Chapter 6: Use of Bonding in Applique

In this section I generally used Vlisofix, a paper form of adhesive to bond the shapes together to create the designs. I have also used the powdered adhesive method from time to time in the past, but have found that it is only suitable to hold fabrics temporarily (e.g. until they are stitched together). The Vlisofix gives a more long-lasting bond.

Photograph 1: This shows two variations on the starfish theme as well as two other different star designs. These notes describe them starting at the top left and moving clockwise.

a) Painted golden brown background fabric with a blue asymmetric spoke pattern and a sheer border and 4 armed star outline on top. This is a pleasing effect which offers several possibilities for variation which will be explored later in the course. Note how the colour of the orange sheer is changed by the base fabric.

b) Spoke pattern in blue/gold painted Vlisofix applied to pale apricot base fabric and then orange sheer with star cut out placed on the top. Blue glitter star on sheer blue fabric attached in the centre as a highlight. I think the spoke effect has future possibilities, but I prefer samples a & c.

c) Layers of starfish shapes placed on pale apricot background. The middle sheer blue star was enhanced with a darker blue stipple applied with Inktense pencils. This effect was also very pleasing and I could see it could be enhanced with stitches in later exercises.

d) Starfish shape achieved by cut out on top layer to reveal painted fabric background. Further emphasis is achieved by adding the narrow 5-armed star in a deeper version of the base colour.

Photograph 2: This shows two more variations on the starfish theme as well as two other star designs. The samples were produced either with decorative bonded multi-layer fabrics or painted Vlisofix. These notes describe them starting at the top left and moving clockwise.

a) This shape came from the derived star shapes in Chapter 3. The main shape has been cut from the layered fabric with scraps trapped under net. The centre was cut out and another painted piece of fabric was placed underneath so that the criss-cross pattern showed through.

b) This sample used a starfish outline cut from the bonded fabric made from trapped silk tops. The glitter stars, cut from a blue sheer fabric, were scattered on the design to provide a contrast.

c) In this sample I experimented with two starfish cut from different layered fabrics plus a third cut from net, but overall I did not like the effect because there was not enough of a link between the colours and effects of the 3 shapes.

d) The base fabric in this sample had a gold star emblem printed on it. Two layers of sheer cut in the outline of an 8 pointed star were placed so that they overlapped slightly, giving a variation in intensity of the orange. Then another 8 spoked star in acqua blue/gold was placed over the top. I think that this has reasonable possibilities if it worked up further. The colour combination with the gold gave a pleasing effect.

Photograph 3: This shows two other samples where I experimented with cutting out star shapes and then trapping them with a sheer over the top of the entire square. However on the whole I did not like the slightly dull and "grubby" effect that this produced. I prefer more selective use of sheers which do not entirely cover the background.

Chapter 5: Fabric Selection & Decoration

a) Decorated Fabrics
This picture shows some of the fabrics decorated with paint that were produced either using the cut out stamp from Chapter 2 or the other methods that were tested on paper, such as dabbing paint on with bubble wrap, applying through a kitchen strainer (small dots)or through a plastic slide (criss cross pattern). In general I tended to prefer decorations that were not too distinct and were a deeper shade of the base fabric (e.g. the blue on blue, silver on blue, bronze on yellow-orange, gold on bright orange. Some of the fabrics were sheer e.g. the blue stamped fabric on the left, the orange stamped fabric on the right and the criss cross fabric in the middle.

The positioning of the sheers over different background fabrics in the photo illustrates how different effects can be produced depending on whether the base fabric is light or dark. In general, the stamped patterns stand out more if the base fabric is a similar or darker colour than the sheer and a washed out effect is obtained if the base fabric is lighter or a contrasting colour.

b) Dyed fabrics & threads
I had the opportunity to participate in an introductory dyeing day run by two friends from the NSW Embroiderers' Guild. I used this day to produce some other patterned orange and blue fabrics and threads to extend the range of materials I would have available for later exercises in the module. The attached pictures show some of the activities on the dyeing day.

Method
The dyes used were Drimarine K Fibre Reactive dyes, colours Turquoise, Blue 2R, Golden Yellow and Scarlet. The dye mixture consisted of 30 ml dye, 65 ml urea & 250 ml water. Intermediate shades, oranges & browns were produced by experimental mixing of the individual dye solutions. A low immersion method was used, where materials were spread in shallow trays and the dyes were dropped on to the fabrics or threads with a syringe. These were left for 30-60 minutes before the application of soda ash solution (45 mL soda ash to 1 litre very hot water), and then left overnight and treated the next day with hot water and then rinsed in cold water. As shown in the pictures below, I managed to achieve my goal of having some extra fabrics and dyed threads to use for my samples.



Photo 1: Matching dye mixes to some of my sample fabrics
Photo 2: Mixing the dye. Note use of gloves and mask while handling the dye powder.



Photo 3: Some items ready for dyeing - folded fabric with pegs placed at intervals, fabric twisted around rope, fabric scrunched and tied into a bundle
Photo 4: An item after dye was applied - see top right in photo 5 for the result.


Photo 5: Final dyed fabrics, clockwise from top left: blue fabric twisted around rope,blue fabric with rubber bands placed at intervals as in photo 4, orange-yellow scrunch, orange yellow fabric bunched over stones.


Photo 6: Two fabrics dyed by folding & placing pegs at intervals


Photo 7: Bunches of hand-dyed mixed threads
Acknowledgement: Many thanks to Annette Glare and Robin Kaltenbach for their expert tutoring and for taking these photos. Thanks also to Deb Kennedy for some of the fabrics and materials used in the dyeing process.