Chapter 11: Resolved Sample - Growth & Disintegration

Sheet 1: Examples of Methods to Make Paper Disintegrate

Clockwise from the top: a)cutting a fringe, b)cutting & slicing, c)making holes with a punch, d)momigami - crumpling paper softened with vegetable oil, e)poking holes with a skewer, f)tearing holes and edges in an uneven manner, g) burning the edges.








Sheet 2: Cut Paper Shapes Showing Disintegration


Series showing disintegration of the chosen starfish shape by enlarging beyond the edges of the square, distorting and echoing the shape. This approach was adapted for the final resolved sample.









Sheet 3: Different Ways of Disintegrating Fabric Starfish Shape

These samples used a loosely woven fabric which could be frayed, twisted, have threads withdrawn from it or holes poked in it. In some of the samples, threads were withdrawn or holes made in a random manner. In others the threads were withdrawn to form a more orderly cross or grid shape. The sample at the bottom left was adapted for the final resolved piece.








Experimenting with Fabric & Stitching to make a Shape Disintegrate

Piece "Opal #1" started at Summer School workshop with Cas Holmes, with momigami paper, collage and stitching. The momigami technique learned at the Summer School was then applied to the resoved sample in this module.





Sample 1: Stitching: Using machine stitching on painted momigami paper, the number of rows of stitching around the edge of the starfish was varied to see how it affected the appearance. With a single row, the edge of the shape provided the contrast and gave a definite border, three or four rows gave an impression of layering of shapes, but the shape became less clear and more muddied with extra rows of stitching.I did not like these effects very much and decided not to pursue this for the resolved sample.


Sample 2: Effects of fraying and stitching over a foiled shape
In the sample on the left the background shape became indistinct due to its variation from the central shape, and the frayed eges added to the sense of disintegration.The blue shape in the centre had gold foil added by attaching Vlisofix to the shape then ironing the foil on with a slightly warm iron. Different types of stitches were added to see if they would enhance the impression of disintegration achieved with the foil. I experimented with both the blue and tan colours and the stitches used were French knots, detached chain, straight stitch and buttonhole stitch. The tan stitches were more effective than the blue because they implied that the blue fabric on top had eroded.


Sample 3: Stitching on a foiled shape combined with reverse applique
In this sample (right) a multicoloured foil was applied to the brown background with Vlisofix. Part of this shape was stitched and cut away to reveal a much stronger starfish shape represented by the fabric underneath. This was enhanced further with a couched outline. Various straight stitches were worked on the edges and surface of the foiled top layer to see if this would enhance the sense of disintegration. The stitching on the edges was the most effective because it gave a sense that the edges were being nibbled away. Another interesting effect was achieved with the flecks of gold from the foil, which gave a sense that the surface of the fabic was uneven or weathered. This gave me the idea of trying to get a more flaky effect with the foil in the resolved sample.

Combining momigami & applique
Sample 4(left): Experimenting with momigami paper applied and cut, with a second star shape layer on top. The top layer was hand-dyed open-weave cotton, which could be distorted and frayed easily. This effect was adapted for the final resolved sample.


Sample 5(right): A second experiment with momigami paper with various stitches added (running stitch, detached chain, French knots). A layer of orange fabric was appliqued on top, then the second star shape outlined with stem stitch. The fabric was cut away on both sides of the outline, with the residual edges frayed. A few starfish beads were added as a central embellishment. From this sample I concluded that the outline was mostly suited to a top layer in the final piece, whereas the orange cheesecloth layer (from sample 4) was more appropriate for fabric in an intermediate position. The stitching on the momigami had possibilities, but it was clear that careful choice of colour was necessary to add the right amount of decoration, without the effect of the stitches detracting from or getting lost in the background.

Paper compositions with the Disintegrating Shapes
For my resolved sample I was interested in exploring how the starfish shape could disintegrate by distortion so that it ultimately became almost unrecognisable. I began by drawing a few ideas based on this concept and then experimenting with paper layers to develop these. The two sketches are shown below. I decided that I preferred the one on the left.

















In the paper experiments I tried various combinations of papers and colours to simulate alternatives for the design of the resolved sample. I tried up to 5 layers of paper and also looked at options of having single or multiple starfish in the top layer, as well as how much to rotate each layer relative to the one below. In the end I concluded that I preferred the deep blue background with the painted momigami paper on top of it, followed by the golden orange and orange brown layers. I thought that a single starfish on top, but set off-centre, was more effective than two or three starfish. These conclusions aided my decisions when I began the resolved sample.







Resolved Sample
This sample was constructed from five layers of fabric. I began by preparing the aqua and deep blue background, then applying the momigami paper followed by the two orange/tan layers.I decided that a deep blue background was a bit flat on its own and therefore used a painted aqua layer as the base (with Lumiere paint applied through a strainer to give the droplet effect) and a deeper blue sheer on top.The basic deep blue shape was applied to the base layer and then extra pieces cut away to give a balanced effect. This was the most distorted shape and barely recognizable as being derived from the starfish.

In the next layer I incorporated the momigami (oiled & scrunched) paper technique with couching and stitching, then the orange layer was formed from some of the loose-weave fabric I had dyed some months ago. This layer has pulled and frayed threads as well as little starfish stitched on the surface (could be interpreted as the original shape). I experimented with various paint colours and patterns for the paper layer and selected one which matched well with the base fabrics so that colour of the the aqua paper echoed the base fabric layer and the deeper highlights echoed the deeper blue sheer. The detached chain stitches on the paper complemented the droplets on the background. Irregular lines of deeper blue silk strands were couched onto the paper to emphasise the radiating star effect.

The top starfish, which was the most defined shape, was outlined with couched Jap gold and the surface raised with Trapunto filling to emphasize its form. The stippled effect on the top starfish was achieved with copper foiling attached with sprinkled bonding powder rather than Vlisofix.

Chapter 10: Inlay Applique

Sample 1: Insertion Stitches

From top to bottom: a)Cretan stitch; b)Squared Palestrina- refer to Enthoven Fig.423,p.155; c)Beaded insertion (Cretan) stitch; d)Stitch from a Roumanian blouse-refer to Enthoven Fig.580,p.223; e)Knotted insertion stitch (also called Knotted Cretan) - refer to Enthoven Fig.587,p.226.





Sample 2: Simple Counterchange

Blue fabric was made from blue felt with painted sheer bonded to it with Vlisofix.
Peach coloured fabric was made from peach felt, then blue glitter and copper Angelina fibre trapped under a bonded pale sheer. Shapes were inserted with antique faggot stitch, then stem and running stitches added as decoration. Edges were joined with Chevron stitch and outer edge finished with buttonhole.






Sample 3: Interchange



Painted and bonded fabrics were cut in the two different outer star shapes and bonded to the indigo-blue felt background. Then the common starfish shape was cut from the centre of each one and moved in a clockwise direction to the adjoining shape. These inserts were attached with antique faggot stitch, then beads, sequins and decorative stitches such as running stitch, stem stitch and feather stitch were added. The felt squares were joined by feather stitch using the sewing machine.





Sample 4: Complex Counterchange



The piece was created with 4 squares made using painted bonded sheers or painted Vlisofix bonded to the felt and covered with a sheer. Each square was cut into 4 segments. Moving from the outside to the centre, the second shape cut from the outer colour was rotated anti-clockwise (large curved star) and the third shape (small pointed star) was rotated clockwise. This resulted in the small stars being the same colour as the large curved stars in the opposite squares. The pieces in the middle were also rotated clockwise to match the small stars. All segments were joined using antique faggot stitch and then the squares joined with zig-zag using the sewing machine. Beads and sequins were added in the centre for decoration.



Sample 5: Mock Insertion Stitch

The 5 diamond shapes were cut by dividing the star shape (with Vlisofix bonded to the back) and moving the pieces slightly apart. These were bonded to the blue felt and then stiches added to give the appearance of an insertion stitch, as well as for decoration.

Chapter 9: Reverse Applique-Traditional and Contemporary Methods

Sample 1: Traditional method - reverse applique with hand stitching. This used a simple shape, starting with the outside shape stitched, cut and turned under first and working inwards towards the centre.













Sample 2: Similar to sample one with machine outlining used for all shapes.Outside shape was stitched and cut first, then the second and third shapes moving inwards. Note that the centre layer contains trapped fabric pieces under blue net.


Sample 3: Inside shape stitched and cut first, plus the border framing the outside edge of the sample. Then the second and third shapes were stitched and cut, progressively moving outwards from the innermost shape. Machine outlining was used for all shapes.


Sample 4: Slashed method using five layers of fabric. Design was machined through all layers using double rows of stitching for strength, then fabric slashed through multiple layers of fabric. The slashed edges were rubbed to fray and distress them.











Sample 5: "Ripple" effect created by using several layers of fabric, with colour & fabric variations only extending over sections of the square, as per the photo on the left. The entire design was machine stitched from the back, then the top layer was cut away from the front to reveal the pale blue background layer. Further lines of stitching were added from the front and further layers of fabric cut away after each new row of stitching, until all the layers had been revealed. This gave a pleasing effect with interesting colour changes occurring across the piece, as shown on the right.