Chapter 10 Converting your design into embroidery

Before converting some key paper designs into embroideries there was a need to consider how to enlarge the small sequences into a much larger piece.  The thought of a piece being A1 was somewhat intimidating, as was the idea of how this could be housed at home or in an exhibition.  The idea of doing three panels had evolved from the last sequence in Chapter 9, shown above left.  Sian's input on developing the idea, see top right, seemed to help solve the problem. First thoughts considered layout 6.10.1 as It seemed to offer the idea of distance.... but  perhaps it would be better to be sized up and allow the design tell the story! It could always be cut back! I played with shapes and a sequence 10.2.

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Establishing the dimensions the panels would need to be I made full size cardboard story boards: 6" x 25", 12" x 25" and 18" x 25". Had thoughts of building up the layers over the three section starting with just one layer for the left panel.

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A mind map was made to help keep me on track, 10.3 but when you read keep it simple in the middle and then see all the writing in the bubbles this would be a key task. 
As a result decided to just take stock of previous modules and suddenly the image  from Module 1 Resolved Sample shouted out at me along side the work of Herta Puls.

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 Could this be both an effective way of building up sequences across the three story boards -6 inch squares would translate into the scale I wanted to use? It seemed to offer a fluid but stable background to link  layers, shapes and colours across the three sections as shown in 10.2. Other aspects gave it merit, flexible,

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interchangeable - could the back be worked in a different tones and turned to provide areas of contrast or allow the piece be shown as a three dimensional piece as in 10.4c... the list went on! Before getting to carried away with structure lets get back on course...but here's the first signs of smudged excitement in 10.5!

Playing with shapes from my trips in the Glen and the lie of the foothills of the Cairngorms my camera allowed me to consider embossing and solarising images.  

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The decision on shapes would help me focus on how to translate samples of fabric manipulation and stitch into my Chapter 11 sample border and then my larger final piece.  These initial samples seemed too busy and distracting so pruned back to a more simple outline. These pictures made me think of thermo imaging  and  looked at a website were animals have been recorded and the fact that a colour code is also used for how endangered various species are in our area. http://www.veterinary-thermal-imaging.com.
Played around and came up with this image which is perhaps a step too far!

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I became intrigued by the image which seemed to place a 'human' figure in the centre of the picture.  It had started when a friend I met on a walk into the glen mused  that the  Water of Nochty could have once been a loch in 'earlier' days! Now there's a challenging thought.

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There were still decisions to be made on colour choice, this sample card,10.7 , of the backing to pieces from a fabric shop was on my board but needed to consider tones and highlights. Included the brusho ink colours I had used for making papers as a reference point.

 But  now down to ripples and spirals, the chosen shapes from Chapter 9. These seemed to offer not only an answer to giving the essential nature of the place I had chosen but also gave scope to explore biodiversity, the  conservation theme chosen. 

Ref 6.10.8

With reminders put on a story board for each panel I set out  to review previous samples that could translate these themes from Chapters 5, 7 and 8 .  While the colours may not be appropriate for the final piece these previous samples offered a starting point to reworking the paper design 10.8.

Ref 6.10.8a

Spirals:

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While looking through the samples and thinking of how they would translate up in size  decided my samples for this chapter should be made up in a larger scale than these originals ones so that I could see a comparison of what technique worked best.
Sample 8d was put in to remind me to consider 'a flight' above the finished piece as noted in 10.2.

Ref 6.10.9

 Ripples: In this selection I felt it was important to consider the part ripples play in reflection

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Ref 6.10.9c

and also consider the other methods of getting texture with fabric weights and different stitching, cording , overlay.   

If these ideas seem worthy of taking forward would play with colours and stitching to take the chapter forward towards Chapter 11.

Spirals

Ref 6.10.10c

Ref 6.10.10a

 Making a cord from various weights of thread it was attached to three layers of abacus paper, reversed and then sewn to hand dyed blue/green cotton. I then made random cuts in abacus paper and fabric to reveal  the cord.

Ref 6.10.10b

Ripples

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Replicating the ripple template on two shades of nylon chiffon using cotton thread in one and silver thread in the other I then mounted on various papers 

Ref.6.10.11d

Ref 6.10.11c

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Ref 6.10.11f

 In sample 11e the two sheer fabrics were placed on top of each other.  In looking at these pictures I noted that a fray in the spaces would provide interest

Chapter 9 Decorative papers

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Ref 6.9.2

Working through Chapter 8 the following key colours in 6.9.1 were selected to make into A3 papers.  While the colours on right, 6.9.2 were perhaps more reflective of the landscape in December felt I should try to introduce a bit more colour. Perhaps the balance between bright and muted will vary as I move along but wanted to give myself the option of bright tones. Using brusho inks I set out four themes of colours, purple through crimson to scarlet, blue through to turquoise, lemon through yellow to brown and greens. Not all papers were included as I seem to have made rather a lot!!! At the same time I collected various papers from previous modules that could give spots of interest.

Ref 6.9.3 a,b,c,d

I selected three images to inspire my cutting, tearing and layering:

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Ref.6.9.4d

Ref 6.9.4c

Meander was the first: Tried to look at the range of colours and combinations but to also make the meanders a little bit more meandering! In image 4 a have reversed the papers to give more tone to the colour  -the top paper had use PVA glue to give a resist before using a brusho wash. Note to self when using brusho: a)don't overwork the brusho colour as it has the capacity to fill in and expand! b) wonderful bleed effect if you mix two colours together before placing on paper.
The lower paper had used a candle resist before brusho colouring.  Image 4b uses 3 papers the top two using acrylic resist - with brusho and acrylic paints on layer 1 and 2. The bottom paper a silver crayon was rubbed over a texture wallpaper and then brusho painted Image 4c shows sponge effect with brusho. Image 4 c shows gold rubbed over an acrylic pattern where the paper was a second print from c.

Ref 6.9.5a

Ref 6.9.5b

The next series meanders over three layers of changing backgrounds.  Image 6.9.5a is an orange layer over tissue under a layer of blue and orange abaca paper topped with strips of blue brusho paint over silver rubbed paper, image 6.9.5b the bottom layer is blue under the same abaca paper.  Image 6.9.5c are the same strips but placed over a brusho washed paper that was saturated and then 'dyed' with pieces of tissue paper that was peeled off when dry. For image 6.9.5d orange tissue was placed under waves.

Ref 6.9.5c

Ref 6.9.5d

For sample 2 cross currents had taken on a new life:

Ref 6.9.6a

 As the original sketch could be conceived as too close to meandering chose  a more random design where I concentrated on the 'holes'. For sample 6.9.6a the top layer of PVA resist was cut and torn and placed over the lower layer of brusho painted over a silver wax resist.
 For sample 6.9.6b the bottom layer was rubbed over the original top layer paper of PVA resist with a gold wax crayon. When tearing the top PVA layer resist it was apparent that another note to self was consider how this would translate into fabric and stitch? Layering was going to be an important in the finished piece and was beginning to see that three separate but sometimes touching or alternating layers would need  floating threads would play an important part in maintaining some sense of fluidity but also support.  It was also important that texture as well as colour would be seen on the bottom, revealed layer. samples 6c and 6d were about showing the contrast and tone.

Ref 6.9.6b

Ref 6.9.6c

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Ref 6.9.6 d(i)

For d I have shown the 'bleed' that I like so much when using brusho and wondered on how this could relate in fray or stitch?

For the third image, reflection and rhythmic were in my mind...is this cheating! I wanted it as much for holding in mind as a sense of place as much as an image.  So my answer to combining was to elongate or distort the perfect circle.  The issue of light in the finished piece would need much thought not least because it would effect the palette across the piece but in the meantime on with the tearing...

Ref 6.9.7a

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Image 7 shows the same paper using PVA on the top image and wax rub on the bottom as in earlier samples.  In 7b the inclusion of tissue that was pleated dyed and opened was included.

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Ref 6.9.7d

For the remaining three images I feel that the swirl  should be more diffused, as in b, and was beginning to see that the swirl would be best used as a raised shape or texture rather than a predominant colour feature.

As this was happening tried to put some thought of the practicalities of making the final piece so took a pause to look back over the chapters to get a feeling for how to proceed to Chapter 10.  It was difficult not to be too prescriptive but as I had so many ideas realised I need to simplify design ideas and concentrate on the essential nature I was trying to portray. The five words to the module after Conservation were shape, colour  and now I needed to concentrate on texture, line and form as well as my conservation theme diversity.  My thoughts on the final sample had drawn me to an idea of using three panels on a 1:2:3 ratio and while the image below doesn't show that it is something for my work board that says, 'keep it simple but moving across the piece'.

Ref 6.9.8