M5, CHAPTER 5: QUILTING, PADDING & STUFFING

In this section I explored  several techniques for quilting and stuffing layers of fabric, as well as experimenting with a range of materials, patterns  and stitching.

In these samples I experimented with different pens/pencils  for marking the quilting lines. Some of these did not erase very well (e.g. 1 & 2). Eventually I decided that an air-erasable pen was the best choice for a line only needed for a short time, and a water erasable pen for lines needing to be visible for longer. Calico was used as the backing material for most samples, unless otherwise indicated.

1. WADDED QUILTING

1.1 Various top layers, batting, designs & stitches.

Loft  is a descriptive term for the thickness, height and resilience of quilt batting. High loft batting is thicker and fluffier, usually polyester and used more often for tied quilts. Low loft batting is thinner and shows off the quilting stitches (Reference http://www.straw.com/equilters/library/tips-hows/glossary.html)

These samples show the effects achieved by varying the loft of the batting.

Sample 1: Flannelette top layer with thick polyester batting (high loft) and diagonal quilting in running stitch.

Sample 2: Cotton interlock top layer with 2 layers of Pelon (low loft) as wadding and quilted in a diamond pattern using backstitch.

Sample 3: Polyester velvet top layer with wool batting (medium loft) and Greek meander quilting using thicker Perle thread and 2 parallel rows of running stitch.

Sample 4: Silk habutai top layer, with bamboo batting (low loft), quilted in a hexagonal shape with running stitch, including a centre feature with many rows of fine stitching.

I then stuck with the hexagonal shape for several of my subsequent samples while I varied other parameters.

Sample 5: Silk habutai top layer with medium thickness polyester batting (medium loft), quilted in a hexagonal shape with fly stitch.  This gave a slightly more defined effect than sample 6, where polyester polarfleece with a lower loft was used as the batting,  and sample 8, where bubble wrap was used.

Sample 7: Silk habutai top layer, with chenille fabric used as the batting and quilted diagonally in the troughs of the chenille with running stitch. This gave quite an interesting & pleasing textured effect.

1.2 Padding Experiments

1.2.1 Shaped Quilting: The shape to be held in place is placed on the backing fabric, then the top layer added and held in place temporarily until stitching is added around the shapes to hold them in place.

Sample 9: here I tried only padding the hexagonal shape rather than the whole square. I used 3 layers of Pelon for the centre shape, two layers for the next band and one layer for the outside band. The top fabric was Silk habutai stitched with chain stitch. The idea was OK but I would have got better contours if I had doubled or tripled the layers of padding in each section.

Sample 10: Cotton muslin was chosen for the top layer  because it was semi- transparent. The wadding was a slice of polystyrene foam cut to shape. Two rows of black running stitch were used to hold the top layer in place.

Sample 12: Silk organza was chosen for the top layer  because it was semi- transparent. Silk noil was used for the backing. The layout was designed first, then the shells (collected from a local beach) were stitched into position with running stitch one at a time.

Sample 13: Nylon tulle was chosen for the top layer  because it was almost transparent. Small scraps of fabric were used as the padding. The scraps and tulle were lightly held in place with Vliesofix and then running stitch added to hold the layers together.

1.2.2 Padded Quilting : This involves a top layer and a backing fabric. The padding is added after the stitching. With samples 11,  14 &  15 the shape was stitched but not fully completed and then the  “padding” added and the final few stitches put in place to close the shape.

Sample 11: Nylon tulle was chosen for the top layer  because it was almost transparent. The rows of running stitch (Perle 5 thread) were partially completed, then the small shells  pushed into the gap to make the  padding, and the last few stitches were worked.

Sample 14: Silk organza was chosen for the top layer  because it was semi- transparent. The padding was a collection of threads obtained by fraying some of my fabric samples. The rows of black back stitch (Perle 8 thread) were partially completed, then the threads  pushed into the gap with tweezers to make the  padding, and the last few stitches were worked. A row of running stitch was added around the outside for decoration.

 

Sample 17: In this sample  I used felt as the backing layer, with muslin over the top. It started off as a trial of different types of stitching using the same diamond/square shape. Stitches used were: Row 1 (L to R) – couching, two rows of running stitch & cross stitch; Row 2 – Fly stitch, 2 rows of running stitch and back stitch; Row 3 – Fern stitch, 2 rows of running stitch and chain stitch. Then I experimented with adding polyester batting to pad different sections of the central row of stitched samples by slitting the back, pushing in the padding and then closing the slit with herringbone stitch (Italian or Trapunto Quilting).

Sample 18: This sample was also padded using the Italian or Trapunto Quilting technique. Silk organza was chosen for the top layer because it was semi-transparent. The padding was human hair saved from my last haircut. Running stitch was used to outline the shape and extra rows added to the unpadded section for contrast. Although I liked the concept of this sample it was less successful than I hoped because my hair was so fine it kept poking through the fabric. This meant that the overall  impression was not as clean or sharp as usual.

1.2.3 Corded Quilting by Hand

Sample 15: Polyester/Spandex knit fabric was used as the top layer. The shape was outlined with two rows of running stitch but the hexagon was not completely closed. A pipe cleaner was then threaded into the channel and the last few stitches added to close the shape.

Sample 16: Pieces of rope were cut to size and the ends sealed with a flame to stop them fraying to make the padding. The top layer was Polyester Polarfleece. Rows of running stitch were used to make channels into which the rope was inserted. In each case the top row of running stitch was worked, then the rope placed under the polarfleece, and the second row of stitching was added.

1.2.4 Corded Quilting by Machine

The next series of samples were made using the sewing machine.

Sample 19: In this sample  white wool was used as the cord and cotton interlock was the fabric.

Sample 20: In this sample  a thin white  cord was used with polyester satin fabric.

Samples 21 & 22 show two attempts to make a channel to anchor a pink cord in nylon tulle. With sample 21, I used a tearaway fabric to support the tulle while machining the cord in place. The proved quite difficult to remove and  many of the stitches broke in the process. With sample 22 I used a Guliette medium weight water soluble film to support the tulle while machining. This film then dissolved away very easily when the piece was dipped in cold water.  The resulting sample was much more satisfactory as the rows of stitching were even and unbroken. I think this technique could have interesting possibilities for the future.

M5, CHAPTER 4: FABRIC INVESTIGATION

 

1. Fabric Collection & Properties

1.1 Sources & description

Natural fibres: Cotton, linen & bamboo are made from plants whereas silk and wool are protein fibres from an animal source.  Rayon (viscose) is made from treated cellulose and because of this behaves more like a plant fibre than a synthetic. It is sometimes classified as semi-synthetic. These materials can generally be spun or matted into sheets like paper or felt.

Man-made or synthetic fibres:  Polyester is the most commonly used synthetic fibre. It is favoured because of its crease resistance.Nylon is a polyamide made from petroleum. Acrylics (acetonitrile)  are made from natural gas and petroleum. Polyurethane (brand names Spandex, Lycra) is a long chain polymer which is elastic and used to give stretch to fabrics, often blended with polyester.

Blends: Combinations of fibres are used to try to take advantage of the desirable properties of the components. For example  combinations of cotton, which offers breathability, and polyester which  is crease resistant,  are likely to require less ironing than cotton alone but be more comfortable to wear than 100% polyester.

Batting: Batting is generally a non-woven layer of  fibre. Examples included some made from natural fibres (wool, cotton, bamboo) or synthetic, generally polyester. Polyester batting can be sourced in various thicknesses to give different effects when used.

Support materials:Examples of these non-woven, synthetic support materials include different thicknesses of Vilene and Vliesofix Transfer Adhesive.They are generally used to stiffen or support other fabrics to be stitched, moulded or shaped.

1.2 Creasing  & Stretching

Cotton: Cotton fabrics tend to crease when crushed. Those with firmer weaves e.g. Calico, Homespun, Lawn,Voile & Chenille  creased more readily and did not stretch much in any direction. Those with a looser weave, such as Osnaburg and Cheesecloth, stretched on the diagonal but not much horizontally or vertically and creased less. The cotton interlock knit stretched diagonally & horizontally with the knit and creased less.

Silk: These samples creased a little when crushed, but less than cotton. Those with firmer weaves e.g. Noil, Habutai, Crepe de Chine, Organza & Georgette, creased more readily and did not stretch much in any direction. Those with a looser weave, such as Silk Scrim and Chiffon, stretched on the diagonal but not much horizontally or vertically and did not crease as much.

Linen: These samples creased when crushed and did not stretch much horizontally or vertically. There was a little stretch on the diagonal  if the weave was not very tight.

Wool: The wool crepe sample creased a little when crushed but not as much as the linens and cottons. It stretched a little on the diagonal but not horizontally or vertically.

Rayon (viscose): The rayon felt creased a little and did not stretch much in any direction.

Synthetics: Examples of synthetic fabrics made from 3 different materials – nylon, polyester,polyethylene-  were collected. On the whole the fabrics were crease resistant. Nylon (polyamide) tends to be spun into fine threads and was found in knitted lingerie, tulle & lace. It can stretch diagonally(e.g. tulle) or horizontally & diagonally if knitted. Polyester is very versatile and examples collected included fine & coarse weaves as well as knitted  fabrics with a pile (e.g. Polar Fleece and Polyester Velvet). The finer weaves tended to crease more and did not stretch.The more open weaves  stretched diagonally and the ones with a knitted base were very stretchy horizontally and diagonally. The Tyvek (polyethylene spunbonded) could crease but did not stretch. It is mostly used in protective clothing as it is impermeable to water.

Blends: Fabrics made from blends of different materials tended to reflect some properties of both, and their behaviour largely reflected the major component. For example a fine cotton/polyester weave behaved more like a fine cotton fabric but creased a little less. A polyester/urethane (i.e. Spandex or Lycra) knit was very stretchy and crease resistant.

Batting: Not particularly stretchy. Thicker polyester types can have pieces or layers peeled away.

Support Materials: They can crease and do not stretch much.

1.3 Fraying & Withdrawing Threads

Cotton - interlock, lawn & flannelette: Edges of woven cotton fabrics frayed readily. The effect depended on whether the weave was fine(e.g. lawn) or coarser (e.g. flannelette). The knitted (interlock) fabric did not fray readily. Threads could be withdrawn easily only from the woven fabrics.

Silk-organza, georgette, noil, habutai : The edges of these fabrics frayed readily, but the effect depended on the fineness of the weave. It was possible to withdraw threads from these woven fabrics but it was more difficult when the threads were very fine.

Linen & Wool: The edges of woven linen, linen blends and wool crepe frayed readily. Threads could be withdrawn readily from these woven fabrics.

Rayon (viscose): As the rayon felt was not a woven material it did not fray readily and threads could not be withdrawn from it.

Synthetics & synthetic blends - polyester velvet, polyester spandex blend, polyester polarfleece, nylon tulle, polyester cotton blend: These fabrics did not fray readily, except for the polycotton blend.Threads could not be withdrawn from the polyester knits (e.g. velvet, spandex blend, polarfleece) & nylon tulle. However they could be withdrawn from the woven polycotton blend.

Batting: Battings could not be frayed but polyester or wool batting would pull apart if sufficient force was applied.

Support Materials: These non-woven  materials did not fray.

1.4 Burning with a Candle Flame

Cotton- interlock, lawn & flannelette,  Linen & Rayon (viscose):

Cotton, linen and cellulose based fabrics, e.g rayon, burn readily but do not melt, leaving a fine ash residue which crushes easily. May smell like burning paper. Rayon tends to burn longer after the flame is removed. Cotton generally has an afterglow.

Wool: Wool crepe shrinks away from the flame as it burns, and does not melt. It smells like burning hair and leaves ash or black beads which are readily crushed.

Silk-organza, georgette, noil, habutai:

Silk shrinks away from the flame as it burns, and may extinguish itself. It does not melt, but leaves ash which is readily crushed, sometimes in the form of a black bead. Its smell has been described as like burning hair or charred meat.

Synthetics:

Synthetic fabrics (e.g. nylon or polyester) or blends with a high percentage of synthetic fibres burn away from the flame and melt, leaving a hard edge that feels like plastic. Nylon edge is like white beads, whereas polyester is black. Smoke may be very black with a chemical smell. Silk / polyester blend burns like a synthetic but has a crushable black ash on the edge.

1.5 Applying Soldering Iron or Hot Wire

Cotton- interlock, lawn & flannelette: Hot implements lightly scorched the fabric but did not cut it. Small cuts could be made with a hot wire, but this needed persistence.

Silk-organza, georgette, noil, habutai: The soldering iron scorched the silks, and cuts could be made with the hot wire, especially in the finer fabrics.

Linen & Wool: The tools lightly scorched the fabric but did not cut it. The hot wire made a cut in the fine wool crepe with a bit of effort.

Rayon (viscose): The tools lightly scorched the fabric but did not cut it.

Synthetics & synthetic blends - polyester velvet, polyester spandex blend, polyester polarfleece, nylon tulle, polyester cotton blend: Holes and cuts could be readily made in these fabrics with the soldering iron or hot wire due to their synthetic content. The finer fabrics cut more readily.

Support Materials & Tyvek^®: Thin Vilene^® and Polyethylene Spunbonded (Tyvek^®) could be cut easily with a hot wire. Thicker materials such as Pelmet Vilene did not cut very readily. The next photo shows how a decorative effect could be obtained by making holes in Vilene with a burning satay stick.

1.6 Response to Heat Tools

Most synthetic fabrics distorted readily when a heat tool (blower) was applied,  whereas natural fabrics like silk just scorched. Polyester polarfleece scorched and distorted on the fluffy front side. The "back" side was not discoloured and had an interesting buckled appearance.

A hovering dry iron could also be used to buckle or distort some synthetics. Very interesting effects can be obtained using this method with Tyvek^® if you control the distortion carefully. With the nylon knit, the top surface could be partially removed.

References

http://quilting.about.com: How to do a fabric burn test

http://info.fabrics.net/fabric-facts/fabric identification: Fabric identification: The burn test

http://www.ehow.com/how_7859531_identify-wool-acetate-silk-polyester : How to identify cotton, wool, acetate, silk an d polyester

http://www.madehow.com/Volume-4/Spandex.html: Spandex

www2.dupont.com/Tyvek/en_US/‎: Tyvek Home Page

http://www.createforless.com/buying-guides/sewing-and-quilting/quilt-batting: Quilt batting – types and choosing the right one.

2. Decorative Edges

Decorative edges were created using various distressing techniques such as  cutting, fraying, applying a hot wire or soldering iron. The method was selected according to the properties of the fabric observed in Section 1. In some samples, 2 techniques were combined.

Edges 1:

Polyester woven blend frayed & threads withdrawn; Polyester woven blend frayed and edges cut at angles;Rayon felt cut with pinking shears; Silk chiffon frayed on one side and self gathered by pulling a few threads on the other side to make a ruffle.

Edges 2:

Tyvek^® - scalloped edge cut with scissors, then holes poked along it with soldering iron;Wool crepe pleated & cut at angles across the pleats;  Polyester woven blend frayed & threads withdrawn to fray one edge, then holes made with soldering iron; Silk chiffon - pieces cut out with soldering iron & edges frayed.

Edges 3:

Polyester cut with hot wire; Tyvek^® cut with hot wire; Nylon knit cut with hot wire & twisted; Nylon knit fringed & scalloped with soldering iron.

Edges 4:

Polyester/Spandex^® blend rolled and knotted; Polyester/Spandex^® blend twisted and coiled back on itself like a twisted cord;Nylon knit cut along edges & slashed in middle with pinking shears then twisted; Polyester satin - fringe cut then twisted & knotted;Polyester woven blend frayed, threads withdrawn in two directions & sections bound together with some of the removed threads.

M5, Addendum to Chapter 3

Following some feedback from Sian I have tried a few more paper relief ideas, with varying success! Overall though it was a worthwhile exercise to do these to extend my thinking for later work.

Sample 2A: The original had some big lumps of “ice” with spaces in between. In this sample I added some small pieces of twisted polythene bag to add some contrasting texture by representing the smaller fragments of floating ice. I think this improves the overall effect.

Sample 6A: Sian suggested that I scrunched up the paper more to add texture to the rounded surface. I took a sheet of  thicker cartridge paper, then scrunched it, opened it out and re-scrunched several times. The very scrunched up paper was then mounded over the  humped area. The effect is quite pleasing but moves away a bit from the original picture. I guess this does not really matter as it is just a starting point for the design.

Sample 7A: I tried cutting some circles out of tissue paper than folding and roughly pleating them so the pleats radiated from the centre to the edge of each circle. The circles were then formed into overlapping mounds padded with tissues. I  liked the look that was achieved with this approach as well, but have to be honest and say I preferred the original puffy version.

Sample 8A: In this sample I tried to create  a version focusing on the  roughly padded oval shapes in the original photo. I aimed to represent the smoother tops and the striated sides of the shapes. Instead of using twisted tissue cords for the striations, I decided to try pleating the paper to achieve a more grooved look. I then inserted a padded shape into each pleated oval to give support and represent the smooth tops.

I think this approach was also reasonably successful and opens up various options I can experiment with later in the module using fabric .