Wednesday, 30 August 2017

Module 5 - Chapter 5 - Quilting, Padding & Stuffing

I used image 50302a from chapter 3 as inspiration for my quilting lines in this chapter.


50501

Wadded Quilting with fine polyester knitted fabric (swimwear lining) over cotton wadding using running stitch.

50502

Wadded Quilting with fine polyester knitted fabric over shredded newspaper using running stitch. Newspaper exposed at edges as design feature.

50503

Wadded Quilting with nylon net over feathers, using running stitch.

50504

Wadded Quilting with nylon net over threads run through the overlocker. Whole shapes have been filled with random, overlapped cross stitches.

50506

Shaped Quilting with silk habotai over 'funky foam' shapes. Stitched with chain stitch.

50507

Shaped Quilting with nylon net over pumpkin seeds. Stitched with rows of horizontal straight stitches. I originally used a straight running stitch for this sample, but thought the parallel rows of stitch was far more characterful and contemporary and contrasted well with the smooth rounded texture of the seeds that are visible under the net.

50508

Padded Quilting with fine polyester knitted fabric. Stitched with twin needle on sewing machine & stuffed from the back with polyester stuffing. Think this might be slightly overstuffed as shapes have been distorted, but I guess the distortion could also be used to creative effect. This is the first time I've ever really played with the twin needle. I found that the flat area between the two rows of stitching contrasted well with the puffy, overstuffed areas.

50509

Padded Quilting with silk organza. Stitched from the back with herringbone stitch (to give a double row of running stitches on the front), and threaded with sari silk. I really enjoyed this sample. Its very neat and precise and was much easier to control than I had imagined. 

50510

Corded Quilting with silk habotai. Lengths of string were stitched between channels of 'twin needle' machine stitching. I have ordered a pin tuck foot for my machine as I think it would make it easier to control the direction of the string during this process.

50511
This is the previous sample from the back. I think this is much more attractive, probably because of the contrasting shades and the contrasting textures of the rough string against the soft shiny silk. It would have probably been quite interesting to do a combination of backwards and forward facing channels.

Wednesday, 16 August 2017

Module 5 - Chapter 4 - Fabric Investigation

I collected as many different types of fabric as I could in white or natural colours. Some were from my fabric stash, some (many of the man-mades and rubbers) were from work. Some I ordered online to increase the selection and diversity.

050401


050402



I then carried out test on a selection of fabrics to see how each behaved:



050403
SILK NOIL


construction: finely woven
creases when crumpled
no stretch on warp/weft
stretch on bias
edges fray easily
bias frays with some difficulty
threads unpick from centre of weave easily
a crumbling ash was formed on the edge when burned
burn marks were made on the fabric with a soldering iron





050404

LINEN SCRIM

construction: loosely woven
creases when crumpled
no stretch on warp/weft
stretch on bias
edges fray easily
bias frays easily
threads unpick from centre of weave easily
a crumbling ash was formed on the edge when burned
burn marks made with a soldering iron were difficult to see because of the openness of the weave



050405



COTTON ORGANDIE

construction: firmly woven
creases heavily when crumpled
no stretch on warp/weft
stretch on bias
edges fray easily
bias frays quite easily
threads unpick from centre of weave easily
a crumbling ash was formed on the edge when burned
burn marks were made on the fabric with a soldering iron



050406


LINEN


construction:  woven
creases when crumpled
no stretch on warp/weft
stretch on bias
edges fray easily
bias frayseasily
threads unpick from centre of weave easily
a crumbling ash was formed on the edge when burned
burn marks were made on the fabric with a soldering iron


050407

WOOL BLANKET


construction:  woven
does not crease when crumpled
no stretch on warp/weft
stretch on bias
edges do not fray very easily
bias does not fray very easily
threads unpick from centre of weave quite easily
a crumbling ash was formed on the edge when burned
burn marks were made on the fabric with a soldering iron



050408

COTTON VELVET


construction:  woven
creases when crumpled
no stretch on warp/weft
stretch on bias
edges fray easily
bias frays easily
difficult to unpick threads from centre of weave
a crumbling ash was formed on the edge when burned
burn marks were made on the fabric with a soldering iron



050409




NYLON LYCRA


construction: knitted
does not crease when crumpled
stretches well both vertically & horizontally
stretches well on bias
edges do not fray easily
bias does not fray easily
difficult to unpick threads from centre of weave
fabric melted away from flame when burned and created a hard edge
fabric was melted away with soldering iron



050410
POLYESTER SATIN


construction: woven
does not crease when crumpled
no stretch on warp/weft
stretches well on bias
edges fray very easily
bias frays easily
threads unpick from centre of weave quite easily
fabric melted away from flame when burned and created a hard edge
fabric was melted away with soldering iron


050411
TYVEK


construction: spun bonded
does not crease when crumpled
no stretch on warp/weft
no stretch on bias
edges do not fray
bias does not fray
no threads to unpick
fabric melted away from flame when burned
fabric was melted away with soldering iron


I then decorated fabric bands with inventive edges.

050412

It was interesting to see how the different processes gave exciting textural qualities to the fabric strips.

Sunday, 22 January 2017

Module 5 - Chapter 3 - Texture and Relief in Paper

Looking closely at photographs and images of textures and relief surfaces, I manipulated papers to translate the observed textures.

50301

50301a
Using scrunched up newsprint I created the texture observed from leaves on the woodland floor.

50302

50302a
Using scrunched tissue paper and spaces for the branches I created the canopy texture.

50303

50303a
Using twisted strips and newsprint I created the texture shown by silver birch saplings.

50304

50304a
Using folded watercolour paper laid over scrunched crepe paper I created the texture of silver birch bark.

50305


50305a
Using folded crepe paper and circles cut from watercolour paper I created the texture of the bark of a pine tree.

50306

50306a
With machine gathered, and twisted tissue paper, I created the texture observed from the pine tree coppice.

As these textures are to be used as rubbings later in the module, I mounded them all on a sturdy base of foamboard. Each 'block' is A5 in size.

Module 5 - Chapter 2 - Paper Relief Investigations

 An experiment with ripping and folding different papers. Some papers were more difficult to tear in a straight line when ripping 'against the grain'.
(I didn't notice the bit about white paper!!!)

50201

50202

Each paper started as A4 and was scrunched down to fill 1/9th section of A4 card.
From left to right, top to bottom:
newsprint, tissue paper, crepe paper, parcel paper, sugar paper & tracing paper.

50203

 Manipulated tissue paper

From left to right, top to bottom:
hand gathered, knotted, twisted, zig zag cut in strips hole punched & pleated

50204

 hole punched & scrunched, zig-zag cut in strips & pleated, zig-zag cut in squares & layered, hole punched and twisted

50205

 Gathered samples

top to bottom:
hand stitched and gathered, machine stitched & gathered

50206

 hand gathered in squares, hand gathered in strips

50207