Samples 1 & 2: Glacier ice
Sample 1 (above) was created by machining shirring elastic in irregular circles on polyester taffeta. Sample 2 (right) was worked by hand, gathering circles with running stitch in strips of cotton homespun to form the peaks, then gathering the strips themselves to ripple the surface in between the peaks.
I thought the effects in both these samples were very pleasing.
Samples 3 & 4: Cracked glacier surface
I went back and looked at my photos and found this interesting cracked glacier surface. I decided to make some fabric samples using this as my source of inspiration, even though I had not done paper ones in chapter 3, because I thought it was more interesting and had more possibilities than some of the initial paper reliefs.
Sample 3 (above) was developed with a base of cotton chenille. This was gathered with long straight machine stitches in the ditches between the rows of chenille tufts. Strips of cotton homespun were knotted and then couched into the grooves of the gathered chenille, giving an interesting textured effect which I really liked.
Sample 4 was made with tubes of silk satin formed by machine and turned so the seam was inside. The tubes were flattened and pleated irregularly, then stitched to a base of calico. On reflection, I could have used fewer, wider strips and arranged them more irregularly. However I think the concept of using irregular box and knife pleats works quite well.
Samples 5 & 6: Eroded iceberg
These photos show two different ways in which I tried to convey the texture of this eroded iceberg.
In Sample 5 (above) ovals of silk satin were gathered with running stitch and loosely pulled up to form a dome. This was couched to a cotton base and stuffed with polyester filling. Concentric loops of stem stitch were added with wool to emphasise the oval shape and domed appearance.
In Sample 6, thin cardboard was cut into ovals of various sizes. A layer of Pelon was glued to each and then they were covered with cotton patchwork fabric. The layers were stacked and couched together to form the textured domes. I think this approach was more successful than the previous one.
Samples 7 & 8: Brash Ice
Sample 7(left) was formed by machining two strips of cotton homespun around some pipe cleaners. The strips were cut into short lengths, the segments were bent and arranged on the background (homespun cotton). A layer of bonded polyester support fabric for machine embroidery was placed on top and this was machined in place in rough circles, around the fabric/pipe cleaner segments. The top layer was cut away and fringed in places to produce the rough textured surface. An interesting effect was created by the fluffy blue ends of the pipe cleaner segments, giving the idea of some areas of water between the ice. This was a nice accident, though I am sure it could be claimed in hindsight as an intentional design effect!
Sample 8 (right) is one of my favourites. I used silk satin as the top layer and calico as the base, with a layer of polyester wadding in between. I then quilted a pattern into the satin layer using running stitch trying to represent the small bits of floating ice. I found that better contrast was obtained by densely stitching some areas and leaving other areas plain. The final result was very effective and reminded me a bit of Kantha quilting.
Samples 9 & 10: Rippled iceberg
The challenge with these samples was to convey the linear effect of the rippled ice as well as the 3D impression of the bulges.
For sample 9 (above) I bonded cotton homespun to pelmet Vilene and then passed the stiffened fabric through a hand pleater. Various shapes were then cut out and assembled as shown. Rows of running stitch were worked along the pleat lines of the two top layers for added emphasis. The pieces were attached to each other and the base by hand, with polyester wadding inserted before each stitched layer was finished.
Sample 10 was created with silk organza. The fabric was folded into knife pleats and rows of twin needle pintucks were stitched into the fabric; then it was attached to a layer of thin Pelon. After that the required shapes were cut out and assembled, then hand stitched to a background layer of organza. I thought the combination of pleating and pintucks produced an interesting texture which could be developed further.
