Monday, 10 August 2009
Chapter 7 extended
It was Sian's suggestion that I recreate 0037 in stitch. I really didn't like it first time around, so it was with a heavy heart that I got started.
As I'd really enjoyed my results with painted bondaweb, I chose this method for my first layer as opposed to fabric, but before painting the bondaweb in orange, I first printed it in gold with my rubber stamp pattern. So far so good. I tore the edges to make a rectangle and ironed it onto my background fabric.
Next up was the metallic gold fabric. I overcast the edges to give a frayed effect in order to compliment my next layer - the printed yellow scrim.
I was really pleased with the effect at this stage. The stitching defined the egdes of the fabric which seemed to make so much difference to the previous, bonded design. I was tempted to leave it here, but felt I needed to completely recreate the previous design. It is merely an exercise afterall! If I spoiled it, it would be a lesson learned!
Luckily, I really like the final result. The last layer of organza is almost invisible, but serves to 'knock back' the metallic areas that it covers. The outlined edges of 'nothing' seem to compliment the design nicely.
This is a recreation of 0054.
I am really happy with this design. I love the way the printed patterns merge with the fabric on the layer beneath, ie, the gold stamping on the paler blue fabric merges with the gold bottom layer, and the indigo stamping on the top layer merges with the indigo fabric layer underneath it.
I also like the way the colours get stronger and more vivid towards the front - from muted gold, through indigo tint to a stronger blue, topped with a vivid citrus yellow.
I edged the first layer with 2 rows of running stitch on the outside of the design - cutting in 'negative'. I left loose thread ends on the gold stitching around the indigo layer.
The stitching around the top layer gives an exciting 'frayed' impression which softens or 'furrs' the edges making them appear less harsh.
All layers were positioned randomly. I am becoming more 'at ease' with the irregularity, and starting to enjoy the spontineity of asymetry, particularly when looking back at the geometric designs which look rigid and characterless in comparison.
This is a recreation of 0052.
I love the vibrancy of this design.
I had intended to use orange on the top layer right from the start, but after stitching the strong blue cross over the yellow muslin, I felt I needed a much more 'muted' tone for what was going to be my last layer.
After adding the gold cross I really hated the design. I was also disappointed with the layer of yellow frayed muslin that I'd stitched and cut in negative. I intended for this to 'anchor' the design, but I think it looks slightly insignificant.
At this stage, I decided that nothing would be lost by adding an extra layer of orange (stamped with gold). Amazingly, it seemed to balance and transform the whole design. The randomly placed skewed and distorted crosses seem to have fluidity and 'movement'. I like the shapes and colours they form in the spaces.
The overcast edges give a lovely 'tatty' effect. Our Guild was visited recently by textile artist, Stephanie Redfern. She stitches apliqued shapes to her quilts with large overcast stitches around the edges. It looks very simple but amazingly attractive and effective.