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3 hours total work spent on embroidery and construction 115 hours authentication storage of tools and equipment design work in progress kept flat in a large folder completed embroidery wrapped in acid free tissue paper inside a box completed design work kept flat in a large folder papers for design work kept flat in a large portfolio inks and paints for design work kept upright with lids secure inside store cupboard glue bleach sprays as above embroidery work in progress inside a workbox with needles scissors etc kept in a store cupboard away from children and animals fabrics folded neatly wrapped in acid free tissue paper and kept flat inside storage basket threads in special clear storage boxes for easy viewing separated into colour groups beads metal threads etc in acid free tissue paper inside storage box in store cupboard dyes paints etc kept upright with lids secure inside store cupboard sewing machine kept upright on table in workroom covered when not in use other electrical equipment on shelves in store cupboard flex lightly wound health and safety rules observed dyes care must be taken to avoid inhalation of particles when mixing dye powder a mask should be worn at all times ensure dyes are stored out of the reach of children and pets sewing machine ensure that lead is kept out of the way to avoid tripping over make sure chair has a back rest and is at a comfortable height especially during long periods of sewing scissors ensure scissors are stored away safely and kept out of the reach of children pins and needles ensure pins and needles are kept in their correct cases and cushions make sure none fall on the floor and get trodden on iron always disconnect iron when not in use and ensure the lead is kept out of the way to prevent tripping store in a safe place when not in use posted by julia green at 07 55 no comments module 6 chapter 12 study three artists jae maries jae is a free lance artist and tutor and a member of the 62 group she has a ba hons in fine art and a diploma in creative embroidery she exhibits internationally and has work in several public collections her work explores the relationship between people and their environment and more recently interprets her own personal environment through paint and stitch her preliminary work is mostly done in visual diaries through symbolic and abstracted mark making which is then translated into larger series of art works she enjoys the challenge of combining oil paint with stitched textiles and relishes the contrast between the hands on sensual quality of working with fabrics and threads and the thrill and spontaneity of brush marks barbara lee smith barbara in an american mixed media artist living in the pacific north west where she is surrounded by grand and subtle beauty which has encouraged her to work with the landscape she works from within reflecting the way she sees nature and makes visible her emotional response to what she sees feels and remembers barbara uses a sketchbook as a journal along with her sketches it includes lists of what if s ideas quotes photo s and things to try she also uses her sketchbook to record samples of paints pigments and different technical experiments barbara uses lutrador as a base for painting and spraying acrylics and silk paints she layers the lutrador to form a heavy base where she continues her process by collaging small elements of the same painted material which are heat fused together to bind and further stiffen the material she describes her work process as cut melt burn tear sew mend and colour once the composition is complete she then uses an industrial sewing machine to stitch lines to represent a topographic or navigational map that literally and visually ties the various layers of paint and collage together she stitches from the back to introduce an element of surprise to her work and also because she uses a rayon thread in the bobbin that introduces a sheen to the surface of the work this thread would not be strong enough to use in the top of the machine barbara is an honorary member of the embroiderers guild sandra meech sandra is originally from canada but now lives and works in the uk her work is inspired by nature and a sense of place global warming and the effects of climate change on forests and trees as well as in the polar regions has been seen in many series of works over the years sketchbooks and collage composition of photographs and painted papers are a great influence on how her work evolves and photography and transferring images onto cloth are a feature of most of her textile work her recent work is based on 20 years of arctic and antarctic inspiration using her passion for ice icebergs and glaciers as a creative theme her polar melts stitch studies use orange thread to reflect the melting ice caused by climate change posted by julia green at 07 51 no comments thursday 31 october 2019 module 6 chapter 11 making your wall hanging it was important that my design was self supporting allowing light to shine through the various lacy panels and hopefully to allow the colour change of the thermochromic ink with heat from the sun ideally it would be hung in a window i started by tracing off the water panels and stitched fifteen individual panels of lacey chiffon 06 11 01 06 11 02 waves were then traced from my original design and cut from my denim panels these were sewn onto the lace panels using whip stitch in white thread to replicate the torn edges of my paper design the torn edges appeared to give a lovely frothy water effect on my paper design and i really wanted to attempt to reproduce the effect in stitch 06 11 03 zig zag stitch onto dissolvable fabric gathered the panel and made the reed panels much narrower than desired therefore c alculations and a little trial and error was needed with a little experimentation and a lot of luck i guestimated that i should split the traced off panel shape into equal strips and added 2 5cm spaces 06 11 04 i traced the resulting extended shape onto dissolvable fabric and stitched a basic background framework structure to support the rows of zig zag stitch 06 11 05 and a random selfie was taken as authentication proof 06 11 06 rows of zig zag were then stitched over the top of this skeleton in various shades of variegated thread angles were changed slightly and gaps were allowed to form in order to create movement 06 11 07 once completely stitched the panel was soaked in warm water to dissolve the stabiliser and with fingers crossed the panels all turned out to be the correct width the gaps allow for minor adjustment where necessary 06 11 08 the panels are then hand stitched together the top edge of the reeds has a lovely loose frayed texture which overlaps the water in a semi realistic fashion i stitch the water panel over the bottom edge of the reeds to suggest that the reeds are growing through and are surrounded by water 06 11 09 i experimented with threading the finished panels with either lengths of wicker or with a gold stitched hand made cord i felt the cord looked the better of the two and was more in keeping with my original design 06 11 10 06 11 11 i had planned all along that the panels would be hung from old wooden bobbins from a cotton mill and suspended in front of a window with the panels on the left and the right hung slightly behind the centre panel the best way of displaying this idea on a portable stand was by using a metal clothing rail the light from the window would shine through the lacy water panels and the gaps in the reeds and also hopefully on a warm sunny day the thermochromic ink would change colour 06 11 12 06 11 13 the above images are roughly thrown together to get an idea for the finished piece i like the gold cording all panels will have this 06 11 14 however when finishing the hand stitching on my last panel i sat back and looked across at my work noticing that the panel had folded itself into a random rippled affect which i immediately felt was quite lovely it had movement and energy that the straight panels were lacking 06 11 15 06 11 16 06 11 17 so back to the drawing board i m contemplating making a rectangular framework of pallet wood the base would need to be slightly bigger to stabilise the structure i am going to experiment with soaking my panels in dissolved romeo stabiliser to stiffen and to see if i can form permanent ripples in my panels the panels will then be suspended by and stitched to lengths of clear fishing wire which will hopefully be almost invisible giving the panels the appearance of floating in mid air within the pallet wood framework allowing light to shine through from behind 06 11 18 i will experiment with the gold cord but i think this will be a lively addition to the piece to conclude after soaking each panel in a strong soluble stabiliser solution i laid them out and allowed them to dry over randomly rolled tubes of plastic which formed lovely permanent ripples 06 11 19 as intended i constructed a simple frame from pallet wood and tied lengths of fishing wire through drilled holes onto which i attached my stitched panels when stitching the panels to the wire i hadn t anticipated that the stitching would not hold and would slide down the wire fortunately my husband was present he disappeared into the garage and returned with lead shot for fishing apparently fishermen use this to clamp bait onto fishing line who d have known these pellets clamped onto the fishing wire and held my stitching in place wonderful i was then able to slide these up and down to rearrange my ripples as desired before clamping tighter and finishing off with a blob of hot glue on the back to hold in place permanently i then threaded the gold stitched cord through some of the gaps in the reed sections 06 11 20 completed hangings suspended within wooden frame the frame measures 32 inches square 06 11 21 06 11 22 06 11 23 close up of thermochromic detail when heat applied 06 11 24 presentation board posted by julia green at 13 54 no comments wednesday 30 october 2019 module 6 chapter 10 converting your design into embroidery i took the three panels from my chosen design and enlarged them on the computer printing out onto a4 paper i needed to tape the sheets together to produce 3 panels together equalling a1 in size this gave me an idea of the size of each are of my design and i was able to trace off each separate area to produce a pattern enabling me to know exactly what shape to make each piece of embroidery i looked back at my various samples that i ve constructed throughout module 6 and chose techniques that i felt would best represent each of the papers that i had decorated and used within my paper designs for the first technique i printed and sponged some chiffon in purple acrylic and thermochromic ink the images below show the effect of heat on the thermochromic colour 06 10 01 then i cut small lozenges from various shades of the chiffon sandwiched between layers of aquafilm and zig zag stitched in random wavy lines in various shades of variegated machine thread when the aquafilm was dissolved it gave a lovely see through lacy effect for one of my water panels 06 10 02 for the second water panel i collected a selection of old pairs of denim jeans of varying shades of blue then sponge rollered them with wavy lines using acrylic paint 06 10 03 06 10 04 these were then machine stitched in wavy lines using white thread and whip stitch 06 10 05 blue polyester chiffon was then disperse dyed with dark indigo wavy lines 06 10 06 this was then stitched in a series of wavy lines using a blue variegated machine thread applied to bondaweb and then cut to form wave shapes 06 10 07 a shiny bright blue polyester dress lining fabric was stitched over the top of this in black thread blocks of circular stitching this was then cut away to form wave shapes on top of the layer below 06 10 08 the third technique was to depict the reeds panels for this i formed a grid of straight lines on a heavy romeo soluble film then over stitched with row upon row of vertical zig zag stitch leaving gaps in places and stitching at slight angles to depict movement i used a large selection of variegated threads and finished with a few rows of metallic gold to add a bit of wisdom and knowledge 06 10 09 posted by julia green at 06 46 no comments labels module 6 chapter 10 converting your design into embroidery module 6 chapter 9 decorative papers a range of papers including khadi paper cartridge paper cellophane foil and tissue paper were decorated in line with my theme with acrylic paints inks and dyes to include textured shiny and see through surfaces to be used in my design process colours were considered from my initial inspiration source photographs of middleton lakes and also my research and design development throughout this module i tried to include light and dark tones to allow for more flexibility in the design process and used complimentary colours from the colour wheel i also considered the symbolisation of the colours used indigo represents importance power and stability purple peace and wisdom and gold knowledge all of these things are hanging in the balance in our current political and environmental climate with stability peace wisdom and knowledge one would hope that the world would be able to reverse or at least halt the damage that is being done to our planet through pollution deforestation and global warming 06 09 01 these decorated papers were the cut ripped an torn to develop a series of designs based around some of the simple black and white layout experiments from chapter 8 all of the following designs were scaled up to approximately a3 in size and based on the idea of water and reeds indicating global warming with the use of thermochromic puple pink printing ink 06 09 02 the above design would be based on a number of vertical long narrow panels hung separately the gaps between the lines of water would be see through method of construction to be determined but perhaps either by the use of clear cellophane or perhaps minimal lace like stitching between the waves using either dissolvable fabrics or a delicate insertion method consideration needs to be given to strength due to the weight of the stitching being held 06 09 03 similar to the above design this would also be based on a series of vertical long narrow panels hung separately 06 09 04 the above design would be one large a1 sized panel with see through strips between the waves construction would need to be considered using similar ideas to the first option 06 09 05 one really long panel was considered the only issue i had with this design was the restraints of potential exhibition space with regard to hanging 06 09 06 after my tutorial with sian at summer school where we speedily discussed all options her thoughts comments and advice led me to decide on the above design with the possible addition of gold cording or lengths of wicker woven between the gaps in the reeds to add f...