Module one, chapter nine

An exploration of different reverse applique techniques.

Sample one: Traditional reverse applique

I did not enjoy this technique so much, maybe because I produced this sample when I was ill, maybe because the shape I chose to use wasn't as effective as I hoped it would be!

1/9/1: sample one, traditional reverse applique

Samples two and three: Contemporary reverse applique samples.

For these and the other samples I chose to switch to another shape as I felt the one that I chose for sample one was not quite right for the effects I wanted to create. The shape I went with however did retain an essence of the shape in sample one so all samples do still feel like they are part of the same collection.

Sample two (left)= outside in, sample three (right) = inside out. Both use the same fabric layers to start with. Sample two gives a great sense of depth whereas sample three protrudes outwards. It is amazing how the same layers, colours and shapes can be so different depending on the order of cutting!

1/9/2: samples two and three, contemporary reverse applique

Sample four is of chenille / slashed reverse applique.

Until this course I had not heard of this method but it has now become one of my favourite techniques ever! I love the textured effect it gives and I can see all sorts of future possibilities with my work if I was to do this technique again. It is a real shame that I have been unable to take a photo that really does this sample any justice as the texture that makes it work appears to be bleached out somewhat, although interesting to note that the print on the top layer of fabric is more obvious on the picture than it is on the actual sample.


1/9/3: sample four, chenille / slashed applique

Sample five is a multi-coloured ripple effect reverse applique.

This sample appears to have the best of both worlds of depth and 3D effects that were seen in samples two and three. I was quite experimental here and layed out the colours in a random way before sewing. To develop this kind of sample further more could be done to plan out what colour goes where in advance. It would also be interesting to try out this technique with other stitches such as satin stitch or a decorative machine stitch- I will bear this in mind if I chose to use this sample on my resolved piece.



1/9/4:sample five, multi-coloured ripple effect reverse applique

Module one, Chapter Eight

This chapter demanded more complex samples using padding and stitching instead of fabric. I identified that in order to make this work I would need to map out each of the layers in advance: the image below shows this planning alongside a small thumbnail image of the final samples.



1/8/1: Planning the layers

The following images show my final six samples. I found that the padding adding some interesting three-dimensional effects that I have been unable to showcase as effectively in photographing them. Sample five is a good example where the picture does not do the padding justice. My favourite sample was number two- I loved the way the minimal contrast actually lended more interest to the design with the subtle differences in the shades of red used. This also gave more emphasis to the padded middle which has been highlighted with the only colour contrast in green thread. Sample six: if I was to do this one again I would probably take the 'less is more' approach as I feel that the colour combinations along with the layer combinations are overkill and that the printing distracts from the main shapes (whereas I personally feel the printing complements the design in sample three) . Maybe this one would have worked better if I had stuck with red on red like I did with sample two.

Once again please note that my images appear faded in contrast with the actual colours of the samples. I have tried taking more photos but cannot seem to get the colour balance to reflect real life.



1/8/2: sample one



1/8/3: sample two

1/8/4: sample three

1/8/5: sample four

1/8/6: sample five

1/8/7: sample six

Module one, Chapter seven

To start this chapter, which is all about translating layered designs into embroidery, I produced a stitch sampler featuring a mixture of hand a machine embroidery. Seeing the stitches presented in this way was very useful later on when deciding on the most appropriate approach for my chapter main samples. I am lucky to have a sewing machine that has a wide variety of stitch selections but I resisted temptation in trying all of them and just chose to try ones that I thought might work well if used with the shapes I was starting to develop.



1/7/1: Stitch sampler

The next stage was to carefully plan ahead for the samples I wished to create. Up to this stage I had produced a wide variety of shapes, colour combinations and textures so it was important to think carefully about what had worked well for me so far in order to generate a successful sample. The following image shows my planning process including the documenting of each layer as I produced each sample.



1/7/2: Planning the samples

The following image presents my six samples for this chapter. The shape in the fourth sample has been repeated twice in sample five and three times in sample six. I found it fascinating how the sample shape could look so different when presented like this, especially when produced with different colour combinations. My personal favourite sample is the third one as I like the way the bonded fabric contrasts with the sheer green chiffon on top and the dark red underneath to create an illusion of depth that the other samples do not quite have. My least favourite sample is the first one as I think my hand embroidery stitches distract from rather than harmonise or accentuate the shapes. In the samples where I used the machine embroidery I was particularly taken with the fact the machine embroidery softens the edges, maybe this is an effect that I can play on more later on with the resolved sample. Please note that for some reason the photos appear slightly 'faded' in contrast with the actual samples which are much bolder and more vibrant in colour. Also to note that after the photos were taken the edges were neatened off more for a more polished finish.

1/7/3: sample one

1/7/4: sample two

1/7/5: sample three

1/7/6: sample four

1/7/6: sample five

1/7/7: sample six