Chapter 6: Tucks, pleats and gathers

For this chapter we were to produce a range of samples showing a wide variety of methods for tucking, pleating and gathering fabric. I have to admit that I got in such a muddle with the quantity of samples that I was producing that I ignored the instruction to not rush into mounting them in my sketchbook as I just felt I had to find some sensible way of organising them.
 

Fig. 6:1

Sample6:1 - basic straight tucks - machine stitched on calico 1/4" away from the fold.

Fig. 6:2

Fig. 6:2 shows from left to right - a series of very narrow pin tucks, three tucks stuffed with lengths of tapestry wool (not visible on the photograph but the wool strands do stick out at the edge of the fabric) and a group of high tucks with three rows of stitching. Probably due to the fact that I worked these on a lightweight calico the high tucks rather disappointingly don't actually stand up as I had hoped. A firmer fabric might help them to achieve this.

Fig. 6:3

Fig. 6:3 - Wide tucks stitched across in alternating directions to form textural folds. If this were done in a more random pattern this could produce even more interesting textures.

Fig. 6:4

 Fig. 6:4 - Narrow tucks with more tucks stitched at right angles with the original tucks being folded in different directions. This has succeeded in making the vertical tucks stand upright and produces a very interesting three dimensional surface.

Fig. 6:5

 Fig. 6:5 shows quite wide tucks stitched down using a contrasting variegated thread, this time producing a more haphazard texture as the wider tucks fold and crease.

Fig. 6:6

Fig. 6:6 - I stitched over the folds of the quite narrow tucks with a narrow zig-zag stitch before stitching across as before and this has produced a beautiful wave pattern.

Fig. 6:7

 Fig. 6:7 - Another sample where I've combined the previous two samples

Fig. 6:8

Fig. 6:8 - A series of tucks stitched across at right angles with more tucks to produce a grid-like pattern.

Fig. 6:9

Simple, quite wide tucks with the narrow zig-zag worked over the folds

 Fig. 6:10

 And, again, the narrow zig-zag edges but this time hand stitched into a honeycomb pattern to look a little like smocking.

 Fig. 6:11

Fig. 6:11 - Time to move on!! and this time a series of short tucks stitched randomly across the piece 

Fig. 6:12

 Fig. 6:12 - Tucks formed on the bias of the fabric with a single tuck made at right angles.

 I'm not entirely sure whether American smocking, counts as tucks or pleats but I couldn't resist trying out a few examples.

Fig. 6:13a

Fig. 6:13b

Fig. 6:13a and b - This design is called Arrows. The loops on the diagram show which points of the grid are joined together to form the pattern.

Fig. 6:14a

Fig. 6:14b

 Fig. 6:14a and b - Simply called Grid, this produces an interesting design of parallel and overlapping bars.

Fig. 6:15a

Fig. 6:15b

And finally Fig. 6:15a and b is called Lattice.

Fig. 6:16

 The next two samples show simple formal pleats, where the folded fabric is stitched only part way down the length - 6:16 is knife pleats

Fig. 6:17

and 6:17 box pleats. Either side can be used as the 'right' side.

Fig. 6:18

Gathering: Fig. 6:18 shows a sample where the fabric was machine gathered in a zig-zag pattern and the folds then manipulated slightly to align them and form this interesting v-shaped design.

Fig. 6:19

Fig. 6:19 is known as Furrowing, where the top fabric is cut twice the size of the backing fabric, gathered to fit around the edges and then the fullness caught down with tiny stab stitches in a random way across the piece. Great fun to do and a lovely resulting texture!

Fig. 6:20

I borrowed a pleating machine from my branch of the Embroiderer's Guild to make these next few samples. Here I threaded two needles, and omitted one across the width of the piece (fine muslin used in all these samples).

Fig. 6:21

For Sample 6:21 I loosened several of the rows of gathering threads to allow the piece to be manipulated. This piece isn't stitched onto a backing but doing so would allow the manipulated surface to be managed better and made more permanent.

Fig. 6:22

A narrow band of traditional English smocking was worked across one end of this sample, and the remainder allowed to relax a little.

Fig. 6:23

 Bands of satin stitch were worked randomly across the surface in Sample 6:23. This is a lovely effect, especially with the use of a rayon thread which adds a sheen to the stitching, making them more obvious.

Fig. 6:24

 More traditional English smocking for sample 6:24. I haven't done smocking since my daughter was very young so it was fun to revisit a technique not worked for over thirty years! I couldn't resist using stitches that would allow the finished piece to mimic a little party dress.

Fig. 6:25

And finally ... two Yo-yo's - circles of fabric gathered around the edges and pulled up, the smaller one fitting over the centre of the larger to give added height and texture.

Chapter 5: Quilting, padding and stuffing

I began this chapter by making a series of samples of traditional quilting. These were all stitched on the machine with a medium weight calico backing, 100% cotton quilt batting and curtain lining as a top layer. I used the walking foot on my machine to ensure sharp lines were achieved.

Fig. 5:1 - Straight, equidistant lines

 

Fig. 5:2 - Spiral

 This one (Fig. 5:2) is a little like the traditional log-cabin block design

Fig. 5:3

Narrow blocks, again mimicking a traditional rail-fence quilting block design.

Fig. 5:4 - Diagonal lines

Fig. 5:5- Diagonal lines in both directions

Fig. 5:6

Fig. 5:6 is two diagonal boxes - slightly 'wonky'

Fig. 5:7

Fig. 5:7 reminds me of a Mondrian painting and this is the pattern that I took forward into some more of my samples.

Fig. 5:8

Moving on into wadded quilting samples, Fig. 5:8 is fashioned from two layers of lightweight curtain lining with a layer of thick polyester wadding sandwiched between. The shapes were machine stitched, again using the walking foot and then a vermicelli set stitch was worked in two of the smaller squares.

Fig. 5:9

The sample in Fig. 5:9 has a backing of the lightweight curtain lining, and the thick polyester wadding again, but this time with a top layer of muslin. I hand stitched this sample using several lines of running stitch to separate the sections and then worked seed stitch in the centre square. I really like the way that the extra layers of stitch and the thick wadding make the shapes stand out and create some lovely shadows.

Fig. 5:10

This sample (Fig. 5:10) has a backing of calico, thick polyester wadding and a top layer of silk/cotton mix fabric. I worked a running stitch border to neaten the edges and then worked single cross stitches in a grid pattern across the piece.

Fig. 5:11

Shaped quilting was next and a variety of household items suddenly took on a new life. Sample 5:11 has felt and cork furniture floor protectors trapped between 2 layers of the lightweight curtain lining fabric. I stitched around and between the shapes with rows of running stitch using 2 strands of stranded cotton. I love the effect this gives ... and the way that the centre, which is unpadded, has raised up with the stitching.

Fig. 5:12

I like sample 5:12 even more!! and will definitely be using these ideas again (though probably not whilst interpreting my tree bark). A variety of metal washers are trapped between curtain lining (backing) and habotai silk. I worked long stitches across the washers to hold them in place before working tiny back stitches very close to the inner and outer edges of each washer to define the shapes. The undulating silk has a lovely texture with lots of interesting shadows.

Fig. 5:13

Fig. 5:13 shows a series of foam board rectangles trapped between silk cotton (on top) and curtain lining backing. Each piece of 'board' is outlined with running stitch and the shapes between filled with rows of running stitch.

Fig. 5:14

Padded quilting was next and Fig. 5:14 has a backing of calico and a piece of organza on top to allow the padding to be seen. The padding in this sample is threads withdrawn from linen fabric in an earlier chapter. The shapes have been outlined with running stitch.

Fig. 5:15

The same fabrics and outlining method were used in Fig. 5:15 but this time the padding is a variety of natural coloured fleece - intended for felting. This is very reminiscent of a dry stone wall with the different shades of brown and grey.

Fig. 5:16

Corded quilting. I have only done one sample for this at the moment though may return to do more at a later stage. This did give me ideas for how the technique might be used to interpret some of my bark patterns. I machine stitched channels then threaded woollen yarn through from behind. Again, organza was used on top of calico to allow the yarn to be visible.

Lots of these techniques will prove useful when I begin to interpret my tree patterns into fabric and I have thoroughly enjoyed working through this chapter.