tag:blogger.com,1999:blog-71293626251811336372024-03-05T05:36:57.511-08:00Textile JournalingTextile Journaling documents the embroidery and design work I am creating for Sian Martin's Distant Stitch City and Guilds certificate course.Edithhttp://www.blogger.com/profile/02720104214537603483noreply@blogger.comBlogger80125tag:blogger.com,1999:blog-7129362625181133637.post-17603219894883762282017-03-24T14:51:00.000-07:002017-03-24T14:51:25.300-07:00Module 2, Chapter 13 - Three artists<b><span style="font-size: large;">Hans Holbein, the Younger</span></b><br />
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According to Margaret Pascoe in her book <i>Blackwork Embroidery</i> double running stitch, the basis of the counted thread technique known as Blackwork embroidery, is also known as "Holbein stitch", used to embellish clothes at the beginning of the sixteenth century. She goes on to explain that "<i>Evidence for the early use of blackwork comes from portraits and religious paintings, particularly from the works of Hans Holbein the Elder (c. 1465-1524) and his son Hans Holbein the Younger (1497 - 1543)</i>".<br />
The actual stitch, Holbein stitch, was named after Holbein the Younger who, according to Mary Gostelow was "<i>supreme among blackwork artists</i>".<br />
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Hans Holbein the Younger was born in Augsburg circa 1497. His father, Hans Holbein the Elder, was a well known portrait artist. Hans Holbein the Younger travelled extensively, reaching England in 1526 with a letter of introduction to Sir Thomas Moore from his mentor Erasmus. Holbein spent the last 11 years of his life working in the English court. During this time he painted about 150 portraits. He also left behind a series of designs for buttons and buckles and book-bindings, amongst other accessories. Many of the costumes he painted depict blackwork embroidered designs.<br />
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The earliest evidence of blackwork on a costume comes from a painting by Hans Holbein the Elder in 1516, with three blackwork bands on the sleeve:<br />
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In 1526 Hans Holbein the Younger painted a portrait of Anna Meyer in her wedding gown featuring four blackwork patterns:<br />
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Holbein stitch was also sometimes called "Spanish" stitch. In her booklet <i>A New Modelbook for Spanish Stitch</i>, Kathryn Epstein writes that "<i>Peter Quentel was the first pattern book printer to refer to the double running patterns he copied from Schonperger as "Spaniche stiche" in 1527</i>." She goes on to suggest that since these bands of double running stitch were so frequently found in Holbein the Younger's paintings, they were named after him. However the patterns and stitches only became known as Holbein in the late 19th century and early 20th century.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg94du1AqWIIq3u_e3iPvVydNMeqHo4HY4AkL1zjcc_Ast_fx2l8GVR1Z8v7ZlAxPvchn137V8i8H5eHgJ2iV2hDdsMSAWmf_JDdiGbzjSkpjqVomoU16fBV8znIcXJqux7KaP4QyyRKus/s1600/pic+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg94du1AqWIIq3u_e3iPvVydNMeqHo4HY4AkL1zjcc_Ast_fx2l8GVR1Z8v7ZlAxPvchn137V8i8H5eHgJ2iV2hDdsMSAWmf_JDdiGbzjSkpjqVomoU16fBV8znIcXJqux7KaP4QyyRKus/s320/pic+1.jpg" width="320" /></a></div>
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Hans Holbein the Younger died in 1543. His portraits were deemed to give an accurate depiction of their subjects and his greatness as an artist was acknowledged in his lifetime and beyond.<br />
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How to work double running stitch:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdwZn9EwiYRgsi4-AF4jIt61PZBZvtids-kE4v2Uqi-OaO5bksAZjxBcgamv4u5ptu6uda-H6Cv76oSmp1CyoB1-37ZQewbdyW1_e_yAQOuFHIOg5c1Hm2bt9lBc5O0_Ou8LjEieTyorw/s1600/How+to+work+double+running+stitch.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="33" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdwZn9EwiYRgsi4-AF4jIt61PZBZvtids-kE4v2Uqi-OaO5bksAZjxBcgamv4u5ptu6uda-H6Cv76oSmp1CyoB1-37ZQewbdyW1_e_yAQOuFHIOg5c1Hm2bt9lBc5O0_Ou8LjEieTyorw/s320/How+to+work+double+running+stitch.png" width="320" /></a></div>
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<b>References:</b><br />
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*<i>Blackwork Embroidery</i>, Margaret Pascoe<br />
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*<i>Blackwork</i>, Mary Gostelow<br />
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*<i>A New Modelbook for Spanish Stitch</i>, Kathleen Epstein<br />
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*https://hands-across-the-sea-samplers.com/double-running-stitch-basic-reversible-stitch-explored/<br />
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<b><span style="font-size: large;">Bridget Riley:</span></b><br />
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Bridget Riley, born in 1931, is an English Op-Art abstract painter who became well known during the 1960's when her black and white paintings were exhibited at The Museum of Modern Art in New York. The geometric patterns and designs in her works create an optical illusion of constant movement and shifting ground, often creating an effect of disorientation in the viewer.<br />
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She studied art at Goldsmiths College, London from 1949 - 1952, followed by the Royal College of Art until 1955. But having experienced great swathes of freedom as a child, playing by the sea near her home, the artist found it difficult to succumb to the rigidities of the institutional college's teaching regimes. Later in her life she recalled the influences which her early childhood memories of open space, light and colour, has continued to effect upon her work.<br />
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At the end of the 1950's after a traumatic decade, she met Maurice De Sausmarez, who encouraged her to study the painting of Georges Seurat. She began to experiment with Op-Art when she was teaching in the Hornsby College of Art from 1960-61, painting simple geometric shapes in black and white. After her major success at the Museum of Modern Art in 1965, she rose to critical acclaim, though some critics dismissed her work as trivial. But Op-Art was gaining popularity in the sixties, and so was Bridget Riley. Op-Art is a kind of geometric abstraction devoid of sentiment. In the words of Bridget Riley herself, <em style="background-color: white; border: 0px; color: #666666; font-family: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">“I couldn’t get near what I wanted through seeing, recognizing and recreating, so I stood the problem on its head. I started studying squares, rectangles, triangles and the sensations they give rise to… It is untrue that my work depends on any literary impulse or has any illustrative intention. The marks on the canvas are sole and essential agents in a series of relationships which form the structure of the painting.”</em><span style="background-color: white; color: #666666; font-family: "roboto" , sans-serif; font-style: inherit;"> </span><br />
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<span style="background-color: white; color: #666666; font-family: "roboto" , sans-serif;"><i>Kiss</i></span><span style="background-color: white; color: #666666; font-family: "roboto" , sans-serif; font-style: inherit;">, 1961</span><br />
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Throughout this period Bridget Riley worked primarily with black and white imagery, sometimes incorporating tonal shades of grey. It is these works which interest me most, bearing as they do a relationship between the striped and cut Fibonnaci samples produced for earlier chapters in this module. Studying Bridget Riley has inspired me to continue playing with the apparent simplicity of black and white in conjunction with basic geometric shapes and simple stripes.<br />
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<i>Movement in Sqaures</i>, 1961<br />
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The predominant shapes in Bridget Riley's art have largely been geometric in form, including lines, squares, circles, ovals and curves. Stripes feature prominently and regularly. In a catalogue accompanying an exhibition of her work in 2014 the following observation was made:<span style="font-family: inherit; font-size: 14px;">"</span><span style="background-color: white; color: #333333; font-family: , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><i>The London show, her most extensive presentation in the city since her 2003 retrospective at Tate Britain, explored the stunning visual variety she has managed to achieve working exclusively with stripes, manipulating the surfaces of her vibrant canvases through subtle changes in hue, weight, rhythm, and density</i>."</span><br />
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<i>Pause</i>, 1965<br />
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In 1967 she began to explore colour in her work. But she was wary of the unforeseen effects of colour since the perception of hues is less stable than the perception of black and white - the latter can be controlled by the artist in a way that colour never could. Still she continued her colour experiments incorporating hue with lines, both straight and undulating. By spacing the colours effectively she could generate the illusion of movement.<br />
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<i>Cataract 3</i>, 1967<br />
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By the middle of the 1970's Bridget Riley was working with more curves, in conjunction with a more nuanced use of colour and light, thus generating an increased emotional intensity to her paintings, many of which were given poetic and musical titles. Interestingly up until the late '70's she restricted the use of colour to just 3 hues per painting, extending this to 5 in 1978.<br />
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<i>Zing1</i>, 1971<br />
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Well travelled, much of her work evokes the spirit of the landscapes which inspired her. She spoke of her "Egyptian palette" after her visit to Egypt in the early 1980's. It was around this time when her work shifted away from the disciplined structure of her earlier op-art to the "assertive gestures of the Neo-Expressionists". Entranced by the colours she saw around her while travelling through Egypt she wrote, "<em style="background-color: white; border: 0px; color: #666666; font-family: Roboto, sans-serif; font-size: 16px; font-stretch: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The colours are purer and more brilliant than any I had used before". </em><span style="background-color: white; border: 0px; color: #666666; font-family: "roboto" , sans-serif; font-size: 16px; font-stretch: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Here was where she finally learned how to use colour and light in the manner she had been seeking.</span><br />
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<span style="background-color: white; border: 0px; color: #666666; font-family: "roboto" , sans-serif; font-size: 16px; font-stretch: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><i>RA 2,</i> 1981</span><br />
<span style="background-color: white; border: 0px; color: #666666; font-family: "roboto" , sans-serif; font-size: 16px; font-stretch: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><br /></span>
<span style="background-color: white; border: 0px; color: #666666; font-family: "roboto" , sans-serif; font-size: 16px; font-stretch: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Throughout the mid 1980's and 1990's Bridget Riley began to explore a new geometric form, the diagonal lozenge. Here she worked with form and colour, with an emphasis on contrast of depth, tone, hue and even direction. She considered both form and colour as "ultimate identities, as things in themselves".</span><br />
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<span style="background-color: white; border: 0px; color: #666666; font-family: "roboto" , sans-serif; font-size: 16px; font-stretch: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><i>From Here</i>, 1994</span><br />
<span style="background-color: white; border: 0px; color: #666666; font-family: "roboto" , sans-serif; font-size: 16px; font-stretch: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><br /></span>
<span style="background-color: white; border: 0px; color: #666666; font-family: "roboto" , sans-serif; font-size: 16px; font-stretch: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">From 2000 onwards the shape changed again, this time growing more fluid and curved. The colours were softer too, eg blues and lilacs.</span><br />
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<span style="background-color: white; border: 0px; color: #666666; font-family: "roboto" , sans-serif; font-size: 16px; font-stretch: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"> <i>Two Blues</i>, 2003</span><br />
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<span style="background-color: white; border: 0px; color: #666666; font-family: "roboto" , sans-serif; font-size: 16px; font-stretch: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Bridget Riley's modus operandi reminds me of the painstaking approach which many contemporary art quilters adopt in the making of their textile art. She begins with a sketch of her design which she then enlarges. Everything is done by hand and with great precision. A single painting may take 6 - 9 months to complete.</span><br />
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<b>References:</b><br />
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* https://en.wikipedia.org/wiki/Bridget_Riley<br />
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*http://www.op-art.co.uk/bridget-riley/<br />
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*Bridget Riley: The Stripe Paintings 1961- 2014<br />
https://davidzwirnerbooks.com/product/bridget-riley-the-stripe-paintings-1961-2014<br />
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<b>Artist of my choice: Alice Kettle</b><br />
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The instructions were to choose an artist whose work relates to some aspect of this module: blackwork, tone, machine stitchery, decorating fabrics with dyes/paints, 3-dimensional items. I chose Professor Alice Kettle because of the impact her work made upon me after viewing her textile art which was exhibited at The Knitting and stitching Show in Dublin many years ago. What struck me most of the sheer depth of emotional content which resonated through the meandering lines of her freely machined stitch. And then there was the size of each individual piece, the immensity, almost overwhelming volume of line upon line upon line.<br />
Alice Kettle's art evokes a sense of otherness, a mysterious interrogation of some of life's most unanswerable questions. Her machine embroidery is so much more than the sum of its parts. For each stitch, each line seems to be placed precisely where it is supposed to be. There is nothing superfluous added, no sentimental pathos, or hyperbolic noise. Just a statement of one of life's mysteries, sketched like a question mark written in rayon.<br />
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Perhaps it is her emphasis on the fragility of the human figure which generates such fathomless responses from the spectator.<br />
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"T<i>he figure is the absolute essence of the work, the human content, the emotional link for me as an artist.</i>" Alice Kettle<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQkZGS6C97t3iOiPJelNB7pKQTEZdlMBzJ7_GoYXTd3rFLTxomqzOD8RgfMPIEP9pka76Wm825b7hPM6j6eJ4LKWz0VnHvP_KehKYzr06QE6C2rSzlMzx_GgPjstfvYiUCpbOK4xhAJ-Q/s1600/Three+Caryatids.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="191" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQkZGS6C97t3iOiPJelNB7pKQTEZdlMBzJ7_GoYXTd3rFLTxomqzOD8RgfMPIEP9pka76Wm825b7hPM6j6eJ4LKWz0VnHvP_KehKYzr06QE6C2rSzlMzx_GgPjstfvYiUCpbOK4xhAJ-Q/s320/Three+Caryatids.jpeg" width="320" /></a></div>
<i>Three Caryatids</i>, 1988-9<br />
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"<i>The theme I develop is often subconscious - it emerges in the making. I like images that are universal, that sum up some inherent quality of human existence. I like playing with contrast and paradox: these Caryatids are made of something soft, delicate and flowing, but are they stone, or even human? They are made from something intricate - but they are monumental</i>." Alice Kettle commenting on her work <i>Three Caryatids.</i><br />
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Though the figures are shapeless, sometimes faceless, they are never anything less than beautiful And yet her art is beyond decoration, for her works always reference something beyond themselves. As her art progressed in depth and vision, a new sense of universality began to emerge, so that by time she embroidered "Creation" the main figure was genderless, ageless, raceless. This is concept art at it's most notable. For to combine an idea with the perfection and beauty of execution requires the skill set of a mature and experienced practitioner, which Alice Kettle displays in abundance.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9aId22U9gP0568q5Hbp80Jjos4nGAupyCa4nVb4gDnRkvqTrCNBPYx4yRdVfqeWRa_GQpo9oTK1UH-oHUMKM6egtqBf2_MIuWfvFW07UzxqmEjUwuRsOm_uLVmUsYLdT0x3tyQNoqupc/s1600/Creation.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9aId22U9gP0568q5Hbp80Jjos4nGAupyCa4nVb4gDnRkvqTrCNBPYx4yRdVfqeWRa_GQpo9oTK1UH-oHUMKM6egtqBf2_MIuWfvFW07UzxqmEjUwuRsOm_uLVmUsYLdT0x3tyQNoqupc/s320/Creation.jpg" width="275" /></a></div>
<i>Creation</i>, 1991<br />
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Alice Kettle studied Fine Art from 1979-84 at the University of Reading, followed by post-graduate studies in textile art at Goldsmiths College, London, until 1984. She is an honorary member of the prestigious textile art 62 Group. Amongst many fellowships that she holds, she is also a Research Fellow at Manchester Metropolitan University. Though she began with painting, it wasn't until she switched in 1985 to textiles that she finally found her niche.<br />
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Alice Kettle works intuitively, following where the stitch wants to go. She prefers to work this way instead of laboriously planning her art, so dyeing and printing methods are not for her. Unlike hand embroidery, machine embroidery allows her to fill the canvas with long, sweeping lines of stitching. She uses coloured threads in much the same way that a painter uses oil paints or acrylics.<br />
Furthermore, the act of over stitching layer upon layer creates a rippling effect in the canvas, transforming a 2 dimensional flat piece of work into a shimmering 3 dimensional surface.<br />
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"<i>It was as if the canvas itself was also changing, rather than me just putting more and more into the surface of it.</i>" Alice Kettle<br />
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Alice Kettle's huge embroideries bring to mind the ancient art of tapestry weaving in both form and content. And yet, though evocative of many of the mythological stories from the far-flung past, her machine sewn embroideries are anything but ancient. Instead they are thoroughly modern in mode, if not in meaning. For once again we notice that it is not alone the vague generalised outlines which represent universal figures, but the emotions evoked through the narrative threads are common to all times, all eras, all beings.<br />
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"<i>I like images that are universal, that sum up some inherent quality of existence.</i>" Alice Kettle<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3aDyj2mNtaBdVvpVQd0xkmah31hCqIIBfGGjhPjfNSwXZP8LSngYVfwWEy2LiIBR-0tYDgayTMUhWHM44gHWB6_nOaH4KD6G9WMwPtFbOthMg6QXZYJhmzBqJhbNHL-wD4O9_-_rcyAA/s1600/Odyssey.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="155" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3aDyj2mNtaBdVvpVQd0xkmah31hCqIIBfGGjhPjfNSwXZP8LSngYVfwWEy2LiIBR-0tYDgayTMUhWHM44gHWB6_nOaH4KD6G9WMwPtFbOthMg6QXZYJhmzBqJhbNHL-wD4O9_-_rcyAA/s320/Odyssey.jpg" width="320" /></a></div>
<i>Odyssey, 2003</i><br />
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Alice Kettle is a master colourist, evidence of her earlier days exploring the interaction of hue and light while painting in college. But while most of her massive scaled embroideries are swirls of illuminated colours, there are a few equally striking even though they are bereft of colour. What follows are a selection of some her monochrome embroideries with accompanying commentary from the artist. I was especially drawn to them in that they seemed to suggest a very new and post-modern approach to the traditional form of blackwork embroidery, where the lines of delicate stitchery echo the gentle art of double running, or <i>Holbein</i> stitch.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8AZkNO-mswAiil-YY6U7CrauWkq9sUguYxEbEWMTK8bGbHKN8MvjPNYhyJKbcvLl_303ZQBiKimZNhAUonbVTGjykzGWl5lEyf1pkUOQV9pNdr-E2Epa_a-x2eBaJ5l0Cykl7qhhd8CQ/s1600/Anthracite.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8AZkNO-mswAiil-YY6U7CrauWkq9sUguYxEbEWMTK8bGbHKN8MvjPNYhyJKbcvLl_303ZQBiKimZNhAUonbVTGjykzGWl5lEyf1pkUOQV9pNdr-E2Epa_a-x2eBaJ5l0Cykl7qhhd8CQ/s320/Anthracite.png" width="320" /></a></div>
<i>Anthracite II</i>, 1989<br />
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"<i>Black and white has so much power - it dispenses with the 'prettiness' of embroidery</i>."<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg16xmY8DAv5QgZZTxl5eM2n79miTn1rrU03e0wTs_iSjrPLNhJicfX45pZG5NUFNrqifckRneum-0VITtWqBix_G5ccIm9WboaF9SpvwWPLXhefddg8ikq4LCHZH-RtlpRln9cMl-kH2M/s1600/Niagra.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg16xmY8DAv5QgZZTxl5eM2n79miTn1rrU03e0wTs_iSjrPLNhJicfX45pZG5NUFNrqifckRneum-0VITtWqBix_G5ccIm9WboaF9SpvwWPLXhefddg8ikq4LCHZH-RtlpRln9cMl-kH2M/s320/Niagra.jpg" width="320" /></a></div>
<i>Niagra</i>, 1995<br />
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"<i>Working in black and white gives me great freedom - without decisions of colour the line takes on paramount importance. Black and white brings me back to the essence of stitch</i>."<br />
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<b>References:</b><br />
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*<i>Eye of the Needle, The Textile Art of Alice Kettle,</i> edited by Matthew Koumis<br />
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*<i>Alice Kettle, Mythscapes</i> exhibition catalogue<br />
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*<i>Machine Stitch Perspectives</i>, Alice Kettle & Jane McKeating<br />
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</style>Edithhttp://www.blogger.com/profile/02720104214537603483noreply@blogger.com0tag:blogger.com,1999:blog-7129362625181133637.post-24317965521519895862017-03-23T06:26:00.005-07:002017-03-23T06:26:42.753-07:00Chapter 12 - Final project: Functional, 3 Dimensional Embroidered ItemAt long last I am nearing the end of Module 2. :) Today I put the final touches to my functional, 3 dimensional embroidered item - a bag.<br />
The shape of my bag was based on a section of the shell of the tortoise I sketched earlier, the details and thought processes described in previous posts.<br />
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Below are a few images of the bag under construction.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbvNggyASR2hkPIU2Fl3SNmP0ymZ40XiPjjfZcLZjGXUETug8J9WS1wsdq247_JD9mXdaoMQnQiawIwi1Oz924u7Z3jLLefcS2-Qn8j7Qk3eKiXCnA5BYb3d0nHO_VUsj33-7rEspnT0g/s1600/Pieces+of+bag.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbvNggyASR2hkPIU2Fl3SNmP0ymZ40XiPjjfZcLZjGXUETug8J9WS1wsdq247_JD9mXdaoMQnQiawIwi1Oz924u7Z3jLLefcS2-Qn8j7Qk3eKiXCnA5BYb3d0nHO_VUsj33-7rEspnT0g/s320/Pieces+of+bag.jpg" width="320" /></a></div>
<i>Embroidered fabrics adhered to pelmet Vilene using Bondaweb. Unbleached cotton bondawebbed to backs of front and back of bag.</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTQRf5jtISUdgTwwvfwIVkaGiF8p5k6Kxe-nhXOELizCFEQlpVDyg95XSl6OYksdFijjCL54p1uTjcIJSJN6ncG8aPpsWH6Tqgpoh990f5MoUbsCAEBQi7_bZsirGPkm3Onph3me8xxKE/s1600/Making+strap+%252B+comparing+lengths.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTQRf5jtISUdgTwwvfwIVkaGiF8p5k6Kxe-nhXOELizCFEQlpVDyg95XSl6OYksdFijjCL54p1uTjcIJSJN6ncG8aPpsWH6Tqgpoh990f5MoUbsCAEBQi7_bZsirGPkm3Onph3me8xxKE/s320/Making+strap+%252B+comparing+lengths.jpg" width="320" /></a></div>
<i>Straps in progress. It was interesting to see how much shorter the straps became the more I knotted the strips of fabric together. I made each knot with 4 to 5 twists.</i><br />
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Completed bag, with gussets, free machine corded edging at top, and knotted strips of frayed fabric for straps:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4j40BN5BUA2cRV0SZqswN5whqb_whgWXZPakcjG5Ys7f8ibeFnNFqcZ6H1I9k3tV7xuv9gSDcIdBYDoa8ygZ89R6oE21VzLaiFyw9Fs8hTqI45RnMmBl-jcy32K09K0dj66M6NyjWceg/s1600/Completed+bag+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4j40BN5BUA2cRV0SZqswN5whqb_whgWXZPakcjG5Ys7f8ibeFnNFqcZ6H1I9k3tV7xuv9gSDcIdBYDoa8ygZ89R6oE21VzLaiFyw9Fs8hTqI45RnMmBl-jcy32K09K0dj66M6NyjWceg/s320/Completed+bag+1.jpg" width="179" /></a></div>
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<i>Front of bag</i></div>
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<i>Back of bag</i></div>
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<i>Gusset edge with straps applied</i></div>
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"Embroidered Purses, Design & Technique" by Linda Tudor was invaluable in helping me work out an approach to making my bag, something I had never done before. Ms Tudor offers a number of different bag constructions, from which I chose her bag with gussets as my model.<br />
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<i>Authenticating photograph of me adding finishing touches to bag!</i></div>
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<b>References</b>:</div>
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*<i>Embroidered Purses</i>, Linda Tudor</div>
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*<i>Strip Patchwork</i>, Valerie Campbell-Harding</div>
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*<i>Machine Embroidery: Stitch Techniques</i>, Val Campbell-Harding & Pam Watts</div>
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*<i>Blackwork Embroidery</i>, Margaret Pascoe</div>
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*<i>Blackwork</i>, Becky Hogg</div>
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*T<i>he Machine Embroiderer's Workbook</i>, Val Holmes</div>
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*<i>Shibori for Textile Artists,</i> Janice Gunner</div>
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<br />Edithhttp://www.blogger.com/profile/02720104214537603483noreply@blogger.com0tag:blogger.com,1999:blog-7129362625181133637.post-18960741425112667842016-12-13T08:10:00.001-08:002016-12-13T08:10:34.990-08:00Chapter 12 - Mock up of bag with a gussetBelow are a couple of photos of a mock up of my proposed final 3D project made with white card and thick cotton thread for the shoulder strap. The elements have been taped together with sellotape. My plan is to use black fabric for the gusset, decorated possibly with overlapping flaps of fabric representing the scales of the tortoise legs.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmLhHKPo-VnT8hS15ZV-DTstwmbXtxKCvDkyuFZe35HxDBVZWzYrwf6Y9TKI26KxLQXH5tuxynqzTb2Ora9buP6jtHctdJJSpEZMPqR_YSy7-mcJ-WIvpPHpNlACXBdEqj7vf6GBx8LGg/s1600/Bag+mock+up+with+a+gusset+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmLhHKPo-VnT8hS15ZV-DTstwmbXtxKCvDkyuFZe35HxDBVZWzYrwf6Y9TKI26KxLQXH5tuxynqzTb2Ora9buP6jtHctdJJSpEZMPqR_YSy7-mcJ-WIvpPHpNlACXBdEqj7vf6GBx8LGg/s320/Bag+mock+up+with+a+gusset+1.jpg" width="179" /></a></div>
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The shoulder strap will be made from a braid of machine stitched cords.<br />
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I really like these little 3D shapes moulded to replicate the raised protrusions found on some tortoise shells.</div>
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Next step is to try and pull all these elements together! :)</div>
<br />Edithhttp://www.blogger.com/profile/02720104214537603483noreply@blogger.com1tag:blogger.com,1999:blog-7129362625181133637.post-6196429402557489942016-11-08T05:31:00.000-08:002016-11-08T05:31:01.870-08:00Module 2, Chapter 12, Stage 2: Creating a Functional, 3 Dimensional Embroidered ItemIn preparation for making the final project for this module I began by returning to my monoprinted and dyed fabrics stash from earlier, picking a few to machine stitch. Below is a selection of a few of my new decorated fabrics. This time I was a lot more comfortable playing with both cable stitch and whip stitch. I also enjoyed incorporating both of these approaches to machine stitching on the same piece of fabric. I found that they complement each other rather well. The scrunched up piece of fabric on the top of the image below was especially interesting. I really like the ruched effect whip stitch can create especially when machined fast!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZH8QHFKJBdeCQlW7zNbi57BY0dsFDIudToqH96jtlXEYrP1alzJlQuAEsLVypU9sLivAmAa2u4AXfeJfVGDSmlJyTvukPvpClxNDqQE2OMr_2ahJ-HbyhuXNDSype0iIyZ6fCK1plGEo/s1600/M2C12+Selection+of+fabrics.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZH8QHFKJBdeCQlW7zNbi57BY0dsFDIudToqH96jtlXEYrP1alzJlQuAEsLVypU9sLivAmAa2u4AXfeJfVGDSmlJyTvukPvpClxNDqQE2OMr_2ahJ-HbyhuXNDSype0iIyZ6fCK1plGEo/s320/M2C12+Selection+of+fabrics.jpg" width="320" /></a></div>
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The next step was to create the pattern based on a section of the tortoise shell from one of my research images earlier in the module. This shape was just different enough to lift my bag design from the ordinary and expected. That it waspart of the tortoise whose shell had informed so much of my experimental work simply added to the effect for me.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhruWbMMjnJ47ULw-wSRms4Kf705s7V0F9HKEEXO2YtvmUSum9bmvW3ZLP655qMaFKSXP8nyY1ey6Exo7CkqLSnnNBUGxoTCegC8tV4WY9-r8HIuSDHjoGLH_UIEItR1kH3d4hGgzRhIeU/s1600/M2+C+12%252C+SHELL+SHAPE.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhruWbMMjnJ47ULw-wSRms4Kf705s7V0F9HKEEXO2YtvmUSum9bmvW3ZLP655qMaFKSXP8nyY1ey6Exo7CkqLSnnNBUGxoTCegC8tV4WY9-r8HIuSDHjoGLH_UIEItR1kH3d4hGgzRhIeU/s320/M2+C+12%252C+SHELL+SHAPE.jpg" width="320" /></a></div>
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Now with design and shape in hand it was time to make a pattern from which to cut the pieces of the bag. I enlarged the shape on cartridge paper, then traced it on to architect's paper, before cutting out pattern pieces from pelmet vilene and lining fabric, which was cotton canvas. I also created a window shape of the design to help me audition which sections of the combined fabrics I would use for both front and back panels.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg57vG-9-olMUwnO5DMKZ6uQ2UfR5ny13_FpdFIRfv-KKf8vvZ461mij6cm9fOrhxJwSqsd9mNBjhxR9hAv_Xr3kBSHmJuy2f0LKpuN6qVfexo_AcYR0uV_HRhDKozgBfsXq6oWBb7xccU/s1600/M2+C12+Pattern+pieces.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg57vG-9-olMUwnO5DMKZ6uQ2UfR5ny13_FpdFIRfv-KKf8vvZ461mij6cm9fOrhxJwSqsd9mNBjhxR9hAv_Xr3kBSHmJuy2f0LKpuN6qVfexo_AcYR0uV_HRhDKozgBfsXq6oWBb7xccU/s320/M2+C12+Pattern+pieces.jpg" width="320" /></a></div>
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Using Bondaweb I ironed the cotton canvas to the insides of the bag panels.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3w6inOdcHlIUPYAydup53r-OkFkvIw1vdhsqEZDD9BXmzJFQxQAJAnw0Vk7OYtZ1AMjHKZgc32uRhHiMzdYzf1W_E1V1JJoyEyHyNB3faeKM66bgERLixtrsc_xd3xZX1YFaB3uDHhWo/s1600/M2+C+12+Pelmet+vilene+pattern+pieces.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3w6inOdcHlIUPYAydup53r-OkFkvIw1vdhsqEZDD9BXmzJFQxQAJAnw0Vk7OYtZ1AMjHKZgc32uRhHiMzdYzf1W_E1V1JJoyEyHyNB3faeKM66bgERLixtrsc_xd3xZX1YFaB3uDHhWo/s320/M2+C+12+Pelmet+vilene+pattern+pieces.jpg" width="320" /></a></div>
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Now the real fun began! It was time to start playing and experimenting with fabric layouts to create both front and back panels of the bag. But first back to the drawing board! Covering the table with painted and decorated papers I played with some of the design ideas previously explored, only this time bearing in mind the finished object.<br />
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I knew I wanted one side to be somehow based upon or derived from the Fibonnaci design, as I had enjoyed the beauty of its geometry when experimenting with it earlier in the module.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4qOWLPXNdqFNjwFI_tMWKRPiGB4DKQKqq4-crpgydwQbz58Kb15Hk5SpIdQqooQafaB1vLBHntnPvW9IXZMVbyc2r129RQdVvvouedUXWCVUdpEZi2dJ8ibpb8hKzW0-4hv06eKn4-Jc/s1600/M2+C12%252C+Fibonnaci+paper+design.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4qOWLPXNdqFNjwFI_tMWKRPiGB4DKQKqq4-crpgydwQbz58Kb15Hk5SpIdQqooQafaB1vLBHntnPvW9IXZMVbyc2r129RQdVvvouedUXWCVUdpEZi2dJ8ibpb8hKzW0-4hv06eKn4-Jc/s320/M2+C12%252C+Fibonnaci+paper+design.jpg" width="320" /></a></div>
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First I choose a selection of fabrics to sew together in strips keeping a close eye on their tonality.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKJzs2ALtV9uDhh326Hca1v41WrtbA-TLN-vYMDxNsdF45PQefzdq1yJEkgADr1xP57vP-R1vf9alQk4c8QThbeK6TlY_6A3C3acChE6JCx_ncwjO0yk5wH0p0Ash5TBz7jgFrBUyWm7I/s1600/M2+C12%252C+Side+A+fabric+strips.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKJzs2ALtV9uDhh326Hca1v41WrtbA-TLN-vYMDxNsdF45PQefzdq1yJEkgADr1xP57vP-R1vf9alQk4c8QThbeK6TlY_6A3C3acChE6JCx_ncwjO0yk5wH0p0Ash5TBz7jgFrBUyWm7I/s320/M2+C12%252C+Side+A+fabric+strips.jpg" width="320" /></a></div>
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Next I cut the combined piece into the Fibonnaci sequence - 1-1-2-3 = 2"-2"-4"-6"<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP62ITamCu1HWXEzjzYSY4pUeY5AQhbgK1T0Rf8BWizAvspbnY5bMlZPlQGk3wFTbWl6atqKCiDfczlGqpJN8T8pcu_4K2WjDulyX_dGyyDVvNbDS2ZTSWE0YCC0yOhgj2Ne_FLiCpCOU/s1600/M2+C12%252C+Fibonnaci+strips.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP62ITamCu1HWXEzjzYSY4pUeY5AQhbgK1T0Rf8BWizAvspbnY5bMlZPlQGk3wFTbWl6atqKCiDfczlGqpJN8T8pcu_4K2WjDulyX_dGyyDVvNbDS2ZTSWE0YCC0yOhgj2Ne_FLiCpCOU/s320/M2+C12%252C+Fibonnaci+strips.jpg" width="320" /></a></div>
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To rejoin the pieces I cut some black fabric following the Fibonnaci sequence again and sewed the strips together into a single piece. Below is the front of the fabric with seams facing outwards.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEdeAHTW6ePFbACdpk2FRoW_2oBVNuM4xb05xHM2JOak_Olm0nombwRVil28F2TgP5p0pOyRdPUKPaFdaaj-at_WawLFPfreUJ0puCZxn-E4ET0YgfMGSy9j22nRJ2Du6JOuVA3WulATo/s1600/M2+C12%252C+Fibonnaci+strips+%252B+black.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEdeAHTW6ePFbACdpk2FRoW_2oBVNuM4xb05xHM2JOak_Olm0nombwRVil28F2TgP5p0pOyRdPUKPaFdaaj-at_WawLFPfreUJ0puCZxn-E4ET0YgfMGSy9j22nRJ2Du6JOuVA3WulATo/s320/M2+C12%252C+Fibonnaci+strips+%252B+black.jpg" width="320" /></a></div>
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Much as I like the effect of the outward facing seams which will be ravelled back as far as possible, I also loved the effect of the back of this piece and was rather pleased with the overall effect of the stitched and decorated fabrics. I would never have thought that such a simple approach to fabric play could generate such effective work!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc7Wg9qL9PA0PVkrnDIyuSW_vjAQAGpVJdDuu5auw5i8nbA8T7AxnZMh3VXxXZc38V6YXoS1VJrEd49_sAmrKXjr_DbZ3l_G77dHD0Ug5VQFiwzeCnpRqGjhGe-1g5uCWHPUsGixcMidI/s1600/M2+C12+Side+A%252C+back.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc7Wg9qL9PA0PVkrnDIyuSW_vjAQAGpVJdDuu5auw5i8nbA8T7AxnZMh3VXxXZc38V6YXoS1VJrEd49_sAmrKXjr_DbZ3l_G77dHD0Ug5VQFiwzeCnpRqGjhGe-1g5uCWHPUsGixcMidI/s320/M2+C12+Side+A%252C+back.jpg" width="320" /></a></div>
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Next step was to take the cardboard cut out of the pattern and audition which section of the pieced fabric I would choose for the front panel. How about this?<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5Ng4UqRRWwtK-wvtb7zSnR6qSJo3C8Hk53H9t9TSVa9Vu8XVopqyhZ0LActiC8IR_2AFocGtvzxwFS3y1f5OD2_VCxZGZeoPJbxt141dLzuuKkuGDI9LNSt2npvMX1zoHKrVWIbQoLJQ/s1600/M2+C12+Side+A+auditioning+fabric.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5Ng4UqRRWwtK-wvtb7zSnR6qSJo3C8Hk53H9t9TSVa9Vu8XVopqyhZ0LActiC8IR_2AFocGtvzxwFS3y1f5OD2_VCxZGZeoPJbxt141dLzuuKkuGDI9LNSt2npvMX1zoHKrVWIbQoLJQ/s320/M2+C12+Side+A+auditioning+fabric.jpg" width="320" /></a></div>
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Or this?<br />
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Back to the drawing board, or rather the cutting and pasting board to play with ideas of placement bearing quality of tonality in mind:<br />
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Which led to this: Note that the pattern piece still needs to be cut to size as well as having it's seams shredded.<br />
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For the back panel I wanted to work with the quality of value moving from light to dark. I loved the blackwork section of this module and was keen to incorporate elements which harkened back to the days of such glorious embroidery. So I started by cutting and pasting some of my decorated papers on to the mock pattern piece.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbD2ORG-QDCdi1fR-A1cDqYoRELzDBNTefnjUI7eQj1bBN3vFw1qbHGDissf8QGTvw-mQeS6Ax0YUwxschTS2NmjYdssLTr47Trfyl4HxD2qTP1ro-OUnW33HlkhoaFymc759tuu7Z61Y/s1600/M2+C12+Side+B+Paper+design.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbD2ORG-QDCdi1fR-A1cDqYoRELzDBNTefnjUI7eQj1bBN3vFw1qbHGDissf8QGTvw-mQeS6Ax0YUwxschTS2NmjYdssLTr47Trfyl4HxD2qTP1ro-OUnW33HlkhoaFymc759tuu7Z61Y/s320/M2+C12+Side+B+Paper+design.jpg" width="193" /></a></div>
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Next job was to recreate the above with fabric. Choosing my fabrics carefully I stitched them into strips before cutting them roughly into the panel shape. Bother panels will be completed by adhering the fabric to the other sides of the pelmet vilene once I have fully frayed all the seams. Otherwise there is a chance that the action of pulling at the seams and fraying the fabric will loosen the panel from its supporting vilene.<br />
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<br />Edithhttp://www.blogger.com/profile/02720104214537603483noreply@blogger.com0tag:blogger.com,1999:blog-7129362625181133637.post-13562535366926741342016-07-27T13:10:00.003-07:002016-07-27T13:15:53.874-07:00Module 2, Chapter 12, Stage 2, continuedContinuing to play and experiment with surface design for my bag, I began by adapting the method worked in an earlier chapter, but instead of stitching for shibori dyeing, I stitched with a view to gathering the painted, dyed and patched fabrics in order to generate entirely new designs through stitching.<br />
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In the first example below I began by choosing one of my log cabin samples and stitched uneven lines of running stitch before gathering. Unfortunately because I stitched with normal sewing quality polyester thread, one of the lines of stitching broke. Thinking about this I came to two conclusions - the first was to use shibori quality thread next time, and secondly ungathered sections create a more interesting finished effect.<br />
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Log cabin sample:<br />
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Log cabin, stitched:</div>
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Log cabin gathered tightly:<br />
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In the next sample I chose some commercial striped fabric and gathered it more loosely than previous sample. I then rearranged the gathers in order to imitate, at least partially the lines in the image of the tiger's markings below.<br />
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Tiger markings:<br />
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Striped fabric:<br />
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Striped fabric, gathered loosely and then rearranged in an attempt to capture the tiger markings above:<br />
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Wrapping fabric strips with thread:<br />
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Instructions from "Three Dimensional Embroidery" by Janet Edmonds<br />
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Finely woven linen in first 'failed' black dye bath, wrapped in white crochet cotton:<br />
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Next step was to coil the above wrapped fabric into a pointed shape reminiscent of peaked shapes on tortoise shell:<br />
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I really like this shape. Definite possibilities for a possible panel for my tortoise inspired bag!<br />
So I tried it again, this time using some of my more successful dyed black fabric, wrapping the fabric with white crochet cotton. Again I really like this little sample, even better than the one above, although sewing it into a coil shape was very hard on my fingers. Will need to remember to use a thimble next time and hope that needle doesn't break!!<br />
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Still wanting to experiment with a similar shape using a different construction, this time based on Jean Draper's "Raised structure with bound points" in her brilliant book <i>Stitch and Structure</i>, I created these little shapes. Though they have possibilities, I think I prefer the solidity of the above shapes for my bag. Reckon they will be considerably more hard wearing! :)<br />
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All in all a good day filled with lots of experimenting. What I enjoyed most was taking some of the earlier methods used in previous chapters and samples and adapting them in a new way. Happy to be moving forward in my ideas for my bag, and beginning to "see" it evolve........<br />
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References:<br />
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<i>Three Dimensional Embroidery</i>, Janet Edmonds<br />
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<i>Stitch and Structure</i>, Jean DraperEdithhttp://www.blogger.com/profile/02720104214537603483noreply@blogger.com0tag:blogger.com,1999:blog-7129362625181133637.post-90143312001344304202016-07-09T13:36:00.001-07:002016-07-09T13:36:45.225-07:00Module 2: Chapter 12 - Stage 2The following pages are all from my sketchbook devoted entirely to gathering ideas for designing my functional, three dimensional embroidered item.<br />
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Working and playing with the 3D shapes in stage 1 (previous post) generated a few potential ideas. The two which seemed to hold the most interesting possibilities for working within a fairly limited colour palette were baby blocks made from pelmet vilene with each side displaying a variety of blackwork and other tonal hand and free machine embroideries; and bags. In the end I chose to work with bags, having discovered an interesting link between Native American Indian / Aboriginal medicine bags and a close relative to one of the animals I was researching, with an emphasis on the markings on his shell - the tortoise and turtle.<br />
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Native American Indian mothers sometimes make fetish medicine bags for their babies. These bags are made in the shape of animals whose attributes the mothers hope their little ones will develop. Girls fetish bags are made in the shape of turtles. Turtles are known for their long life spans. Turtles also symbolize Mother Earth, and are ancient symbols of longevity and patience. They only carry what they need - their shell.<br />
Boys fetish bags are made in the shape of lizards. Lizards and snakes are known for their stealth and speed, qualities mothers wish for their male children. These bags function as good luck charms. When the child grows older the bags are sometimes attached to the child's belt.<br />
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<br />Edithhttp://www.blogger.com/profile/02720104214537603483noreply@blogger.com1tag:blogger.com,1999:blog-7129362625181133637.post-19434288604510069442016-05-07T09:31:00.000-07:002016-05-07T09:31:37.841-07:00Chapter 12, Stage 1<b>3-D shapes</b><br />
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The four 3-D shapes above were made from felt.<br />
Top left is a cube.<br />
Bottom left is a cylinder.<br />
Bottom right was created from 3 equilateral triangles stitched together to form a pyramid.<br />
Top right was created from 3 squares stitched together to make a triangular tunnel shape.<br />
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Looking back over sketches drawn earlier in this module I noticed the rather interesting mis-shapen 'squares' - 4 turned sideways makes a 'diamond' of sorts.<br />
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I am especially intrigued by the number of different variations possible when combining squares and rectangles together to generate composite 3 D shapes. I began experimenting and developing the following 3D shape:<br />
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I began by cutting 9 small rectangles, each measuring 1 3/4 inch by 1 1/4 inch. Since there were so many tiny pieces of fabric I decided to forgo the pleasure of hand sewing them together, much as I enjoyed stitching by hand for the initial 3 D samples, and instead seamed them together using a narrow machine zigzag.<br />
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Next step was to start combining the resulting triangles:<br />
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(i) stitched 2 triangles together, this time by hand:<br />
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(ii)</div>
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(iii) 3 triangles joined together along the same seam:</div>
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(iv)</div>
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Tessellated triangles:</div>
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<br />Edithhttp://www.blogger.com/profile/02720104214537603483noreply@blogger.com1tag:blogger.com,1999:blog-7129362625181133637.post-37749815635379856452016-04-05T11:18:00.002-07:002016-04-05T11:18:45.436-07:00Module 2, Chapter 11, Stage B<div class="separator" style="clear: both; text-align: center;">
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This larger sample was created using my dyed, decorated, monoprinted and stitched fabrics. I began by stitching strips of fabric together, divided the pieced fabric into 3 sections based on the Fibonacci sequence. I kept the smallest piece as it was, cut up the second section and re-pieced it, and cut the third section into much smaller pieces before reassembling. Finally the 3 sections were joined together, with most seams facing to the front. The seams were frayed to add interest.Edithhttp://www.blogger.com/profile/02720104214537603483noreply@blogger.com0tag:blogger.com,1999:blog-7129362625181133637.post-33130547245675941272016-03-30T09:07:00.001-07:002016-03-30T09:07:22.150-07:00More shiboriThe following fabrics were all stitched, clamped, or wrapped in an attempt to create darker shibori dyed fabrics. I was better pleased with how the dyeing took in these samples. However since these pieces are all quite small, none larger than A4 sized, I think I will need to create more shibori fabrics, this time perhaps doubling the width to 22" or so.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLNF2bXwoaGPPO02NmN4OlzVzAPjzo7iMqcLIygq5WMMIlW7NjNM1dTAGY6a41pGKhLiMCn_tSCMNcJDujiZtQs-zjJUl3-kQuhzOVljqM38fLnEnH_u70DVGL_3uGZAe45orKo26W7HE/s1600/Module+2+Shibori+dyed+fabric.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLNF2bXwoaGPPO02NmN4OlzVzAPjzo7iMqcLIygq5WMMIlW7NjNM1dTAGY6a41pGKhLiMCn_tSCMNcJDujiZtQs-zjJUl3-kQuhzOVljqM38fLnEnH_u70DVGL_3uGZAe45orKo26W7HE/s320/Module+2+Shibori+dyed+fabric.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKmkPM5IkLTCsPawXF4mxXl7t2fu6bWbZw9pBhgLFT5ZpXiJvSh3w7OgCywq4xMyZ8CmIkXjBaByxz3snWU2823ObQHzO7hqnn6HZuR3qF-LXM0Da7CCCfInELvkmTOQwn66DZCNq1KIc/s1600/Module+2+Sibori+dyed+fabric.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKmkPM5IkLTCsPawXF4mxXl7t2fu6bWbZw9pBhgLFT5ZpXiJvSh3w7OgCywq4xMyZ8CmIkXjBaByxz3snWU2823ObQHzO7hqnn6HZuR3qF-LXM0Da7CCCfInELvkmTOQwn66DZCNq1KIc/s320/Module+2+Sibori+dyed+fabric.jpg" width="320" /></a></div>
<br />Edithhttp://www.blogger.com/profile/02720104214537603483noreply@blogger.com3tag:blogger.com,1999:blog-7129362625181133637.post-57632834427644154132016-03-29T03:16:00.003-07:002016-03-29T03:16:56.641-07:00Modul 2 - Chpaper 11: Stitched Samples based on paper designs - Stage A<div class="separator" style="clear: both; text-align: center;">
The following samples are translations of 3 of my more complex paper designs into textile samples using my dyed, monoprinted, bleached and stitched fabrics, hopefully combining all elements into a sympathetic relationship. I have displayed both sides of the fabric samples, with the seamed and frayed edges at the front.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_wcODoeOQPGhy_p56b1XmtisOtjLB2wLrcVyaGudEPCkzIc83ebRCGlC9M4I9ny187uLQCSUc83UF1UVf8Dwq0pdzIbvY906GQH8_m-0zzlTebcg4Q5yiQKppbmc1ach8BpbOB6sYYIU/s1600/Module+2%252C+Ch+11+-+A+%2528I%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_wcODoeOQPGhy_p56b1XmtisOtjLB2wLrcVyaGudEPCkzIc83ebRCGlC9M4I9ny187uLQCSUc83UF1UVf8Dwq0pdzIbvY906GQH8_m-0zzlTebcg4Q5yiQKppbmc1ach8BpbOB6sYYIU/s320/Module+2%252C+Ch+11+-+A+%2528I%2529.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc_UkUPEtF1Vyg3bCRZHdBwtfkMNRyny2BnDFCGnDxFBWlA7o1JdKlaYEIlyHoM0-F5YNAAPoWnFXZyr36nPKrcLGWIqCouIduW_4IhTItqyu418yDs8cKxmoQEP98sbU3CjC_HpeBI1Y/s1600/Module+2%252C+Ch+11+-+A+%2528i%2529+Reverse.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc_UkUPEtF1Vyg3bCRZHdBwtfkMNRyny2BnDFCGnDxFBWlA7o1JdKlaYEIlyHoM0-F5YNAAPoWnFXZyr36nPKrcLGWIqCouIduW_4IhTItqyu418yDs8cKxmoQEP98sbU3CjC_HpeBI1Y/s320/Module+2%252C+Ch+11+-+A+%2528i%2529+Reverse.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJEIo44yOrdgBiwN4CyKNN629WbJ6zJAAljLsFiT3pjgdyyg_JhDiG-_WdV_47dE1QWzfK9ZFMRlJyCGuj4v8M2WsQAMOlUkMdW1HsuOfIWSf_KybX6Y0HvG9ZJnGQEid6IjKfXMJvBWU/s1600/Module+2%252C+Ch+11+-+A+%2528ii%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJEIo44yOrdgBiwN4CyKNN629WbJ6zJAAljLsFiT3pjgdyyg_JhDiG-_WdV_47dE1QWzfK9ZFMRlJyCGuj4v8M2WsQAMOlUkMdW1HsuOfIWSf_KybX6Y0HvG9ZJnGQEid6IjKfXMJvBWU/s320/Module+2%252C+Ch+11+-+A+%2528ii%2529.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp0VK2X60xkpdoeqPZEi68M9U7NdKqtm0DMTrmOliaLMgiOuLDDFFJ9xRwy5e_Lq6Ik5lSiLkDWSNU8CiWpci6t9u5k3ER_g-Dbe-_gNZ1PFkcimypRIHA3BBNGkbEfnWcYaH4Gvr_F4s/s1600/Module+2%252C+Ch+11+-+A+%2528iii%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp0VK2X60xkpdoeqPZEi68M9U7NdKqtm0DMTrmOliaLMgiOuLDDFFJ9xRwy5e_Lq6Ik5lSiLkDWSNU8CiWpci6t9u5k3ER_g-Dbe-_gNZ1PFkcimypRIHA3BBNGkbEfnWcYaH4Gvr_F4s/s320/Module+2%252C+Ch+11+-+A+%2528iii%2529.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHopVYOR0-DLVj0c7qwS7WesrZ3Q26TWT7N_suDd9pkYOao0YHG78kLzZga6k-1ffmJ1DFA1dLS2XXLYlwa6DsH_xC472RXfjIHiUzwVh_ksGM5H-Ly0VDTuqQWoajSqzIH40_D5gXIN8/s1600/Module+2%252C+Ch+11+-+A+%2528iii%2529+Reverse.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHopVYOR0-DLVj0c7qwS7WesrZ3Q26TWT7N_suDd9pkYOao0YHG78kLzZga6k-1ffmJ1DFA1dLS2XXLYlwa6DsH_xC472RXfjIHiUzwVh_ksGM5H-Ly0VDTuqQWoajSqzIH40_D5gXIN8/s320/Module+2%252C+Ch+11+-+A+%2528iii%2529+Reverse.jpg" width="320" /></a></div>
My personal favourite is sample # (ii). I was very pleased with the translation of the Fibonacci sequaence paper design into fabric. In fact the textile version is much more interesting. Love the texture of the piece and enjoyed sitting with it and fraying the edges of the seams.Edithhttp://www.blogger.com/profile/02720104214537603483noreply@blogger.com1tag:blogger.com,1999:blog-7129362625181133637.post-14528175084117822002015-10-16T06:44:00.001-07:002015-10-16T06:44:53.493-07:00Module 2, Chapter 11: Machine stitching on bleached and monoprinted fabric<div class="separator" style="clear: both; text-align: left;">
The following set of fabrics were machine stitched using cable and whip stitch in a hopefully sympathetic manner complimenting the previously painted and bleached fabrics.</div>
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(i) Cable stitched a previously 'failed' shibori dyed, then monoprinted, fabric. Black pearl cotton #8 in bobbin and white sewing thread in top. Bobbin case had all tension removed; no tension alteration on top. Zig zag stitch with feed dogs up; alternated width as I sewed; also moved fabric while sewing to create curved lines.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1m9J7s0aEVvNw7T4auDO2ne_7t15HerIILzamNTy-p38BrrImGJdsiA_aNijgxuFtedAVyxqX-LoDrgWjM5p5ayWYc1MocL51beutALMd4ULBCYF_ZA0pUfNWOUzv-GRtcssltSuXRr0/s1600/M2+Ch+11+machine+stitching+on+monoprinted+fabric.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1m9J7s0aEVvNw7T4auDO2ne_7t15HerIILzamNTy-p38BrrImGJdsiA_aNijgxuFtedAVyxqX-LoDrgWjM5p5ayWYc1MocL51beutALMd4ULBCYF_ZA0pUfNWOUzv-GRtcssltSuXRr0/s320/M2+Ch+11+machine+stitching+on+monoprinted+fabric.JPG" width="320" /></a></div>
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(ii) White fabric monoprinted with black fabric paint using bubble wrap. Stitched using zig zag up and down fabric, curving around circles, while adjusting width and length of stitch; feed dogs up. On the slightly lighter section of the fabric I zigzagged around the barely visible circles. Might repeat this in a larger piece of fabric but using lowered feed dogs and a darning foot for free machining zig zag. This was fun to do, reminded me of vermicelli stitching in quilting.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0cPxu-fLkSkcwjwyrzncc8kSCG177nHvmPFBQqsVV6zkbpXSHYWAOOJ2MpMwYm4Rdo95CwaDHN-xg0ba8dTsbsKYUYXh9FnaIsrzH4cflkkc-DhQdswW2TM9eGVzebXzscV_drzEjS2E/s1600/M2+Ch+11+monoprinted+fabric+machine+stitched.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0cPxu-fLkSkcwjwyrzncc8kSCG177nHvmPFBQqsVV6zkbpXSHYWAOOJ2MpMwYm4Rdo95CwaDHN-xg0ba8dTsbsKYUYXh9FnaIsrzH4cflkkc-DhQdswW2TM9eGVzebXzscV_drzEjS2E/s320/M2+Ch+11+monoprinted+fabric+machine+stitched.JPG" width="320" /></a></div>
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(iii) Cable stitched white PC#8 on black bleached commercial fabric; black sewing thread on top; feed dogs up. No tension in bobbin. 3 step zig zag stitch, altering length and width. Then added layers of overstitching using white sewing thread and same machine stitch. Really like the toned effect created by the lighter layers of stitching with sewing thread. Will likely repeat this and use in final project.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzxEVbfg8oNT4JdKFxI9pSH5wL8Xp9rRpDbgi8UmerUjlTHqv-UmqOoLheBS_R4M-rfMF9k3LkRURnUo1Umav_0UATOCflQVcdcK18ayPlTePO6w1mI4Nw9fjZEzdh7GDo_LWZLyk-UAs/s1600/M2+Ch+11+Cable+stitched+bleached+fabric.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzxEVbfg8oNT4JdKFxI9pSH5wL8Xp9rRpDbgi8UmerUjlTHqv-UmqOoLheBS_R4M-rfMF9k3LkRURnUo1Umav_0UATOCflQVcdcK18ayPlTePO6w1mI4Nw9fjZEzdh7GDo_LWZLyk-UAs/s320/M2+Ch+11+Cable+stitched+bleached+fabric.JPG" width="320" /></a></div>
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(iv) Black on black: Fabric dyed, more charcoal than black, (it looks blue in the photograph but is actually a rather dark charcoal!)cable stitched using black PC#8 in bobbin and black sewing thread on top; feed dogs up. 3 step zig-zag (#4 on machine). Altered length mostly and moved fabric while stitching to create curves.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioFxF2ZHenv60BViQhUd5P_CwZByjdH8mBf1dKqGfGcubWMpl1LXUPIqiwi6hu3c-hoOBngvXb2iEKnr7iwoHN7SCOuQvKSHzo9_Pc8xy8JRbF_dtgXhCEAaKWq976wGQByXXpviQP4BA/s1600/M2+Ch+11+Charcoal+dyed+fabric%252C+cable+stitch.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioFxF2ZHenv60BViQhUd5P_CwZByjdH8mBf1dKqGfGcubWMpl1LXUPIqiwi6hu3c-hoOBngvXb2iEKnr7iwoHN7SCOuQvKSHzo9_Pc8xy8JRbF_dtgXhCEAaKWq976wGQByXXpviQP4BA/s320/M2+Ch+11+Charcoal+dyed+fabric%252C+cable+stitch.JPG" width="320" /></a></div>
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(v) Black whip stitch on white fabric: Using the same bobbin as used for cable stitch, ie the tension removed entirely, I placed a bobbin of ordinary black sewing thread in the case and used white sewing thread on top, tightening the upper tension to its tightest (10), I machined zig zag quite quickly as I sewed, moving fabric to create curves and altering length and width as I went.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEierXFe6x9iUTmNe5cDnX5d32Li4_NlB0nesQ-j-cuMFXG97PDws-s0pHjNtklqhQmkVy0TBlNDleYco2yG_nK5Ihlrwyfi7wPlJHfavflg-eKKmGIpFWOUhg7bw4LmQdRzxPvosjPs-B0/s1600/M2+Ch+11+Whipped+stitched+sample.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEierXFe6x9iUTmNe5cDnX5d32Li4_NlB0nesQ-j-cuMFXG97PDws-s0pHjNtklqhQmkVy0TBlNDleYco2yG_nK5Ihlrwyfi7wPlJHfavflg-eKKmGIpFWOUhg7bw4LmQdRzxPvosjPs-B0/s320/M2+Ch+11+Whipped+stitched+sample.JPG" width="320" /></a></div>
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All in all I am quite pleased with my fabric samples and look forward to creating larger pieces for my final project. I am beginning to overcome my fear of whip stitch and cable stitch. This time there were no difficulties sewing the samples.</div>
<br />Edithhttp://www.blogger.com/profile/02720104214537603483noreply@blogger.com2tag:blogger.com,1999:blog-7129362625181133637.post-36243942041878413602015-10-14T11:44:00.000-07:002015-10-14T11:44:03.794-07:00Module 2: Chapter 11 - Further Design Exercises <div class="separator" style="clear: both; text-align: left;">
The following design exercises were created from paper made for an earlier chapter in this module. A variety of strips were cut up and arranged and rearranged into different patterns. </div>
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The series of designs incorporated different tonal effects, as follows.</div>
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(i) Extremes of tone in bold, large areas:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjauVbZxjOexzd3tkzMyJ_uc-8I-pn3kD37P-_U5HwWRu7Zw6V8r00Gu7cRkG0f5q4cXY-W4DfU49JeMKM_PaIy7P4Y8-zsFF4WXMEN7JMpwKf4-gJBP2LgMPlyAdEnjR-5ti2ZY7XAl5c/s1600/M2+Ch+11+-+ii.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjauVbZxjOexzd3tkzMyJ_uc-8I-pn3kD37P-_U5HwWRu7Zw6V8r00Gu7cRkG0f5q4cXY-W4DfU49JeMKM_PaIy7P4Y8-zsFF4WXMEN7JMpwKf4-gJBP2LgMPlyAdEnjR-5ti2ZY7XAl5c/s320/M2+Ch+11+-+ii.JPG" width="320" /></a></div>
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(ii) Dark toned papers together.</div>
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(iii) Light toned papers together:</div>
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(iv) Medium toned papers, smaller shapes and increased pattern effect:</div>
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(v) Lighter, greyer tones, mixing black and whites mixed up in tiny fragments:</div>
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(vi) More complex design ideas, combining different blocks:</div>
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The following is based on the Fibonnacci sequence:</div>
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<b><i>'Stack and Whack' Designs:</i></b></div>
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In the following set of blocks I began by creating different sets of patterned designs and then cut them into the same shapes - squares and triangles. I stacked some of the squares on top of each other, and cut the squares in half. The pieces were swapped around to create different patterns. This was my favourite paper exercise and I love the completed designs, and will use them in the next stage of this chapter.</div>
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<br />Edithhttp://www.blogger.com/profile/02720104214537603483noreply@blogger.com0tag:blogger.com,1999:blog-7129362625181133637.post-22672966501189487962015-09-13T07:15:00.000-07:002015-09-13T07:15:53.163-07:00Chapter 10: 'Piecing' - A Method of Cutting and SeamingThe following exercise was created in paper first, and then fabric, using the Seminole patchwork method as the design source.<br />
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<b>PAPER METHOD:</b><br />
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I began by cutting and glueing down a strip of black and another of white paper, approximately 6" x 30", which was cut into sections. These sections were then rearranged into the following arrangement and glued down to form a new 'block':<br />
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This block was then cut again and rearranged to create a different arrangement:<br />
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I continued cutting and piecing to make the following pattern: [Since I don't own a photocopier, nor do I have access to one, I created a few long strips of black and white and used these to cut for the new 'blocks'.]</div>
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I continued playing for a while with cutting and pasting to generate the following designs:</div>
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<b>FABRIC METHOD:</b></div>
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In the following sample I repeated the approach used in the paper samples by cutting 2 pieces of plain fabric - 1 black, 1 white, each about 6" x 30" to allow for all the seam allowances. The initial long strips were seamed togetehr on the long side. This was then divided into 3 section using the Fibonnacci sequences as the measurement - 1:2:3, which worked out at 5" - 10" - 15". At this point only the smallest 5" section was cut off and set aside until later.</div>
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Returning to the long piece I made 3 diagonal parallel cuts and rearranged them and then stitched them back together. Then I re-cut in a different direction and stitched together again. This piece was then cut into the Fibonnacci sequence proportion of 2:3, setting the smaller piece aside until later.</div>
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The final section was cut, stitched, re-cut, stitched again until I found it difficult to get sections under the sewing machine. Finally I joined this much cut and machine piece to the other 2 sections previously set aside. To finish it off I 'worried' the seams until they were well frayed and hence more interesting. In the photos below I show both sides of the piece.</div>
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All in all an enjoyable chapter to work through. My initial attempts to create the fabric based design went a bit haywire on my first attempt when I began by cutting the first long strip folded over so that when I machined them together I ended up with a rather interesting 3 dimensional piece which looked like a pixie's hat! :)</div>
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<br />Edithhttp://www.blogger.com/profile/02720104214537603483noreply@blogger.com1tag:blogger.com,1999:blog-7129362625181133637.post-75377490194437512732015-09-09T12:07:00.000-07:002015-09-09T12:07:34.821-07:00Chapter 9: The Fibonnacci Sequence and Golden Section<h2>
<b>Design Exercises Based on the Fibonnacci Sequence using patterned paper</b></h2>
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(1) Patterned papers graded into a tonal column based on the Fibonnacci series of proportions:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJn0MUr0Vz2MkO_cDDnua4h_6XFAMbjP09obx-uOV3D0uobOxeurUvpHl_cMaBJIvHM7gmcJQdvl0BVlNfjhSbcNz1eDaqnE2Ql1K_ckviDRyhlF2n6-2UGPESeWroHRHJtSJBiQKBxok/s1600/DSC01173.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJn0MUr0Vz2MkO_cDDnua4h_6XFAMbjP09obx-uOV3D0uobOxeurUvpHl_cMaBJIvHM7gmcJQdvl0BVlNfjhSbcNz1eDaqnE2Ql1K_ckviDRyhlF2n6-2UGPESeWroHRHJtSJBiQKBxok/s320/DSC01173.JPG" width="320" /></a></div>
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(2) Above design cut at right angles and arranged in alternate way based on the Fibonnacci sequence.</div>
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(3) Above design divided at right angles and cut into Fibonnacci strips placed with a gap between each strip and glued down.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu78sc4dKzIAgn_G7U7gZuZz8y6H2urG6emgMiuyiyPx0k3mcoHNzOOWA5ZO-pFMoxtnUmOkLdh3bAXNJ_RTqAKgNTYGAVInBamC1gIA4sA1673AfczhE4pgUibmRmp2FSlsjLxwrsjb4/s1600/DSC01180.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu78sc4dKzIAgn_G7U7gZuZz8y6H2urG6emgMiuyiyPx0k3mcoHNzOOWA5ZO-pFMoxtnUmOkLdh3bAXNJ_RTqAKgNTYGAVInBamC1gIA4sA1673AfczhE4pgUibmRmp2FSlsjLxwrsjb4/s320/DSC01180.JPG" width="320" /></a></div>
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(4) Fibonnacci strips arranged on plain black background leaving gaps of the Fibonnacci series of proportions:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyAZONqM2zMlcY9GjAFLhvoXKys8vrpxnx1ExzWkSHW-1wyCdXs23eKsEKfKqZxggcIH20jM-DqOcx0JHhOR5TjVs6dFeDT-pE8jfd0yQDo_XlY2JNZ6tF6RTC9gfvZqAbY0ZxbI69rw0/s1600/DSC01183.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyAZONqM2zMlcY9GjAFLhvoXKys8vrpxnx1ExzWkSHW-1wyCdXs23eKsEKfKqZxggcIH20jM-DqOcx0JHhOR5TjVs6dFeDT-pE8jfd0yQDo_XlY2JNZ6tF6RTC9gfvZqAbY0ZxbI69rw0/s320/DSC01183.JPG" width="320" /></a></div>
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(5) Flipped alternate strips to make the following design [this was my favourite design!]:</div>
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(7) Another Fibonnacci block prepared for the next set of blocks [2 copies created]:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP6WovhDvI6DssKlnP0l3hbJYrsOK0cO2r0eKTuF8bMcCLjFcmEQveKZuJdupwPp1hIqUl9AAMqgidqUZKPLWME4urCCqBUDvBA2LO1GihZLkeoC18tY1neACyTokOjHM-0IxJC0-KIy4/s1600/DSC01171.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP6WovhDvI6DssKlnP0l3hbJYrsOK0cO2r0eKTuF8bMcCLjFcmEQveKZuJdupwPp1hIqUl9AAMqgidqUZKPLWME4urCCqBUDvBA2LO1GihZLkeoC18tY1neACyTokOjHM-0IxJC0-KIy4/s320/DSC01171.JPG" width="320" /></a></div>
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(8) Strips from above arrangement cut into strips and arranged in a square design, leaving a small gap between central strips:</div>
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(9) Srtips from #7 above arranged into a log cabin patchwork block.<br />
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(10) Strips cut diagonally and arranged into an alternating pattern becoming narrower as it progressed:</div>
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(11) As above but from a different angle:</div>
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<b>The Golden Section</b></h2>
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(12) Sketch of the Golden Section. I enjoyed creating this as it helped me understand the theory!</div>
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(13) Golden Section created using tonal patterned papers:</div>
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(14) A small variation on the Golden Section which emphasizes the diagonal line in each square, illustrating the spiral effect more clearly:<br />
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<br />Edithhttp://www.blogger.com/profile/02720104214537603483noreply@blogger.com1tag:blogger.com,1999:blog-7129362625181133637.post-56926923602793716982015-08-18T16:00:00.000-07:002015-08-19T12:39:45.043-07:00Chapter 8: Not What It Seams!FRAYED AND STITCHED SEAMS:<br />
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(1) </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHOBaW6oOwsu7OA7HZAz2Hf7Hc1yAkW9q_n45YlbjNQy_cDI-T8-zHklNY3KdP3Gx3l1s57ZhzsvANlozdIXYYyz7OUckWjMTsNjE_Oa1sXgzO-YSzv49yfH5w_BirXTbu-jA9w8TgpA8/s1600/DSC01147.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHOBaW6oOwsu7OA7HZAz2Hf7Hc1yAkW9q_n45YlbjNQy_cDI-T8-zHklNY3KdP3Gx3l1s57ZhzsvANlozdIXYYyz7OUckWjMTsNjE_Oa1sXgzO-YSzv49yfH5w_BirXTbu-jA9w8TgpA8/s320/DSC01147.JPG" width="320" /></a></div>
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<span style="text-align: left;"> Shibori dyed (arashi) cotton, seamed with piece of loosely woven dyed cotton, which was frayed down to the seam. Alternated groups of threads which was then stitched over with an automatic embroidery stitch (c-58) on my Bernina machine.</span></div>
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<span style="text-align: left;">(2) </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJZXZ78J0wYTxm4giQMTyUNwGcI6dYTO7jylJYjw8EAuz6Ou7GqpvzCeasc9mn7DdgWpi2C-Dge2jLR4q9NT7q6RV_97RgqohrtiydoVMWEtFkInrrEu5KXqszKt6dd38Gu3OB4iw9_8c/s1600/DSC01148.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJZXZ78J0wYTxm4giQMTyUNwGcI6dYTO7jylJYjw8EAuz6Ou7GqpvzCeasc9mn7DdgWpi2C-Dge2jLR4q9NT7q6RV_97RgqohrtiydoVMWEtFkInrrEu5KXqszKt6dd38Gu3OB4iw9_8c/s320/DSC01148.JPG" width="320" /></a></div>
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White satin ribbon stitched with automatic machine stitch (c-72). Stitched to 1 edge of black fabric, using free machine zig zag, length set to 0, and imitating curves of automatic embroidery stitch. Repeated on other side. </div>
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Reverse side :</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCJFmEU3C7OFUZ0UHWqrT1gnVlsuN-q79eShLmrHPqzGotfemX3AOlElKyfpY-JHKOkW5crMSyOaevYw9YMMyNro4VCmwrPG8kGuhaUO0xO0SbQ_GPrI5GmrojLr6PDKZhZ1PfHFu0g2I/s1600/DSC01149.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCJFmEU3C7OFUZ0UHWqrT1gnVlsuN-q79eShLmrHPqzGotfemX3AOlElKyfpY-JHKOkW5crMSyOaevYw9YMMyNro4VCmwrPG8kGuhaUO0xO0SbQ_GPrI5GmrojLr6PDKZhZ1PfHFu0g2I/s320/DSC01149.JPG" width="320" /></a></div>
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(3)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7Wt_AEzSKIZ1pul9q9FXFm-8FiwjR0-2uVF6PXSsaQ07eo40sNOIAcG3TlpDlFyb4C_fOmBsJU7mYg4xrf99JPFoj8GpUq_XvFYWvUkUYoA5BrT9qyFKz1IVdmKiHP7LckTuxjtokUzE/s1600/DSC01150.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7Wt_AEzSKIZ1pul9q9FXFm-8FiwjR0-2uVF6PXSsaQ07eo40sNOIAcG3TlpDlFyb4C_fOmBsJU7mYg4xrf99JPFoj8GpUq_XvFYWvUkUYoA5BrT9qyFKz1IVdmKiHP7LckTuxjtokUzE/s320/DSC01150.JPG" width="320" /></a></div>
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2 pieces of shibori stitched loose woven cotton, with 2 layers of thinner strips of white loose woven cotton inserted into seam, which was then frayed. Darker fabric whip stitched to echo lines of shibori , varying length and width of zig zag stitch.</div>
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(4)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheFnt-m6v5LMv35DOg8N6p8KGDkyscFKHzLT3QVzO4wwqADDGwUble7iamtRPSV02Voxd3HiST22yn90A97FG1F3smTPEKYsbnZja0NCMqrWlrs0bPBrOMWUakVPZVRqqJ3rou0hoNZo8/s1600/DSC01151.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheFnt-m6v5LMv35DOg8N6p8KGDkyscFKHzLT3QVzO4wwqADDGwUble7iamtRPSV02Voxd3HiST22yn90A97FG1F3smTPEKYsbnZja0NCMqrWlrs0bPBrOMWUakVPZVRqqJ3rou0hoNZo8/s320/DSC01151.JPG" width="320" /></a></div>
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4 lengths of thread knotted at top to hold all strands together - 2 strands of hand spun bamboo and 2 strands of rayon. When seaming the pieces of black fabric together I was careful to arrange the threads in loops. Next I stitched the loops down in alternate arrangement.</div>
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Reverse side: Snipped loops</div>
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(5)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO6o20EdmaMCMAH-cQKVdCDWLk_f4wolyl428S6dcBBV_7WFXCK_0WDUPI3MwuH8iPxMqaZQUQ8SMdzbeQJwLcY-rKEr2mC_T9eMBPeg53TFZOIc7qDeyKhyphenhyphenwFkLyNnGzYN4GehdEAteE/s1600/DSC01153.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO6o20EdmaMCMAH-cQKVdCDWLk_f4wolyl428S6dcBBV_7WFXCK_0WDUPI3MwuH8iPxMqaZQUQ8SMdzbeQJwLcY-rKEr2mC_T9eMBPeg53TFZOIc7qDeyKhyphenhyphenwFkLyNnGzYN4GehdEAteE/s320/DSC01153.JPG" width="320" /></a></div>
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This was a fun sample to design and stitch. I began by heavily stitching 2 wide strips of black and white fabric, using an automatic embroidery pattern (c-72), feed dogs lowered and darning foot used. These strips were then cut in half, and then stitched back together, before cutting and re-stitching again. Next I cable stitched over everything and used it as a wide seam insertion between some commercial black and white spotted fabric. 3 strands of rayon thread were zig zagged together to make a cord. I attached the cord over the seam lines with a zig zag stitch. </div>
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Reverse side: [photographed under different light!]</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvf_XJyewf-KNVCEXU_MeVYsm1WcHkTekGBbRsanntIodFPBLuNaANSd4NF3eSYVUjJ5YVdUWHDLnrm4E_k52uRqLCdkBzC8eG81SypkomstI2kMYk2EFmU_ClnbUvZ6FG7lr3XzrFWvM/s1600/DSC01169.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvf_XJyewf-KNVCEXU_MeVYsm1WcHkTekGBbRsanntIodFPBLuNaANSd4NF3eSYVUjJ5YVdUWHDLnrm4E_k52uRqLCdkBzC8eG81SypkomstI2kMYk2EFmU_ClnbUvZ6FG7lr3XzrFWvM/s320/DSC01169.JPG" width="320" /></a></div>
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IDEAS FOR TRIMMINGS</div>
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A. RIBBONS</div>
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(6)</div>
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Freely stitched automatic pattern (c-72) with feed dogs lowered and using darning foot, swivelled while stitching by moving fabric. Placed on shibori dyed fabric with free machines zig zag swivelled, altering width as I went.</div>
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(7)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUquQBfla4MVwbwmJqr6HQQeG8PIrhKLjjMRIr-fhNrYnwsPl0aNW88b-GkaTvnb29-uVxgnlNjThQgUmgeiWYnZWdAdyjQna8_sD8x38tx1D2kvQVjnExRne4qQ_wRiful2co7o9lQu8/s1600/DSC01163.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUquQBfla4MVwbwmJqr6HQQeG8PIrhKLjjMRIr-fhNrYnwsPl0aNW88b-GkaTvnb29-uVxgnlNjThQgUmgeiWYnZWdAdyjQna8_sD8x38tx1D2kvQVjnExRne4qQ_wRiful2co7o9lQu8/s320/DSC01163.JPG" width="320" /></a></div>
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Strip of black cotton fabric attached to loose woven white cotton. Lines of "swinging stitches" using automatic embroidery stitches (c-72) settings as normal, and stitched while swinging the fabric. Edges of white fabric frayed.</div>
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(8)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3gZG_n2hVPbv6IVymB86lA9-pmUj-2hLHZvChDqXXjvfe7qXoSoHGs9VUYVD1hzLET8-tEqwShVz3835p52bGTnxZuEbxQfvVmmTcpXW7v4OUQL4Ya4fxAxx8bRA9ryH-CZFrTnphLoQ/s1600/DSC01166.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3gZG_n2hVPbv6IVymB86lA9-pmUj-2hLHZvChDqXXjvfe7qXoSoHGs9VUYVD1hzLET8-tEqwShVz3835p52bGTnxZuEbxQfvVmmTcpXW7v4OUQL4Ya4fxAxx8bRA9ryH-CZFrTnphLoQ/s320/DSC01166.JPG" width="320" /></a></div>
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4 layers of cotton, in decreasing widths, stitched down centre to hold all layers together. 3 loosely woven for ease of fraying and second layer pre-stitched with zig zag varying the width and length of stitch, curving lines as I sewed. Loose woven cottons frayed back to stitching.</div>
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(9) </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaAHiR3CF2rnCBuvdPZi6uT4hTtLX8MMDzPyqpW4WyLBpK9Q4NIjrpsyk4DQkl3IdyXt8Rdy02eRjkr8n2dSDMhwHNMMipscpzyR6Jkv-VgqFcV9cEmoUwtIoW-fjd8npJ_LPBRbsjGlo/s1600/DSC01167.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaAHiR3CF2rnCBuvdPZi6uT4hTtLX8MMDzPyqpW4WyLBpK9Q4NIjrpsyk4DQkl3IdyXt8Rdy02eRjkr8n2dSDMhwHNMMipscpzyR6Jkv-VgqFcV9cEmoUwtIoW-fjd8npJ_LPBRbsjGlo/s320/DSC01167.JPG" width="320" /></a></div>
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Black fabric stitched with free machined automatic embroidery stitch (c-72) swivelled while stitching - feed dogs lowered, darning foot and hoop used. Stitched initially on larger piece of fabric and then cut to size. I wanted to see if using a hoop made any difference to the stitching but since I was also using a darning foot it didn't!</div>
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(10)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhElJ7Qi0-y2th8tLCCkKiqUR0s8iYO_yWDueUvsbUq9OR9Mg7vwbFnxtYzxFAz9bJrzmgBeVbuYBAb4Xxonwy7vvW762QjyBBEB97CuzxCDigYTsBPfWHM3RHOWYmVQt8HNkmxT4YYNFU/s1600/DSC01165.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhElJ7Qi0-y2th8tLCCkKiqUR0s8iYO_yWDueUvsbUq9OR9Mg7vwbFnxtYzxFAz9bJrzmgBeVbuYBAb4Xxonwy7vvW762QjyBBEB97CuzxCDigYTsBPfWHM3RHOWYmVQt8HNkmxT4YYNFU/s320/DSC01165.JPG" width="320" /></a></div>
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3 layers of cotton fabric, loose woven, different widths, stitched with step zig zag, varying lengths and widths. All edges frayed.</div>
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CORDS</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRqFsnKVcT22EDJ3W0a_dHPx_x5l4b0P-7pKOsCAKn0iu2TBucoEpixNoBSai1fES0yRII90GcYTa3E3555eVaxj4psbQacXp4UtDrYHbrB-3H4fqxds2CmAc6Esq90G-MJP7yJVoVcnY/s1600/DSC01157.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRqFsnKVcT22EDJ3W0a_dHPx_x5l4b0P-7pKOsCAKn0iu2TBucoEpixNoBSai1fES0yRII90GcYTa3E3555eVaxj4psbQacXp4UtDrYHbrB-3H4fqxds2CmAc6Esq90G-MJP7yJVoVcnY/s320/DSC01157.JPG" width="320" /></a></div>
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This cord was made from 2 strips of cotton, one black and one white. Tied into a series of knots.</div>
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(12)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihyphenhyphen2bFnbfW5dUo4JVVTmZu6LLtP_a_eMjZMxtdgVqUWBPQSDePW7GKpFgIiMuCzTF8MYW-LKkLtQLKFWwGsnwRsiwViYH9NbijdvuEucZb9Tq9CkZ5dxghtK2yQRGbcCrUm5QbMFY9JZM/s1600/DSC01158.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihyphenhyphen2bFnbfW5dUo4JVVTmZu6LLtP_a_eMjZMxtdgVqUWBPQSDePW7GKpFgIiMuCzTF8MYW-LKkLtQLKFWwGsnwRsiwViYH9NbijdvuEucZb9Tq9CkZ5dxghtK2yQRGbcCrUm5QbMFY9JZM/s320/DSC01158.JPG" width="320" /></a></div>
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This cord was made from 3 strips of cotton, grey, white and black, which were plaited and then knotted at the top and the bottom.</div>
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(13)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQzvRS8evMEimwsMAIvCvF6ylQrZCR-7fwUH8daoT-i1mo2IFk38rlaVbYS3kPfnmUqrhjh8besB6VMdb-sMPpLSMdHHfv8ymquYJa0xz6oGRkXZixc2ohPej8wIAMHJ9Gxf1uiCL5KKY/s1600/DSC01159.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQzvRS8evMEimwsMAIvCvF6ylQrZCR-7fwUH8daoT-i1mo2IFk38rlaVbYS3kPfnmUqrhjh8besB6VMdb-sMPpLSMdHHfv8ymquYJa0xz6oGRkXZixc2ohPej8wIAMHJ9Gxf1uiCL5KKY/s320/DSC01159.JPG" width="320" /></a></div>
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Scrap from free form piece in previous chapter 7, rolled and twisted, then zig-zagged at widest width.</div>
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(14)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEkbKpPFKGkm-pUL3hRtkf-qSrHNWZNEO64KdhaHPXpQkty5k_PzqV6i8Gt_yUaxmx_xUEs9jTLIIlSZE-uoAWrjE49EQ1g9zlD4_v-GNM1S1Ti77plnqj7tZDjiaaUl23L60Jv4cvEsM/s1600/DSC01160.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEkbKpPFKGkm-pUL3hRtkf-qSrHNWZNEO64KdhaHPXpQkty5k_PzqV6i8Gt_yUaxmx_xUEs9jTLIIlSZE-uoAWrjE49EQ1g9zlD4_v-GNM1S1Ti77plnqj7tZDjiaaUl23L60Jv4cvEsM/s320/DSC01160.JPG" width="320" /></a></div>
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Handspun bamboo, finger crocheted, then knotted at intervals. Free machined using darning foot, zig-zag at widest width, length set to 0, tension normal.</div>
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(15)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhup_8vL3d5LwrtTaqCeA-VEn51-Iwp8hB7rH2PNxFzBVyDGWq1w6LfQt2aNPt50IjlON7-9db2wttB55v2WNQG0k4pHsgznm-Wjt1_Jc2JKCxiAX2L2Z2G3g4pNzyQJWvcPSZP-ckkDzU/s1600/DSC01161.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhup_8vL3d5LwrtTaqCeA-VEn51-Iwp8hB7rH2PNxFzBVyDGWq1w6LfQt2aNPt50IjlON7-9db2wttB55v2WNQG0k4pHsgznm-Wjt1_Jc2JKCxiAX2L2Z2G3g4pNzyQJWvcPSZP-ckkDzU/s320/DSC01161.JPG" width="320" /></a></div>
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Twisted strip of frayed shibori dyed fabric, zig zagged to hold in place.</div>
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TOGGLES</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHJe2_uOmTR-4suKC0OedbD7L3uwIEjPD0PfSSxj-gOoKoz9bfBbUu0g9u8j1GTweHTpsuoE_Qin5VhaWxLweXks4x5ISCeZv1dAMp8oIfJ1p-9zEdKElrwOC0z53GQWV2BEATCa-yPag/s1600/DSC01155.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHJe2_uOmTR-4suKC0OedbD7L3uwIEjPD0PfSSxj-gOoKoz9bfBbUu0g9u8j1GTweHTpsuoE_Qin5VhaWxLweXks4x5ISCeZv1dAMp8oIfJ1p-9zEdKElrwOC0z53GQWV2BEATCa-yPag/s320/DSC01155.JPG" width="320" /></a></div>
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Made toggles with 2 narrow strips of black and white fabric. Embroidered with automatic stitch (c-74), normal tension, feed dogs up, swivelled while stitching. Both strips stitched. Sewed a black strip with a white one, using same stitch, but this time black thread on top and white in bobbin. Interestingly I expected that the black stitching would show up clearly against the white fabric, but instead I got a speckled grey. The white bobbin thread showed up clearly against the black. Made 3 toggles. Edges left to fray. Tied into toggle, then inserted in seam. Decorated the the black and spotted white fabric with multiple rows of free machined automatic stitch (#19).</div>
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(17)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOHiuBcmrKog_ellK2OfRK4WTEM4k6lfd9flt1OpymiyAWMzka4tMu0aK_vqGFs4pTJMXqKPC4E6c7lSem-o1KWAntksftYX494DYZK0C1NMSWw0uS7KVULTPwdu4l0d4ILQME4OjntJY/s1600/DSC01154.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOHiuBcmrKog_ellK2OfRK4WTEM4k6lfd9flt1OpymiyAWMzka4tMu0aK_vqGFs4pTJMXqKPC4E6c7lSem-o1KWAntksftYX494DYZK0C1NMSWw0uS7KVULTPwdu4l0d4ILQME4OjntJY/s320/DSC01154.JPG" width="320" /></a></div>
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I tired to pull a few of the elements explored above into a final sample. Instead of stitching seams by placing fabrics directly against one another to create a normal seam, I decided to try overlapping the fabrics instead, leaving enough fabric to allow for frayed fringes. I really like the effect and will definitely use this in the future. The beaded toggles at the top were created by rolling up strips of fabric which were first pre-frayed along the 2 longer edges and 1 short edge, then held in place with black thread. Sewn in place by hand. The 2 lines of cording were made with rayon thread and size 11 beads threaded on to sewing thread and then held parallel to rayon while free machine zig zagging along length - feed dogs down and darning foot. It was a bit of a challenge to move beads under darning foot.</div>
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References used when making samples for this chapter:</div>
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<i>Machine Embroidery, Stitched Patterns</i>, Valerie Campbell-Harding</div>
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<i>Edges & Finishes in Machine Embroidery</i>, Valerie Campbell-Harding</div>
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<br />Edithhttp://www.blogger.com/profile/02720104214537603483noreply@blogger.com2tag:blogger.com,1999:blog-7129362625181133637.post-56413757710294936182015-07-21T13:47:00.000-07:002015-07-21T13:47:09.071-07:00Chapter 7: Part 2 - Seminole Method, Fabric SamplesThe following are my series of seminole samples created using my own shibori dyed, monoprinted and stitched fabrics, as well a couple of commercial fabrics. Each one was based upon elements created during the design phase, as posted in the first part of these chapter notes.<br />
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(1) Basic seminole patterns created from simple strips sewn, cut and re-pieced:<br />
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(2) Slightly more complex strip piecing:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3JRPmA_ASVtdVUtQbaZ5KDaK__KsOYMe4h5iZ5xoAeMZfi3SZ7IFB63Qcy5BQVfoPIXkqJO7NRBTjXbeml6hcpG3seCBw398V7lLAMmHM47S8EALhw996ide3wE8Qxt63E5NZbt77zjs/s1600/Seminole+2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3JRPmA_ASVtdVUtQbaZ5KDaK__KsOYMe4h5iZ5xoAeMZfi3SZ7IFB63Qcy5BQVfoPIXkqJO7NRBTjXbeml6hcpG3seCBw398V7lLAMmHM47S8EALhw996ide3wE8Qxt63E5NZbt77zjs/s320/Seminole+2.JPG" width="320" /></a></div>
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(3) Strips sewn, cut at an angle and then re-pieced:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPmm1-7Lj2B-YcBRjL7QOTq1Ysf3mJVUMsKwZOIbDQAdwsYPvJZ5uJBaTRVNfIiZSKRiLaQzYBlXO-b2ZnYHxL7j1cSrjzLxkCOWoNTSU5qvhU5nEre_M36OVXcpf0HKE4tTBF6v5Axis/s1600/Seminole+3.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPmm1-7Lj2B-YcBRjL7QOTq1Ysf3mJVUMsKwZOIbDQAdwsYPvJZ5uJBaTRVNfIiZSKRiLaQzYBlXO-b2ZnYHxL7j1cSrjzLxkCOWoNTSU5qvhU5nEre_M36OVXcpf0HKE4tTBF6v5Axis/s320/Seminole+3.JPG" width="320" /></a></div>
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(4) Alternating strips:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhumI1qOysfeudr32eRe4PjnArdaEA4pBibU6YoBCM0QXqKLABzAPGcW-o011t96sHQ2J3ecGdEqR4plyPOzCnWXSVGcpkOLGSbxJMOLBd4xPU5Gr0imvJ9ryvtczQhKu3C8QYbqbgJDuc/s1600/Seminole+4.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhumI1qOysfeudr32eRe4PjnArdaEA4pBibU6YoBCM0QXqKLABzAPGcW-o011t96sHQ2J3ecGdEqR4plyPOzCnWXSVGcpkOLGSbxJMOLBd4xPU5Gr0imvJ9ryvtczQhKu3C8QYbqbgJDuc/s320/Seminole+4.JPG" width="320" /></a></div>
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(5) More alternating strips:</div>
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(6) Introducing bleached fabric:</div>
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(7) In this sample I played with mirror images, but this time with fabric. Having had difficulties with this technique when playing with papers, I found working with fabric easier. Four strips were pieced in the ratio of 3:1:2:3, which was then folded in half, and cut at angles, then sewn together to create a zig zag pattern.</div>
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(8) The next complex block was created from 4 strips put together in a ratio of 2:1:1:2. This was then cut into 2" and 1" lengths, and then re-pieced in 2:1:1:1:2:1:1:1:2 alternate arrangement.</div>
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(9) The following sample combined a number of seminole strips explored in the samples above. Most of the seams were left raw and front facing seams, frayed.</div>
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<u>References for all patchwork samples created for Chapter 7</u>:</div>
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<i>Strip Patchwork</i> by Valerie Campbell-Harding</div>
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<i>The Complete Book of Patchwork, Quilting and Appliqué</i> by Linda Seward</div>
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Edithhttp://www.blogger.com/profile/02720104214537603483noreply@blogger.com4tag:blogger.com,1999:blog-7129362625181133637.post-85362122915025294422015-06-01T14:14:00.001-07:002015-06-02T13:20:01.690-07:00Chapter 7: Traditional 'Piecing' MethodsThe following samples were created using my dyed and patterned paper and fabrics.<br />
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LOG CABIN METHOD<br />
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First Stage: Paper Designs<br />
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Strips of paper from my decorated papers and then glued to a background.<br />
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Second Stage: Fabric Samples<br />
Samples created from dyed and decorated fabrics, as well as black and white and commercial printed fabrics.<br />
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SEMINOLE METHOD<br />
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First Stage: Paper Designs<br />
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The following are my initial attempts at creating seminole patterns, using my decorated papers, alongside some purchased black and white paper.<br />
I plan to create many more designs using this method before translating some of them into fabric. I must say that I prefer the seminole method more than the log cabin method. It feels 'freer'.<br />
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The last 2 designs took forever as I had difficulties figuring out how to create mirror images. Of course once I got it, I couldn't understand what took me so long!</div>
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Next stop, fabric samples of some seminole designs!</div>
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<br />Edithhttp://www.blogger.com/profile/02720104214537603483noreply@blogger.com1tag:blogger.com,1999:blog-7129362625181133637.post-1970844131451805212015-04-02T11:29:00.000-07:002015-04-02T11:29:34.568-07:00Chapter 6 - Patterning of Fabrics, againMy first attempts at shibori dyeing didn't quite take as I forgot that I was dyeing with Procion MX dye and not indigo (as I have done before). So I ended up removing my carefully stitched pieces of fabric from the dye bucket far too soon, and then watched in horror as most of the dye washed down the drain!<br />
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This is what they looked like:<br />
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Though I was mightily distressed at the time, I later realised that these pieces gave me, in fact, a nice selection of light valued fabrics which could be used later on in this module.<br />
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So I set to work stitching again, hardly a hardship since I LOVE hand stitching, and playing with shibori stitching is wonderfully soothing and relaxing. At least until you have to pull those stitches up tightly and then a little tighter - an activity which is rather hard on the fingers and best done while watching tv and drinking wine! :)<br />
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And here's a photo of my reflection taking a picture of my bucket of dye:<br />
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Here's a selection of my shibori samples:<br />
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<b>ARASHI SHIBORI:</b><br />
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I loved how this turned out. In my previous unsuccessful attempts I had tried working arashi using a weighted Coke bottle, which I managed to keep submerged by holding down with the handle of the bucket! This time I wrapped the hard cardboard core of a cling film roll in layers of plastic before wrapping with a 36" wide piece of cotton, 8" long. Here's what it looked like before submerging in the dye bath:<br />
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<b>TIE AND DYE:</b><br />
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These samples all worked particularly well. While the colour on the computer has rendered them more blue than black, in fact they are closer to charcoal, albeit with a blue tinge. The camera seems to have picked up n the blueness rather than the charcoal / black. One thing I did learn from all my experiments was that there are many kinds of black, and even the kind of cotton used for dyeing affects the outcome of the final colour.<br />
These were all made using pegs, bulldog clips, rubber bands and string as resists.<br />
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TRITIK SHIBORI:<br />
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All of the following samples were stitched with nymo beading thread. I stitched straight lines, squares, zig zag lines, curved lines, and spirals. The spirals were hardest to pull tight, but were surprisingly effective. Some lines were stitched using simple straight stitch, while others were over-stitched leaving a lovely 'teeth' like effect after dyeing.<br />
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<b>MONOPRINTS WITH BLACK FABRIC PAINT:</b><br />
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The following samples were worked using a variety of media, including bubblewrap, edge of cardboard and old library card, cotton buds, brayer rolled over back of page, end of cardboard tube, and corrugated cardboard. One thing I learned was that it was necessary to work fast, so the choice was to plan ahead or accept the serendipitous results!<br />
Some of the following samples were worked on the previously 'failed' pieces of shibori.<br />
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<br />Edithhttp://www.blogger.com/profile/02720104214537603483noreply@blogger.com4tag:blogger.com,1999:blog-7129362625181133637.post-66882866058025895172015-01-24T08:34:00.001-08:002015-01-24T08:34:30.259-08:00Chapter 6: Patterning of Fabrics using Cold Water Dyes and Fabric Paints<b>(1)Small collection of black and white patterned fabrics:</b><br />
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<img src="https://blogger.googleusercontent.com/img/proxy/AVvXsEjePq282iZ6avMOT9dVgd5uab8D3iEy4_7CfbpKA5kZpu5tQj-nSW34OHSKe7Zh6KxwBgZu-8VEdscZILAEaUchgT8Gb06YmPe1eSZ-HO0ogkLGusj-z1nncAP7xaQZC0HUamFrsSXDWUkotIjylGiSN_j9Rtrc9Jch8_JK-cLe-3Fpl7veeymJp8vTzxgnOoF2D6vK_Vo5=s0-d-e1-ft" /><br />
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<b>(2) <u><i>SHIBORI METHODS USING DYES</i></u></b><br />
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<b><i>BEFORE DYEING:</i></b><br />
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<b>A. TRITIK SHIBORI</b><br />
(i) Ori-nui Shibori (running stitched): Running stitch vertically and horizontally to create squares on close woven cotton.<br />
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(ii) Ori-nui Shibori (running stitched): Running stitch vertically and horizontally to create small squares on closely woven cotton.<br />
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(iii) Loosely woven cotton folded accordian style, running stitch through all layers.</div>
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(iv) Loosely woven cotton, folded in four, parallel lines of zig zag running stitch worked closely together through all layers.</div>
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(v) Ori-nui Shibori (running stitched): Loosely woven cotton, folded then running stitch across fold.</div>
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(vi) Ori-nui Shibori (running stitched): Diagonal folds stitched with running stitch then small circles stitched between folds; tightly woven cotton.</div>
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(vii) Maki-nui Shibori (oversewn stitch): Loosely woven fabric folded and whip stitched over fold.<br />
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(viii) Ori-nui Shibori (running stitched): Small circles stitched on calico with running stitch.</div>
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(ix) Mokume Shibori: Rows of running stitch worked closely together on close woven cotton.</div>
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(x) Mokume Shibori: Undulating rows of running stitch worked on fine cotton lawn.</div>
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(xi) Fine cotton lawn folded into four, then stitched with spirals and circles.</div>
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(xii) Karamatsu shibori ('larch'): Loosely woven cotton folded accordian style then running stitch worked in parallel curves.</div>
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(xiii) Ori-nui Shibori (running stitched): Loosely woven cotton folded horizontally and vertically to create squares, running stitch worked on folds.</div>
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(xiv) Spiral worked in running stitch on fine cotton lawn.</div>
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(xv) Loosely woven cotton folded in four, then stitched with parallel lines of running stitch.<br />
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(xvi) Maki-nui Shibori (oversewn stitch): Loosely woven cotton folded horizontally and vertically to create squares, whip stitched over folds; 2 digonal lines in centre of each square, also folded and whip stitched.</div>
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(xvii) Loosely woven fabric folded accordian style, 3 step hand stitched zig zag.<br />
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(xviii) Maki-age Shibori (stitched and tied resist)::Cotton calico, unbleached, stitched with running stitch vertically and horizontally to create squares, then small circles stitched in centre of each square, hen centre of circle tied.</div>
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<b>B. TIED-RESIST SHIBORI:</b></div>
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(xix) Unbleached cotton calico scrunched into a ball and wrapped with elastic bands.</div>
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(xx) Unbleached cotton calico, rolled around length of strong wool, then tied in a knot pulling gathers tightly.<br />
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(xxi) Unbleached cotton calico, gathered and tied with elastic bands.<br />
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(xxii) <i>Ne-maki Shibori:</i> Unbleached cotton calico, fabric pinched and then wrapped and knotted with strong thread before carrying thread over to next section.</div>
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<b>C. ITAJIME SHIBORI - FOLDED AND CLAMPED SHIBORI:</b></div>
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(xxiii) Unbleached cotton calico, folded accordian style before clamping with clothes pegs.</div>
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<b>D. ARASHI SHIBORI:</b></div>
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(xxiv) Loosely woven cotton stitched on to plastic bottle then bound and scrunched up.</div>
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Edithhttp://www.blogger.com/profile/02720104214537603483noreply@blogger.com3tag:blogger.com,1999:blog-7129362625181133637.post-34826199165780577102014-12-10T02:22:00.001-08:002014-12-10T02:22:47.044-08:00Chapter 5: Make Patterned Papers<i>All the patterned papers in this chapter were based upon the sketches from the previous chapters work, including those which deviated along their own lines! Each page of patterns measures approximately A4 size. I had a lot of fun playing with squiggles, splashes, dots and lines while creating these papers. Working with black and white is very freeing when devising patterns since the question of colour is completely removed. While I had played previously with ink and bleach, this was my first attempt at monoprinting. While I enjoyed the process, the speed at which you have to work to get your print before the paint dries is a little bit stressful! :)</i><br />
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<b><u><i>INK MARKS</i></u></b>: The following patterned papers were created using black Quink ink and a variety of tools as 'paint brushes' to make marks, including cotton buds to make dots and lines, scrunched up kitchen paper, edge of credit card, bottle top, end of kitchen roll tube, half the end of a cardboard tube, bubble wrap, corrogated card board, tip of credit card, and edge of corrogated cardboard. Marks were made by dragging, dabbing, dotting, swivelling and drawing.<br />
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<b><i><u>BLEACH MARKS</u></i></b>:<br />
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Quink inked cartridge paper, cotton bud dipped in household bleach, then dabbed and dragged over paper.</div>
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Edge of credit card dipped in household bleach and dragged across black tissue paper.<br />
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'Painted' lines with cotton bud dipped in bleach, followed by dragging tip of bleach dipped credit card across inked cartridge paper. Really like the effect of this paper.</div>
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Edge of credit card dipped in household bleach and dragged across black tissue paper.<br />
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Bottom of kitchen roll dipped in bleach and stamped on black tissue paper.</div>
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Empty medicine pill blister dipped in saucer of bleach and stamped on to inked cartridge paper, with some dragging of bleached credit card tip across page.<br />
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<b style="font-style: italic; text-decoration: underline;">MONOPRINTS:</b><b style="font-style: italic;"> </b>To create the following set of monoprints I used black Windsor and Newton Designers Gouache, spreading it on to a glass pane (a shelf from an old fridge!). I 'drew' the patterns using a variety of 'tools', including cotton buds, bubble wrap stamped down as well as scrunched up and dragged, edge of palette knife, corrogated cardboard, and edge of kitchen roll tube.<br />
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<br />Edithhttp://www.blogger.com/profile/02720104214537603483noreply@blogger.com1tag:blogger.com,1999:blog-7129362625181133637.post-35497587180452699102014-12-10T01:02:00.002-08:002014-12-10T01:02:28.209-08:00Chapter 4: Drawing Patterns from Animal MarkingsLinear Pen Drawings: The following set of pen and black marker drawings were created from enlarged images of various kinds of animal skins and markings. After sketching the drawings were placed as near as possible to the source of the design. The markings were approached in two ways - copied as close to the original as possible for someone with limited drawing skills, and stylized versions. All the drawing was worked free hand. I used a technical drawing pen for the first time, and enjoyed working with this drawing tool, especially for its delicate strokes and excellence in sketching tones.<br />
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<br />Edithhttp://www.blogger.com/profile/02720104214537603483noreply@blogger.com0tag:blogger.com,1999:blog-7129362625181133637.post-73536320622916123712014-12-09T11:22:00.000-08:002014-12-09T11:22:00.244-08:00Chapter 3: Machined Stitched BandsThe following machine stitched bands each measure approximately 12" x 4", and may be cut into narrower bands later in the module. They were all stitched on a single layer of cotton calico. I referred to my photos and drawings of animal markings for inspiration, using what I had learned in creating the smaller machine stitched samples as reference guides. My intention was to attempt to create a series of patterns based upon animal markings.<br />
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Sample #1: This machine stitched sample used a few different embroidery stitches set into my Bernina machine, including #19, #20, and #72. I also used zig zag extensively. The width and length of the machine stitching was altered constantly along each line, moving from very close stitching to wide and far apart. All the stitches were curved, and overlapped. Finally I cable stitched stranded white cotton by winding the stranded cotton on to the bobbin, removing completely the tensioning device on the bobbin holder and leaving the top tension at normal setting. I really like the rich layers, variety of stitching, and patterning on this sample.<br />
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Sample #2: This machine stitched sample used a variety of machine stitches, including feather stitch, stretch stitch and zig zag. The lines of stitching were adjusted for length and width as they were sewn, as well as been overlapped. I whip stitched #19 on my Bernina machine, loosening the bobbin tension completely by removing the tensioner, and also increased the top tension - white thread on top and black on the bottom.<br />
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Sampler #3: Lines of overlapping curved whipped zig zag, altering the stitch length and width. Black thread on the bobbing, and white on top.<br />
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Sampler #4: A single stitch used throughout to see the variety of tones possible with one machine stitch. The stitch was #19 on my Bernina, and for the most part was worked with black sewing thread in the bobbin and white on the top. The bobbin tension was removed completely and the top tension was tightened. 3 rows of cable stitch worked - 1 with stranded white cotton in the bobbin, and 2 with black pearl cotton #8. The most interesting aspect of this piece was the adjusting of width when cable stitching. Not all the cable stitches worked out as planned. There were a few hiccups, evidence of which lies on the sampler here and there!<br />
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All in all I really enjoyed stitching these bands. It was a lot of fun simply stitching what one wanted as one went along! Since the overall planning takes place before the stitching begins, it is possible to just let it all flow!Edithhttp://www.blogger.com/profile/02720104214537603483noreply@blogger.com0tag:blogger.com,1999:blog-7129362625181133637.post-78377555267969494722014-10-31T09:04:00.001-07:002014-10-31T09:04:07.931-07:00Chapter 3 - Cable Stitch Samplers<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHHlv8FYyr1FlBdbXnueVMi2yMWnlmVxxGWuQuQLqU8IQrcnRkpkETkgSukaS8vjxhUhc8DEYMOnSiHK1sml3iBX5SToLMup193z3IcbmNv70HGFRF9R0C3DOuO2SpuuH5vFuCz1zOq2U/s1600/Ch+3+Cable+stitch+%231+2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHHlv8FYyr1FlBdbXnueVMi2yMWnlmVxxGWuQuQLqU8IQrcnRkpkETkgSukaS8vjxhUhc8DEYMOnSiHK1sml3iBX5SToLMup193z3IcbmNv70HGFRF9R0C3DOuO2SpuuH5vFuCz1zOq2U/s1600/Ch+3+Cable+stitch+%231+2.JPG" height="320" width="227" /></a></div>
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<b><i>Sample #1:</i></b> Loosened lower bobbin tension, upper tension normal. Black pearl cotton #8 wound on to bobbin, white sewing thread on top; straight stitch; altered stitch length and spacing; double layer of fabric.</div>
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<b><i>Sample #2:</i></b> Black pearl cotton #5 in bobbin - removed screw and tension cover entirely from bobbin case; white sewing thread on top; normal tension; altered spacing; 3 step zig zag; layers of stitching.</div>
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<b><i>Sample #3:</i></b> Bypassed tension altogether; 6 stranded white cotton floss wound on to bobbin; white sewing thread on top; normal top tension; 3 step zig zag stitch; combined overlapping layers and spacing.</div>
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<b><i>Sample #4:</i></b> Transparent fabric on top of stitch and tear; black pearl cotton #8 wound on to bobbin; black sewing thread on top; pre-set embroidery stitch #67 on my Bernina 'Virtuosa 155'.</div>
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<b><i>Sample # 5:</i></b> 2 layers of transparent fabric - didn't use Stitch and Tear this time as I found it too hard to remove in sample #4. 6 stranded cotton floss wound on to bobbin; black sewing thread on top. Continuous curved zig zag line of stitching; moving from wide to narrow settings, with gentle manipulation of fabric to create curves by swivelling.</div>
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Comments: I loved creating these samples and could probably have continued on as it seemed the more I did, the more ideas I had for possible samples. My favourite were samples # 4 and # 5. I wonder what would happen if I tried this on soluble fabric?!Edithhttp://www.blogger.com/profile/02720104214537603483noreply@blogger.com2tag:blogger.com,1999:blog-7129362625181133637.post-74765320359872049152014-10-14T09:04:00.001-07:002014-10-14T09:04:41.005-07:00Chapter 3 - Finally whipped Whip Stitch!Sian made a few suggestions for me to try to increase the loops I was(n't!) making in my initial set of samples. Tone work was nice but the whipping needed more whipping :) And as it happened #13 turned out not to be so unlucky for me, this time anyway (not that I'm supersticous, of course!)<br />
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I began by trying out Sian's suggestions, which included reversing the tension, i.e. loosening the top and trying either tight or normal for the bobbing tension. I couldn't get either to work for me. Then Sian suggested I try a slightly thinner thread in the bobbin to fool the machine into thinking that the tension is looser. That didn't work either! Seems these newer models are quite difficult to trick into whipping stitches. They seem to adjust automatically to compensate!<br />
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So I went right back to the beginning, only this time taking it to the very edge - I pretty much loosened the bobbin screw until it was about to fall off, and tightened the top tension as far as it would go [#10 on my Bernina]. And it worked! I love my loops!!<br />
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The sample was worked on 2 layers of white cotton, using a zig zag stitch. I altered the length and width of the stitch as I progressed. Also discovered that the faster I machined the bigger the loops! I had to start and stop stitching at the end of each line to avoid serious puckering of fabric. I also had to be careful when pulling the work away from the machine to cut the threads that the thread didn't pull out unravelling the stitches.<br />
All in all very pleased with the results of this sample :)<br />
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<br />Edithhttp://www.blogger.com/profile/02720104214537603483noreply@blogger.com0tag:blogger.com,1999:blog-7129362625181133637.post-18209320402034765542014-10-03T07:31:00.001-07:002014-10-03T07:31:11.159-07:00Chapter 3: Whip Stitch Samples<div class="separator" style="clear: both; text-align: center;">
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(xiii) Whipped zig zag stitch - loosed bobbin tension and tightened upper tension; adjusted length and width of stitch.<br />
(xiv) Whipped feather stitch - loosened bobbin tension and tightened upper tension progressively; white thread on top, black in bobbin.<br />
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(xv) Whipped zig zag - controlled stitch length; white thread on top, black on bottom; loose bobbing tension, tight upper tension.<br />
(xvi) Whipped straight stitch - stitch length and gaps alter tone.<br />
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This was my first attempt at trying whipped stitch. I bought a new bobbin to use for this type of machine stitching. I had to alter the bobbin tension a lot to see any noticeable results. I can see that this stitch holds lots of possibilities, especially in colour work, eg for 'pointillist' painterly effects.<br />
<br />Edithhttp://www.blogger.com/profile/02720104214537603483noreply@blogger.com0