Module 6 – Chapter 3 – Free Machine Stitchery

I created a series of densely machine stitched samples, devising as many different textural rhythms as possible relating to photographs and drawings from Chapter 1.

My first sample used straight stitch, with equal tension on top and bottom of the machine, using standard sewing thread, and calico fabric stretched tightly into a hoop. All squares are approximately 3cm x 3cm.

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My next set of samples was worked with ‘whip stitch’. A loose bottom tension and a tight top tension, thereby pulling bobbin thread up to the surface and looping slightly, giving a slightly raised knobbly texture. Stitched with standard machine thread.

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Continuing with whip stitch and machine thread, I worked the next set of samples using a zig zag stitch. This created a very interesting effect with the bottom thread being pulled through to the surface and forming a decorative fringed pattern either side of the top thread.

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Again with machine thread, I worked the next samples using ‘cable stitch’. A loose top tension and a tight bobbin tension, worked from the back of the fabric (upside down).
On straight machining, the stitch resembled couching, a straight thread held down by loops of stitching from the ‘top’ thread.
The top thread extended loosely from the outer edge of the bobbin thread when stitching curve or wavy lines, and when zig zagged, the top thread was pulled alternately from each side.

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Finally, I stitched a set of samples using cable stitch. For these I would the bobbin with a selection of thicker, decorative yarns such as boucle, chenille, mohair and metallic threads.

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Module 6–Chapter 2–Designing with Shapes and Layers

The task was to identify very simple shapes from images of sea and sky from Chapter 1, and, using decorated papers, form patterns dictated by their rhythmical qualities.

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So to start off, I decorated a large selection of acetate, bubble wrap, khadi paper, cartridge paper & newsprint with relief rubbings, discharged ink, fused polythene, etc as per my experiments in Chapter 1.

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I particularly enjoyed working onto an acetate sheet, pulling acrylic paint off the edge of a sheet of plastic, cut with a wavy edge. I like the contrast between the clean, sharp edged where the paint is brushed from the template, and the rough uncontrolled side displaying the brush strokes.
I used touches of thermo-chromatic paint, which changed colour from purple on the left, to hot pink on the right, when subjected to heat.

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I sketched a few rhythmical patterns from the images in Chapter 1 to use as a reference to cut patterns from my decorated papers.
The first image I chose was the photograph of the concentric ripples.

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Initially, not sure how to get started, I tentatively cut some simple shapes from my acetate sheet and laid them over another decorated paper.

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From this new design, I cut out the same shapes, in the opposite direction, and placed this on a sheet of sequin and glitter bonded acetate. This gave me an instant burst of confidence! I loved the result and was compelled to experiment further!

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I pasted the left-over sections to another paper.

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I then sliced both papers into vertical sections and experimented with various ways of combining the two designs….

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I eventually staggered the strips and pieced them together in a random arrangement onto silver foil.

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My next experiment was inspired by Wilhelmina Barnes Graham’s waves.

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I cut waves into a sheet of decorated khadi paper (I love the way this paper takes coloured dyes!) and placed it onto a pattern of discharged black ink.

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I then cut similar waves in the opposite direction, placing it onto an indigo blue bleached background.

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I rotated the cut-out shapes and replaced them in slightly off-set positions.

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I then experimented with staggering the overlaid strips

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…and again in another formation which allowed more of the blue patterned paper to show through.
I really like the way this still gives the effect of fractured ripples in water.

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My third experiment was wavy lines again, placed onto painted & flattened bubble wrap.

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I placed this onto a silver foil background for added reflection, then cut out similar wavy lines. I rotated some of the resulting wavy strips, allowing them to overlap each-other in some places, and to leave gaps in other places. This was then placed on a sheet of newsprint decorated with a relief oil pastel rubbing, overlaid with purple procion dye. Interestingly, this new pattern gives a similar effect to the rippled water pattern in my initial sketches.

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I then cut the design into quarters, rotated the panels and repositioned to fracture and develop the design further.

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I cut lozenge shapes from discharged ink paper and attached them onto another sheet for a rippled water effect, for my forth design development experiment.

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I cut further lozenge shapes from this new design. I placed this onto a relief rubbing with green brusho, and re-positioned the lozenges randomly.

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Using Egon Scheile’s reflected water as inspiration I carefully cut strips of discharged ink paper.

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I cut this into horizontal bands and wove it with strips of bubble wrap.

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I was really happy with this design. I’m more comfortable with geometric structure and order than I am with random, organic disorder, but I do tend to get a little too precious, and scared to push things further, so after taking a photograph, in the spirit of ‘nothing ventured, nothing gained’, I cut it up again in horizontal strips of wavy lines, replacing the lines in a staggered formation, and pasting onto a purple sequin waste rubbing.

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Did I take this design development too far? I’m not sure!