink to compliment the stitching.  Sample b) using the same polyester back ground as in sample 4 shows a cheese cloth that had been dyed blue and placed next to a yellow dyed fabric and orange dyed sari strip so that the dyes bled. Placed in a hoop the stitching attempts to show circular ripples.

Ref 6.5.6

For sample 6) I wanted to use a stitched and sequined  viscose fabric to bring texture to the fabric through gathering and stitch.  Placing fabric on the hoop I allowed ripples to remain and then worked 'vegetation' cluster stitches with three different threads.

Stitchery into paper

 The task began with looking at what layers of pulp and paper or fabric went together for the stitchery project .  The decision making would chop and change as I progressed.  The changes have been charted to show original thoughts and see how they changed as time moved on.  
The first sample, 4.7.b3 from previous chapter, isn't too true to colour but have also included  two shots that happened when it was held up to the light - autumn is approaching so evening light  is bringing another dimension.  The background fabric is one of my rust dyes which was then over dyed with a procion dye before being selected for this sample. 

Front shadow                                                                 Ref      4.8.1 mounted                                                     Back shadow

Ref 4.8.1a

Ref 4.8.1a influence

The contrast would come after I had secured papers together with self coloured thread. Touches of stitches in blue were introduced where I played with the idea of rune letters before running a thicker thread through the spaces of drawn thread.  The ribbon was too bold so decided to 'ladder 'it to give a soft effect see bottom right of sample 4.8.1a.

Ref 4.8.2

Ref 4.8.2 The influence for this sample came from Chapter 2  4 .2.13 seen left. This sample had more paper pulp added to it from original idea in chapter 7 see Ref 4.8.2. an additional layer from the calico fabric that had been dyed with the paper pulp and used as a strainer when tipping water away thereby trapping pieces of pulp which were left to dry. I then decided to change background fabrics before sewing the final sample 4.9.2a  This was done to allow fraying and seeing through to background layer.  All layers were first secured with machine stitching I then took a rayon ribbon to make marks.

Ref 4.8.2a

Ref 4.8.3

4.8.3 influence

The letter in sample 4.8.3 was made from pulp. The background paper was attached to loose threads laid in a loose grid pattern. Random button hole stitch areas were stitched in previously pulled threads to attach paper and threads to a brusho dyed paper.  Areas of herringbone stitched in double twisted variegated Sulky threads were added.
The letter shape was a slightly less than 90 degree L shape which could conceivable considered as an angular root of the 'm' shape from my mail series in chapter.

Ref 4.8.4

Ref 4.8.4 detail

The sampling method of paper onto threads as shown in previous sample was used for 4.8.4 but decided to show the thread side this time.The spaces between and shapes of the paper made me recall the written block patterns from Chapter 2 and I wanted a stitch that reflected a loopy appearance.  This took me back to Module 2 and the ribbon stitch was the one I chose, number 20 on my machine.

Ref 4.8.4 influence

Ref 4.8.4 influence