M4, CHAPTER 7: WRAPPED FRAMES TO MAKE GRIDS

 

In this chapter I created grids of my own, using  a variety of embroidery  threads, ribbons, crochet cotton, and decorative knitting yarns. Some were done on a fixed, flat wooden frame, where the finished piece had to be cut away from the frame (samples 1,2,5 & 6). Others were wound onto the outer section of an embroidery hoop, which could be pulled apart, allowing the threads to be slid off without cutting. I found it relatively easy to create interesting effects with these methods, largely influenced by the choice of threads. There are endless possibilities.

Samples 1 & 2: In these samples the threads were only wound in 1 direction around the frame, and then other threads were woven across them by hand to make a grid. With sample 1, I found that the thin threads I chose gave a nice lacy effect, but the grid tended to collapse because the threads were too fine to hold it firmly in place. Winding the red ribbon diagonally across the piece helped a little. In sample 2, I wove a lot of thicker ribbons, wools and crochet yarns across the base of  vertical red ribbons. This held the grid more firmly and gave a sturdier result.

Sample 3

In this sample I used two tones of stranded cotton (i.e. 2 greens, 2 pinks) and wove them around the embroidery hoop at right angles to each other. I then worked diagonally cross each section with pink and green perle 8 thread, wrapping the bars. I was able to slide the final piece off the hoop, leaving the loops intact. I was pleased with this result.

Sample 4

This sample was created by winding the two types of pink yarn horizontally and vertically, then adding some blue/green wool wound diagonally. The whole lot was then held together by zigzag machining in green, purple and pink across groups of threads in different directions. Again, it was possible to slide the finished piece off the embroidery hoop so that the loops were left intact.

Sample 5

In sample 5 I wove 2 different, reasonably thick yarns horizontally and vertically, making the passes fairly close together. I then anchored the horizontal threads with alternate blocks of blue and green zigzag machining. This gave quite a firm grid to work on.  The letter R was worked by hand in bright pink perle 8 thread by weaving it around the vertical strands. I drew the letter shape on tissue paper first and then stitched over it in a coarse running thread on the grid, pulling the paper away before starting to wind the pink thread around the bars. Again, I think this technique has future possibilities, but next time I would make the letter a bit bolder and the grid a little less firm by spacing out the vertical and horizontal strands.

Sample 6

For this sample the grid was constructed with vertical rows of a fine reddish rayon thread, and then horizontal rows of two green coloured stranded threads, followed by four rows of a green ribbon at the bottom. The grid was secured with patches of zigzag machine stitching in both directions.

I then worked a roughly circular pattern in paler pink over the top, by making long stitches secured by winding the thread under and over strands of the grid. The idea of this was to give an impression of a rose shape. I thought the effect created by the thread and colour variation in the horizontal strips of the grid created a lot of interest though the colour choice could be improved, and also the rose design worked over the top had possibilities for further development.

M4, CHAPTER 6: DRAWN THREAD WORK STITCHERY

This chapter explores the use of hand and machine stitchery to embellish grids made by withdrawing threads from different types of fabrics. I mainly used my dyed fabrics for this, exploring effects that could be achieved with fine and coarse weaves. I also used a few pieces of coloured hessian to get started.

Hand Stitched Samples

I tried the plastic bottle method described in the course notes as a support for the fabric . I found it was fine for times when I wanted to thread bands of wools, ribbons or embroidery threads through areas of withdrawn threads. However it was less satisfactory when I wanted to do needle weaving on a larger scale or to work more complex patterns. I found I got better results with an embroidery hoop which held the fabric tighter (e.g. samples 4 & 5).

Sample 1: I started by refreshing my self with the basic principles of withdrawn thread work by doing a very small sampler using traditional methods  to get “in the groove”. This helped me to plan my later samples and stitches more easily. I then branched out, using bolder colours,  thicker threads, ribbons and  knitting yarns.

  Sample 2: This  shows a range   of effects achieved using darning, threading  and stitching. Stitches such as  herringbone (rows 3 & 8) and raised chain band (rows 2 & 5 from top) gave some interesting effects with the different yarns.

Sample 3: Here I explored various binding and needle weaving techniques. The “flower” section  (middle right ), where the pearl thread was woven around the bars in a circular fashion, was particularly pleasing. Other effects explored included diagonal stitching on the bars and crossovers and some basic needle weaving.

Sample 4: This shows some patterns and effects achieved by needle weaving on bands of withdrawn threads. It was essential to have the fabric quite taut for satisfactory results. In rows 2, 3 & 4(from top) tapered shapes and patterns were created by  gradually moving blocks of coloured stitches across the threads. Some of these patterns are traditionally worked on canvas. Personally, I think that is preferable, as the stiff grid of the canvas would keep the bands in shape more readily. The fabric used here was a bit floppy. Various needle weaving approaches were also explored including weaving a block (row 2, second from right, pale pink), working single bars ( row 2, right and row 4), randomly joining adjacent bars ( row 3 centre and right).

Sample 5: Some interesting lacy effects were achieved by withdrawing blocks of threads in different directions from a loosely woven dyed curtain fabric, and then pulling, needle weaving and twisting stranded cotton around the remaining threads.

Machine Stitched Samples

Sample 1: In the first  sample I machined over the rows of weave where the threads had been withdrawn. I realised later that I had misinterpreted the instructions and I should have machined on the 2-way weave that was left between the bands of withdrawn threads. Nevertheless, although I found I had to machine several rows to  get a significant band of stitches, I rather liked some of the effects I achieved by combining different thread colours, using a thicker thread in the bobbin and weaving some clumps of the withdrawn threads back into the mesh I had created.

Sample 2: I also machined over the rows where threads had been withdrawn in this sample, but used narrower bands of withdrawn threads and only 1 row if stitching on each. The overall effect was achieved by alternating the two colours in an irregular fashion and tying the withdrawn threads in small tassels on the sides. Again, I quite liked the result.

Sample 3: Here I experimented with loops, folds and tucks. Because I chose not to continue the loopy rows the full length of the fabric, I had to find a way to deal with the bulges of remaining fabric. I did this by folding it over and machining it down, like a tuck. I added a few green loops by hand to each row of pink loops to improve the colour contrast.

Sample 4: This shows the different effects that can be achieved with a loosely woven fabric (cheesecloth in this case). I withdrew quite narrow bands of threads and then used a combination of machining and hand threading to embellish the fabric. I also tried some free machining in green (with a soluble support layer underneath) to fill the middle hole, then threaded some pink wool through the mesh I had created – trying to give a hint of a rose shape.

Sample 5: I wanted to experiment with needle weaving by machine, machining long strands of threads and then branching across thread columns from time to time to make an interesting network. I decided to do this with a simple shape (a pentagon in this case) where not all the thread columns were the same length, to see if this added extra interest. The edge of the shape was finished with a machined buttonhole stitch to neaten the edges and add definition. I was quite pleased with the end result and think this approach could be developed further.

Sample 6

In this sample I experimented further with different shapes, trying to find a way of working a stylised rose shape on the fabric. My original intention was for this  to be  a machined piece, but I ended up adding a lot of hand stitching to get a reasonable outcome.

In the centre and bottom shapes I withdrew threads to make a fine grid and then machined them both ways. I found however that they looked quite messy and lacked definition, so then I wove pearl threads into the grids, improving them considerably.

For the shapes on each side, I withdrew wider bands of threads  and then machined groups of threads together in strands (needle weaving by machine). Again, I thought  this did not give a strong enough effect, so I worked herringbone  stitch across the columns of machined threads in pearl 8. However this tended to drown out the machined cords.

Finally, I tried machining around each shape to finish off the piece, but then decided to add a row of running stitch to give a more interesting, defined effect. Overall I think this sample has future possibilities, but I spent a lot of time on the machining for little gain, and might have been better to focus on the hand stitching.

 

Sample 7: I used a loosely woven curtain scrim for this sample. I withdrew threads in bands of different widths and then worked into each band. I generally machined down the long strands of threads to secure them in bands (needle weaving) and also machined across the remaining horizontal bands of intact threads to give some stability. I then manipulated the machined bands in various ways with hand stitching to create some lacy effects. 

For example, in the top row I overlapped the cords and secured them with a few stitches. In the bottom row I left some threads without machining and worked purple rows of raised chain band across them. I also wove a thick variegated knitting yarn through a few rows to add colour and texture.

Overall I was pleased with this sample and think I could expand on this approach in future parts of the module.

 References

Moyra McNeill, “Drawn Thread Embroidery”, BT Batsford, London, 2005

Moyra McNeill,  “Pulled Thread Embroidery”, Dover Publications Inc, 1971.

Effie Mitrofanis, “Needleweaving and Embroidery: Embellished Treasures”,  Sally Milner Publishing, 2005.