Here is the complete view of the sampler, followed by two close ups of different sections .
Sample Key: I chose this sample shape because it was a bit more interesting than a strict rectangle or square. For the descriptions below, please refer to the row letter and then the sample number going along each row form the letter e.g. in the above picture bottom left is A1 and top right is E2.
Description of Each Square
A1: Strips of calico and osnaburg cut along one side then coiled and stitched into place.The cut sections were then fanned out to give a tufted flowery effect.A2: Calico strips put through a smocking pleater then small sections cut and secured by hand. A thread was bound around the middle of each small piece to give a flattish bow tie shape.
B1: Polar fleece placed over a square of cotton chenille and then three lines of quilting worked between each ridge of chenille to give the undulating effect.
B2: A loopy piece of cord was machine stitched under a square of osnaburg using zigzag stitch. The edges of the fabric were fringed and the cord knotted to finish the sample.
B3: Circles of Polar fleece were gathered by hand and then stuffed with polyester wadding to form the balls. The threads used to stitch the balls to the background were left hanging and tied to give the impression of a bunch of fluffy balloons.
C1: Strips of silk crepe were folded, machined and cut into flat sections. These were arranged in a lattice on the black background, with the top rows knotted for added texture.
C2: A large square of osnaburg was gathered onto a smaller square of Vilene backing. The wrinkled surface was caught at intervals with small hand stitches to secure the fabric in place (furrowing technique).
C3: A spiral shape was hand quilted with running stitch onto silk crepe backed with wool wadding.
C4: A square of silk crepe was attached with zigzag machining to a square of Tyvek. The Tyvek was then shrunk by hovering a hot dry iron over it. This had the effect of drawing in the silk fabric into a loosely wrinkled shape.
D1: Two layers of silk crepe were joined by machine around the centre ring and turned right side out. They were then joined on 3 sides by machine to a backing layer of osnaburg. This bag was also turned right side out and a small piece of calico which which had been passed through the smocking pleater was inserted into the peep hole. Finally wadding was inserted between the two layers of crepe to puff up “frame” or “pillow” and then the fourth side of the bag was stitched up by hand.
D2: Circles of calico were gathered by running stitch part way across each. The threads were drawn up and wadding added to puff out the centres giving a flower-like appearance.
D3: A strip of calico was gathered in the smocking pleater and then manipulated into a raised circular shape which looked a bit like a mountain. Hand stitches were added to hold the shape in place.
E1: Rows of tucks were machined on cotton osnaburg and then slashes made at random along the folds to add more texture.
E2: Silk crepe with a layer of wool batting underneath was held in a hoop and a meander patter worked by free machine embroidery. Shirring elastic was used in the machine bobbin so that the fabric bunched up when it was removed from the hoop.
REFERENCE: Colette Wolff, "The Art of Manipulating Fabric", Krause Publications, Wisconsin, 1996
