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description= My progress towards City & Guilds Level 3 Embroidery Certificate, with Distant Stitch;
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module, chapter, and, of, the, part, design, using, 11, 10, it, colour, paper, fronds, for, work, all, decisions, you, to, elements, record, logs, 12, continued, blog, wall, hanging, materials, equipment, putting, together, making, my, choices, into, development, next, theme, fabrics, make, fabric, sewing, final, samples, decorated, swirling, kelp, forest, judith, stitches, posts, evaluation, references, consulted, time, log, health, safety, storage, completed, authentication, study, three, artists, converting, embroidery, stage, designs, full, research, conservation, use, dissolvable, follow, via, email, how, do, feel, about, resulting, conclusion, is, fit, its, purpose, give, reasons, if, were, asked, again, what, changes, would, costing, painting, dyeing, printing, on, cutting, any, electrical, irons, machines, hand, machine, computer, iron, jae, maries, barbara, lee, smith, sandra, champion, assembling, panels, lining, enlarging, dyed, threads, each, area, steps, scheme, symbolism, papers, pneumatocysts, wafting, torn, strips, introduction, shapes, patterns, colours, ideas, related, warm, up, exercise, compositions, in, coloured, a3, interpretations, choice, technical, one, type, stitch, method, soluble, lace, methods, translate, areas, drawings, blue, background, green, orange, purple, spikes,
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bly enough going on in the panels without them 3 once all three panels were complete to this point i frayed the cut edges with an old fashioned hard toothbrush then positioned the green soluble lace and purple spikes again using the light pad and stitched them on invisibly by hand image 4 shows these elements added to the right hand panel 4 final design decisions when i began looking at the joining strips i found that the organza i had dyed was greener than i had planned so i dyed another piece using turquoise dye with areas of cerulean blue and olive green to mimic the colouring of the tissuetex in my collage it s a bit difficult to see the colours in the photographs but the images 5 7 show a few trials 5 the original green 6 comparison of double layer of the newly dyed organza l with one layer over plain white organza the organza takes dye in a way that produces really saturated colour and favours green over blue 7 one layer of newly dyed organza over a plain blue purchased organza i decided to go with a double layer of the turquoise image 6 the next decision was whether to leave the organza plain or to stitch it image 8 shows a comparison i went back to some of my stitch samples from the first part of this module and chose one which echoes the moire effect of two layers of organza superimposed 8 the decision was clear for me the plain organza looked as though it didn t belong the purpose of the stitching was to add some texture as well as correcting the colour back to more a turquoise the stitched strips certainly relate better to the composition as a whole the next decision was whether to limit the organza strips to vertical lines between the panel or to retain the strip along the top as per the original collage image 9 9 i prefer the way the strip along the top frames the composition putting it all together decisions made onto stitching i pinned and then hand stitched each strip to the hem of the panels image 10 10 once i had attached the strips the wall hanging was complete except for the lining image 11 shows the complete hanging and images 12 to 15 details of the four quarters of the work 11 12 13 14 15 images 16 and 17 show close up details of the surface showing the softly frayed edges and the stitched details i m really happy with the way the textures blend and i like the contrasting sharp edges of the purple spikes 16 17 lining i had dyed some lining fabric because i wanted the reverse of the wall hanging to be interesting too having cut the lining panels i first fused craft vilene to the reverse of the lining at the top to add stiffness and reinforce the wall hanging then stitched velcro to the right side stitching through the vilene image 18 18 i then deployed my best invisible hemming to stitch the lining to each panel image 19 19 image 20 shows the reverse of the wall hanging with lining attached 20 and image 21 the hanging system in place because the organza strips are translucent and the wall hanging will be displayed against a white wall i needed a hanging system which would be as close as possible to invisible while providing enough rigidity so that the wall hanging would not sag so i asked my friendly picture framer stuart to cut and drill a piece of 3 mm acrylic sheet the acrylic is attached to the wall hanging with heavy duty stick on velcro it works beautifully as a suspension system i m really pleased with it 21 so it is finished i think image 22 shows the completed wall hanging with a 1 m and a 600 mm rule for scale 22 and finally my composite sheet image 23 which has a bit of everything 23 1 comment posted in uncategorized module 6 chapter 11 part 1 posted on 17 09 2021 2 comments making my wall hanging making all the elements i ve started by making all the elements of the design in sufficient quantity to allow me to put the wall hanging together the first step was to make the blue fabrics for the background based upon the samples made for chapter 10 having gone back both to the original photographs and to the collaged papers i ve recalibrated the blues slightly towards the greener end of the spectrum first images 1 and 2 the lightest blue found mainly towards the top right of the wall hanging this was stitched on margillan silk gauze then stitched again to some dyed silk dupion the varied colour of the background shows through this is exactly the effect i was looking for 1 2 the mid blue is stitched on a double layer of paj silk images 3 with me for authentication purposes and 4 show the layers of stitch 3 4 the third fabric the darkest blue was made by stitching into cotton scrim then over stitching the marks to apply the scrim to a background fabric of dyed dupion silk images 5 and6 the variegations in the background fabric will be useful when i piece the water elements together 5 6 the next step was to make the green sections image 7 is the fabric for the small sections at the bottom of the wall hanging it s stitched on a double layer of cotton muslin 7 next i made areas of soluble lace for the elements which sit on top of the cutwork elements i ve included photographs of one of the stitched areas before gathering with a 60 cm rule the same area being gathered and pinned out prior to rinsing with me and two broccoli boxes for scale the final pieces and a detail of the surface images 8 to 11 i m very happy with the way these relate to the original research photographs and drawing chapter 8 image 2 i left some of the soluble material to stiffen these elements and provide body 8 9 10 11 the third green fabric involved four layers of stitching on silk dupion which i backed with some purchased green cotton homespun for stability images 12 and 13 i really like the way the fabric works with the pearl cotton which i space dyed in the same dye bath the arrangement of thread colour on fabric colour is completely serendipitous 12 13 at this point there were only the orange shapes crêpe de chine and purple spikes dupion over organdie remaining to do see images 14 and 15 the yellow hand stitching will be added to the orange shapes once the assembly is complete so that i can arrange the detached chain stitches in a way which makes sense with the other elements i stitched the purple over pelmet vilene the whiskery edges will disappear when i stitch the shapes onto the wall hanging 14 15 i ve traced and colour coded a rough pattern for the blue background as one continuous piece image 16 so that s the next step 16 2 comments posted in uncategorized module 6 chapter 10 part 2 posted on 12 08 2021 leave a comment choices and decisions continued i ve experimented with combinations of the samples from part 1 to see which appear to me to give a co ordinated arrangements of colours marks and textures which look as though they belong together images 1 to 14 show some combinations with a few observations on why they appeal to me or why they don t i ve grouped the blues together then the greens 1 the dark blue sample looks like the odd one out here i think it s too contrasty 2 better less contrast but the outlined shapes are too defined the thing i like about the other samples is their diffuse quality 3 i m much happier with this trio i would probably use a slightly less warm blue dye on the cotton scrim these three appear to me to belong together 4 not enough contrast between the two darker blues also the circular marks on the light blue and mid blue samples are too closely related 5 same problem with the mid blue sample i like the star burst representation of the salt marks but perhaps the pattern elements are too defined on the other hand i was intending to keep the dye patterning on the fabric visible 6 i like this one too possibly not as much as image 3 the tonal contrast is about right but the light coloured sample in image 3 seems like a better fit now the greens 7 the colour is a bit washed out in the photograph i still like the crunchy soluble lace for the translucent areas i think that these three samples work well together 8 not sure what it is for some reason i don t much like the cotton homespun with the circular pattern looks a bit flat 9 i don t mind the whip stitch sample but am still not crazy about the cotton homespun sample 10 the whip stitch sample and the muslin circles work well together although i d like more contrast in the textures of the fabric the translucent sample looks like a hairnet 11 this is better but i still prefer the more glossy leaf print sample 12 the sample on the left looks a bit scrappy so the winning combination for me is image 3 image 7 together they look like this image 13 13 and with the other elements added in bearing in mind that the orange areas will have detached chain stitched with rouleau not rat tail image 13 14 i m pretty happy that this combination will give me the result that i am hoping for so to see how they work together and to make sure the construction process i have in mind is actually workable i ve isolated an area of the design about 10 cm x 13 cm which has a bit of almost everything in it image 15 15 the process then is as follows make the blue area the size of the sample using fabrics and stitches as per the mid blue and dark blue areas from above make the orange shape stitch it in place behind the blue area and cut down to it do the same with the green shape at the top make the translucent green area with gathered soluble lace make the purple spike as per the third sample in part 1 of chapter 10 attach the soluble lace and the purple spike i ll also use this sample to try to work out how to treat the edges of the vertical panels here goes 16 the blue area stitched and cut back no more intermediate photographs my phone has been confiscated to prevent me from receiving interruptions what i ended up doing with the vertical edges was to turn the left edge and stitch it invisibly to the back and to leave the right edge raw and fray it a bit where the stitching doesn t extend right to the edge 17 the finished sample how do i feel about this i m always amazed by the difference between a paper collage and the stitched version a relief surface brought to life with stitch and fabric manipulation is a completely different animal compared with the flat surface of the paper however visually interesting the collage might be the way the stitched version is revealed as layers are cut away or added is really exciting and however much i do this i never fail to be surprised i m really happy with this sample it does everything i hoped it would in terms of a unified surface and an interpretation of the collage at this point i prefer the hemmed edge on the left it s wonky and whiskery enough to be interesting but i prefer it to the less controlled randomness of the right edge i ll try this again though once i have made a couple of full panels at that point i will be able to see how they look against the teal coloured silk organza i have dyed in imitation of the strips of tissuetex in the collage i haven t yet decided whether or not to stitch into the organza it may be better left plain this too will be a design decision for later once i have made two of the panels leave a comment posted in uncategorized module 6 chapter 10 part 1 posted on 11 08 2021 1 comment converting my design into embroidery enlarging the design i had a very helpful zoom tutorial with siân after posting my work for chapter 9 siân s advice was to proceed with the design i had identified at the end of chapter 9 and that there will be design decisions to make as i proceed with the actual making such as whether to turn over the edges of each of the three drops or to fray them whether to retain the oblique band at the top or just to keep the translucent joining pieces to the vertical spaces between the drops and so on the next step then was to scan in the design in sections i used micrografx picture publisher worked out how to use to re assemble the scanned sections into a whole then worked out how to scale up the design and to mask and make files of areas of the design which would print at the correct scale at slightly smaller than a3 size with overlap we have an a3 colour inkjet printer which isn t used very often so we brought it into my office so i could print all of the a3 sheets which i then assembled to give a pattern with a design area equal to the area of an a1 sheet of paper then i traced the whole design onto tracing paper and made a pattern piece for each design element with an allowance all around of 1 5 cm to allow for overlap fraying of edges hemming or seaming as relevant the pattern making is shown in image 1 with a 60 cm rule for scale 1 dyed fabrics and threads the next step was to dye some fabrics and threads for sampling and making i used some cotton homespun gauze organdie and silk dupion crêpe de chine paj margillan gauze organza jersey as well as perle cotton i am gradually gaining more control over the process and have found that low immersion dyeing cram jar or in a tray works best for me the resulting fabrics have some beautiful marks especially the blues which actually look like an underwater scene and the greens as images 2 to 6 show it s amazing how the different fibres take up the dye the silk for example appears preferentially to take up the yellow components of the dyes compared to the cotton overall though the results were quite subtle and varied my initial thought was that i would use the silks for the final wall hanging but i really like the way the light plays across the different fabrics so i m planning to mix the fibres in the final piece 2 3 4 5 6 samples of each area of design i have mostly made three samples for each design area some have four and one or two just have two i ll reproduce the design in image 7 for reference 7 blue background there are four different papers in the blue background but two are very similar so i ve made three sets of samples one representing the light blue paper patterned with salt one for the mid blue paper printed using the curved printing block and one for the dark blue paper patterned with bleach light blue samples images 8 to 10 8 cotton homespun with free machine embroidery to represent salt marks 9 cotton homespun with cable stitch circles in variegated pearl cotton 10 random circles in rayon thread on margillan silk gauze distorting the fibres then applied to silk dupion and stitched again mid blue samples images 11 to 13 11 one of the papers i used for the original collage chapter 9 part 1 had silver sponge prints on it this is metallic thread stitched onto paj silk backed with cotton homespun 12 free motion zig zag open spiral shapes stitched onto paj silk with rayon thread stitched fabric then manipulated by stitching larger spirals with a circular needle 13 as for image 12 but using cotton homespun instead of silk i was trying to keep the plane of the twin needle facing me by altering the orientation of the fabric and this produced some wonky shapes then i tried just spiralling the fabric under the needle without ...
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