Chapter 7 Use of dissolvable 'fabrics'

Ref 6.7.1a

Ref 6.7.1b

Always enjoy a meditative exercise before getting into sample making.  This chapters exercise...sort out my thrum box! Getting a feeling for a range of 'goodie' bags with colour themes on a wet weekend gave me this selection:

Ref 6.7.2

The soluble fabrics that were in my collection included Romeo and Texturite for cold water dissolving and one for hot water but I had not worked with paper soluble so decided to put that on my shopping list to see variation, I also noticed that a printable soluble paper is also available so additional experiments will follow in Chapter 9.  While sorting through fabrics also found some samples from a previous experiment, see left, it looks like I threw everything at it but have included to see if I can improve!! A word of justification - this was originally made to be cut into much smaller pieces that were then made into small jewellery pieces which were sold!!!

Ref 6.7.3b

Ref  6.7.3a

Now down to some busyness! 
First samples, 3 Romeo dis solvable fabric was used with different stitch methods and showing the samples back and front.  When dissolving these pieces I found it best to do it under a running tap... with the plug in! To clean the items of stickiness they were then rinsed in the water.  On a larger piece this stickiness could prove useful for moulding or maintaining a stiffness that would allow the piece to hang with some definition. The images of 3c and d below show both sides of each piece after they have been rinsed.  

Ref 6.7.3c

Ref 6.7.3d

Note to self be careful what you place the pieces on to dry when they are wet...they could become bonded!!!  Also note to Health and Safety papers, a film can be left on the sink so ensure after all work this is cleared and also leave a running tap to ensure it doesn't adhere to pipes!  The notes with the products say the products are environmental friendly but I am always anxious about blockages...

Ref 6.7.4a

Ref 6.7.4b

Using the same Romeo dis solvable for the next sample, 4 I again show front and back. Stitching the first filler stitches and then added a stretched cellular knitting yarn, which was cut to make it more random,  lighter threads and yarns were added before another random machine yarn was stitched to the fabric to achieve the result. After washing the piece it was shown with and without  background colour, see below.

Ref 6.7.4c

The advantage of Romeo fabric is that it can be machine stitched without a frame and you can add on pieces of Romeo as you go along so can add to shape and layers. Using Romeo again for sample 5 I used less stitch and cut out the fabric. The cut shapes were then used for a second sample. When the dissolving was completed the two samples  were shown on paper and an underlay of fabric.  I did not wash out too much of the dis solvable fabric. I wanted to see if leaving it stiff could achieve a  more pronounced 3D movement  emphasising turbulence!

Ref 6.7.5a

Ref 6.7.5b

Ref 6.7.5c

Ref 6.7.6a

Ref 6.7.6b

For the next samples I used cold dissoluble texturite.  Placing the fabric in a frame before stitching as it was a lightweight fabric in comparison the the Romeo fabric. For this sample 6 I wanted to look at crosshatching stitches- the fact that you would see more of the colour of the bobbin when the see through fabric was dissolved intrigued me so played with how  colour changes/shades could be achieved by changing bobbin thread.

Ref 6.7.7a

Ref 6.7.7b

Sample 7 shows how lacy and loose a piece can become when it is not over stitched.  While dissolving one can pull and exaggerate shapes and holes. This piece seemed to offer a glimpse that while you need to ensure you are making something that can be used, 'less can be very much more' for it allows a chance to glimpse through.

Ref 6.7.8b

Ref 6.7.8a

For sample 8 I placed threads and strips of fabric between the two layers of dissoluble fabric and placed it in a hoop.  The more intense stitching and grid patterning cause  holes, which had not happened with the Romeo fabric.  In order to get more movement into the piece I used a simple meandering running stitch to help ones eye across the piece. When photographing the piece it was placed on a see through pattern paper, the idea that layering was going to play an important part in future design thoughts made me realise that paper can have as much impact as stitch...can't wait to try soluble paper and printed soluble paper.

Ref 6.7.8c

Ref 6.7.9b

Ref 6.7.9a

Sample 9 has more intense loose threads trapped between layers but the stitching is simpler and shows up in the finished piece

And for my last experiment, I had some cane I had knitted and dyed while dyeing threads in Chapter 4. Could this be used as a background or rubbing for paper and fabric?

Ref 6.7.10

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.

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.

Chapter 4 Fabrics and threads - colouring and bonding

Threads Gathering together threads that I had already dyed for previous projects reminded me of the value of different weights and thicknesses. Collecting and winding cream and white threads and yarns around six cases and also making random skeins to use next to other colours for a bit of colour mixing.
Fabrics Looking back at my colour notes from Module 2 I selected undyed fabrics  made from natural fibres and some pre dyed sheer fabrics.  The idea of doing shibori to experiment with dyes meant that I could also use my threads to tie the fabric and obtain more random colours to my threads.  

Ref 6.4.1

I also collect ready dyed fabrics together, some shop bought and other pieces I had dyed for previous projects in earlier modules.  It felt as though I had a fair number of fabrics to use 

Ref 6.4.2

but decided to proceed with dyeing a few fabrics and threads together to compliment my existing stash. Here goes... 

Ref  6.4.3

Ref 6.4.4

While rummaging through the fabrics and cross referencing any print with my pictures in chapter 2 looked for possible connections, missing links and items of contrast.  The fabric and patterns selected would be used in Chapter 5 so needed to keep in mind the potential for stitch but still keen to allow happy accidents! 
As I was not dyeing large quantities of fabric or thread decided to use brusho inks rather than dylon and was pleased with the colours, particularly the shibori in sample 3).
Using a plastic pipe to wrap the fabric and thread round I placed in fixing solution and then for the dyeing placed dye and pipe in a large plastic water bottle and allowed the dye to seep up the piece. I then deepened colour of dye and turned the pipe round so that an ombre effect was achieved. see sample 3

Ref  6.4.5

Decided not to iron some of my dyed fabrics as the shapes could inspire me and leaving the colours together when wet meant I got some cross dyeing.

Ref 6.4.6

Ref  6.4.7

I had a whole range of 'thrumbs' that were waiting to be captured in a fabric so bonded them to a yellow organza with bondaweb and then made a series of oil pastel 'stitches' to compliment the colours.  The sketches were then ironed onto 

Ref 6.4.8

Ref  6.4.9

bondaweb and the colour intensified, see sample 7 .  

I decided not to mount them onto other fabric at the moment as I felt they could be useful for Chapter  6 where layering was a key element. But got some interesting colours of organza and a lurex mesh together as potential candidates for future use!