Chapter 11 - Growth and Disintegration

It was fun tearing, crumpling, and slashing bits of paper. It was an interesting exercise that demonstrated quite usefully the many different ways you can give the impression of disitegration.

A torn paper cross, showing further disintegration at each stage.

My fingers were getting very sore until I discovered that it was easier to use a needle to fray the fabric!

Making shapes appear thinner and less solid.

Multiplying the shape. The 'negative' ares produced a pattern of star/cross shapes. A prominent pattern was also formed by the centre square of the crosses.

A Wee Diversion

To prove that I have been working, albeit not Distant Stitch work, the following are projects that I have completed over the last couple of months.

The excitement began with a talk by Annette Emms. She bought with her delightful handmade books and fairy slippers.

We were all so enchanted that we felt compelled to go home and make our own!

I have still got to conjure up a fairy tale and embelish my fabric pages with beads and stitchery, but they were so much fun to make.


We were then treated to a workshop with Kath Danswan.

Kath taught us how to make her famous silk bowls.

I am so pleased with the way my machine embroidery is improving. It took me a whole weekend to embroider the silk. I then found a pefect bowl to dry my finished piece around after washing out the disolvable film. A friend suggested that I sew clear seed beads on the draped and curled bits at the top, to give the impression of raindrops.

Lastly, Jenny, the Chairman of our stitching group, set a challenge to produce a piece of work inspired by one of a selection of photographs chosen by her. I was inspired by the contasts between St Martin's church, and the Selfridges building in the Bull Ring in Birmingham.

I started off with a pre-concieved idea of a heavily machine embroidered church tower placed upon Kim Thittichai style melted foil wrappers (giving the impression of Selfridges' bubble texture).

I decided, however, to start off in my sketchbook, and plan the design properly, testing out ideas, colours etc. Slowly, one idea led to another through brainstorming and research and gradually the following design evolved!

Now I must crack on with my Distant Stitch work!

Chapter 10 - Inlay Applique

INSERTION STITCH SAMPLE

1. Simple insertion stitch

2. Knotted buttonhole stitch

3. Beaded insertion stitch

4. Laced insertion stitch

5. Twisted insertion stitch

6.Plaited insertion stitch


MACHINE STITCHED INSERTION SAMPLE

Using a varigated metallic thread, I experimented with a selection different stitches on my machine to see which were suitable for use as insertion stitches. Quite obviously, I found that any stitch that made use of the swing needle zigzag function worked well as it would stitch into both edges and join them.








SIMPLE COUNTERCHANGE SAMPLE 1








COUNTERCHANGE SAMPLE 2













INTERCHANGE SAMPLE 3

An interesting week!

Wednesday's edition of 'Talking Threads' showed Fay Maxwell demonstrating a 'slashing' technique, very similar to a combination of Chenille Applique and the multi coloured ripple effect. It was interesting to see how she put the technique to use. It would be lovely to have more time to experiment with some of these methods.

On Saturday a group of us went to a talk by Michael Brennand-Wood, hosted by the Midland Textile Forum. I was aware of his work and have to admit to not being very enamoured by it, but it was interesting to hear the thought process (or 'sub-text') behind some of his work, and how a collection of work developed and evolved. I'm still not a fan, but I now have much more respect for his work.

Chapter 9 - Reverse Applique - Traditional and Contemporary Methods

TRADITIONAL METHOD

Onto a background of gold, my first layer was a violet cotton fabric, followed by a deep yellow cotton and an indigo printed layer on top.
Adding, cutting away and stitching one layer at a time, it was very time consuming but the results were extremely rewarding. I love handstitching and also recreating traditional embroideries, so a bit of research into the traditional molas of the San Blas Islands made this a very enjoyable exercise.

CONTEMPORARY METHOD USING MACHINE STITCHING

Its good to have 'quilty' friends. A visit to a quilt show at Malvern turned up some very attractive random dyed fat quarters in indigo and gold. I used one of these for my top layer of this design, followed by a violet organza, a yellow linen and then a blue cotton fabric printed with yellow for my base layer.
Using a gold metallic thread in my bobbin, I stitched each line from the back and cut away before stitching the next layer.
I was particularly pleased with the organza layer. The 'orange' effect that it gave took me totally by surprise, although with its transparent nature over the yellow linen, it should have been obvious!

The second machine stitch sample was worked from the centre out. I thought it would be an interesting execise to use the same fabrics as the previous sample to see how the process affects the end result.
I really like this method of applique. It is quick, simple and effective.

'CHENILLE' OR SLASHED REVERSE APPLIQUE

I tried to choose fabrics that would fray easily. For the top layer I chose a yellow / orange printed silk noil as I love its texture. Under this I put an indigo cotton, followed by an orange synthetic silky fabric. The background layer is gold, although this cannot really be seen.
All layers and rows were stitched at the same time with a double row of stitching. The top 3 layers of fabric were then slashed with a sharp pair of scissors between each double row of stitching, then the raw edges were worked with the side of a pair of scissors to fray and distress them and to form a 'pile'. This proceedure took longer than the stitching but I think the result was well worth the effort.

MULTI-COLOURED RIPPLE EFFECT

Crazy!

I chose the most intricate design from my black & white cross shapes. My main concern was fitting in enough rows of stitching to form the 'ripple' effect.
Although I followed the instructions step by step, I had no preconceived ideas of how the finished sample would look. I love the results. I think it looks spontaneous and exciting.
In retrospect. I would have liked to have put the glittery purple mesh fabric (seen in the central cross shape) across the entire bottom layer.

Chapter 8 - Complex Samples

I kept the first sample simple as I was a little unsure of how this method was going to work. I bonded an indigo linen cross shape onto the violet polyester satin, and then machine stitched another cross shape over the top in a concetric pattern of variegated orange/yellow thread. I padded the central rectangle from behind. I'm not very impressed with the end result. It's very uninteresting and I think I've possibly 'over-stuffed' the centre.
Perhaps I will return to this sample when I have done a few more and hopefully have a better idea of what I am trying to achieve.

To make things more interesting on sample 2, I tried adding more layers.

On an orange shiny printed background, I bonded a yellow printed cross, over which I bonded a narrower indigo cross, machine stitching concentric gold squares in the centre for a bit of sparkle and to tye up with the gold printing on the background layer. I then repeated the outline of the first cross pattern at 90 degrees with machine stitching which gave interesting corner shapes that I filled with wadding from behind. I accentuated the outline of the finished shape with a chunky indigo running stitch which echoes the indigo printing on the yellow cross shape. I also machine and hand stitched a very interesting inner 'star' shape that had been created by the overlapping crosses.

I like the contrasts of the bold, vivid colours and the way the hand stitching helps all the shapes relate to each other.

On sample 3, I bonded a solid rectangular yellow cross shape onto an indigo printed cotton background. Over this I asymetrically bonded another cross shape in gold organza which I machine stitiched in concentric patterns. To the organza layer, I aligned a simple linen indigo cross, cut in relief , overcast by hand in ochre thread, and stuffed. The top and bottom indigo layers 'sandwich' the yellow & gold layers quite nicely, and the ochre stitching helps to tie everything together.

On sample 4 I bonded an indigo hessian cross onto printed yellow cotton. Over the top of this, I machine stitched the outline of another cross in gold zig zag stitching. The top layer is an orange hand-stitched cross, woven in the centre and stuffed. It was interesting to stuff the hand-stitched rectangle in a stump-work fashion, along with the hessian, it created a much more tactile, textural piece compared to the others, but I'm not really happy with the finished sample. Perhaps it's because none of the layers relate to each other.

I was beginning to get a bit despondent at this point. The only sample I was really happy with was no.2 and I was unable to identify why that design had worked and the others hadn't. I looked through my previous exercises again and came accross 0059 with its skewed and distorted arrow head crosses.

I cut my first cross in relief from gold printed organza, and bonded this onto metallic gold fabric. This dulled and 'knocked back' the glitz of the metallic gold. I then overlaid this with a similar shape created entirely from running stitch in idigo thread. I added a back layer of calico, machine stitched around the inner organza cross, allowing me to pad the metallic gold cross from behind. I think this gives a very interesting effect as the running stitch cross also overlaps the padded areas.

I love my last sample, but I think its just because I got carried away with the hand stitching on the top cross.

The first layer is a very simple orange cross bonded onto an indigo linen background printed with gold. The top cross is hand stitched with rows of running stitch and french knots in a blue/violet variegated thread. The corners of the cross are embelished with rectangular buttonhole stitch shapes. The central orange cross was then cut away to reveal the indigo background to which I added a calico backing and stuffed.

I like the way the variegated thread reflects the random dyes background fabric, and is accentuated by the vivid contrast of the orange middle layer.

I think this design could be improved by the use of shisha glass inside the buttonhole stitiched corners.

Although I was really glad to complete this exercise, I forced myself to return to my first sample, to see if I could improve on it. I decided to accentuate the diamond shape by couching metallic threads, cutting the ends and leaving them loose of the surface. I think this helped add a touch of opulence to the dull, muted tones of the original design.

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.