Chapter 8: Complex Samples

Samples # 1 + 2:
The top sample, sample #1, consists of a single bonded layer, 2 free machines stitched layers, a hand embroidered shape, and a padded centre.
Sample #2 consists of 2 bonded layers, 2 machine stitched shapes off-set against each other, and a hand stitched shape.
N.B. I found it quite difficult to push the needle through the bonded layers. Note to self: buy a thimble! :-)

Sample #3:
1 bonded layer, a free-machine stitched shape, a hand stitched shape, and centre padded.

Sample #4:
3 bonded layers, 6 free-machined stitched layers; a partial hand stitched layer, completed by free machine stitching, plus another hand stitched layer.

Sample #5:
3 bonded layers; multiple shapes free machined; hand stitched shape.

Sample #6:

4 bonded layers; 2 free machine stitched layers; hand stitched shape; centre padded.

Below are the 3 shapes used in various combinations in the samples throughout chapter 8.

Comments:
With the first 2 samples I was just becoming acquainted with the process. Working on sample #3 I found myself loosening up a little. The real fun though began with sample # 4. At this point I began to think 'what if...'. I loved the layering of the stitches, and as I worked on it, I remembered the layered art cloth which Jane Dunnewold creates with textile paints and screen printing. My favourite innovation in this sample though was the partially hand stitched shape, the outline being completed in free machine embroidery. The 5th sample continued in this vein of layering free machined shapes, while the final sample returned to the simpler presentations of the initial samples, although the actual stitching shapes are more in line with the last 2 samples, eg. partial hand stitching completed with free machine stitching.
The really exciting thing about layering images is that it allows for the cohesiveness of repetition without the boredom of always working within the box, as it were. It also adds immeasurably to the perceived sense of visual depth.

Ch. 7, Sample #6

For this sample I returned to the outline shape used in sample #3 for the middle layer, and then superimposed a new shape from my selection of images and shapes on top. The background fabric is hand-dyed cotton poplin; the middle layer is hand-dyed rayon, and the top layer hand-dyed scrim. This sample incorporates a lot of hand embroidery - coral stitch to outline the main design areas in the middle layer, and since coral stitch is a textured stitch it shows through the top layer of scrim; while the top layer of embroidery features sorbello stitch around the main shape, with free-style drawn work in the centre of the shape, with some free-style pulled work outside the shape. Finally to hold all the layers together I worked a border of herringbone stitch around the outer edges of the design. Since I love hand embroidery, this sample was a sheer delight to work!

Autumn Glory!

A couple of years ago I decided it was time to learn how to use my beautiful new Bernina sewing machine. Of course I had little interest in the 80 or so built-in embroidery stitches. No all I was concerned with was how to work free-machine embroidery. Looking for a subject to start with, I found a beautifully coloured autumn leaf on my way home after dropping the younger children at school. I started sketching with it (I think that just might have been the last time I actually did any sketching....oh dear....)and soon had the basis for my design.
After that the real fun started to unfold. This piece grew in the making of it! It is a collection of a number of various techniques I wished to explore, some for the first time, others were ones I had often used before.
The background was hand-dyed, with a layer of painted Bondaweb applied. Next stage was the making of the 4 metal foil leaves following Maggie Grey's instructions in her books. The centre leaves were both free-machined on soluble fabric, one densely, the other a mirror image designed to look more ethereal and lacy. For the top layer, the beaded lace, I turned to one of the stitch patterns on the machine itself, stitching a grid with metallic threads. I then beaded the piece before dissolving the fabric in water. Other elements were a piece of painted canvas as background for central leaves, and water soluble paper as edging around the metal foil leaves in order to help blend them in with the background. These were also quite heavily free machine stitched.
Creating this piece was fun from beginning to end!

Ch. 7, Sampler #5

For this sample I returned to my file of images gathered at the beginning of this module and using this as the basis started playing around with black paper cut and fold shapes, until I ended up with one I particularly liked. Then I went to my store of hand-dyed fabrics and chose a cotton poplin for background, with a middle layer of rayon and a top layer of scrim. The middle section was hand embroidered with an outline stitch and a space dyed cotton thread, about pearl cotton#8, then cut. Next the top layer was tacked down shifting the motif slightly off to the side, and the shape free machined with a gold metallic thread.After I had cut out the main motif revealing the layers beneath, I decided to add a touch of hand embroidery using a herringbone stitch, in order to pull the design together. I am quite pleased with the overall result, though unfortunately the hand embroidery of the middle layer is almost completely obscured. This happened with the last sample also, though not quite to the same extent this time. Maybe next time I shall succeed in working a design where all the layers are revealed exposing the details of each!

Ch. 7, Sample #4

The background for this sample is hand dyed cotton poplin, with 2 polyester organzas layered on top. Free machined the image shape on bottom layer, with some hand stitching to emphasize shapes. Top organza layer with hand embroidery - lines of running stitch. Finally placed some co-ordinating netting on half of design to deepen tones on half of design, held in place with a few cross stitches.

Next day: This sample really didn't work out. It started well, with great contrast between the fabrics selected, but I tried to do too much with it, and in the over kill of stitching and layering, the actual design got lost! I shall re-work it later.....or maybe just one of the designs incorporated....

Ch. 7, Sample #3

For this sample I used 4 layers of fabric - 2 transparent fabrics (though 1 is hardly visible, only peeping out at the edges from behind the gold fabric), a gold polyester, and the background is hand-dyed cotton poplin. To add interest I cut the middle layer in half and staggered it's positioning on background. The top layer is a transparent polyester. The middle layer was stitched using apurple rayon thread and free ziz-zag machining. The top layer was stitched in a simple running stitch which held all layers together.

Ch. 7, Sample # 2

3 fabrics: background is hand dyed cotton; middle layer polyester 2-tone fabric, stamped with original stamp used in earler work; top layer purple lurex.
Stitched throughout in chain stitch, with a thick hand-painted pearl cotton thread, and 3 strands of yellow stranded cotton.