Sunday 13 February 2011

design plus Mod5 Ch1-3

PANEL DESIGN ADDITIONAL THOUGHTS/COLOURS Following on from your comments on my proposed design for my third assessment piece I have done some more work around the central idea. IMAGE 1 SEA SCAPE IN LAVENDER ON SMOOTH AND ROUGH PAPER IMAGE 2 SEA SCAPE IN PALER BLUE/ GREEN COLOURS ON ROUGH AND SMOOTH PAPERS.
IMAGE 3
SEASCAPE IN GREENS AND LAVENDERS ON ROUGH PAPERS JUXTAPOSED
IMAGE 4
LAVENDER/ROUGH SEASCAPE CUT IN SAIL SHAPES
IMAGE 5
PALE GREEN/BLUE ROUGH SEASCAPE CUT INTO SAIL SHAPES
IMAGE 6A
PALE GREEN AND LAVENDER ROUGH PAPER SAIL SHAPES INTERLEAVED
IMAGE 6B SAME COLOURS BUT ADDITIONAL SHAPES ADDED.
IMAGE 7
GREEN/BLUE ROUGH AND SMOOTH SHAPES INTERLEAVED
IMAGE 8
LAVENDER ROUGH AND SMOOTH SHAPES INTERLEAVED
IMAGE 9
GREEN/BLUE AND LAVENDER ROUGH AND SMOOTH SHAPES INTERLEAVED
Having worked through these further combinations a number of things come to mind.
A combination of rough and smooth surfaces gives a greater depth to the design
A combination of lavender and green/blue pale/deep tones gives greater interest to the design.
A panel with 8/9 pieces/sail shapes has more impact than one with 12/13 which tends to be over fussy.
If, in working the design, each sail shape is double sided / dual coloured and moveable that would give the most potential combinations
A way of working the panel could be to mount each double sided sail shaped piece on a fine metal rod set within a frame rather like an abacus with the metal rods running vertically rather than horizontally. this would allow the design to be flexible and movable.
Image 9 is , at present , the closest design to encompass the above thoughts.
CHAPTER 1
IMAGE 10 SIZE A2
HISTORICAL / CULTURAL STUDY OF STITCHED AND LACE LIKE STRUCTURES
STITCHING IN THE AIR
IMAGE 11 SIZE A2 HISTORICAL AND CULTURAL STUDY CONTINUED METHODS
SUSPENDED AND STITCHED/VOIDED SHAPES
IMAGE 12 SIZE A2
3RD SHEET OF LACE STRUCTURES INCLUDING RIBBONS , CUT WORK, SHEERS AND SUSPENDED SHAPES.
ADDITIONAL DETAILS/ PICTURES OF LACE LIKE STRUCTURES ARE INCLUDED IN THE STUDY OF ITALIAN EMBROIDERY PREVIOUSLY SUBMITTED IN MODULE 4. CHAPTER 2
STITCHERY TO CREATE SUSPENDED FEATURES
WORKING WITH REMOVABLE GROUNDS IMAGE 13 SIZE A5
This sample was worked on soluble 'romeo' film. The solid shell shapes were made separately using quilt wadding covered with white cotton net and then pinned to the background.The elongated shell shapes were made by placing patterns of acrylic string on the film and sewing over them using a zig zag satin stitch. The surface of the solid shells was sewn over by lines of straight stitching on to the film. The shapes were joined by a white fringed thread being counched down with machine stitching across the surface of the film. IMAGE 14 .SIZE A5
This sample was worked on dissolvable paper. The edge was formed by a narrow white nylon ribbon formed into rolling wave shapes and sewn down onto the paper. A silk boucle yarn was then machine couched down in sail shapes below the 'rollers'. Some of the paper was then dissolved using a stencil brush along the lines of the stitching.
IMAGE 15 SIZE A5.
This sample was assembled on thermoguaze, similar to vanishing muslin.The large motif was made from crochet cotton and then mounted on to the background. I made the three small fan shaped motifs using a lacy patern on the sewing machine worked on the thermogauze .The fans were stitched by hand to the edges of the crochet. The whole was then surrounded by a number of rows of silk boucle stitched down by machine on to thermogauze and through the edges of the individual motifs.
IMAGE 16 SIZE A5
This sample was worked within an embroidery frame on soluble embroidery stabiliser and represents limpets clinging to the crevices in rocks. The limpets were worked individually on cotton muslin using a variety of fancy yarns and perle thread.
The thick lines of the 'grid' were made by using a number of small lengths of braid, stitched onto the stabiliser background. The lengths of braid were then connected by lines of zig zag stitching worked diagonally acoss the surface. In some sections the stabiliser was dissoved completely while, in others, it was left in place to give support and edging to the zig zag stitching.
The limpets were then hand stitched in place.
USING HEAT TO MELT AWAY BACKGROUND
IMAGE 17 (SIZE A4)
'REED FRINGES'
This sample was worked on nylon net and a fabric was created by weaving and stitching a variety of fancy and fringed yarns into the mesh of the nylon net.
Once the fabric was complete sections of the still exposed net were melted away with a broad tipped soldering iron.
IMAGE 18 SIZE 15 INCHES X 12 INCHES
Sea Creatures
This sample was worked on a McCullough and Wallis glue fabric similar to bondaweb. Individual motifs were worked and placed on the background. These comprised two jellyfish (top left and bottom right) Other shapes were made including shells and soft bodied sea creatures.Lengths of trailing threads were left in place at the finished edges of each of these elements Once the composition was arranged across the glue fabric the trailing threads were used to connect each of the 'creatures' together.The whole sample was then ironed between two pieces of baking parchment. Following this a variety of tips on the soldering iron were used to melt away sections of the glue fabric. An area was left in place at the lower half of the sample to demonstrate different effects which can be achieved by partial removal of the background.
IMAGE 19 SIZE A5
Glue trails laced together and coloured with acrylics.
IMAGE 20 SIZE A5
Red coloured glue spots used to connect sequins across the voids of a black fabric used previously to cut out discs.
IMAGE 21 SIZE A5
This sample used squares of fabric which I had previously created. These included felted samples, stitched fancy thread samples and fabric made by gathering, partially melting/ scruching and painted embroidered silk.
The fragments were linked by wave- like glue trails which were subsequently painted.
STITCHING AND THREADING SAMPLES
IMAGE 22 SIZE A4
FISH.
The fabric for the fish was made by dying a range of white yarns in various colours of blue procion dye. The number of colours achieved was greater than the number of dyes used as the threads took up the dyes at differing rates. The lengths of thread were then ironed on to the glue fabric used in image 18. A template of a fish was made and placed on the fabric. The outline was then made in fine wire sewn in place by a machine satin stitch and each individual fish was cut from the background.Fragments of the fabric were used for eyes ,with the addition of a collection of beads. A lurex thread was stitched into place between the fishes tails and the individual fishes were stitched together at the widest part of their bodies. The wired shapes of the fishes were then moulded into a wave like motion and monted on black card.
IMAGE 23 Size a4
BUTTON SAILS
In this sample a series of triangles were attached to strips of fabric by the addition of buttons in toning colours.
IMAGE 24 SIZE A5
The lavender/purple background to this sample was made from a painted, dried out, wet wipe. The central section was made by threading nylon garden string through the mesh taken from oranges and lemons consumed at Christmas. The sample was then covered by florists film which was melted into place by the tip of the soldering iron.
CHAPTER 3
SUSPENDED SHAPES USING STITCH METHODS. IMAGE25 SIZE 7 INCH RING
The top two images are positive and negative structures . Top left are fragments of fine vilene and paper with punched holes arranged and stitched into an assembly. Top right the resulting punched discs are arranged into a petal-like structure.
Moving clockwise down the right hand side there is a heart shape. This was made by pinning three thickness of the background fabric cut into a heart shape to the reverse of the background net. The resulting shape was then surrounded by buttonhole stitch through all the thicknesses. French knots were then worked in row across the surface. At the bottom are two stitch patterns worked in heavy rayon yarn to float on the surface of the background net.
IMAGE 26 SIZE 12 INCH RING Muslin was used to line a 12 inch ring and this was then painted with white acrylic in a series of shapes connected to my main theme.
A variety of methods were then used to created shapes to suspend above the background.
The shell shape (top left) was cut from a number of thicknesses of nylon organza over polyester wadding. The shape was then scored into , at varying levels, with a very fine tipped soldering iron. At some places the tip went right through all the layers while, in others , only the top surface was marked. Some of the deeper cuts were outlined in silk boucle while others were left merely as score marks. Semi circles of yarn were worked across the shell shape and seed beads were used to decorate the surface in the way in which deposits often cling to the outer edge of shells.
Immediately to the right of this shell a fne nyon ribon was gathered onto fine white wire and formed into rollers. Down the right hand side a further method of making rolling waves was used by utilising white acrylic string wound around a thicker length of wire.
In the centre of the ring, lengths of Tussah silk were couched on to the surface in the form of waves. Below and left of these a shell shape was made by using narrow satin ribbon on its edge sewn to the surface in a series of folds.
At the right of this an outline shell shape was edged with back stitch into which detached buttonhole stitches were worked. A white cotton yarn was then worked across , but above, the surface in the form of 'veins'.
The further shell shape at the bottom right was made from a loose weave cram boucle material cut to shape. This was then threaded by a fancy cream silk yarn to give added texture across the surface.
Finally I worked a machined butterfly on soluble embroidery stabiliser and attached this to the surface.
IMAGE 27 SIZE A4
STITCHED AND MANIPULATED METHODS
FLOWERS.
The background fabric is rubber boat shelf covering material (used to ensure crockery does not slide)
The background for each flower was cut from transparent florists film which was secured by partially melting it on to the rubber background.A variety of materials was used to form the flower petals
Top Row L-R
Eye make up remover pads,silk tops and beads surrounded by eyelets slotted into the backg round.
Fragments of antique lace and cream kid mohair topped with a hair slide
Beads of polystyrene packaging material topped with pearls.
Bottom Row L-R
Unbleached silk rod fringed and curved surrounding a silk brocade section of fine piping topped with cake decorating stamens.
Silk tops with a silk brocade fabric made into a flower bud , set in a cream petal shaped bead.
Merino wool tops and antique lace with a section of silk trod topped by an antique bead.
Further silk rod and pearls sample as at bottom left.
The flowers were then ' connected' with cream string and chain stitches as in many Elizabethan scrolling flower patterns
IMAGE 28 SIZE A5
A warp and weft framework was made over a wire rectangle and shapes were woven and stitched into it. Those parts of the background not caught by the stitching were then removed.
IMAGE 29 SIZE A5
Worked sample of Carrickmacross lace. The design was traced onto tracing paper and white net and whited organza were placed over the traced design. The design was made by couching a thick white thread down over the whole outline in a continuous sweep using a fine white thread . The thick thread was then used to form a picot edging. The tracing paper was removed and the organza cut back along some of the stitching lines to reveal the background net.
IMAGE 30 SIZE 10 INCH RING
BONDED AND FELTED MEHODS.
A fine nylon net was used as a background fabric. White merino wool tops were then needle punced into the background in the shape of a tree. The topmost branches were then machine emroidered with a pattern of small leaves. Some coloured threads were couched down to give greater definition to the design and these were then embroidered over by the the leaf pattern. Finally some brown'acorn' fabric beads were attached.
IMAGE 31 SIZE A4
A length of white cotton organdy was painted using a stencils of dragonflies and fish and jacquard fabric paints. The organdy was then sandwiched between two sheets of nylon organza one green and one blue which were very slightly bigger in size. The dragonfly and fish outlines were then emphasised by a triple straight machine stitching. Additional embellishments in the form of scales, eyes and wing markings were then hand embroidered.
The slightly differing sizes of fabric in the bonded sandwich give a raised/ bubbly effect to the surface.
IMAGE 32 SIZE A4
This sample combines a number of techniques.
White cotton scrim was painted with Jacquard fabric paints over a raised pattered stencil and then covered with wax to stiffen it. Once dry, threads were withdrawn and the scrim was stitched down one side to a pale blue nylon organza background fabric. Narrow sections of dyed silk rods were then threaded through the places where thread had been withdrawn and stitched to secure in place by the circular ends which had been cut from the rods.
Small lengths of toning space dyed ribbons were stitched together over bucram shell shapes and stitched into place. Fragments of darker blue thread fabrics were placed between the two layers and bonded onto the organza.
Discs of metallic fabric made for the previos module were then bonded into place across the top surface. An edging was made by stitching a fancy boucle mohair yarn onto fragments of another thread fabric made for the previous hydrangea study.This was stitched around the edge through all thicknesses to secure all the elements in place.
Bibliography
Tracy Franklin Contemporary Whitework
Dawn Thorne Transparency in Textiles
Butler and Trubshaw Carrickmaross lace.
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Timings For Chapters 1-3 and additional panel design work 80 hours
Visits/ talks etc
Annette Morgan Contemporary Quilts
Art Van Go Gallery and shop.
Costings ( Art Van Go treats not necessities £150)Silk Screen for printing, fabric dyes, devore paste soluble film,paper, thermogauze. scrim, organdie. Fabric paints,pencils