CHAPTER 8: NOT WHAT IT SEAMS

1. Decorative Seams
In this section various techniques for embellishing seams were explored. Again I elected to use my purchased fabrics for this chapter in order to conserve my dyed samples.


Sheet 1: Sample A- A fringed border inserted between layers of cotton fabric. This fringe was created by cutting and rolling strips of a stretch fabric and knotting the ends; Sample B- A cheesecloth type fabric was machined with a scalloped pattern on a tear away backing. A few black beads were added to the outer edge for emphasis. I decided I preferred the effect on the wrong side of the patterned fabric, so added some machine and hand stitching to create a bit of balance, and a gentle reminder of blackwork; Sample C- A row of chain stitch was worked on a piece of even weave linen, which was then fringed, plaited and tied off. The fringing was then inserted between two pieces of patterned fabric.
Sheet 2: Sample D -Variegated threads were looped around and then the seam was machined. As this looked a bit bland I then looped some pieces of plaited and twisted wool through the thread loops to add further decoration; Sample E - 4 fabric strips were cut and joined with wide seams. The seamed fabric was then cut into 4 and joined again. All the seams were frayed for decoration. This worked quite well with the striped fabric, due to the bands of colour in the frayed ends.

Sheet 3:Sample F- this seam is more complex than it first appears and builds on sample E. An extra wide piece of black fabric was machined into the seam of the striped fabric and then frayed as well as the stripes. Bundles of the longer black threads were knotted at various intervals to break up the grey/white threads of the striped fabric. This added further contrast and drama to the seam compared to sample E; Sample G - A decorative black net fabric with cream contrast threads was sewn into the seam and then cut irregularly into a rough fringe whch was bent at various angles.

2. Ribbons
Sample H- Examples of decorative stitching on narrow strips of fabric. The upper bundle shows experiments with various machine stitches done in multiple rows or overlapped. The lower bundle shows experiments with mixtures of black and white threads, mostly with one colour in the bobbin and the other in the top spool. Sample I- Layered strips of fabric, stitched together with multiple rows of black and white threads in an irregular manner.




3. Cords
Sheet 1 shows simple cords made by twisting and machinging narrow strips of fabric.
Sheet 2 shows more complex samples which could be used as handles or straps. Sample K - plaited wool was twisted around a fabric strip and machined in place. Each end was finished with a knot and simple tassel. Sample L- a fabric strip was twisted and knotted at short intervals, then black wool twisted around it to add more strength and drama. Sample M- wide strips of fabric were twisted and knotted to make a robust handle.















4. Toggles and closures
Various methods for joining two layers of fabric or closing a flap were explored.
Sheet 1: Sample N - a toggle was made by cutting and rolling a narrow strip of fabric. This was bound with wool and joined to one piece of fabric as a toggle. A plaited woollen loop which could be placed over the toggle to join the two pieces of fabric was added to the second piece of spotted fabric. Sample O - shows a wider strip of fabric rolled and bound with a woollen twisted cord. However this did not seem as useful as the narrower, fatter toggle. Sample P - a toggle or button was created by knotting plaited wool into a ball. A black fabric loop was created as a fastener for the second piece of fabric.
Sheet 2: Sample Q- combination of a large fabric toggle with threads and wool wound around it, plus a large knotted fabric loop. This was more decorative than functional. Sample R - This shows a narrow machined fabric strip with variegated tassells added to each end. This could be used as a decorative tie, either around a roll of fabric as shown here or to join two pieces of fabric by cutting the strip in half and joining the ends to two pieces of material.

CHAPTER 7: TRADITIONAL PIECING METHODS

Stage 1: Log Cabin Designs from Paper
For these designs I started using my own decorated papers and later added photocopies of my purchased black and white fabrics. As I had not done any of this log cabin patchwork before, I taught myself how the patterns were constructed by studying some designs from a reference book on log cabin patchwork(Wien, CA: The Log Cabin Quilt Book, Westbridge Books, USA, 1985). I soon discovered that my own papers did not have enough tonal variation, so after that I preferred to mainly use photocopies of actual fabrics. It took me a while to get a good feel for the handling of the tonal effects, but I thought the later samples were better than the first couple.
Sample 1: Basic log cabin
Sample 2: Court house steps
Sample 3: Pineapple pattern without overlapping corners
Sample 4: Pineapple pattern with overlapping corners
Sample 5: Diamond shape
Sample 6: Chevron pattern on the top and then sides added to make a block pattern

Stage 2: Log Cabin Designs in Fabric
These designs were done with my purchased fabrics. I decided not to use my dyed fabrics for this chapter of the work as I wanted to save them for later chapters. Log cabin deisgns are done by starting with a central shape and adding strips one by one, to get the desired effect.
Log Cabin Sheet 1:A-Basic log cabin block; B-Block called White House steps or court house steps
Log Cabin Sheet 2: C-Chevron block; D-Pineapple block with strips of increasing width. The black strips are added on the diagonal to the patterned strips; E-Diamond shape with inner strips very narrow and outer strips much wider.














Stage 3: Seminole Method
In the Seminole method, strips are pieced and then cut, rearranged and joined together again to create the finished effect. The best finished effects were achieved when there was quite a lot of contrast between the adjacent strips.
Seminole Sheet 1:F-2 joined fabric strips cut and rejoined after turning every second strip. Sample on left side used strips of the same width and sample on right side started with two strips of different widths; G-3 joined fabric strips of equal width cut and rejoined after turning every second strip; H- 4 joined fabric strips of equal width were cut, turning every second strip, and rejoined after inserting a strip of one of the end fabrics bewteen the multi-fabric strips; I- 3 patterned fabrics joined, then ends cut at 45 degrees and rejoined to give the slanted look. Panel finished with a border to neaten.
Seminole Sheet 2:In this technique, the starting strips were joined by machine, then Vliesofix applied to the back. They were then cut into the desired shapes and ironed to stick the cut strips to the background fabric. After that the raw edges were neatened with machine satin stitch.Sample J- 3 strips joined and then cut at 45 degrees and rejoined after turning. Sample K- Used rectangular cut and pieced shapes with ends cut at 45 degrees and applied to the background to give fish-like final shapes.















Stage 4: Patterns Based On Folded Strips
In these methods the fabric strips are cut into small rectangles or squares and folded into triangular shapes before joining them together.
Sample L- Prairie points with folded triangles inserted into a seam(could also be used as an edging). Sample M- Folded star: fabric folded into triangles,arranged into a star shape with overlapping layers, and attached to a background fabric (using small stitches at each point). Final square finished with a border. This technique is also known as Somerset patchwork. (Reference: Patchwork stars by Jane Chiodini, http://www.craftcreations.co.uk/pages/magazines/issues/pdf/issue2/patchworkstar.pdf).