Certificate Module 5, Chapter 9 Threads and Stitchery

Stitches and Stitching

In this section, we were asked to learn some new stitches as well as re-acquaint ourselves with some old favourites.  This was a fun exercise which I enjoyed.  I arranged the stitches in a circle, giving a slice of the pie to each of four categories.

5.9. Stitches and Stitching

Section 1 consists of flat stitches.  Reading from the outside they are as follows:

• running stitch
• stem stitch
• back stitch
• herringbone stitch
• thorn stitch *
• two-sided plaited Spanish stitch *
• cross stitch
• satin stitch

(* means a stitch that was new to me)

Section 2 is looped and chained stitches.  From the outside they are:

• chain stitch
• braid stitch*
• open Cretan stitch
• fly stitch
• single feather stitch
• buttonhole stitch
• wheatear stitch *
• split stitch
• double fly stitch

Section 3 is knotted stitches:

• bullion knots
• scroll stitch*
• Portuguese knotted stem stitch*
• knotted cable stitch*
• colonial knots*
• coral stitch*
• scroll stitch*
• palestrina stitch*
• knotted chain stitch*
• French knots

Section 4 consists of composite stitches:

• laced double running stitch
• Pekinese stitch*
• threaded herringbone stitch
• whipped running stitch
• herringbone ladder filling stitch*
• threaded back stitch
• threaded chain stitch*

I found that some of the simplest stitches to work gave the best effect.

Stitch Effects

The challenge here was to choose just one stitch and explore different ways of working it to give a whole range  of effects, either in a formal rhythm or an informal one.

This was so enjoyable.  I deliberately chose a stitch which I thought would make it quite hard to achieve a range of effects.  (I was just in the mood for a challenge.)  I chose a long tailed daisy stitch and started by working it in three straight lines, putting alternate stitches upright and upside down.

5.9.Stitch Effects 1

I was intrigued when the effect looked a bit like hieroglyphics!

5.9. Stitch Effects 2

Next I tried a bit of variation while keeping a formal rhythm.  I worked stitches graduating in size and thickness of thread, starting with large stitches and 6 strands of stranded cotton, reducing the number of strands every 4 stitches.  I quite liked the effect it gave of perspective.

5.9. Stitch Effects 3

For the third sample I tried grouping the stitches in groups of 4 with spaces between, in a checkerboard pattern.  Again, I turned alternate stitches upside down.

5.9.Stitch Effects 4

Stitch Effects 4 had stitches radiating out from a central point, with thread alternating between matte thick thread and thinner shinier thread.

5.9. Stitch Effects 5

For number 5 I tried distorting the stitch slightly while maintaining a formal pattern.  I worked the tail of each stitch at an angle in the inside circle and the loop at an angle in the outside circle.

5.9. Stitch Effects 6

For number 6 I worked three large stitches with thick yarn and then used smaller stitches in thinner yarn to couch down the loop part of the larger stitches.  I used the loop part of the small stitches to trap the thicker thread and the tail to stick out giving a thorny effect.  I think this was my favourite sample.

5.9.Stitch Effects 7

Couching was the theme of sample 7 also, using medium thickness thread to couch down three rows of thick, fluffy yarn.  (I regretted this later as the fluff got everywhere and proved almost impossible to remove from the rest of the black fabric.)

5.9. Stitch Effects 8

Like sample 2, number 8 had stitches radiating out from a central point, but worked all in the same thin yarn, varying in length of the tail and worked in a circular shape.

5.9. Stitch Effects 9

I now tried to work the stitches in a less formal way.  Number 9 is similar to sample 1, but the lines now meander.  The orientation of the stitches between upright and upside down varies in a random way.

5.9. Stitch Effects 10

I had fun with number 10.  Again I used smaller stitches to couch a larger, thicker stitch, but worked them at random, some catching the thicker thread, some catching another thinner stitch and some not catching anything at all.

5.9.Stitch Effects 11

Back to formal arrangements in number 11.  I realised I hadn't tried working the stitches dovetailed together and so tried this while also experimenting with the ratio of loop to tail and trying the same thing with the loop and tail bent at an angle.

5.9 Stitch Effects 12

More couching for sample 12, this time a strip of twisted silk fabric with the stitches worked in different threads and sizes, some covering the fabric completely and others just catching in an edge.  one or two small stitches worked on top of the fabric catching in all layers.

5.9.Stitch Effects 13

Sample 13 is related to sample 2, but, although the size varies in a regular way, the thickness of the thread changes at random.

5.9. Stitch Effects 14 (a)

5.9. Stitch Effects 14 (b)

I liked the effect of the stitch worked with an angle between the loop part and the tail and so worked that in a simple way in 14 (a).  Then I noticed that because of the angle, one of the loops slipped down the tail slightly.  and so I tried working a few false loops into each tail at different angles in (b).

5.9. Stitch Effects 15

Sample 15 is simply lots of stitches, in two different threads, worked on top of each other in as close to random a fashion as I could manage.

5.9. Stitch Sample 16

Number 16 is groups of three stitches but scattered randomly and at various angles.

5.9. Stitch Sample 17

Finally, in sample 17 three stitches, worked large and in thick thread, were wrapped (the loop part only) with another thread.  The wrapping distorted the shape of the loop which gave an interesting effect.  It would be interesting to explore whether a non-twisted thread for the big, wrapped stitches would give a different effect as the thread I used had a fairly tight twist.

All in all, an interesting and enjoyable chapter and one that could be easily fitted into what has proved to be a very busy time in terms of family activities.

Certificate Module 5 Chapter 8 concluded

This has been a most enjoyable chapter of work and my regained enthusiasm and energy are continuing.

5.8.3  Composite

For my third pair of samples, I chose a photograph of some branches coming out of a tree at right angles to the trees in the background.  The change of scale and tone as well as angle made an interesting contrast.  To represent the faint tree trunks in the background, I pleated white tissue paper and glued it down onto black paper.  While the glue was still wet and the tissue fragile, I used a palette knife to scrape away the tissue to indicate the strong branches in the foreground.  In my first fabric sample, I used the same technique,  pleating white muslin and ironing on Bondaweb to one side.  I then cut out the negative (white) shapes, peeled off the paper backing and placed them on black cotton fabric before ironing them down.  For the second fabric sample I sandwiched wadding between two layers of cotton fabric and machine stitched around the shapes of the tree branches in the foreground.  I then worked parellel lines of close zigzag stitch to represent the lines of the pleated tissue in the collage.  Close up photographs of the two fabric samples are shown below in 5.8.3a and 5.8.3b.

5.8.3a

5.8.3b

For my fourth pair of samples, I chose a picture of a plant which had stems and flowers that made a strong and interesting pattern as seen below in 5.8.4

5.8.4

In the paper collage, I simplified the design.  For the stems I rolled and then flattened some tissue paper.  I cut the leaf shapes out of stiffer paper and glued them all down.  In the first fabric sample I used shadow quilting for some of the stems to indicate that they were behind the others.  For the stems in the foreground I machine couched string on top.  When looking through my stash of fabric for something with which to make the leaf shapes, I found a scrap of brown silk very close in tone and colour to the natural colour of the string.  Although this exercise was meant to be monotone, I couldn't resist this little touch of colour!  I sandwiched two layers of this brown silk with wadding in between and stitched satin stitch around the edge of the leaf shapes with a sewing machine before cutting them out and stitching them on.  I stitched them only at the base so that the leaves would stick out slightly and give an interesting texture both visually and to feel.  In the second fabric sample I tried to get a completely different look and feel.  I used a base of pelmet vilene onto which I stuck the shapes of the plants which I had cut out of self adhesive fab foam.  I then laid a layer of habotai silk on top and hand stitched around the raised shapes.  The flat shapes and smoothness of the silk gives a completely different look and feel from the first sample.  Close ups of  each sample are shown below in 5.8.4a and 5.8.4b.

5.8.4a

5.8.4b

Finally, for my fifth pair of samples, I chose a photograph of branches of a conifer.  In the original photo there were also interesting shapes of silhouetted trees in the background.  

5.8.5

When I had used Photoshop to convert my colour photo to black and white and had played around with the contrast and tone, I found there were some interesting abstract shapes that had appeared and I tried to show these in my textured paper collage.  However, for these fabric samples, I was interested only in the conifer branches.  The branches with their needles came out at different angles and overlapped each other.  I tried to show this in the paper collage by overlapping cut out strips of tracing paper.  In the first fabric sample I was interested in the angles of the needles as they grew from the branches.  I used a technique which I had read about in "Stitch and Structure" by Jean Draper, where she worked hand-stitched whip stitch to raise fabric into a ridge.  I used this on cotton calico using a fairly thin thread.  For the second sample I tried to capture the confusion of overlapping needles in the various layer.  The ridges in the first sample were fairly hard and so, as a contrast, in the second sample, I used a soft string which was composed of several strands.  I stitched short lengths of the string at right angles onto longer pieces of string and then untwisted and unravelled the short lengths.  Close up pictures of both fabric samples are below in 5.8.5a and 5.8.5b.

5.8.5a

5.8.5b

Certificate Module 5, chapter 8: Paper Relief into Fabric Relief

Someone wiser than I once said something about best laid plans - well mine certainly went agley!  Despite my best intentions of working and posting regularly, life kind of got in the way, with a lot of family business to deal with.

I have been working away little and often since the spring, whenever family duties allowed.  I was doing a lot of time-consuming, labour-intensive hand stitching - most enjoyable and relaxing but painfully slow, so that it has taken a long time to have something finished to post.

Despite not posting since October, I am still enjoying this module and this chapter is fun and challenges my ingenuity to try to interpret in fabric the textured paper collages based on my original photos of texture in nature.

In this chapter we had to select five of our textured paper reliefs from chapter 3 and use fabric manipulation to interpret each of the five in two different ways.

While I haven't yet finished the chapter, I have completed two of the paper reliefs in two different ways.

5.8.1

In 5.8.1 I have chosen the image of thin branches hanging from a tree with little buds or shoots at intervals.  In the paper relief, I have used twisted and knotted paper to represent these knobbly buds.   I used tracing paper on a black paper background, pushing it around while the glue was wet to represent the foliage in the background.  For my first sample, I have used Bondaweb to fasten thin strips of  chiffon onto a calico background to represent the background foliage.  This has been a bit disappointing since it doesn't show up clearly enough.  To represent the knobbly branches, I used twisted strips of muslin couched down, pushing the fabric up to make bumps to represent the knobbly buds.  For the second sample, I again used Bondaweb onto stiff-ish silk dupion,  I laid habotai silk over this, pushing it around to make creases and folds.  On top of this I stitched down knotted strips of silk dupion.  Below, in 5.8.1a and 5.8.1b, I show the samples in close up.

5.8.1a

5.8.1b

5.8.2

For my next image, 5.8.2 above, I chose a picture of a small stream, with a gravel bank in the foreground and a rocky bank at the far side.  I turned the picture upside down so I could concentrate on just the textures.  In the paper relief, I had interpreted the rocks with pieces of tissue paper, coated with glue and then rolled into rock shapes.  For the waves in the stream, I again used tissue paper, manipulated into folds and pleats while the glue was still wet.  To depict the gravel I used an acrylic medium dabbed on to give the effect.  In the first fabric sample, I used trapunto to depict the rocks, with two layers of cotton fabric.  To depict the waves, I hand stitched little random pleats in the cotton fabric.  To try to capture the texture of the gravel, I used the technique which Colette Wolff calls "furrowing" in her book, "The Art of Manipulating Fabric" (Krause Publications, 1996),  The fabric to be gathered is cut to twice the size of the base fabric.  It is then stitched down around the edges and then secured at random places with tacks to gather the fabric.  I made these stitches very close together to get the texture of  gravel.  This took a long time to do, but I was pleased with the final result.  For the second sample, I decided to take a freer approach to the rocks and used Suffolk Puffs of various sizes.  While fiddly to stitch, especially the smaller ones, I love these little shapes and was delighted to be able to use them again.  For the waves in this sample, I used random kantha stitching at right angles to the waves and pulled it tightly enough to gather the fabric slightly.  I tried a bit of a step into the unknown with the depiction of the gravel for this second sample.  I remembered that years ago I had bought some heat shrink fabric which I had put away and never used.  I thought that I could use the principle of "furrowing" in a less laborious way if I laid a piece of it onto a piece of cotton the same size, stitched them together with random free machining and then ironed the whole thing, that the heat shrink fabric would shrink and produce the furrowed effect.  That was my theory  anyway!  The first piece of good luck was that I actually managed to find the heat shrink fabric.  The next piece of good luck was that it worked beautifully!  The two samples are shown in more detail below in 5.8.2a and 5.8.2b.

5.8.2a

5.8.2b

Having felt tired and run down for so long, I am starting to feel much better and am getting my old energy back enough to really enjoy this challenge.  I have three more images to choose and interpret in fabric and I am really looking forward to it.