Module 5, Chapter 10: Stitched to translate

For this chapter I looked at my rubbings in chapter 9 for inspiration with the goal to translate into stitch the patterns/textures I had created. The following samples were the result of this. Once again my favourites are those that use layering.... this has perhaps got to be something I will need to consider later in this module for my final piece.

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Module 5, Chapter 9 continued: Rubbings from raised surfaces

I created these rubbings by using a (dry) water soluble white artist's crayon over fabric with my paper textures underneath. I tried other mediums but this gave by far the best result. I originally intended to use a Markal paint stick, but mine had unexpectedly dried up and was rendered useless. I found that not every paper texture worked and others worked so well that I was able to take more than one impression from the same relief.

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Module 5, Chapter 9, Threads and stitchery

For this exercise I consciously used different threads (size, shade, texture) to produce my samples. I used a mixture of structured and non structured patterns to create variations of the stitches I was doing. My favourite effects were those that occurred due to layering of stitches. Apologies for the poor angle that I have taken this photograph but hopefully it is enough to show what I have produced.

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Module 5, Chapter 8: Paper relief into Fabric relief

For this chapter I translated my paper relief from chapter 3 into fabric samples using the techniques I have been developing these last few chapters. This was not as easy as it sounds especially as I had the additional challenge of trying to recreate the same effect using alternative fabrics and methods. This resulted in two different techniques per paper relief that although were inspired by the same image were actually very different outcomes as a result!

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Module 5, Chapter 7: Tactile contrasts

The subtitle to this is 'using your fingers as well as your eyes'. It is difficult to convey how my sample feels but I can show how it looks in the following image. I tried to ensure that each square was filled with something that felt different to the squares around it. To achieve this I worked with different fabrics as well as techniques and manipulations. To me, by touch, I feel I have achieved what I set out to do... you will just have to take my word for it!

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Module 5, Chapter 6b: Gathers

The first samples I created were by hand. Stitching by hand gave a less structured effect to those created by machine however at the same time I felt that I had more control over them during manufacture. A lot of the samples I created looked very similar to each other so here are 4 that seemed to represent them all! Top left I have nicked named 'the rose' effect, top right 'the button', bottom left 'the grid' and bottom right 'the indent'. There are probably many other patterns that can be created, I just personally found that no matter how I stitched the fabric, or what fabrics I used, I would ultimately see one of these four patterns emerge!

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Interestingly I found that I could achieve a far wider range of effects through using a sewing machine. The resulting gathers were far finer too. This photo really doesn't do any of my samples any justice but hopefully conveys the diversity I achieved with this technique.

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On a final note for this chapter, I ordered in elastic thread but it didn't arrive at the time I was working through this chapter. I had to do a lot of chasing to get it delivered at all, and it has only just arrived. If the work leads me towards its use later on in this module I will produce some further samples at that point if appropriate.

Module 5, Chapter 6a: Tucks, pleats and gathers

The aim of this chapter was to investigate different ways in which I could tuck, pleat or gather fabric. The following pictures show some of the results of my experiments. There were many samples that didn't make the cut though as they either disintegrated, looked identical to ones I have presented here (probably because the changes I made to the manufacturing of them were too subtle!) or just went so wrong I started again (machine issues or I used the wrong setting for example). The ratio of success to failure meant that this was quite a challenging chapter for me.

My favourite method in all of these has to be the tucks. I loved the challenge of sewing so dangerously close to the edge and that it was  the fabric equivalent of drawing patterns with lines. Mexican pleating also gave interesting textures. Shiny fabrics such as satin looked really pretty but were significantly harder to work with. The stiffer the fabric the easier it was to keep shape.

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Module 5, Chapter 5: Quilting, Padding and Stuffing

Sample 1: Here I created a hand-stitched quilt mini sampler to try out a variety of hand embroidery stitches (in a linear way). My personal favourite is the chain stitch as it creates more of a texture.

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Sample 2: Another sampler of a variety of hand embroidery stitches, each focused inside the 'squares' formed by the weave pattern of the fabric. The bigger the stitch the greater the impact on this one.

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Sample 3: Instead of wadding I have tried some foam that came inside a parcel to provide protective padding. This foam is very deep- about 5cm thick but was soft and squidgy enough to work. I have used french knots to create an upholstered look to the sample. This idea could be developed further by using other components (e.g. buttons) to pull the foam in even more.

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Sample 4: 'Trapunto' style quilting. I stitched a random shape and then stuffed it from behind. Although the shape had no thought behind it (I said it was random!) it is a little reminiscent of the leaves I photographed for chapter 1. It would be easy to variate this technique with different stitches and shapes.

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Sample 5: Simple parallel quilting using a sewing machine. Here I chose a fabric with a woven stripe effect and have exaggerated this texture by sewing between the raised stripe in the fabric.

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Sample 6: Here I have used a shiny satin fabric (a thin polyester lining material). A diamond shaped quilting pattern helps to enhance the light and shade effect created.There is an optical illusion here through the photo- it looks like an inverted 'waffle' effect but in real life the surface is raised/3D as if lots of mini cushions have been joined together.

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Sample 7: A 'square' spiral. Some experimentation in how close the lines are together. The closer the lines the less 'quilted' or 'bumpy' an effect is achieved- in other words a flatter result is created. That said, the stitching gives an interesting texture to the smooth and shiny fabric. Food for thought!

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Sample 8: A chequered style pattern. The sheen on the fabric enhances the effect. I was not particularly careful with the spacing between my lines. there is further scope here to push the boundaries and use parallel lines without having to create a grid effect....

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Sample 9: Use of a wavy style machine stitch in a crisscross pattern giving the illusion of tessellations. The dullness of the chiffon fabric used mutes the quilted effect.

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Sample 10: Random 'helix' style shapes have been created here using a sewing machine on a zigzag stitch.

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Sample 11: A mini linear quilted sample using a range of decorative machine stitches. The denser the stitch pattern the more texture is achieved on the surface. The wavy stitch patterns give a more 3D effect.

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Sample 12: Use of a machine zigzag stitch with random wavy shapes created on the fabric surface. This pattern would suit larger scale panels. The pattern, combined with the brushed cotton fabric, make this sample feel very soft. I discovered while creating this one that you have to be very careful to avoid any unexpected tucks...

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Sample 13: A sheer chiffon fabric with padded area of threads/fibres trapped on the inside. Unfortunately the photo doesn't do this sample justice, the centre in real life comes across as far more 3D and has a lot more interest with the shadows created by the overlapping fibres.

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Sample 14: Strips of the packaging material foam (used in sample 3) that have been cut up and encapsulated with zigzag stitching and non woven 'net' style fabric. The matte surface of the foam contrasts really nicely with the shine of the net fabric. The stitching is directly on the foam. I was surprised at how much the stitching was able to flatten this foam.

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Sample 15: Old shoe lace used to create a cord quilt effect. I have used a piece of silk screen mesh on top. The mesh had a fierce kink in it making it difficult to keep in place when sewing.

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Sample 16: The packaging foam again but this time it has been 'side' sliced thinly (so that it is only 1 cm thick) before being used. The natural wave pattern in the foam has been exposed as a result. It has been encapsulated under nylon netting. The cotton fabric backing has crumpled up during the process adding further texture to the sample. I quite like the fact that the foam has a slight sparkle to it under lights, not something that is showing up in any photos I take though.

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Module 5, Chapter 4: Fabric Investigation

To start this chapter I raided my fabric stash to extract samples of all the white/off white fabrics I had collected over the years. I collated small swatches of each one and recorded them into my sketchbook (see image below). I was quite surprised that I had such a wide variety. I tried to catalog each swatch as accurately as I could but I admit that some of them were complete guesses based on experience and comparing against fabrics I did have data on.

A collection of fabric swatches

My next move was to take some of these fabrics and experiment with them- seeing how they ripped, melted/burned, frayed and knotted especially to see how I could create interesting edges/fabric bands as a result. I particularly enjoyed creating my own 'fringing' using a soldering iron to melt and cut the fabric simultaneously. the following image shows some of these experiments.

Fabric experiments

Module 5, Chapter 3, Texture and relief in Paper

For this chapter I was tasked to translate the patterns and textures captured in my photos into paper. This was easier said than done! My experience with paper manipulations in the previous chapter had told me that the thinner papers were more responsive, so I focused on using these to create my collages. The following image shows the results of these: not perfect copies of the photographic images, nor perfect photos of the paper collages but hopefully reminiscent of the overall 'look' or specific elements that the photos were conveying.

Translating photos into paper

Module 5, Chapter 2: Paper relief investigations

For my investigations I gathered a wide variety of different papers to play with. I had standard tissue paper, paper towels, coated tissue paper, hand made papers, copier paper, thin papers, thicker papers...

I folded, pleated, crushed, scrumpled, layered, twisted, ripped, stitched and manipulated the papers I had collected. I found that the thinner the paper the easier it was to create a wider variety of textures and effects. The glue was important too- I used PVA but realised early on that it worked better if watered down a little. Some of my experiments are in the following image. My favourite papers were those such as the tissues that were semi-transparent when glue was added. This is because when up against the black background they had depth when layered.

Freshly inspired and motivated

I have had a whole year of 'false starts' with my work but thanks to inspiration and motivation from the Face book forum along with the opportunity to re-register with C&G I feel like I am now able to get back on track.

The last time I posted was in the summer. I have made some progress since then but until today have not blogged anything. My goal is to upload my work today so everything is up to date. Apologies in advance for the back to back posts clogging up feeds.

On a separate note, if anyone is interested, shameless plug here... I have a Twitter account where I regularly post Textiles related content. Follow me: @textileteacher I will follow back!