CHAPTER 12: RESEARCH THREE ARTISTS

1. ZANDRA RHODES - FASHION DESIGNER
Zandra Rhodes is a British fashion designer known for her glamorous, extrovert and dramatic designs which are full of vitality. Born in 1940, she developed a major interest in printed textile designs through her art studies and then moved into creating and selling clothing using her own designs, which were considered very avant garde in the 1960s. Since then she has become well known for designing fashion garments and stage costumes for the "rich and famous", including many performers, celebrities and royalty, but in recent years has also designed some more affordable ranges for department stores. In the past 10 years she has turned her talents to designing flamboyant sets and costumes for some opera productions and has also established a Fashion and Textile Museum in London, to feature the work of fashion and textile designers from the 1950's onwards.


The main thing that stands out with Rhodes' work is the cohesiveness of the entire design. There are four main elements that contribute to this. Firstly, vivid colours and bold patterns are used very effectively to create a dramatic effect. The colour palette in each garment is often restricted to two or three contrasting hues and tonal variation is used to enhance the contrasts (for example designs 1 and 2 above).



Secondly, she uses a lot of repeating patterns in her printed textiles, often alternating a couple of pattern repeats. For example the black and white pattern repeats in design 3 are simple, yet very effective photo Vogue. Many designs have been inspired by ethnic themes e.g. North American Indians, Africa, Mexico, Egypt.









Thirdly, many of her garments feature sheer flowing fabrics, and the shapes of sleeves, necklines and hems seem to emerge from the design of the fabric (see design 2 above). Sleeve edges or hemlines may feature unusual treatments, sometimes with added tassels, to maximise the impact of the patterned textile (see for example design 4, below left, which shows a dress recently exhibited at the Mingei Museum San Diego, January 2011 ).






















Fourthly, embellishments such as spangles, studs or beading may be used to complement the pattern (often following the pattern lines) or emphasise the body line and folding, pleating or ruching the fabrics is also sometimes used to add texture. Her punk-inspired evening dress called Conceptual Chic, now featuring in the collection of the Victoria and Albert Museum in London, was considered very revolutionary when it was created in 1977 due to the deliberately holed ("distressed") fabric and the use of beaded safety pins, ball link chains and diamante embellishments(photo 5, above right).

Overall, by studying Zandra Rhodes' work, I think a lot can be learned about using various design elements to complement each other and strengthen the finished piece.

References
Zandra Rhodes' website: www.zandrarhodes.com
Carolyn Benesh: Zandra Rodes - The art of significant loveliness. Ornament 34(3), 2011
Vogue.com.au: Zandra Rhodes Runway Gallery S/S 2007, http://www.vogue.com.au/fashion+shows/galleries/zandra+rhodes+ready+to+wear+spring+
summer+2007
Mail On Line August 26 2011, Big can be beautiful by Jenni Murray
http://www.vam.ac.uk/content/people-pages/zandra-rhodes/
http://www.mingei.org/exhibitions/details/523

2. DEIRDRE HAWKEN - HAT MAKER

Deirdre Hawken is a milliner who trained in Theatre Design at Central Saint Martins college and now uses traditional millinery techniques to design and make couture fashion headpieces as well as a range of quirky, inventive and amusing art hats. These are inspired by modern cuisine and the way it is presented. Every component is hand dyed and hand sewn.

Her high fashion hats seem deceptively simple but have a very stylish and well-balanced look due to her careful combination of shapes, embellishments and colour (top left). Most of the hat bases are fairly small and head-hugging, with the eye drawn to the embellishments, such as feathers, voiles with cut out shapes or flowers which are often used to give height to the piece. The colours are kept simple - either a single colour or two contrasting colours.

Hawken's art hats, on the other hand, are more flamboyant, using a wide range of shapes, colours and materials to depict the chosen fruit, vegetable, confectionery or patisserie. Sometimes the hat base is part of the design feature (for example radish hat photo 2 above and mushroom hat photo 3 below) and at other times is merely a support for the food being represented. The mushroom hat is very interesting due to its use of leather and chamois in its construction.







The broad bean salad headpiece 2010 (photo 4 below), which is in the collection of the Victoria and Albert Museum, London, shows how various materials and construction techniques can be combined to achieve the final result. Dyed silk taffeta, organza and silk velvet have been used to create the hat base, crinkled leaves and cheese shavings. Then the beans and peas were made from epoxy resin which was hand painted and attached to wire and the pea shoots were created from pieces of wire covered in florists tape.



References
http://www.deirdrehawken.com
http://acupofkettle.blogspot.com/2011/01/deirdre-hawken-millinery.html
http://www.saatchionline.com/art/Unknown-broad-bean-salad-headpiece/72542/308647/view
http://www.saatchionline.com/art/Unknown-pavlova-headpiece/72542/308649/view
Turning heads Exhibition, Knitting and Stitching Show 2009?
http://collections.vam.ac.uk/item/O1176974/hat-broad-bean-salad-hat/

3. ARTIST OF CHOICE: KAREN TORRISI - PROFESSIONAL BEADER

Karen Torrisi, based in Sydney, has been beading professionally since 1994. She began her own atelier after training in the Australian Fashion Industry, followed by study of beading and embroidery in Australia, London and with the beading school, Ecole D' Broderie d'art Lesage in Paris. She views using beads to embellish a surface as like a painter filling a canvas. She states on her website: "I love to use colours in my work and the fact that with beaded embroidery you begin with a clear palette and you finish with something that is sparkly, textured and alive, and visually delicious." Karen now focuses on commissions for selected designers & costumiers.








Her work has an international flavour and has featured in several films (e.g. Moulin Rouge, Star Wars II and III, & Superman 2006), and stage productions (e.g. Chicago, Phantom of the Opera (photo 1), The Lion King (photo 2)).












Garments featuring her work have also been worn by several high profile people, such as the gown that Olivia Newton John wore at the Opening Ceremony of the 2000 Sydney Olympic Games (photo 3).









The scope of Karen's work is very broad - ranging from traditional work on bridal gowns and dresses commissioned by well known Australian designers (e.g. photo 4 design on George Gross evening dress) to more edgy designs, such as some of her stage creations and recent work done in conjunction with a final year fashion student, Melissa Smith (photo 5). She has also written a book entitled "The Art of Making Hand Beaded Bags" and has publishes beading designs and kits for T shirts, cardigans, beaded bags and other accessories.

.




































The high standard of Karen's work was recognised when she was selected as an open finalist in the Hand & Lock Embroidery Prize in 2009 and her work was judged the Highest Australian entry in that year. Her piece (below) was based on the brief Modern Goddess, Sunset Jungle. It features several hues of green accented with brightly coloured lush hibiscus. Sequins, glass beads and Swarovski crystals are combined with silk ribbon embroidery, French knots, chain stitching and flat stitches to create a highly textured 3 dimensional appearance.



















Karen also teaches hand beading skills, including tambour beading and is a guest tutor at the NSW Embroiderers' Guild. Earlier this year she ran a workshop titled Craft Punk at the Powerhouse Museum in Sydney, where beads, found objects, shapes and techniques were used to make a creative appliqué shape to adorn clothing, or other items (see photo of sample to right).












References
http://www.karentorrisibeading.com.au
http://www.handembroidery.com/2009/
http://www.powerhousemuseum.com/whatson/craft_punk.php
Steve Dow: Made 2 measure - The beader. Sydney Morning Herald, The Sydney Magazine, 30 April 2009, p34.

CHAPTER 9: RESOLVED SAMPLE

9b: The worked sample



Here is the worked sample based on the design outlined in Section 9a. I followed the basic plan but made a few modifications along the way, taking into account Sian's comments and also some refinements that seemed appropriate as I progressed.The main changes were:

- I added another thin strip of monoprinted fabric in the top left corner as the printed areas seemed a bit sparse when they were applied to the machine-embroidered background.
- I used more machine stitching than originally envisaged and varied the thread colour and thickness, to build up the background and integrate the printed strips with the background fabric.
-I also incorporated some colour change in the background, from predominantly yellows in the top left corner to more blues, greens and purples towards the right. However I did not overdo this as I did not want it to dominate the piece. On reflection, I think I could have added a bit more colour to the bottom right corner.
- I started off making Dorset buttons to insert into the circular area at the top of each spiral cord, but in the end I cut away the worked centres and just left the rings, as I thought the effect was too heavy when the rings were filled in. I then decided to work a small coiled bit by hand inside each circle to compete the spiral effect.

9a: Developing the Design







The starting point for the design was this wrought iron banister photographed at a hotel in Italy. The spiral form used here is the clothoide or cornu spiral.
I had produced a monoprinted fabric featuring these shapes earlier in the module and thought this would be a good place to start.














However I thought using this fabric "as is" gave a background that was a bit too busy, so I came up with the idea of cutting it into strips, which would be placed diagonally across the background of hand dyed lemon cotton fabric. This gave a hint of the banister which was the origin of the design but also suggested movement, as the spirals moved in a line across the page. I did a mock up of the background with paper, using the Fibonacci sequence as a guide for the width and spacing of the printed strips. I envisage that interest and texture would be added to the plain yellow parts of the background by machine stitching more of the chosen spiral shapes in a matching or variegated lemon thread, but taking care to place them in diagonal lines which followed the printed strips.

I then considered what to add on top of the background. After trying various ideas, I decided that I would apply approximately 3 cords which partially repeated the basic spiral shape from the printed fabric. To give a sense of movement, these would be larger, displaced from the diagonal lines of the background and the tails would represent unravelled spirals with trailing ends. However I thought it was important that the basic linear form was retained and not overcrowded or muddied too much - hence the restriction on the number of spiral cords to be applied. The mock up below gives the general idea using cords that I had on hand, but the final ones may be a bit different. The head of the spiral with be embellished by adding Dorset buttons - again the ones shown here were what I had on hand and have been used are to illustrate the concept and are not the final ones for the piece. I looked at other button options, but felt that the open nature of the Dorset buttons fitted with the decision to retain an open feel to the piece and not swamp the basic linear aspects of the design. I will also add further rows of hand stitching to emphasise the spiral outlines formed by the cords.

CHAPTER 8: BEADS

The work in this chapter explores various effects which can be achieved using a wide variety of beads and application methods. I found it most enjoyable and had a lot of fun, starting with the collecting of various types of beads and then experimenting with different designs and techniques.

a) Beaded Sampler
This sampler was worked on hand dyed silk, divided into 20 squares each about 5cm X 5cm (4 squares across, 5 down). The silk was mounted on a backing fabric and held in a frame for beading. In the text below, when I refer to various squares I will number them from the top by row and then count across from the left.



In some squares I tried to work with the spiral theme, using the beads in various ways to form linear patterns (e.g. in row 1, squares 2 & 3, I applied bugle beads side by side and end to end, to give different effects). In row 2, square 1, I tried a design a bit like some of the Greek meander mosaics, using square spangles and in row 2, squares 2 & 3 I used rocaille or seed beads applied in 2 different ways.

I like being able to depict specific shapes like this, but working these samples made me realise just how precise the placement of every bead needs to be to obtain a high quality result. Looking at mine, the main thing that can be said is: Needs More Practice!

Having looked at the use of beading in haute couture, I was interested to do one or two samples where beads were applied to lace. Row 3, rectangle 2, shows some delicate beading I applied to some fine antique lace given to me by a friend, Cheryl Martin. In this sample I tried to enhance the lace with translucent sequins, pearls and seed beads, but not overwhelm it. A different approach was used for the coarser piece of old tatting in row 5, square 2, where I applied some painted shells in a more "fun" style.


Larger beads and irregularly shaped beads can give some wonderful effects if clustered together, often mixing different shapes colours and sizes (see for example Row 2, square 4 and Row 4, square 1. Irregularly shaped beads can be a bit tricky to stitch down. For example the painted shells shown here had a hole at one end, but I found that I needed to anchor them with threads following the grooves in the shell to get them to stay in place.

Two techniques for attaching objects without holes, like Shisha mirrors, are shown in Row 4. In square 3, the more traditional method of holding the mirror in place with stitching (chain stitch woven round and round in this case) was used and then seed and bugle beads were added around the outside to enhance the effect. In square 2, the mirrors and other beads and sequins were placed under a fine net and then beads stitched over the top to hold everything in place. The technique of using a fine fabric to hold down some beads and then stitching others over the top was also used in Row 5, square 5. A piece of very fine chiffon was placed between the two layers of beads, and is almost invisible. It is hard to tell which beads are on top and which are underneath.

This picture shows a few other more experimental panels. In Row 3, square 1, the purple "beads" are made from cut up pieces of a plastic document wallet and bits of painted Tyvek which was gently heated by waving a dry iron over it until it started to buckle and contract. Row 4, square 1 consists of a mixture of painted wooden beads and buttons, piled on top of each other. Row 4, square 2 combined glass beads of various sizes and shapes, with some white plastic disks. The purple decoration was added to the disks using a marking pen, and then purple threads were used to anchor the disks over the purple pen marks.

b) Beaded Edges


This series of pictures shows various attempts to create different types of beaded edges.

The simplest and easiest used seed beads with/without bugle beads applied in a single row. I then tried a couple of looped versions which I found on the internet. The net pattern on the right was delicate, lacy and quite attractive, but the looped sample on the left was not good at all. I think this was partly due to the tension, but also the instructions may have needed modifying to join in the loops slightly differently.


The tasselled edges below were far more pleasing and all worked out fairly well. In the sample on the left I experimented with different types of beads and combinations. However my favourite was the sample on the right where the longer strings alternated with the shorter ones, giving a very pretty finish.

CHAPTER 7: SIMPLE BUTTON MAKING

In this module I experimented with several ways to make buttons or related items in various materials and shapes. These could be used functionally or to embellish a constructed textile in a non-functional manner.

a. Coiled and Bound Shapes
The two buttons on the left were made from coiled wire wrapped in a braided fabric and then fine threads were wrapped or woven around the coils to add further interest. The coiled wire is harder to work with but the results retain their spiral shape very well.

The three samples on the right were made from layered strips of different coloured felts which were lightly glued then rolled to give a multi-coloured coil. They are fairly simple, but give a nice spiral impression.

The two samples in the middle were made from coiled felt which was then bound with multicoloured threads to give little wrapped bundles. These samples were easy to do and gave quite attractive results. They could be useful for some projects.

b. Wrapped Shapes This picture shows several samples made by wrapping a core shape in some wadding, covering with a piece of stretched stocking and then an outer fabric wrapped with threads as a highlight. I found that Balsa wood was a good material for the core. I bought a bag of various shapes and also some flat thin strips. It was easy to cut them with a Stanley Knife into nay desired shape or size. Various fabrics were used as the outer wrap. Some were commercial samples and others were coloured before use. For example the fabric at the bottom had been hand dyed fabric with monoprinting applied. The threads were chosen to echo the main colours. The square button top right was prepared from a textured and coloured fabric which started as a white baby wipe. This technique was learned at a workshop I attend a few months ago with Isobel Hall. These wrapped buttons have good possibilities for many applications, including jewellery.


c. Dorset Buttons
In these samples I experimented with different techniques such as buttonhole stitch, wrapping with fine threads or fabric wrapping to cover the ring shape (starting from a metal ring or a rubber washer). I then tried several ways of filling in the centre of the button to create more interest. These included weaving or winding threads in different patterns and adding beads to embellish the item. Overall I was very pleased with these samples.

d. Fabric Toggles
In this section I tried many different types of fabric, fabric combinations and different winding techniques to produce a variety of shapes. Some fabrics, such as felt, had non-fraying edges. Others were machine stitched to hinder fraying or deliberately frayed to add to the effect. I added some small beads to embellish the edge of the mauve net sample as its regular edge looked a bit plain. Winding other threads around the toggle shape also made some of them more interesting.


e. Experiments with Tyvek
This picture shows several buttons made with two different experimental techniques using Tyvek. All started with Tyvek painted in various colours with acrylic paints. The samples on the left were made by rolling strips of Tyvek into toggle-like shapes, wrapping various threads around them, then applying heat with a hot-air gun until they started to shrivel.

The items on the right were made by machining circles of painted Tyvek to felt circles with circles of a plastic mesh at the back. I then gently applied hot air till the Tyvek started to disintegrate and the felt circles started to distort because of the shrinking of the plastic mesh behind them. This technique was my own idea, and grew out of one demonstrated at Isobel Hall's workshop.

Overall I liked the results of these Tyvek experiments and could envisage various uses for these buttons as embellishments for bags, jewellery and wearable items.

CHAPTER 6: SIMPLE TASSELS

a. Simple Tassels by Hand


The first picture shows some of the simplest tassels I tried. The ones on the left and right were done by wrapping the selected yarn over cardboard, tying off the top, then wrapping either the same yarn or another cord around the bunch of threads about one third of the way down. A twisted cord or wrapped cord was used at the top as a hanger for the tassel and the lower ends were cut to form the skirt. The one on the left, which was the first I tried, was too small and out of proportion, so after that I worked with longer lengths of thread. The second one, on the right, has better proportions. The tassel in the centre, which I thought gave a more interesting and pleasing result, was started the same way, but after tying off the neck, the head at the top was divided in two and button hole stitch worked selectively in bands around the loop. The bottom end of the skirt was left looped as well, which looked good with the textured yarn.


The second picture shows some more experiments in forming the head of the tassel. The one on the left was formed from a multicoloured twisted yarn. The threads were divided into three bunches and then the centre third of each bunch was joined by plaiting to form the head. The plaited ends were bound separately and then bound together, to form the neck of the tassel. The loose ends of the yarn were knotted to finish off the skirt. The tassel on the right was made from strips of sari offcuts. The fraying edges of the fabric added to the effect. Three bundles of strips were bound randomly in the middle with yellow-gold thread, then the three banded pieces were twisted around each other before the neck was bound. The binding was not bold enough for the intensity of the fabrics, so I finished off the neck with a fatter gold cord. Looking at the photo, I think the skirt could have been a little longer and the cord bound a bit tighter, but it actually look all right "in the flesh".




This photo shows more experiments with different materials and ways of forming the tassel. The left one used a mixture of silk ribbons and gold cord to form the skirt, which was tightly bound at the top and pulled through a gold mesh ball to cover the neck, finishing with a gold curtain ring at the top. In the centre tassel I experimented with beads to form the skirt and neck, then finishes with a rind at the top which was covered with thread using buttonholes stitch and then small beads added as decoration. Detached buttonhole stitch was worked on the neck of the tassel on the right and a beaded lop was added to form the head. I was pleased with these tassels overall, as I think all were interesting designs and the proportions seemed fairly good.


This photo shows two attempts to produce decorative necks, which proved to be trickier than I had anticipated. For the one on the left I used an old cotton reel, padded it with wadding, covered this with a stretched piece of old stocking to give a smooth surface and then wound a cord made from twisted gimp around it. This proved to be easier said than done and I ended up having to use a few stitches to help hold the cord in place. I think the end result looks quite good, but I would probably use a softer, more firmly twisted cord next time round. In the second one on the right I wanted to get a double bulge effect on the neck. The top part was worked with detached chain and some wadding stiffed inside and then a second binding added further down. On reflection I think the skirt should have been longer and not so fat, and the top part of the neck should have had extra padding so it bulged out more.

b. Tassels by Machine


These three tassels were quite easy to make. I only made one size as I didn't have good equipment on hand to make larger wire frames. I thought the head of the purple one in the centre was a bit boring with only machine stitching. The blue one on the right is better because the variegated threads and the knot add interest. I added a few beads to the head of the one on the left to complement the gold and purple braid I had used to bind and decorate the neck and was pleased with the result.

CHAPTER 5: CORD MAKING

A. MACHINE STITCHED CORDS
On the whole I found this technique easy to do and was able to produce some pleasing results very quickly. The main drawback was the limited thickness of the cords that can be produced due to the need to be able to feed them under the foot of the sewing machine.




Sample Group 1: This group shows samples made from combinations of commercial threads and knitting yarns. Some pleasing effects were created using bobbly yarns.The cord on the right had yellow embroidery thread wrapped loosely around it to give an extra highlight after the sewing.
Sample Group 2: These cords were produced from combinations of fabric strips, ribbons, yarns and braids. I found that if one of the strips was much wider than the others, it tended to dominate the finished effect. This could be good or bad, depending on the effect that one was trying to achieve.
Sample Group 3: In this group, strips of more experimental materials such as raffia, Lutradur strips, plastic strips and netting were included in combination with the yarns or braids. I thought some of these were quite interesting, but again, one needs to think about the relative widths of the different materials and the final effect desired.























B: TWISTED CORDS

Sample Group 4: These twisted cords were easy to produce and gave some good effects. The tip of hooking the threads over the spool spindle on the sewing machine worked well. With this method it was possible to make thin cords by using fine cottons or wool and thick textured cords by including strips of fabric and chunky knitting yarn in the combinations. Materials used in these samples included sewing threads, textured and smooth knitting yarns, fabric strips, braids and raffia.





C: KNOTTED, PLAITED AND WRAPPED METHODS


Sample Group 5: Knotted Cords. The first two samples in this group show a simple knotted cord and a second produced by alternating which component is used to make the half hitch. The third is a looped braid edge or Pawnee braid, the fourth a continuous twist chain and finally a cord produced by double ridge hitching or alternate chaining.






Sample Group 6: Examples of Various Knots - Josephine knot and looped Josephine Knot (Reference: Effie Mitrofanis, Tassels and Trimmings, Simon and Schuster, 1992), monkey's fist knot (Reference: Cyrus L Day, Knots and Splices, Adlard Coles Nautical, 1953) and flat Turk's head knot. The Turk's head was diabolical although I liked the final effect. I finally mastered it after finding a demonstration on UTube (http://www.videojug.com/webvideo/how-to-tie-a-turks-head-knot-2).


Sample Group 7: Plaited Cords - I experimented with a range of material types and thicknesses to produce these plaited cords. These included smooth cords of the same thickness pulled up tightly after plaiting, 2 smooth cords (same or different colours) and a bobbly knitting yarn, string of fine beads and 2 fine yarns, 2 fine yards and a string of chunky beads in 2 sizes, a textured yarn with a smooth yarn and a strip of netting. I thought that most of these results were pleasing and had possibilities for the future. Again, I found I could manipulate the three strands fairly well if I hooked them over the spool spindle on the sewing machine and pulled moderately firmly to maintain the tension.

WRAPPED CORDS
Sample Group 8: Simple Wrapped cords. I really enjoy wrapping cords and like the effects that I can produce. These simple cords were produced by experimenting with components of different types, thicknesses and textures, varying which cords formed the core and which were being wrapped, varying the tightness and spacing of the wrapping and adding knots at irregular intervals.
Sample Group 9: More Complex Wrapped Cords. One of the tutors at the NSW Embroiderers' Guild, Effie Mitrofanis, recently published a book which features the use of wrapped cords in embroidery (Reference: Effie Mitrofanis, Threadwork - silks, stitches, beads and cords, Milner Craft Series, 2009). In fact it would make a great reference for this course. I did a workshop on wrapped cords with Effie last year. Her technique mostly uses a wrapped core as the foundation and then adds extra wrapped threads and beads as highlights on the outside. The cords in this picture demonstrate the techniques. Starting from the left, the first 3 samples were done last year and second 3 made for this module. They can be used in jewellery or wearable items or added to embroidered works as embellishments.

CHAPTER 4: DECORATE WITH STITCHERY

A. HAND STITCHERY
Sample 1 - this shows various spiral shapes based on my wrought iron theme worked by hand using a range of stitches and threads. Far left- a combination of stem stitch and spiral stitch (Enthoven, page 103), top centre - very dense back stitch, bottom centre - stem stitch, running stitch and detached chain, far right - chain stitch with a close row of stem stitch either side.



Sample 2 - experiments with a helix shape using back stitch, buttonhole, and straight stitches
.











Sample 3 - uses chain stitch, stem stitch and running stitch to form a random network of spirals which touch and overlap, again with a variety of threads and colours.







Sample 4 - several different spirals worked with a range of metallic gold threads couched with various types of cottons. I was particularly pleased with this sample as I had not done some of these techniques before (e.g. the Or Nué and the S-ing). The combination of metallic gold and purple is very pleasing and some great textures can be achieved by varying the type of gold, the couching threads and the chosen technique.




Sample 5- in this sample, a design reminiscent of wrought iron had been imprinted with paint onto the purple fabric. The main shape was then outlined with couched metallic gold thread, and then enhanced with further stem and running stitch to highlight the shape. Again, I liked this sample and could see possible avenues to explore further in the future.





B: MACHINE STITCHERY
These three samples (samples 6 to 8) were my first attempts at free machine embroidery. My main conclusion was that I needed a lot more practice to make my movements smooth and the stitching more even! Nevertheless, some interesting effects were achieved by trialling different colours and threads. I generally ended up using combinations of different thread types in all of them, as I found that the effects were a bit boring with just normal machine threads, even if I used variegated threads or different colours in the top spool and bobbin. I preferred the more textured effects I could create using thicker threads in the bobbin.

















C. COMBINING HAND AND MACHINE STITCHING
Sample 9 - I did this sample largely to practise my free machine stitching. I outlined the shape and then filled each segment with different types of filling stitches (reference: Pam Watts, Beginner's Guide to Machine Embroidery, Search Press,2003, page 36). At the end I whipped the outlines by hand to give them greater weight. Doing this sample gave me a lot more confidence in handling the free machine stitching, but I still have a way to go to consider myself proficient!















Sample 10 - In this sample I tried to emphasise the shapes created by the Shibori dyeing (discharge technique) that I had done on the base fabric. The centres of each shape and the unfilled areas were machine stitched, and then I added hand stitched spirals in slightly gathered running stitch to the dyed areas. I tried to make the stitching complement the marks made by the dyeing process. Overall I was pleased with the result.



Sample 11 - this sample had one of my monoprinted fabrics as its base. I then added the purple and jade green bars by machine, as well as the jade and yellow spirals around the edge. All of these roughly echoed and amplified the impression made by the monoprint. Finally I couched the large spiral over the top using a rough cross stitch. This was made from a lacy knitting yarn that I had bought a few years ago and had in my stash. This sample is quite a different style from many of the others, but I think it works well with the bold monoprint.

Sample 12- This was also worked on a monoprinted fabric, but this time the base was not so bold, so the cable-stitched spiral shapes were very dominant. Some of the spirals were also filled in with stitching using 2 threads at once. The background was delicately filled with gold machine stitching which worked well and then some hand stitching (French knots or detached chain) was added to some of the spirals for emphasis. I thought the overall spiral design was less cohesive than some of my other samples, but the colour and texture effects were very pleasing. I think some of these ideas could be developed further.