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ere used a plastic envelope for papers a story board serves as a billboard for each chapter key pieces are kept on it for reference and inspiration as i have progressed i have identified a need for flat storage of a3 2 pinboard on which i lay ideas flat and incorporate fabrics threads and other items to play on working through ideas as i go along thank you mike for your carpentry skills when starting work for the day read through work sheets of the current chapter plus the following chapter to ensure you have all equipment and materials that will be needed close to hand this not only saves time but allows you to follow thoughts that come to mind it is worth considering what you will do if items are left over e g dye could other threads fabrics or papers be used to add to your stock cupboard or use in later chapters of the module i find it useful to have waste paper fabric and threads to hand to experiment on before doing something with treasured pieces health and safety the key concerns that have arisen when undertaking module one include ensuring that i work in a space that is light well aired cables for any equipment are well concealed reducing any hazard when moving around the work area all items to be used on the specific part of the project are close to hand and take regular breaks to help stop fatigue dyes and colourings my main colouring agents have been acrylic and water colour paints pencils and inks concerns on using an old set of inkjet printer refills made me research the product and appendix a gives the advice that i followed as the containers had sharp injection needles empty refills were disposed of at the local doctors surgery where they have a sharps disposal facility any other waste was disposed of away from the water system when using inks ensure that the tops are screwed on after each use in order to avoid spillage and contamination dylon fabric dye has been used the warning that it is an irritant is heeded and gloves are worn when working with the dye the fact that it can be an irritant to eyes might cause an allergic reaction and one should not breathe in the dust makes one vigilant while and after using the dye as the hints include the fact that the dye may run after several washes i only use this dye on items that will not be washed thereby ensuring no contaminated water gets into the water system when mixing this dye i only make sufficient quantity for immediate thereby reducing storage issues or waste disposal in instances where too much has been made and i have insufficient material to dye contacted dylon who have informed me that it can be disposed of in our land drains bleach is toxic and should be used with great care it can not only damage clothes but make an impact on the environment when used to lift colour from dyed fabric i placed a small amount on a china plate to ensure no waste remained it is advised that your wear gloves when using bleach and work in a well ventilated space while i do have a face mask i was able to open doors so did not use it in this instance a little bleach goes a long way so decant into small containers when using bleach to take off colour be aware that it takes a few moments to lift off colour so move along and don t over do it as i need to replace my stocks i have looked into more user friendly items when using brusho powders sprinkle sparingly at first and build up colour depth gradually adhesives glue sticks sellotape double sided tapes and pva are easy to use and apart from ensuring it does not stick on work surfaces however i have found that is best not to use pva on typed paper and place in sketch book as it diffuses and turns some images green when working with papers i have used a spray temporary adhesive this is a highly flammable substance in a pressurised container and should be kept away from heat flames or electrical equipment that is in operation it should be used in a well ventilated space and in short bursts without extended spraying cutting implements scissors the work has alerted me to the fact that my scissors are not particularly sharp i have found a person who will sharpen them so hopefully not only will my cutting be easier but also more accurate knives the main concern centred on my craft knife which was used on flat stable surfaces with a cutting board underneath the item the protective cover was replace as soon as any cutting had been completed olfa rotary cutter should be kept with black click cover on do this between each cut do not place on fabric or table without cover on when not in uses to ensure that it does not have sharp edge protruding this can cause injury when using to cut into fabrics or papers it should be only used on stable surface and one should push away from the body when handing to other people ensure cover is on seam ripper while seemingly innocuous this little implement is sharp and when used for cutting channels one is exerting pressure and the cutting edge can slip off line so one should be sure that they are treated with respect sewing implements sewing implements and accessories again simple things like pins and needles are stock and trade in sewing but in the wrong position they can cause discomfort and wounds to minimise risk of needles and pins dropping into carpets or chairs i always have a pin needle cushion to hand and tend to count them out and count them back i e i use glass topped pins and only have the needles i need to hand when working with beads maintain them in a lipped container with velvet to help position them and avoided spillage on the floor selected the relevant sewing needle for the task to ensure that you do not strain fabric or your hand to pull it through the fabric sewing machine to ensure smooth running of machine particularly when using frequently or running thick thread it is important to ensure that spool area is cleared of dust when sewing various layers or thickness of fabric loosing tension and using a slow speed seems to be good practice ensure that needles are not blunt when different thickness of threads cords are being used it is important to consider the use of different machine feet e g cord or braid foot to ensure easier and safer sewing takes place the use of drinking straws on the thread placed either side of the machine foot also maintains more accurate positioning of the thread through to the needle hot tools domestic irons this is in a separate area and as well as using non stick baking parchment i have invested in an ironing sheet to protect my ironing board test iron a small sample of fabric if you are not sure of its fibre content if using steam be aware this can cause burns soldering irons this is kept and worked with in the garage where a work surface and stand are available and i am close to a source of water in module 5 i was specifically tasked to burn melt fabric so for this exercise i had a container of water on the work surface so that items could be dropped in to prevent flames becoming unmanageable as i progress through the course i will add notes to this report that identify concerns and actions taken time spent on module 6 219 hours spent over 92 days giving average of 2 44 hours a day of the total time taken 50 has been spent on resolved sample chapter 11 records spending module 6 supplier cost amount used cost for module 4 item a4 sketchbook w h smith 5 99 beads threads stock replacement cost 7 65 fabric and dye stock replacement cost 32 53 soluble fabric paper 28 55 14 00 reference books sub total stock for module 60 17 from previous purchases glue sticks one third 1 00 double sided tape two third 2 66 sugar paper 2 37 printing inks cartridge save 15 15 00 printing paper 1 25 metallic crayons 2 29 one third 0 75 a 3 portfolio 3 25 subtotal 26 28 total module 6 86 45 books websites and references exhibitions sources of inspiration a complete guide to creative embroidery design textures stitch jan beany jean littlejohn b t batsford ltd publisher surfaces for stitch gwen hedley b t batsford ltd publisher mary thomas s dictionary of embroidery stitches brockhampton press machine embroidery stitch techniques valerie campbell harding pamela watts batsford previous modules workbooks from distant stitch sian martin the geology of auchernach james e smith stevenson buchan arthur g hutchinson milne hutchinson aberdeen ordnance survey maps national library of scotland television bbc maps power plunder possession professor jerry brotton posted by judith aylett at 08 28 1 comment email this blogthis share to x share to facebook share to pinterest tuesday 2 june 2015 chap 11 update 4 making a hanging ref 6 11 9 ref 6 11 10 one chapter over let a new one begin unhappy with my large final piece have resolved to start again with a new lighter version this was reinforced when taking the piece apart i pinned my patterns over the original artwork thanks for sian s support what follows below will capture feelings about the area and the theme of creative conservation to keep me on track decided a map in the form of a story board would keep me on track after all maps had be an initial part of the inspiration boards were headed discover identify the key elements the brief on conservation the essence of the space appropriate images influences explore colour palette line stitch structure reflect inspiration in words and images r ef 6 11 11a ref 6 11 11b so how is it going since my posting of this update on 2nd june a glimpse of the storyboard and first steps re f 6 11 12 a the storyboard is an homage to many influences that date back to my first course with distant stitch study of a wall and the words of wisdom of john muir and others with regard to conservation images of other artist work on story board are from mary ruth smith and herta puls from module 1 ref 6 11 12b hopefully taking slower meditative steps through the processes of not only conservation but a resolved piece the decision is to go forward with mainly hand stitch leaving some loose ends as ever during these periods you seem to have lots of serendipity moments and for me one came with this quote from antoine de saint exupery perfection is not when there is no more to add but when there is no more to take away but i am sure you will spot the moments when i failed to stick to that resolution head kept saying i needed a touch more after i had taken a whole lot out more of that in my evaluation and administration but now for some images of the process ref 6 11 13 ref 6 11 14 the colour ideas were drawn up in 13 and 14 but still felt they were too bold and too much detail so set out to consider stitches and yarns to see how it could be more satisfactory ref 6 11 15a ref 6 11 15b had considered colouring the back ground see middle left of 15b but thought this was going into dangerous territory played with machining words ref 6 11 16a ref 6 11 16b then decided to have fun from my thrums box this is a weving thrumb from belinda rose thanks belinda for allowing me this little treasure i can hear the cry it was much better before you worked it but its fragility worried me and it was a wonderful source of threads for my seed stitches but no more explaining restraining myself from making you sit through a book full of photos of work in progress i will post my admin details in next chapter and save the final picture of the piece to sit with my evaluation of the final resolution posted by judith aylett at 22 54 3 comments email this blogthis share to x share to facebook share to pinterest monday 16 march 2015 chapter 11 making a hanging stage 3 the a1 scale was scary and needed to get some feel of not only colours and stitches but how it could be put together before i made full scale patterns to get rid of tension did an a4 free machine stitched sample using the orange highlight you will see stitching is manic but wanted to consider putting contrast threads in bobbin so pieces marked up through to the top and also put some lustre thread to have spots of light ref 6 11 14a ref 6 11 14 b the surprise was when the back of the piece came into view the simplicity of the shadow was a bonus i had considered that the back of the hanging needed to be as important as the front it could then hang in a space and be seen on both sides if required this back image offered a simple image and contrasted the layers that would be on the front it took me to an important place how could the pieces be worked the blue and green central image a could be worked and stitched and then the back outline b hand stitched onto a plain background that could be the full size of the hanging note to self the outline of the central head shape in blue and green layers was crucial to the piece it wobbled on image b if it was to be seen from the back subsequent layers on the front of the piece would be stitched to each other and then invisibly attached to backcloth or perhaps use a kantha stitch line a concept buzzed in my head that the words of ts eliot could be worked around the back silhouette but all things could change on this journey and where was my keep it simple reminder when i washed sample to dissolve the solvy paper the following appeared ref 6 11 14c ref 6 11 14d back to the task in hand of small samples using fabric solvy to make a4 layers copying from my original papers the layers were attached to self coloured chiffon rather than the calico used in earlier sample working the whole of each colours a4 sample before cutting the shape this is the result ref 6 11 15 while all this was going on thought i would write down thoughts for what i wanted the full scale piece to reflect wanted the piece to move so kept hold of the idea of the 1 2 3 widths although was prepared to abandon the 6 inch squares cuts needed fabric to be light in its layers but considered it should be weighted contrast of texture with space was important didn t want too much distraction perhaps i should re read brief as to how this could pass muster samples not used would be interesting to display beside the finished piece if i did get an exhibition space outwith my home ref 6 11 16a ref 6 11 16b wanting to get a feeling of space and sky into the image the hill outline were sketched in the context seemed to bring in a perspective while the three panels were taped together to get an idea of pattern size for each zone the three panel concept remained in my mind ref 6 11 16c put some pattern ideas and designs into my large sketch book ref 6 11 17a started making layers on chiffon using machine free stitching and felting on chiffon chiffon had lustre and advice was not to use but the light weight appealed and the idea was to cover it so that lustre didn t overwhelm the samples are not the best worked but my anxiety was in testing the theory of construction ref 6 11 17b ref 6 11 17c ref 6 11 17e ref 6 11 17d by layer two seen above it was evident that each layer would need to be made separately before attaching them to each other this would keep the simple back image in play no co...