threadcircles

Mind Map and Mind Games

2011-10-12T09:54:00.000-07:00

I have finished two embroideries for a local exhibition in my current favourite style and themes. Mind games is the blue one and is based on a brain scan and the pink one is based on the shape of neurones and an idea. Keeps me busy anyway!

Transfuse and Transplant

2011-06-24T09:34:00.000-07:00

Detail

TRANSPLANT

Detail

TRANSFUSE

I have been brave and created two hand embroidered pieces for an exhibition in my village. The theme of 'Renewal and Regeneration' was set. My pieces are entitled Transfuse (obviously linked to blood transfusion) and Transplant (based on bone marrow). They each measure approx 8x6cm and are mounted on silk covered canvas board. I would have had them box framed but didn't have time. They are made using 5 layers of dyed fabric and cut back using the reverse applique method. Some of the tiny areas were a real challenge! Anyway I was very pleased and surprised to be given a commendation for Transfuse. Hope you like them.

Bye for now

2011-03-21T05:00:00.000-07:00

Hi just wanted to tell all of you who follow me that I am stopping the Diploma for now. There have been a number of issues leading up to this so I am giving myself a rest. I shall be trying to do some things in my own time and will post from time to time so don't delete me! I am enjoying reading all your posts even if I don't write any comments, so keep up the good work! I hope summer school is fun, I shall miss seeing you all. Love Paula x

Module 1 - finished 3d design and project

2010-10-30T06:52:00.000-07:00

This the inside and outside of the final piece.

Overall I am pleased with it as it is brightly coloured, fit for purpose as a treasure chest. The down sides are that the raw edges to the strips are quite fragile and will need some care. It would not be suitable to be used as a standard toy. I like the dimensions as it is striking and the little pyramids are big enough to house an item. I am happy that this is a close representation of the paper mock up and in particular that the sides have the same strong reinforced quality that stops it looking too floppy. I think it is a good contrast that the little pyramids have a softer appearance.

I tried it with further layers of pyramids but it became very 'busy' and I like the effect of finding little brightly coloured jewels in the bottom of the large pyramid.

I wanted to create 'pockets' inside the pyramid in which to hide little family treasures for a child to find. Initially I planned to make fabric pockets but I didn't like the effect. In the end I decided to make a number of small pyramids using 2 different layers of the stiffened fabrics. The apices were particularly difficult to finish neatly so I topped them all with a bead or two. Each pyramid measures approx. 8cm high. These fit neatly into the base of the pyramid as each is a geometric fraction of the original. The pyramids have a different colour lining but the photo doesn't show this very well. Each has an opening along one side allowing you to place an object inside.

It was serendipity that one of the sides was a little shorter than the others so that when it closed up it fits neatly into the apex made by the other 2 sides and miraculously stays there!

I have decided to use this pyramid as a memory box which I could pay with with children in the family . I wanted to create a container so I joined 2 of the sides using ladder stitch. The blue lining shows as an edging to the side panel as in the paper mock-up

As the seams were too thick with any other technique, I laced the fabric on to the card shapes then applied a dark blue fabric to the reverse as a lining. The base was covered in a plain piece of fabric, edged with a machined cord, and the sides ladder stitched to the base.

On Sian's advice I increased the size of the pyramid by half again and the completed piece measures 37cm high and 25cm across each side of the base. I made a net and cut card to fit. I made a sheet of fabric to cover each piece using fabric backed by iron-on heavy weight vilene. Each strip was cut and overlapped on the stripe above. The silk tended to fray more than the cotton so in places I overlapped both edges. I did try normal seams for the strips and edging them in order to reduce the fraying, but the former was too bulky and the latter rather fussy and ugly. I used cotton floss in a matching colour to join the strips together. Having tried a few methods I used reverse applique by cutting tiny windows in the strips and backing the gaps with small pieces of different coloured fabric. I other areas I used small blocks of satin stitch or star shaped stitches.

So now I hand dyed a range of cottons, linen and silk satin to the required colours. I also used a couple of bought fabrics in order to complete the colour range. This is a selection of fabrics used.

paper and card mock-up

colour study

Well at last I have finished the 3d project agreed with Sian at summer school! I have continued with the idea of a pyramid but changed the surface design and worked out the technicalities. I liked the colours from my colour study and the stripes of colour, plus they reminded me of the Mayan pyramids in Mexico which In was lucky to visit as a child. I made a mock up in card and paper to look at the idea and liked it! I decided to change the order of each stripe and square on each of the 3 sides and chose not to have the stripes matching at the sides in order to make the eye stop to look. I lined the pieces with dark blue and liked the way this showed as an edge along each piece. Sian was happy with this so I set about making it up in fabric.

Chapter 12 continued - more 3D ideas

2010-05-31T12:58:00.000-07:00

1.12.31

1.12.30

1.12.29

1.12.28

1.12.27

1.12.26

The next are sheets of some further ideas for Sian to consider.

1.12.25

I am going to try this out using my 2D coloured designs.

1.12.24 I repeated this using 2 of these shapes. I like this simple vessel shape, especially the negative space formed in the centre of the base.

1.12.23

1.12.22 My next trial was using a simple version of the curved shape.

1.12.21 I repeated this idea with 2 shapes separated by a deeper layer.

1.12.20 tried this shape stacked with layers separated by spacers. This distorted very badly as I made it.

1.12.19 I liked these interlinked but I am not sure how I could use this design.

1.12.18

Next I tried stacking a few of the hippocampus based shapes. I increased the size of the inner cavity again to be nearer to the original. I found it difficult to create any kind of a stack as the shapes were so thin!

1.12.17

1.12.16

Following Sian's comments I have tried some new ideas. Firstly I repeated the spiral wrap with uneven folding and some reverse folding in order to make it irregular and echo the folded myelin sheaths more closely. I like this but not sure it counts as a functional 3D object.

Ideas for 3D functional item

2010-05-21T04:32:00.000-07:00

1.12.15

1.12.14

1.12.13

1.12.12

I tried a different coiled shape , this reminded me of an image of coiled neurons from my sketchbook. This would not make a container but could be used to store items say in small pockets along the lines of a jewellery roll. The vertical sections would fit well with the repeating design patterne I created in chapter 11.

1.12.11

1.12.10

I also wondered about a coiling shape but without a lid so I tried this shape. Not so sure this goes with my theme but the fabric I could make for this could carry the hollow tear drop shape in the design.

1.12.9

1.12.8

1.12.7

At the prompting of Maggie I tried the tear drop as a vertical container that looks like a peeled banana when open! This was quite tricky to make out of paper but would be fine in fabric.

I made another sheet of ideas. 1.12.6

1.12.5

This is a practical shape and sturdy enough to use as a container. However it doesn't show the original shape properly as it is not a solid tear drop shape. I have tried cutting out the central section to reproduce the shape more accurately. As this would take away from the box idea I have tried filling the space with a layer of translucent tissue paper.

1.12.4

1.12.3

1.12.2

I tried one of the ideas in paper, firstly a tear drop shape.

1.12.1

I have been looking at possible ideas using the theme of memory. I would like to make a container in which to keep special items. I have used the shape based on the hippocampus which is the area of the brain involved in the making of our memories. This is essentially a teardrop shape.

Chapter 11 continued

2010-05-08T03:27:00.000-07:00

1.11.16 I like this one and I prefer the colours. The original design source is more closely linked to the idea of memory so I feel more comfortable with that. I may use this design.1.11.15 I like this but not sure whether to take it further. The dark grey is actually an indigo.1.11.14
I have chosen 3 designs and added some extra lines using Markel sticks. The first was originally my favourite but not now I have added to it as it looks very disjointed.

Chapter 11 Bold design

2010-05-03T05:10:00.001-07:00

My next task is to choose one, as I am thinking I will convert one into a fabric from which to make a 3D container. My blogger has been really difficult to use this time so I can't see the wood for the trees. So I will make some samples, to see how viable a couple of designs are to reproduce, once my brain clears!

1.11.13 This is my favourite of this batch as I like the way the dark blue line takes your eye through the design.

1.11.12 This is the first of the ideas using a distorted fragment . I made a number but have only shown a couple in each case.

1.11.11 Lastly I had a go with pieces of a blue design.

1.11.10 I like this one because I would enjoy reproducing it as an embroidery.

1.11.9 Again I took a fragment and rearranged it into a pattern. Then I repeated this with another fragment.

1.11.8 This is the next design I looked at.

1.11.7 I think I like this best of this design.

1.11.6 Next I tried distorting the fragment then repeating to make a pattern.

1.11.5

1.11.4 I tried making multiple repeats but thought these looked like busy wallpaper!

1.11.3 Next I played with these in word in order to make new patterns.
1.11.2 I cut this into random fragments on the computer eg as above.

1.11.1

First I looked at a drawing from an earlier chapter because I liked the colours and the shapes which were linked to the idea of memory in brain anatomy. I have wondered about going down that road as the theme for the final 3D piece. Sian suggests a number of ways of creating bold marks to echo previous designs including using previous work. I wanted to try developing three of my drawings/designs to see what would happen when I looked at fragments of the bigger marks.

Chapter 10 Design exploration with image copies - Option C

2010-04-28T02:16:00.000-07:00

1.10.12 This is a close up of the result. I like the clarity of the design and the little pools of intense colour.

1.10.11 I used hand dyed linen as a background and attached the 2 pieces of decorated paper with 505 then small stitches. Then I hand embroidered the piece to echo the paper design.

1.10.10 I photo copied it and then drew into the design using coloured pencils.

1.10.9 I like the simplicity here and the mottled background of the reverse of the paper. I decide to use this design to take forward.

1.10.8 Too busy again and I couldn't work into it easily. I couldn't use bleach on this as the colouring is done with markel sticks and oil pastels. I do like the soft colours and edges though so I may draw on these papers in the future!

1.10.7 shows 2 designs woven into each other. I thought it would be difficult to work into this as I needed more background and I didn't like the contrast of plain paper. I do like the reverse side here as rusty patches have occurred despite using a green wash. The front side is too much like a child's drawing as I used crayons.

1.10.6 shows the original orange washed copy as the background to the coloured reverse side. The orange is too strong despite being a dilute wash and drowns the coloured side. Also the design is too busy.

1.10.5 shows another variation. I like these blue designs as they are simple and lend themselves to working into them. However I don't want to use blue so I tried with the orange and green designs.

1.10.4 shows a blue washed copy as a background to the reverse side coloured.

I cut these into sections as in 1.10.2 and rearranged them, sometimes combining more than one.

1.10.3 markel sticks and watercolour pencils washes with water. I like the colours here.

1.10.2 cut into sections. This is the front of an orange wash of the bone corpuscles.

1.10.1

I made black and white photocopies of a few of my collected images and then washed them with diluted ink in my colour scheme. I coloured these in on the front or the back using a mixture of crayons, pastels, markel sticks and water-soluble pencils. These are 3 examples of these. The first is coloured on the back of a blue wash.

Stitched samples

2010-04-15T05:51:00.000-07:00

The sixth is my favourite as I like the colours and enjoyed the embroidery. It is based on the cut ends of the neurons on which I based the colour study. I machine embroidered the green circles and filled them with tiny spots of colour using satin stitch.

The fifth shows bone corpuscles using four layers of dyed fabrics, embroidered then variously cut back using reverse applique techniques. I tried to use the sewing machine but the sandwich was too thick. Some of the fabrics were very densely woven cottons so were very difficult and painful to hand embroider! With different fabrics I would have done more embroidery using toning colours.

The fourth image shows two representations of myelin around nerves in cross-section. The upper shows shadow work herringbone stitch on a single layer of silk chiffon. The lower shows trapunto quilting using coloured synthetic fibres from Oliver Twists on a double layer of chiffon..

The third shows a tangle of neurons in the brain using machined cords couched on to the backing fabric and whipped back stitch lines..

The second shows bundles of neurons as seen on an electron micrograph. I made hand wrapped cords for the bundle and torn chiffon for the backing layer.

In more detail the first shows variably padded silk embroidered with clusters of french knots depicting the holes in the brain caused by amphetamine usage.

Here are the stitched samples based on my designs. I have used a variety of hand-dyed fabrics in my colour scheme (Procion dyes on natural fabrics).

Colour study

2010-04-04T09:35:00.000-07:00

These are the patterned papers I made with reference to the hollow tubes in the photo.

Of these on the backgrounds of different colours my favourite are those on the darker tones, see the picture above.

These are my colour experiments on paper, different groupings and different backgrounds.

I have taken my inspiration from this scanning electron microscope photo of bundled neurons as I love the colours, especially the insides of all the little tubes.

Shape study

2010-04-02T07:59:00.000-07:00

As I have done this before I made a number of samples which I liked without following the chapter that closely. These were the more successful. The only disappointment really is that on the blog the yellow and green papers which have gold or bronze oil pastel or treasure wax on them appear rather mustard coloured and dull. The highlighting sheen is lost but never mind!

Texture Study

2010-03-30T04:45:00.000-07:00

Being laid up with a bad back I have had the time to do some samples of texture based on the images of the brain. I have used for example a combination of string, cord, rubber bands, tissue, straws, pasta, texture paste, rubbings and white acrylic paint.

More sketchbook

2010-03-28T10:44:00.000-07:00

This last is actually based on bone microscopy but I like the way it echoes the circular theme of the cross-section of neurons. I coloured my drawing with pencils on tissue paper. The colours are ok but I couldn't apply enough pressure to get the colour intensity of the photo without tearing the tissue!

Here are a couple more pages in my sketchbook which I like. I have enough now to continue on with the next chapter of the module looking at texture.

Sketchbook

2010-03-27T03:21:00.000-07:00

My new plan is to look at ideas around the subject of family. Perhaps seemingly odd I have started with the brain and nervous system as I want to tie this in with nervous diseases affecting families. This is in my comfort zone anyway as I have a medical background. The overall idea is very wide ranging so I shall see where it takes me over time. I am posting a few pages from my sketchbook. They aren't annotated as they are fairly self-explanatory and there are notes on the pages.

Change in direction...

2010-03-22T14:26:00.000-07:00

After much consideration I have decided to change the theme for the diploma to something more personal. I will post some of the new work in the next few days.

Chapter 7 Colour and Texture in stitch

2010-03-11T09:18:00.000-08:00

1.7.12

Lastly I looked at the texture of a cut log with machine embroidery on painted poly cotton bonded to pelmet vilene. I used lots of colours to add interest, not sure if that worked in the photo (the close up photo came up a bit paler than the original).

1.7.11

1.7.10

I also looked at the first texture I tried of twigs criss crossing and making star shapes. In the hand embroidery these look more like flowers but it's quite pretty! The background is transfer painted kunin felt with embellished strips of polyester painted with the same design.

1.7.9

1.7.8

Next I used the image of the tree trunks machined onto a rubbing using transfer fabric crayons on poly cotton. This had been bonded to pelmet vilene. I liked the way the top looks like the horizontal branches of the trees. The fabric crayons give crisp lines which suits this design.

1.7.7

1.7.6

The next two samples use a different view of bark but with similar shapes but added horizontal lines. The first is a background of painted poly cotton bonded to pelmet vilene and machine stitched with a variety of colours.

1.7.5

In the next I wove transfer painted cotton polyester strips, bonded them to pelmet vilene and covered the piece with machined vermicelli. On top I machined shapes which relate to the texture work in the sample before. I like the softer colours and lack of shine with the poly cotton.

1.7.4

1.7.3

Secondly I embellished torn strips of transfer painted polyester onto felt and machined stitched shapes on which relate to bark texture. The stitching caused the background to undulate which I like and adds to the textural change. The polyester was great for embellishing. Where appropriate I have included a small piece of the coloured papers to show the colour link.

1.7.2

1.7.1

I combined the colours from the previous work and the texture study earlier in the module and using machine and hand embroidery produced the following samples. The first shows transfer painted polyester printed with a leaf motif using transfer paints. This is bonded to cotton batting and hand embroidered in running and back stitch, fly stitch and detached chain using silk and cotton embroidery floss. I prefer the photo to the "real thing" as it's so shiny! This is not strictly following texture or the colour scheme but I liked the effect of the stamping so I included it!

Chapter 6 Fabrics coloured with transfer paints

2010-03-01T08:30:00.000-08:00

1.6.8

1.6.7

I used blue for my learning but I realise it is not present in my design source.

1.6.6
I moved on to colour areas of a variety of fabrics using painting, spongeing, printing and rubbings in all the mixed colours. I was able to recreate the red from my original photo which had proved elusive on paper! This technique lends itself well to producing textured, complex colour but it is very difficult to reproduce colours exactly or to produce large areas of colour.

1.6.5

I did some more trial colour patches and tried the paints on some more unusual backgrounds. I really liked the textured effect on the crumpled tissue paper.

Chapter 6 Initial trials with transfer paints

2010-02-23T06:59:00.000-08:00

1.6.4 - I painted a paper randomly with left over paint, then tried it a variety of synthetic fabrics. The 100% polyester takes the paint best and allows the brushstrokes to be seen most clearly.

1.6.3 - continued samples of colour mixing. These are my favourites especially the far right column of blue/brown shades formed by mixing green and red!

1.6.2 - Fibrecrafts paints -the original colours are so bright they are nearly fluorescent but mixed they make lovely muted but clear colours. The fabric on the right shows a mirror image of the painted paper after ironing. On all I had to use a dry iron on linen setting to get the colour saturation.

1.6.1 - Initial trials using crayons, the Pentel ones didn't work at all.

I decided to have a go at transfer dyeing as this is new to me. I found heat resistant polyester fabric and ready mixed paints at Fibrecrafts. I borrowed two types of crayons in order to compare the effect and will borrow some powder transfer paints to look at the effect of sprinkling them on wet paper. I was unable to buy these locally so I haven't tried bath dyeing but I like the mottled effect of the mixed paints as in my photos, so I am happy to manage without. They were very expensive so I don't want to invest in any more! I have written notes on each page.

Chapter 5 Colour Study

2010-02-22T11:19:00.000-08:00

1.5.6

1.5.5

1.5.4

1.5.3

1.5.2

1.5.1

I have looked at a photo of a maple tree in my garden in order to look at a group of colours. I made a number of studies and then chose my favourite. The tiny sections in the photo each contain a main colour with subsidiary colours. I found it difficult to reproduce these in a small area but easier when I coloured large sheets. The pink/red sheet came out too pink in the end and I shall have to address this when I colour fabric in the next chapter. I have written notes in the photos of my thoughts as I went along.

Module 1 Chapter 4 Shape and Pattern study

2010-02-01T09:54:00.000-08:00

I looked at these in solid form and colour using papers, crayons, water soluble pencils and crayons and acrylic paint.

I looked at linear shapes in my sketchbook and of a variety I chose the 2 shapes on the right hand page at the bottom.

Module 1 Chapter 3 Texture and Surface Relief study

2010-01-28T07:46:00.000-08:00

Looking at images in my sketch book and others I have tried to reproduce textures using a variety of media.

DISTANT STITCH - DIPLOMA

2010-01-14T10:49:00.000-08:00

The last image is for interest as it reminds me of Janet Edmonds workshop at summer school last summer. My husband met this artist at a modelling shoot where her husband was the photographer.

The next series of pictures shows some ideas based on the maple tree in my garden in the autumn.

Next I tried to represent images and objects using a variety of media.

The next 3 images are based on a magazine photo which I liked for the shapes and the colours.

I love the next design of the seed heads (not strictly trees!) and found a photo of a teapot with a similar design.

At last I have managed to pick a theme and start! I have chosen trees locally to start with but I may have to expand in the future to include other plants. Whilst dithering I did manage to take some decent photos in the autumn and this winter. I am posting pictures of my sketchbook to start with. Probably too many pages but its taken me a while to get over my inertia and relearn how to use blogger! Hope you like them..

Wallhanging finished!

2009-07-15T06:00:00.000-07:00

After talking to Sian at summer school and the theme of 3D work, I took her advice and turned my flat embellished fabric into an undulating distorted shape. This is supposed to echo the idea of a melting glacier hence the gathering lessens as you move to the right. The red fish was cut up to create a red line, then repeated in more soluble lace, then a couched thread, then running stitches in a finer thread. The original bird is large and is oversewn machine embroidery, repeated in a smaller size in running stitch. The third bird is made from soluble lace and sits on the surface of the piece. The close up photos show the detail of hand and machine embroidery and soluble lace which I used to manipulate the fabric and decorate it. I have shown it on a white sheet as neutral background but it hangs using small metal rings at the back threaded with a strong thread. I actually think it would be best mounted on a canvas covered frame but this is supposed to be a "soft" piece. Hope you like it!

Chapter 9 More design ideas

2009-06-15T10:35:00.000-07:00

I like the salt and ink effect as a background so I tried two with either stripes or a patchwork of papers. Then I added either red lines or the fish symbol. My favourite is the patchwork background with the fish and the condor shape. This one I photographed without the flash and the colours are truer.

Chapter 7 Further examples of soluble lace

2009-06-14T13:27:00.000-07:00

The third uses ribbons and threads trapped between 2 layers of soluble fabric.This was oversewn by overlapping horizontal rows of whipped zigzag, vertical 3-step whipped zigzag rows and then a top layer of normal tension straight stitch with gold in the top.

The second uses a very open grid of straight stitch oversewn with areas of zigzag in white and trailing linking threads.

I have continued making these to represent my drawings. In the first I have made 2 samples to represent a glacier. the smaller sample uses metallic thread in the top, blue thread in the bobbin and a normal tension straight stitch grid. In the larger sample I have changed the top thread to white and tried to create depth and texture with very dense stitching.

Chapter 9 Coloured papers and samples

2009-06-09T14:18:00.000-07:00

No 6

No 5

No 4

No 3 - I don't like this!

No 2

No 1

I have reworked the small coloured designs into A3 designs in order to decide which to choose. I made them big as when I added the symbolism the designs looked so crowded in the smaller form. I am going to post these labelled so that Sian can comment. On the whole the blues represent the glaciers and the reds the old order descended from the Incas which is gradually being lost.

I made a number of coloured papers using the colours in my research work. The initial pinks and reds were too bright so I bought some warmer orange/red inks and they work better. I have kept notes in my book so that I can replicate them if necessary.

Chapter 8 Research for conservation theme

2009-06-09T13:46:00.000-07:00

No 4

No 3

No 2

No 1

I made some of these up into coloured samples. I have numbered these for reference.

Next I wrote a list of words which I associate with melting glaciers plus some of Sian's suggested words, and translated these into shapes using black paper.

I was born in Peru so I am interested in South America. I decided to investigate the melting of glaciers in in this area. This led me to look at the effect of this on the indiginous population of Peruvian Indians living on Lake Titicaca. These are my notes.

Chapter 5 to 7

2009-06-09T12:08:00.000-07:00

The second shows a grid of straight stitching overlaid with cable stitching in lines.

I have made 2 samples of soluble fabric to represent my drawings. I will continue to make some more and post later. The first shows spiralling circles of whipped straight stitch oversewn by silver stitching in a spiral.

I tried 3 water soluble fabrics and one heat vanishing fabric. These are my trials and results.

CHAPTER 7 DISSOLVABLE FABRICS

The third sample is three layers of fabric randomly embroidered with whipped straight stitch and zigzag in circles and lines. This is done in layers with cutting back after each layer. This sample just didn't work as well as the others.

The second sample again shows 3 layers of fabric. The gold/pink is embroidered with gold straight stitch and zigzag and then cut back. This is then covered with purple organza and embroidered with whipped straight stitch and cut back.

The first sample shows 3 layers of fabric - linen, cotton muslin and polyester organza. Each layer has been machine embroidered before adding the next, and the second cut back before adding the third, the third cut back at the end.

CHAPTER 6 CUTWORK

The seventh and last trial shows 3 samples. Two are on cotton scrim using straight stitch and normal tension. The pale green has gathered into interesting patterns but I don't think it shows well in the photo as the fabric is pale. The third is on a fine linen using a twin needle and is really effective at mimicking the scraffito effect.

The sixth trial shows 2 samples, one on heavy linen using rayon and metallic threads with normal straight stitch tension. The other is on cotton scrim and the stitches have pulled the fabric up into circular puffs. It looks hideous even with added metallic thread!

The fifth trial shows two samples, both using lines of whipped straight and zigzag stitches, covered in cable stitch lines. One sample is on nylon organza and is very dense and the other on cotton and is quite open.

The fourth trial shows two samples. One is cotton muslin with several layers of zigzag, normal tension, in two colours. The other is cotton scrim and I tried to make holes using curving lines in straight stitch and 2 colours. I found this really difficult to make the holes.

The third trial used straight and zigzag whip stitched metallic and plain threads, in two directions, on nylon tulle over dyed cotton.

The second trial shows linen scrim with cable straight stitch worked across the fabric - this caused the fabric to shrink. Over this I used whipped straight stitch in a horizontal pattern.

CHAPTER 5 FREE MACHINE STITCHING TO INTERPRET DRAWINGS

I have tried a number of samples using a variety of threads, stitches and dyed fabrics. In the first picture there are 3 samples. I used cotton fabric, silk organza on cotton wadding and polyester chiffon. The stitches are all whipped straight stitch in various colours, changing the top and the bobbin threads.

Module 6 continued

2009-05-20T09:07:00.000-07:00

Lastly I experimented with bonding colour onto fabrics using bondaweb. The samples are onto evenweave and the larger are onto muslin and scrim.

Next I tried painting different fabrics with silk paints and textile paints.

CHAPTER 4

I tried space dyeing with procion dyes, colouring fabric and threads. Some of the fabric I dyed in bags using left over dyeing liquid in order not to waste it!

Design 6

Design 5

Design 3

I repeated this process in design 2.

In chapter 2 I looked at designing with the shapes made in some of my photographs. I used a variety of papers decorated with inks, paint and crayons, pastels etc. I tore and cut the papers and remounted them, then cut again to create new patterns.

Sian asked me to increase the texture in the machined samples on the left so here are the results. I have left some squares lacy as they act as a contrast. It is hard to photograph well!

MODULE 6 - WATER AND SKY Chapter 1 and 3

2009-05-11T06:02:00.000-07:00

The last (16) is a cable stitch sampler using a variety of types and thicknesses of thread and different stitches.

In the second (15) I have combined the suggested 3 and 4 and show zigzag and automatic stitches in the green patches with normal tension, and whip stitch versions in the orange/blue patches.

In Chapter 3 I made samplers of free machining. In the first (14) I have combined Sian's suggested 1 and 2 and show straight stitching with normal tension in the yellow patches and variable tension whip stitch (straight stitch) in the turquoise.

Lastly for chapter 1 in image 13 I used pva and tissue paper and momigami. There is also a close up.

In image 12 I tried sticking pieces of paper onto coloured paper, sometimes carefully and sometimes randomly.

Image 11 shows samples of texture paste 1:1 with impasto gel medium and acrylic paint.

Image 10 shows my efforts at more texture using pva and paint or ink with added flour, rice or couscous! I added highlights with markel or pastels.

Image 9 shows trials of polythene sandwiches using wax crayons and oil pastels which melt. angelina, threads, paper scraps and acrylic paint.

Image 8 shows trials with bubblewrap and colouring tools and colouring of foil and cellophane. Only acrylic paint stuck satisfactorily to the cellophane and I found it difficult to colour the bubble wrap.

Next I looked at ink plus waxy resists using wax crayons and oil pastels. These were successful with drawing inks but not acrylic inks. I then trialled the use of bleach and also tried painting on cellophane, these results are in the following pictures. (6,7)

The next three images (3,4,5) show various rubbings using crayons, pastels amd pencils with added marks.

The next (2) shows inks, acrylic ink and scraffitto with wax crayons and oil pastels in combinations.

I have collected lots of images of water and sky and reproduced them with mark making techniques. I will label these as I go for Sian's sake. The first (1) shows marks made with pencils and felt pens.

Chapter 12 Module 5 Resolved Sample

2009-04-07T14:27:00.000-07:00

This is the final piece with some closer photos as the black is difficult to see clearly. Hope it does the job!

This is the work in progress

I put these ideas into a final design sheet.

Next I tried some more fabric manipulations samples (page 6), embroidery and combined samples (page 7).

Ididn't like the blotting paper look, and I knew the white sheers were too opaque. So I tried markel rubbings on black organza and laid this over the blue cloth to see the effect. (page 5) Next I tried cutting shapes out of this allowing an overhanging edge which I could distress to resemble the torn paper. Although the blue cloth markings are still mostly lost I think this is the best option.

I thought that might be ok so I looked to see whether it would work alone or whether it needed to be stiffened with pelmet vilene. I examined it using 2 of my landscape designs as I hadn't decided which to use (page 2 and 3). In the third picture (page 3) I tried raising some parts into relief. Whilst I thought that was interesting I was sorry to lose the "torn" edges of the paper from the design but without the vilene it looked weak. So I decided to see how torn pelmet vilene, coloured with black ink would look (page 4)

The stages I went through are noted on the sheets but initially I considered what background I could use. I had some lovely dark blue scrumpled dyed linen/cotton from module 3 so I looked at doing rubbings on it using markel, from my paper texture sheet from earlier in the module. I also trialled a variety of sheers to see if the marks still showed, and trialled cream linen backgrounds for the dark blue.

Designing from landscapes

2009-03-23T09:02:00.000-07:00

Lastly I used a few pieces of decorated paper left over and made a spiral just because I like them!

I repeated numbers 5 and 6 in decorated papers which more closely resembled the various areas on the original photo.

Next I tried out a couple of more abstract ways of subdividing the paper.

I have chosen 3 of my photos and drawn possible ways of subdividing the spaces. I have numbered a couple in each then used torn decorated paper to see how these would work.

Module 5 - revisions

2009-03-19T11:29:00.000-07:00

The second used a fine polyester crepe de chine which forms much softer folds and I held these down with feather stitch in a fine cotton thread. Under this layer I used fly stitches in a very fine thread but it is difficult to see these in the photo.

Lastly I have redone one of my samples for chapter 8 showing fabric manipulation. One shows crumpled cotton organdie set with an iron; the creases are held in place using fine linen thread and fly stitches. I have then pleated the fabric to represent the denser areas of paper and held these down with layers of heringbone stitch using thicker thread.

In the third sample I have added couching of ribbon, stem stitch and chain stitch.

In the second I have tried to represent the hazy effect of the rubbing with torn gauzy paper and fine fly stitches. I have tried to represent movement using changing stitch direction.

On Sian's advice I have redone the chapter 9 stitching samples and increased the density and complexity. In the first I have added stem stitch, straight stitch and fly stitch in different thicknesses of thresd.

More texture ideas

2009-03-03T11:16:00.000-08:00

Ihave done more drawings of texture from my images and then tried to develop these ideas into raised, 3D textures using anything I could find and think of. Here are the results'

Chapter 11 Design from Landscape

2009-02-28T07:38:00.000-08:00

I have used a few of my photos to look at mark making. I would like to stick with black and white so I have looked at white paint, watercolour and acrylic, and oil pastels on black paper, and oil pastels and wax crayons under black ink on white paper.

Chapter 10 Stitch to Translate

2009-02-26T07:14:00.002-08:00

I have tried to translate some of my rubbings into stitches but found it difficult to do anything varied as so many of my photos of trees are just stems, twigs etc. So I have gone ahead and made 3 samples but I am going to take some new photos for the resolved sample and make some more studies in embroidery for that.

Chapter 9 Threads and Stitchery & gathering(ch6)

2009-02-23T10:48:00.001-08:00

Lastly I have taken rubbings from paper relief surfaces. I tried chalk, wax crayons, watersoluble crayons and oil pastels on tissue paper. I found the water soluble ones the best. I am posting one example but the others will be best shown alongside the embroidery interpretation.

The next 2 samples were made using a machine to gather and several types of fabric were used, fed in at different angles. The coloured sample includes plastic fruit netting as one of its materials.

Ialso found my gathering samples. The first 2 were done by hand, marking the spaces in the traditional way for smocking.

Irepeated these stitches but in a looser fashion and often composite to create a more interesting range of effects.

Next I decided to use fly and featherstitches and looked at various ways to form them.

Next I am posting several stitch samples from my previous c&g course showing various stitches, in one all are used as a couching tool.

I have made a display of some of the threads in my collection. None of these are new so I cannot assign a price. The thicker threads are couched on.

MODULE 5 - Texture in Landscape Chapters 1-8

2009-02-18T04:24:00.000-08:00

The left sample shows rolled thick cotton and on the right silk organza corded with knitting wool.

The left sample shows hand sewing threads as wadding under polyester organza, the right showspolyester crepe de chine gathered to form soft rows and then hand stitched in parallel angled lines in order to distort.

The left sample shows polyester sher net shadow quilted with threads onto cotton wadding, and the right shows cotton muslin padded quilted with knitting wool.

The left sample shows polyester net gathered into circles by hand, and the right shows silk habotai gathered the same way.

The left sample shows cotton muslin pleated and scrunched, the right shows calico corded with string and caught in places to distort.

Finally in chapter 8 I gathered these design ideas together and these pictures show prints of trees with paper and two fabric relief surfaces.

The next picture shows various fabric manipulations which display varying texture.

In chapter 6 I looked at tucks, pleats and gathers and added in work from my previous course.

Lastly I tried padded quilting using knitting wool threaded trapunto style, buttons poured in which made a nice rouleaux shape in places andstring under Japanese paper. The latter tore the paper in places but I liked the effect where the string showed through. I have added a picture of glass beads used as filling but this should really be in shaped quilting.

Next I tried shaped quilting and used knitting wool with the stitching following the curves of the wool, metal grid, glass beads and pieces of wadding as filler.

I have also used threads to create padding or stitches instead of quilting as in shadow quilting. The bird design is on silk organza using linen thread for the stitching.

Previously I have tried wadded quilting using stretchy coloured tights to make this design based on a cartoon I saw in a magazine.

In Chapter 5 I examined types of quilting. Firstly I made samples of wadded quilting, using either cotton batting, hand embroidery threads under a vilene type product, and thick knitting wool as the wadding.

Next I tried different edge effects on a variety of fabrics.

After doing tests on various fabrics which I had at home I have grouped snippets onto black paper.

Lastly I tried gathering a few papers. Sorry the picture is horizontal but my photo programme wouldn't work today!

Using further types of paper I tried a variety of pleating and folding ideas as some papers e.g. bark paper cannot be scrunched. These pictures show these results.

Next I tried making cobblestones using these papers to compare the effects.

I have waited to post anything until the work seemed to have any coherence and it has taken me this long! Some of the work is from a partially completed previous C&G course hence the change in colour scheme at times. The landscape work in chapter1 and 3 are put together with chapter8 at the end as suggested by Sian.

Initially I tried simple scrunching of increasingly thick papers to see the effects and glued them using PVA onto black paper. I have labelled the paper types.

EMBROIDERED BOOK AND BAG FOR MODULE 4

2008-12-01T06:47:00.000-08:00

The hinges are cords trapped between the 2 layers of paper.

I have made a concertina book using cotton rag paper in 2 layers, collage techniques, machine embroidery and drawn threadwork. The ideas are based on my experiences of depression. The bag is made from vilene painted with inks and bonded with silk organza.

Chapter 9 Stitching into papers and edges

2008-10-01T02:26:00.000-07:00

Using some of the samples which I have made I have added stitch. In as many cases as I could think of I have tried to link the shape of the stitching or grid to lettering in earlier design work.

Chapter 8 Further grids embedded in paper.

2008-10-01T02:06:00.000-07:00

Next I embedded some more grids into this thicker paper pulp to see the results. I particularly liked the way the grids also make embossing marks in the new paper.

Having made the previous pulp very thin, I repeated the process adding 4 handfuls equivalent of soaked paper to the vat with dye made using 3 teaspoons of dye and same of soda. The result was very thick and looked like summer pudding but was much easier to work with. 3 handfuls would be optimal I think.

The first photos show embossing effects ( I also tried a fern leaf but couldn't apply enough downward pressure in my impatience!) I applied onto one sandwich of paper and then when the paper was partially dried I ripped out the thread and applied it to a grid of ovelapping papers. I ripped the threads out again when that paper was completely dry. The latter gave a ripped and curled effect whereas the former gave a harder more defined edge.

Chapter 8 Applying paper to a woven fabric grid

2008-09-24T02:43:00.000-07:00

Lastly I dipped this coarse metal mesh through which I had woven stranded cotton. I probably needed more thread but it looks more interesting in real life than the photo!

I used plastic canvas mesh to make strips of paper to surround a piece of drawn threadwork.

I used a strip of the plant fibre as a base and then laid partial sheets of paper over the edges to create a framed mesh.

Next I lay a metal mesh on the cloth and a piece of soft metallic mesh cloth. I spooned on pulp and laid a sheet of paper over the mesh. The soft cloth worked very well but the metal mesh cut through the paper as it dried. So I added a layer of plant fibre ( I think it is) to the back and that strengthened it. I will show a picture of this backing.

I dipped these plastic fruit bag meshes of different thicknesses straight into the pulp. When they dried I cut two off the frames. I used leftover pulp so it was still rather thin.

These are some of the grids which I prepared.

Chapter 4 Making paper

2008-09-24T02:08:00.000-07:00

I used cookie cutters to create shapes and I couldn't do the intricate shapemaking withs uch fine pulp so I shall try again.

The last method I found the easiest using overlapping partially formed sheets.

I made paper with to colours using spooned pulp or with a turkey baster. I found this hard as the underlying pulp seemed to move as I put the new on.

I made a T shape using a cardboard template.

Next I tried dyeing pulp but as there was some delay before doing this I forgot to consult my notes and made all the paper too thin. I used marine violet and a mixture of golden yellow and ultramarine procion dyes. I must have left the pulp in the dye for too short a time because the paper is so washed out. I painted small pieces with the original dyes to show what I started out with.

I trapped rayon waste fibres between sheets but that didn't work well. You can see the fibres where I cut away the top layer. Lastly I embossed two sheets - one with Plastic mesh and the other with upholstery braid. I don't think the paper was thick enough so I am going to have another go with the fringing and embossing later.

Next I tried embedding and laminating petals and leaves but I didn't like the wat they bleed colour as they dry. It may be better to try dry inserts. I also tried adding extra pieces of green tissue to one and laminated a letter G cut from a magazine.

First of all I tore up white printer paper to male the pulp and added green tissue paper. I didn't realise the effect would be so diluted so I think you can hardly see the green. I varied the thickness of the paper from the equivalent of one handful of soaked paper to the vat to three.

Collage

2008-09-21T09:19:00.000-07:00

I have done a couple of collages - they need stitch but are still wet. I have used parts of the embroidered drawn threadwork.

Chapter 10 Book ideas

2008-09-21T09:10:00.000-07:00

I looked at a few possible methods of creating books. I stuck to rectangular shapes in the samples but these could easily be triangles, semicircles etc.

Chapter 7 Alternative grids

2008-09-21T05:15:00.000-07:00

Here are my samples. I was not able to melt nylon, lacking a suitable heat source so I used loose weave fabrics instead in the last sample.

Chapter 6 Embroidered Drawn Threadwork

2008-09-21T04:59:00.000-07:00

Photos of a variety of samples showing hand and machine embroidery.

Chapter 5 Drawn Thread Work

2008-09-21T04:46:00.000-07:00

The following are photos of samples for this chapter. The dyeing process didn't really work as I made the dyes too weak and tried to use walnut dye crystals. I had thought that bright Procion dyes would look awful on the natural linen scrim. Also the scrim is really stiff so I wonder whether it has a finish on it which impeded the dyeing process. Wherever possible I have matched samples to lettering shapes.

Chapter 3 Grids

2008-09-21T04:37:00.000-07:00

These are a few grids which I have collected. I also have millinery net but couldn't find it for the photo!

Chapter 2 Lettering Design

2008-05-28T13:32:00.000-07:00

I used the word CALLIGRAPHY throughout although at times it becomes indecipherable.

Finally I made one example using folded paper and overwriting.

Next I played with combinations of inks, bleach, wax crayons, a candle and added gold pen.

Next I used a variety of pens, brushes, sponges, a cork, card edges etc to make different letters.

I tried making letters and writing on the computer using Microsoft Paint.

MODULE 4 Line and texture in media

2008-05-28T13:16:00.000-07:00

Finally I made a collection of various media used in correspondence and packaging.

Next I looked at different types of lettering and fonts.

I researched the use of lettering in various situations.

Resolved Sample

2008-05-18T09:00:00.000-07:00

My finished resolved sample.

I mounted this piece by lacing it over a piece of mountboard cut to size and covered with cotton batting as a padding.

Finally I made a machined cord using yellow gimp and two shades of turquoise metallic knitting yarn. These were oversewn by turquoise and bronze metallic threads. I couched this down by hand in a spiral and added a hand couched spiral of dark turquoise dyed boucle yarn .

The third layer consists of spirals of machine embroidery using three shades of turquoise (one metallic) and metallic bronze.

I started with a background of dyed linen in a yellow/gold/orange colourway. I stamped this with various spiral shapes using the fatter and thin ends of a bamboo skewer. I used turquoise and white fabric paint mixed to create three tones of turquoise and a bronze metallic fabric paint.

Full Working Design Sheet for embroidered box lid

2008-05-15T10:13:00.000-07:00

Module 3 accessory

2008-05-13T14:02:00.000-07:00

I have made numerous cords and added them to the lid of my embroidered box in order to enrich the surface of the lid. I have replaced the original button closure with a painted toggle and a new twisted cord loop.

Box lid designs

2008-05-01T11:26:00.000-07:00

I have started drawing lessons and learnt how to use rotational symmetry to create a design from simple shapes. I had been struggling to progress with this project but I tried this technique on spirals for the box lid and I am pleased with the result. I plan to make some cords and experiment to see how these would look.

Design for accessory

2008-03-18T09:10:00.000-07:00

I am making accessories for an embroidered box based on the work of Gaudi. I have, therefore, looked at the Gaudi drawings which I have done in order to find inspiration for embellishments made from techniques used in this module, rather than the wider spiral designs which I looked at earlier in the module. Here are some drawings of the box with accessories and their inspiration. I have added some paper mockups of some of the ideas, but when I decide on the direction I go I will look at these in more detail.

TOGGLES

2008-03-14T10:31:00.000-07:00

I have made some shaped toggles using craft vilene painted with inks. I will experiment with additions of fabric, threads etc. when I relook at these for my box.

BUTTONS

2008-03-14T09:09:00.000-07:00

This is a collection of simple button shapes either covered, wrapped or composite. I have used core shapes from corugated cardboard rolled up, cardboard shapes, polystyrene balls and smaller wooden beads.

The suffolk puffs are made from cotton, yellow silk and purple synthetic organza. The wide centres are a result of small stitches around the perimeter whereas large stitches cause a tight centre.

Bead Edgings

2008-02-29T08:26:00.000-08:00

This is a sampler to show a variety of ways of edging with beads.

Labelled scan of bead sampler

2008-02-25T13:37:00.001-08:00

Chapter 8 - Beads

2008-02-25T13:01:00.000-08:00

This is my bead sampler which shows different types of beads and ways of attaching them. The pale purple rocailles are attached by machine stitching. The rest show their attachments in the close-up photos. I have also scanned the sampler and labelled the different types of beads.

Iwill post bead edgings shortly.

Chapter 7 - Dorset and wrapped buttons

2008-02-25T12:47:00.000-08:00

These are a selection , some using beads, different threads and wools and ribbons. I will post more buttons in time!

Machine Tassels

2008-02-25T12:36:00.000-08:00

These are two machine embroidered tassels. The purple one has a head stuffed witha wooden bead.

More tassels

2008-02-25T11:37:00.000-08:00

The first picture shows a tassel made from recycled silk sari yarn and organza ribbon. The second shows a twisted yarn unwound under the neck. The third showstwo twisted and wrapped cords, knotted and made into tassels.

Chapter 6 Tassels

2008-02-25T11:16:00.000-08:00

The first picture shows a selection of tassels.

The second and third pictures show 2 simple tassels in wool, the yellow is decorated with detached button-hole stitch and the purple with laced herringbone stitch. The dark purple tassel is made from knitting wool and organza ribbons.

The purple silky tassel is made from rayon thread and simply embroidered with cross stitches.

Twisted and wrapped cords

2008-02-25T10:59:00.000-08:00

Complex cords

2008-02-25T10:43:00.000-08:00

Next I made knotted cords - from the left picture at the top is a simple knotted cord made from machined cords. The next cord is triple knotted. Further down is a continuous twist chain. The bottom cord is a flat square knotted cord. On the right the picture shows two Turks Head knots, the yellow tail is wrapped by knitting ribbon. All the cords are made from a variety of threads, wools, ribbons, fabric strips including organza.

Chapter 5 Cords

2008-02-25T10:24:00.000-08:00

On the left is a selection of cords and on the right are simple machined cords and at the bottom a plaited cord with three elements.

Amended samples

2008-02-25T10:06:00.000-08:00

I have added machine embroidery to the last two samples as the previous didn't show up well. The yellow sample shows cable stitch.

Embroidery on fabric

2008-02-05T04:01:00.000-08:00

I have posted examples of hand and machine embroidery ,all depicting spirals, on dyed fabrics.

Printing on dyed fabrics

2008-02-05T03:48:00.000-08:00

I have had to use plain acrylic paint as I was unable to find fabric medium locally. The paint adhered poorly to the plain purple fabric so I added machine embroidery to make it more complex. On one sample the purple paint is so dense against the yellow that the fabric is obscured. I tried to embroider that but it was too difficult through the paint. On the other purple fabric the yellow paint looks green in the photo but is clearly yellow in real life.

Composite sheets of design ideas

2008-02-04T11:50:00.000-08:00

I have grouped sketches, printed papers, 2D shapes, rubbings and photos into composite sheets. I have kept to the yellow/purple colourway.

Sketches of accessories

2008-02-04T10:01:00.000-08:00

Ihave drawn sketches of images I have seen to show jewellery, buttons, a brroch, a bag and a ruff.

Embroidered Pashmina shawl from Kashmir

2008-02-04T09:26:00.000-08:00

I have tried to find accessories other than jewellery. I have included an embroidered Pashmina from Indian Kashmir, also buttons and beads that I have collected over many years.

Research on accessories - drawings and photos

2008-02-04T08:51:00.000-08:00

I have collected photos of pieces of jewellery, a hair slide, an ornamental face mask from Venice, and a silver filligree chain belt from Iran. The ring brooch is from 1950's, the elephant pendant from India, and the bone and silver oblong pendant depicts a waterbottle from Persia. The bone and black necklace and elephant hair bracelet are from South Africa. the silver filligree and opal bracelet and brooch depicting a llama are from Peru. The other items are modern and purchased in the UK.

Embroidered box

2008-01-28T10:10:00.000-08:00

I am using a box which I made on a partially completed c&g course as my 3 dimensional piece for City and Guilds. Sian has suggested incorporating it into this module with some further embellishment. I am attaching photos of the box.

Chapter 3 Fabrics and threads

2008-01-28T09:50:00.000-08:00

I have collected together items in my colour scheme and dyed some fabric and threads where necessary. I used Procion dyes in scarlet, lemon yellow, royal blue and marine violet. I have added in merino tops, angelina, knitting wool, silk throwsters, beads and sequins where I had them in the appropriate colours.

Computer painting

2008-01-28T09:36:00.000-08:00

I have a very limited program so I did what I could to make spiral shapes.

Monoprinting

2008-01-28T09:05:00.000-08:00

I printed spiral designs onto sheets of my coloured papers using the two method - direct and indirect.

Chapter 2

2008-01-28T08:51:00.000-08:00

I coloured paper and tissue paper with contrasting purples and yellows, using inks. I used these to create 2 dimensional shapes on a painted background, using the design ideas as inspiration. I used coloured and plain corrugated paper to make 3 dimensional shapes.

Module 3 chapter 1

2008-01-28T08:09:00.000-08:00

I have collected pictures of man-made spirals, done some drawings and rubbings

First posting!

2008-01-23T09:11:00.000-08:00

Iam studying the City and Guilds embroidery certificate with Sian Martin at Distant Stitch. Currently I am on module three and enjoying the spirals and colour! I hope to post some samples soon.