M6, CHAPTER 3: FREE MACHINE STITCHERY

Different stitches such as straight stitching, zig zag and a few automatic patterns from my Bernina machine were utilised for these free machining samplers.  I tested the effects obtained with straight machining and whip stitch (tighter tension in the top, looser in the bottom) and then experimented with a wide range of threads: machine cotton, Perle 3, 5 & 8, metallic threads, stranded rayon and various wools and composite yarns.  For the thicker threads which would not pass through the needle, cable stitching was used (where the thicker thread is wound on the bobbin and the machining is done with the wrong side upwards, so that the thick thread shows on the surface of the right side) .  I pushed this as far as I could with wools of different thicknesses and texture. I also explored the effects that could be obtained using multiple colours on the one sample as well as variegated threads and a combination of thread types.

I found that plain 8 ply yarn was  the limit that the bobbin could handle (top right, sample 2). Thinner yarns were a bit easier to work with. Textured yarns were tricky but could be used in the bobbin so long as they were not too thick or bobbly and would flow when machining started (main examples are on sample 3).

 

 

 

 

M6,CHAPTER 2: DESIGNING WITH SHAPES AND LAYERS

1. Decorated Papers to Work With

Some of the decorated papers, plastic sheets and bubble wrap were utilised in the work for this chapter. Some additional decorated papers, with patterns more applicable to the themes of clouds and water, were also prepared before the design work began. These are shown in the pictures below. The techniques used included, single layer monoprinting with acrylic paint, multilayer monoprinting, dabbing on painted bubble wrap and adding pastel or crayon over monoprints.

 

2. Stage 1: Translation of Simple Cloud & Water Shapes with Paper

Some simple shapes were selected from the water and cloud photos. Decorated paper or plastic was cut or ripped to approximate these shapes. The pieces were then glued to a new background. In  no. 6 the remainder paper after the shapes had been cut for no. 5 was applied to a new background.

 

3. Stage 2: Re-cutting and Recomposing

Similar shapes to the ones selected previously were cut from the sheets produced in stage 1, cutting across the pieces that had been pasted. The new shapes were either pasted to a new background or combined with another set of shapes cut from a different sheet then pasted to another background. I also investigated layering a bit more in this stage .

 

 

Some interesting effects were obtained by recutting, changing the background, displacing images by cutting strips, and combining strips of two sheets.

The interaction of the shapes and background was found to be important, and sometimes when two sets were combined the effect could be too busy (eg sheet on left in next image).

 

 

The next image shows some combined shapes cut from bubble wrap printed paper and painted bubble wrap  applied to a painted plastic sheet. The effect was enhanced by placing another textured semi-opaque sheet of plastic behind the painted sheet. This illustrates how some interesting effects can be achieved with layering.

 

 

The following image also opens up some more interesting possibilities for layering. The bottom sample shows the effect of placing the left-over negative shapes from a background sheet of black paper over a decorated plastic sheet.

 

M6, CHAPTER 1: DRAWING METHODS

1.1 Drawn marks using pens, crayons and pencils

Here are three worksheets showing drawings of sections of the photos of clouds and water. Implements used were a fine line pen, crayons, pastels and coloured pencils. More than one implement was used for some of the pictures to build up the image. Clearly more control over the lines is obtained with the finer implements, but more interesting effects may be produced by using a mixture of implements and varying the colour and thickness of the lines. This observation can be applied to building up a visual effect in embroidery.

 

 

1.2 Sgraffito

These pictures were produced by applying two layers selected from crayon, pastel, pencil or Shiva or Markal paint stick, then scratching off part of the top layer. A fine skewer or a fatter chopstick was used to make marks on the top layer. Various combinations were trialled. Good results were obtained with Shiva or Markal stick over Neocolour II wax pastels and Micador oil pastels over wax pastels. If the order was reversed with the wax pastel layer on top, both layers were scratched through by the skewer or chopstick. Similarly, poor results were obtained by using a combination of two types of pastels.

 

 

 

 

 

 

 

1.3 Drawing with Frottage

Household items such as a woven basket, a plastic juice strainer or a felt drink coaster were placed under tissue paper and then the top was rubbed or drawn over with coloured wax crayons. Various patterns were drawn in different colours, such as groups of short lines, spirals, scribbles, wavy lines, thick and thin lines. All of these could be represented in stitch - hand or machine.

 

         

 

1.4 Resist Methods

I first tried applying oil pastel to black paper, then dabbing black ink on top, but the effect was not very interesting and the ink got lost against the background.

I then tried using a white background, applying coloured crayons, then dabbing dilute blue ink over the top. This gave a series of much more interesting decorated papers for future work.

                 

 

1.5 Discharge

I started off applying bleach to black paper. This did not bleach well enough and the results were rather pale and disappointing. I then applied black ink to sheets of white paper before "drawing" the bleach onto it with either a cardboard edge, cotton bud or a skewer This approach combined with the cotton bud(left) or skewer (right) marks gave much better results.

   

  

 

1.6 Transparent Surfaces

The first picture shows acetate surfaces with acrylic paint sponged or dabbed on top.

The second shows some interesting effects obtained when paint was dabbed on a thin polythene sheet (cut from a plastic pocket) and then the sheet was folded along the paint line and opened out again.

 

 

The third picture shows the effects obtained when a cardboard star shape was used to mask several areas of the acetate sheet when the paint was applied.

 

The fourth picture shows bubble wrap which was painted (top) and then crayon lines were drawn over the surface in different colours (bottom).

 

The final picture shows some polythene "sandwiches" made by trapping items like threads, feathers, beads, fabric petals, and shredded glittery plastic between two layers of polythene lightly ironed. This is a bit similar to a method I have tried previously with Vliesofix.

 

MODULE 6: CREATIVE CONSERVATION–Introduction

Collection of photos of water and sky

Here are a few examples of interesting cloud photos and water photos I have collected. The cloud pictures were taken in various weather conditions and times of the day. I preferred the ones with interesting shapes and textures when the weather was windy or stormy.

 

Some of the water photos were taken of the sea in rough or smooth conditions. In addition some interesting visual effects were observed in photos taken around the property where I live, featuring waterfalls, pools and a spa. I particularly like the effects created by bubbles and foam.

 

 

We also receive a "Weather Calendar" each year which is produced by the Bureau of Meteorology. This is a wonderful source of images of clouds, sky & water. Here are a couple of my favourites from the 2015 calendar. The second one reminds me of a painting by Constable.

Wave cloud over Jervis Bay by Kelvin-Helmholz

Explosive convection east Of Warwick by Chris McFerran

How artists treat water and sky in their work

I studied paintings by European artists Monet, Constable, Turner, and Australian artists Arthur Streeton, Grace Cossington Smith and John Olsen. I also studied some photographs taken in USA National Parks by Ansel Adams and at the beach by Australian Photographer Max Dupain. This photograph is particularly interesting as a starting point for an embroidered work.

Surfs edge (Dupain, 1940s)

I particularly liked some of the paintings by Monet and Constable and thought they could make interesting stitch compositions. A couple of examples follow.

Sunset (Monet)

 

Cloud study 5 (Constable)

 

Study of sky and trees (Constable)

 

This piece, entitled Stinging Rain,  by indigenous artist Rosella Namok is also very evocative.

However the works I liked best  were the more contemporary ones by John Olsen, who did a series of pieces in 2011/12 inspired by Lake Eyre, a large inland sea in the arid part of South Australia. Sometimes this great salt lake is completely dry and at other times, when the rains come, it can flood and becomes a huge breeding area for water birds. A few examples of this work are shown below. I could imagine these being converted to beautiful collaged and embroidered textile pieces.

The floods arrive Lake Eyre (Olsen 2012)

 

Choosing a conservation topic

At the end of this module I have to make a wall hanging with a theme related to any aspect of conservation of water or air (sky). I have identified 3 topics which interest me in relation to this challenge. These are (in current order of preference):

1. Managing water in Australia's arid environment

2. Conservation of mangrove areas

3. Conservation of rain forests

I am drawn to the first one after seeing the art produced by John Olsen and some photographic essays about the impact of drought and flood on the wildlife of Australian rivers and lakes. I think this could be a very evocative theme and lead to some interesting design possibilities.

Initially I plan to spend some time researching and thinking about the first 2 areas, so I will be ready for Chapters 8 & beyond. If I find that the first topic is too limiting, I may start some research on the 3rd one.