Stitch to Translate

 

Ref 5.10.1

Ref 5.10.2

Taking the rubbings made in Chapter 9 it was apparent that the images showed up better if left medium size.  The rub taken directly from a stone shown in Chapter 3, ref 5.3.1d and then changed to a negative image gave a good result.

Ref 5.10.3

Looking at the rubbings the following stitches came to mind: variations of bullion knots, loop stitch, an exploration of buttonhole stitch and needle weaving. I also wanted to experiment with Cretan stitch and use broad chain stitch as a solid filling.
Before deciding on stitches to translate the marks the fabric was placed over paper shapes and rubbed with oil pastel. Purchasing a slightly coarse black cotton for this task I felt the weave would take the stitch detail and rub better than the smoother black cotton I had used for stitches in Chapter 9. Learning from my mistake of using too small a piece of fabric in the previous chapter a long strip was made.

Ref 5.10.4

 Photos were taken of each rubbing and pictures were turned to stimulate ideas for stitching.  A strip of black fabric became the playground and different threads were used to interpret the fabric rubbing. The same threads were used for each stitch sample except on sample 4a where boucle and tape were also used to do the Litch stitch.

Ref 5.10.4a

Ref 5.10.4b

For the 4a sample french knot, bullion and Litch stitch were used, thanks Sian for information on the Litch stitch - a great stitch for knobby, knotted threads... and it fills spaces quickly! For the 4b sample I started using Cretan stitch but it soon took a journey into herringbone stitch.

Ref 5.10.4c

Ref 5.10.4d

For sample 4c the twists and turns of buttonhole stitch.For sample 4d chain stitch and open stitch were used.

Ref 5.10.5a

Ref 5.10.5b

In stitching the fabric rubbed images the enjoyment came in filling the negative spaces and turning the images around. It gave a feeling of connecting with those who have carved runes and marks onto stone...using the stone to tell its story of wear and tear.

Ref.5.10.5c

Ref 5.10.5d

For the ease of cross reference I have compared the original sequences below.

Ref 5.10.6 a and b

and now rubbings of the stitched pieces

ref 5.10.7 a

Ref 5.10.7b

Texture and relief in paper.

Started this chapter by selecting 6 photos, cutting them in half and mounting on black paper to provide a focus for textural sampling.  Before doing the sampling mounted images were fed into my Gimp computer programme to get a black and white image by using the 'Distort' and 'Emboss' options.

Ref 5.3.1a

Ref 5.3.1b

Ref 5.3.1c

Ref 5.3.1d

The centre image 5.3.1b shows the paper and method used and also includes pencil rubbings of the paper relief.  Below, ref 5.3.1d is a rubbing of the actual stone used on the middle photo. The rubbing was on textured paper with a crayon. A later chapter goes into rubbings in more detail but thought it good to start experimenting early as there are such a huge range of papers and pencils/crayons and its good to see what makes an effective rubbing.  I was intrigued with the distort, embossed image as it seemed to pronounce the negative relief when the object was on a light background and raise different layers on a black background

Ref 5.3.2b

Ref 5.3.2a

Using the same method as for sample 1a, above, the cut photographic images were in colour and those have been kept in my sketch book but for the purpose of the blog they are saved in greyscale.  The colours were muted and I wanted to keep a record of the natural tones as the greyscale lost some of that subtlety.

Ref 5.3.2c

For later consideration feel some of these images could be played with more.  Although the centre and bottom image of 5.3.2c have been turned on their side, there could be more mileage in chopping up images and enlarging sections, particularly when looking at stitching patterns...have inserted a little reminder , TEC, in workbook and on my story board! Turn, Enlarge Chop! The idea of soil, strata, stone that came from Chapter 1 shows a similarity in this sequence of papers with merely a change in scale of the original photo and type of paper used. Sian had observed from photos in Chapter 1 how, 'the long view, often reflects the close up view such as those of microscopic views...'

I have found that while you set about a new chapter you suddenly become alert to all things that have a 'connection' with what you are studying.  So imagine my delight when I noticed a project that was initially shown on BBC Scotland website  http://www.bbc.co.uk/news/uk-scotland-25916408.
University of Abertay shows a longer interview.  The idea that a soil sample can be translated into a 3D piece makes me wonder how to get a 3D printer or should that really be my task to replicate in a resolved sample for this  Module? Don't hold your breath I am sure some other simpler ideas will crop up with the intervening nine chapters!!!!