CHAPTER 10: STITCH TO TRANSLATE

In this section I experimented with various stitches to translate rubbed marks, confining the stitching to white/cream on black fabric. I chose examples where the pieces used for the rubbing had been produced with a variety of techniques so I could experiment with a range of stitches.
Sample A: Tissue paper rubbing from a paper relief

The first rubbing I chose was number 1 in section 9.7, Chapter 9 – taken from a cluster of gathered and bunched strips of tissue paper. The pattern was a swirly oval shape. I chose a combination of herringbone and fly stitch for this pattern, using threads of different thickness to produce some heavier and lighter areas.
Sample B: Tissue paper rubbing from a machine stitched sample

The second rubbing I chose was produced from  machine stitched sample D, section 9.7, Chapter 9 . This was made from pleated silk organza, with added rows of twin needle pintucks. I tried to reproduce the machined marks using backstitch, stem stitch, running stitch and French knots. I thought the result was quite pleasing and interesting.
Rubbing directly onto fabric
I then produced 3 samples using the other suggested method of stitching over  a rubbing which had been transferred directly onto the fabric. I used a white Shiva Paint Stick to do these rubbings  as Markal Paint Sticks were not available in Sydney.
Sample C: Rubbing onto fabric (1)

The rubbing was taken from sample 3, Chapter 8, where strips of cotton homespun were knotted and couched into  grooves of  gathered chenille. I chose a combination of knotted stitches to translate the marks using  a range of thick and thin threads – French knots, Palestrina knots, coral knots. I selected these stiches because they enabled me to produce some individual lumpy areas as well as “lumpy lines”. I think this was quite successful.
Sample D: Rubbing onto fabric (2)

This rubbing was taken from Sample 4, Chapter 8, produced from  flattened tubes of silk satin which had been pleated irregularly, then stitched to a base of calico. The challenge with this one was to give the impression of the rows of pleats. I did this by using groups of straight stitches worked in blocks of varying sizes at right angles to each other. Again, the selection of threads of different thickness helped to give the impression of some heavy marks and some lighter ones in between the pleats. 
Sample E: Rubbing onto fabric (3)

This sample was produced from a rubbing of Sample 7, Chapter 8, formed from cut and fringed fabric stitched in circles over pipe cleaners covered in homespun cotton. I used a combination of Cretan and fly stitch for this, so I could create dense areas and lighter areas by using thick and thin threads and bunching up or spreading out the stitches. I tried to convey the idea of a series of patches. This sample looked good, but I thought the diagonal lines in the rubbing seemed to get a bit lost with the stitching. I think this may have been because I did not follow the rhythm of the slanting lines as well as I could have as I stitched.

CHAPTER 9: THREADS AND STITCHERY

I worked a panel with some examples of stitches from each of the five stitch families. I used this as an opportunity to try out some stitches that I had never done before. A variety of threads was used including Perle 5 and Perle 8, quilting thread, polyester machine thread, white wool, composite wool/synthetic yarn, stranded cotton.

Here is a view of the entire panel:

Now let’s look at each individual stitch family.

9.1 Flat Stitches

Top Row, left: pattern darning (running stitch); right: double cross stitch (Smyrna cross)

Second row, left: triple back stitch (Hungarian stitch); right: Chevron stitch combined with double back stitch

Bottom, left: leaf outlined with stem stitch, then filled with leaf stitch; right: fern stitch

9.2 Looped Stitches

Top row: buttonhole stitch variation

Row 2, left: spiral  stitch (two rows of feather stitch facing each other), right: variation of closed buttonhole stitch

Row 3, left: Cretan stitch; right Vandyke stitch

Row 4, left: scroll stitch; right: fly stitch

9.3 Chained Stitches

Top row, left: long stemmed zigzag chain; right: Basque stitch

Centre: Rosette chain

Bottom row: square chain

9.4 Knotted Stitches

Top left:combination of  French and bullion knots.

Right, row 1: coral knot; row 2: Palestrina knots with beads inserted between stitches; row 3: long armed and long legged Palestrina knot; row 4: knotted cable chain; row 5:  Sorbello stitch

Bottom left (vertical line): knotted cable chain variation with “tails” giving buttonhole effect

9.5 Composite Stitches

These are formed by working one layer of stitches first, then working a second layer into the first layer.

Row 1: Pekinese stitch

Row 2: Laced Cretan (over running stitch), also known as Interlaced Band Stitch

Row 3 (vertical, left): Twisted zigzag chain

Row 4 (right): Raised chain band

Row 5: Threaded herringbone

Row 6: Guilloche stitch

9.5 Stitch Effects – Formal Rhythm

This sampler shows variations of Cretan stitch worked with a formal stitching rhythm. The examples illustrate the wide range of effects that can be achieved with this versatile stitch. It has  a nice, easy rhythm which makes it appealing to the user.

The top row shows examples of working in a linear pattern, varying the spacing of the stitch, making marks with individual stitches and changing the size of the stitch from medium to very small to very large.

The second row shows examples of varying the direction of the stitch, dovetailing the stitches to form a pattern, building up blocks of stitches by overlaying them in different directions.

The third row shows an example of varying the stitch direction to form a circular pattern, then several combinations of thick and thin yarns overlaid to form textured blocks.

Next (row 4) are two examples of using Cretan stitch to couch other items - left is a silver cord  and right a strip of chenillle fabric couched with a variegated yarn. On the far right of this row is Cretan stitch worked in Perle 8 thread and then some of the arms wrapped in wool.

The bottom row shows on the left, the effect of working the stitches very loosely, and on the right the row of stitching has buttons threaded onto the arms of several stitches in an irregular fashion.

9.6 Informal Stitch Effects with Cretan Stitch

In this sampler a more relaxed approach was used for the stitching, with different types of threads overlaid in different directions. This produced some interesting and pleasing effects, stretching my thinking in terms of the ways Cretan stitch could be used.

Top left: stitches worked with kitchen string, then partially wrapped with gauze strips and overlaid with additional stitches worked with twisted gauze strips.

Centre: combination of rows of informal stitches made with 3 types of thread – Perle 12, white wool and synthetic yarn

Top right: Two rows of different sizes of curved Cretan stitch which crossed over. These were worked with white quilting thread, with two types of beads (bugle beads and multi-sized imitation pearls) threaded onto the stitch arms.

Bottom left: Curved stitches of different sizes and spacing worked with 3 types of threads  dovetailed together (Perle 8, stranded cotton, polyester machine  thread).

Bottom right: Individual stitches (Perle 12 and 8) worked in an irregular fashion, partly overlapping, and with different tensions.

9.7 Rubbings from Relief Surfaces

From my experiments I found the best combination to give reasonable rubbings was a white Reeves pastel on black tissue paper. I also tried wax crayons and chalk, but decided not to pursue these because the marks they made were less clear.

The following pictures show  the rubbings and the source reliefs. Four rubbings were taken from the paper reliefs and six from the fabric reliefs.

Rubbings from paper reliefs

 

 

These rubbings  differed considerably in the marks and textures they conveyed. I thought number 1 would not be very successful because the starting surface was fairly diffuse. However I think it gave an interesting pattern. Number 2A was  a mixture of two different materials, one stiffer than the other. This showed up in the rubbing as darker and lighter patches.

Rubbings from fabric reliefs

 

     

Most of these rubbings worked fairly well because the surfaces they were taken from had well defined textures, especially A, B D and F. The marks in samples C and E were more diffuse as the surfaces were less well defined. Overall I felt that I developed some good samples that would be useful sources of stitching ideas for Chapter 10.

References

Enthoven J: “The Stitches of Creative Embroidery”, Schiffer Publishing Ltd, Atglen PA,USA, 1996.

Beaney, J: “Stitches: New Approaches”, BT Batsfod Ltd, London, UK, 1987.

Christie, Mrs A: “Samplers & Stitches”, BT Batsford Ltd , London, UK, 1985 (paperback edition). First published in 1920.

CHAPTER 8: PAPER RELIEF INTO FABRIC RELIEF

Paper relief surfaces made for Chapter 3 were translated into fabrics using a range of manipulation techniques.
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.

M5, Chapter 7: TACTILE CONTRASTS

In this section I made an experimental sampler involving several manipulation techniques, with the aim of producing lots of  textural contrast. This was achieved through varying the choice of fabric, as well as the manipulation technique.  I limited myself to 4 ecru coloured fabrics on a black background. The fabrics were cotton calico, cotton osnaburg, silk crepe and polyester polar fleece. These were chosen because they each felt different to the touch and offered different draping properties. Examples were produced with machine or hand stitching or a combination. Samples were placed on the black background in an order which highlighted the tactile contrasts as you moved your fingers across the sampler e.g smooth vs rough or fuzzy, high vs low, regular vs irregular. A touch of white paint was added to the raised surfaces of the fabric at the end, but I did not think this added a lot to the overall effect.
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

M5 Chapter 6: TUCKS, PLEATS & GATHERS

In this section I experimented with a number of variations of tucks, pleats & gathers.  A tuck is a fold stitched along its length. A pleat is a fold pressed into shape. A gather is fabric pulled (bunched) along an inserted  item such as a thread, stick or ribbon. I investigated several different types of fabrics and stitching, both hand and machine to create different visual and textural effects. I concluded that  the choice of both fabric and technique have an influence on the impact of the finished item. Fabrics & techniques are summarized below.
PINTUCKS Sheet 1

Sample 1: Single needle machining on cotton polyester; Sample 2: Twin needle machining on cotton polyester; Sample 3: Twin needle machine, wavy & straight lines in 2 directions on polyester satin.
PINTUCKS Sheet 2

These two samples were visually pleasing, enhanced by the choice of fabric. Sample 4: Multiple lines of twin needle machining on silk organza, then fabric cut into pieces & re-joined with rows of stitching at right angles; Sample 5: Diagonal & horizontal lines of twin needle machining on polyester satin.
PLEATS & TUCKS Sheet 1

Sample 6: Wavy lines of tucks worked in running stitch on cotton polyester. It was difficult to get a smooth curve; Sample 7: Zigzag lines of tucks machined on cotton polyester.

PLEATS & TUCKS Sheet 2

Sample 8: Box pleats centred & double centred on cotton polyester; Sample 9: Shell tucks stitched by hand on polyester/elastane blend.
PLEATS & TUCKS Sheet 3

Sample 10: Darts machined half way across cotton polyester sample alternating the starting point from left or right. The resulting shape bulged and gave a 3-D effect; Sample 11; Darts machined the full width of cotton polyester sample.
PLEATS & TUCKS Sheet 4

Sample 12: Tucks of varying widths machined on silk organza, then fabric turned over & folded in new directions to make extra tucks; Sample 13: Pintucks machined on folds of polyester satin, then fabric was cut into pieces and re-joined with tucks in a different (diagonal) direction.

PLEATS & TUCKS Sheet 5

All of these samples were quite interesting and produced different textural effects. Sample 14: Tucks formed and machined in place on polyester/linen blend, then threads withdrawn to give a loopy appearance; Sample 15: Rows of tucks machined on cotton osnaburg and then slashes made at random along the folds; Sample 16: Rows of tucks machined on cotton osnaburg and then folds joined at intervals with handstitched ties.
PLEATS & TUCKS Sheet 6

These samples also had future possibilities. Sample 17: Wool held in place with twin needle stitching to make a padded tuck, then fabric folded and machined in diagonal tucks; Sample 18:Rows of blind tucks made in cotton polyester fabric, then direction of folds changed and held in place with extra stitching to give an undulating effect.
PLEATS & TUCKS Sheet 7

These samples gave some interesting effects. Sample 19: Silk organza tucks slashed and  sections folded back to make angled folds; Sample 20: Tucks machined in place on cotton polyester and padded with pieces of plastic straw; Sample 21: Tucks machined in place on cotton polyester and filled with pipe cleaners. Fabric was ruched a bit for added interest; Sample 22: Wide tucks machined in place on silk habutai, then rectangles cut out from each fold. A painted stiff fabric strip was then threaded through each fold.
GATHERING Sheet 1

Again, some visually pleasing effects, especially the texture achieved in sample 24. Sample 23: Loose hand gathering on silk organza; Sample 24: Linen/polyester weave gathered in both directions by machine. Sample 25: Zigzag machine stitching over satay sticks on cotton/polyester weave, then fabric pushed up to gather it along the sticks.
GATHERING Sheet 2

Sample 26: Linen/polyester weave gathered in rows by pulling a thread; Sample 27: Cotton/polyester weave gathered in three spirals using free machine stitching with fabric in a hoop. I liked the impression created in this sample.
PLEATING - GATHERING Sheet 3

Sample 28: Silk crepe pleated/gathered with a smocking pleater then stitching worked by hand over the top; Sample 29: Cotton/polyester weave pleated/gathered with a smocking pleater then machined with zigzag stitch over the top with Perle 5 thread in the bobbin.
GATHERING - SHIRRING Sheet 4

Sample 30: Cotton/polyester weave gathered in wavy lines by machine with shirring elastic in the bobbin; Sample 31: Silk habutai gathered in jagged zigzag lines by machine with shirring elastic in the bobbin.
GATHERING - SHIRRING Sheet 5

All of these samples suggest interesting textural possibilities for the future. Sample 32: Circular furrows worked by hand on cotton/polyester weave gathered onto a circle of Vilene backing fabric; Sample 33: Suffolk puffs (or yo-yos if in the USA) made by gathering circles of silk crepe; Sample 34: Dimpled circular pattern made by free machining a spiral pattern on silk georgette with fabric held in a hoop & shirring elastic in the bobbin.
GATHERING Sheet 6

Sample 35: Orange beads bound with thread and silk georgette fabric gathered with running stitch in between each bead; Sample 36: Three folds were machined at an angle in the cotton scrim, then they were gathered by pulling the threads. Each fold was then cut along its length and threads withdrawn at random to give the untidy slightly frayed effect. This produced a very interesting texture.
Reference: Colette Wolff. “The Art of Manipulating Fabric”, Krause Publications, Wisconsin, 1996.