Chapter 3: Free motion

I found a couple of quotations to encourage me to begin this chapter as it was now time to make a start on the dreaded machine embroidery. In the introduction to her book 'Machine Embroidery Stitch Techniques', Valerie Campbell-Harding states that machine embroidery is "fun, relaxing and exhilarating". As I began work on these samples I did not find it to be any of these things but I do hope to change my mind over the coming weeks!

The second quote is from Nigel Hurlstone who in 2010 referred to "the potential of machine embroidery to create a new and different language that does not duplicate the original source, but breathes into it a different life that celebrates the haptic qualities of stitch and the unpredictability of cloth and thread as a way to leave an imprint of thought, time, process and the hand of the maker on and within a surface."

And so I began ...

 

Fig. 3:1

 Sample 1 is straight stitch with normal tension on both top and bottom. We were asked to think of words such as flowing, jerky, calm or twisty as we stitched. To be honest I found it hard enough to control my stitching into definite patterns without thinking of words as well but actually, with hindsight, the patterns do reflect these words.

 

Fig. 3:2

Sample 2 is of zigzag stitch with a mix of normal even tension top and bottom and tight top tension with loose bottom tension. These latter samples were far less successful and I really dislike their appearance. I shall persevere however!

 

Fig. 3:3

Sample 3 is part straight stitch, part zigzag with the top tension as tight as it will go (setting 9). My machine will not easily allow me to lower the tension on the spool thread but I think these samples are a reasonable approximation of the whip stitch samples shown in the course notes and I'm happy with the effect of the contrasting spole thread showing through. I'm also beginning to feel a little more in control of the stitching.

 

Fig. 3:4

And finally Sample 4 is cable stitch with a normal top tension and the hand wound spool thick threads completely bypassing the spool chase. The matt white thread in the top left hand samples is a fine coton-a-broder. The other white threads are a shiny rayon twist. The turquoise block is a 4-ply acrylic knitting yarn and proved to be a complete revelation when I turned my work over as I certainly was not expecting this effect from purely rows of straight stitch! The lime green samples are using a fine rayon tubular yarn and the pale green is a thicker coton-a-broder.

I admit that I was really not expecting to like the cable stitch samples but the tubular yarn and the 4-ply acrylic have produced some very interesting effects. A lot of thread doesn't go very far though so maybe they are really only useful for quite small areas as I certainly don't have unlimited quantities of either of these threads.

Chapter 2: Shape and layers

We were asked to choose some of our photographs from our initial research and to identify simple shapes within them, which form a pattern (however indefinite that might be). We were then to make shapes from decorated papers to echo the patterns identified in the photograph and attach them to a background, then to repeat the process.

 

Fig.2:1

 

Fig. 2:2

My first photograph is of the sky over Rannoch in Scotland - a favourite holiday destination of mine.

 

Fig. 2:3

My first design (sample a) cut from an ink patterned paper attached to a gelli plate print.

 

Fig. 2:4

Sample (a) was then cut into similar shapes and attached to a background of oil pastel and ink.

 

Fig. 2:5

For 2:5 I made two photocopies of sample (a), cut them into the same shapes as before and placed them together at 90 degrees to each other.

 

Fig. 2:6

2:6 is a photocopy of Fig. 2:4 turned through 180 degrees, cut into strips and glued to a copy of 2:5.

 

Fig. 2:7

I made so many versions of this pattern that I made a little book to attach to my page of samples.

 

Fig. 2:8

I photocopied 2:7 several times, reduced them in size and joined four of them together in different orientations.

 

Fig. 2:9

 

Fig. 2:10

 

Fig. 2:11

 

Fig. 2:12

The second photograph I chose was taken on the ferry crossing to the Isle of Bute.

 

Fig. 2:13

This design made from an acrylic painted bubble wrap print attached to an oil pastel and ink background echoes the ripples formed by the wash from the ferry.

 

Fig. 2:14

For 2:14 I photocopied the design in 2:13, cut it into strips and attached these to the page out of position to form disjointed ripples.

 

Fig. 2:15

2:15 is an enlarged photocopy of 2:13, cut across in the same pattern and applied to a gelli plate printed background in green acrylic paint, which acts as an effective contrast and reminds me of the greenish hue seen on the water on the actual day.

 

Fig. 2:16

2:16 is a print of 2:15 cut again and attached to a much darker background (inks over a wax candle rubbing), which references the darkness of the water in the photograph.

 

Fig. 2:17

2:17 is a print of 2:16 cut yet again and attached to the same green backing as above to reflect the turbulence and again the green tint in the wash from the ferry.

I particularly like these designs, especially the ones with the dark blue and green contrasting pieces as to me they portray the turbulence and the depth of the sea water, even on a beautiful calm day.

 

Fig. 2:18

My third photograph is of the sunset on the Isle of Skye. You can tell that I've holidayed in Scotland a couple of times this year!

 

Fig. 2:19

The background for this design is a discarded abstract painting I did quite a while ago which I chose for this exercise as it echoes the pinks and yellows in the sunset sky while the pastel coloured strips echo the blue remains of a beautifully hot day.

 

Fig. 2:20

Fig 2:20 shows strips of 2:19 cut vertically and attached to acrylic sponged acetate, which in reality gives a lovely translucency to the design, though I accept that this doesn't really show up in this photograph.

 

Fig. 2:21

Fig. 2:21 is torn strips of 2:19 alternated with strips of 2:13 then attached to a pastel coloured background and turned through 90 degrees.

 

Fig. 2:22

This shows torn strips of 2:19 rearranged and attached to the same background as 2:21.

 

Fig. 2:23

And finally, 2:22 was cut again and attached to a dark blue sgraffito background.

I have thoroughly enjoyed this chapter and had great fun playing with the designs and layers!

Module 6: Chapter 1 - Making marks

Life always seems to have a way of taking over in the summer months and never more than this year! It has all been good but has definitely kept me away from my sewing machine and my computer. Now things have quietened down briefly I've finally managed to make a start on the final module of my City and Guilds Certificate in Embroidery.

I have to admit that I've not really been looking forward to this as machine embroidery is definitely not 'my thing' and I've been dreading having to do a whole module on the machine. However, I am excited by the topic and by the proposed final piece of work and I'm hopeful that by the end of the course I shall have learned to enjoy machine embroidery at least a little!

For this first chapter we were asked to take photographs of sky and sea and, having read the module through briefly before my two holidays in Scotland this summer I was prepared and had lots of images to choose from.

Fig. 6:1

Fig. 6:2

Fig. 6:3

Fig. 6:4

 

Fig. 6:5

In addition to my own photographs I looked at work by Van Gogh and Turner. Van Gogh paints lots of stitch-like marks which are a gift to anyone working in textiles.

 

 

Fig. 6:6

 

Fig. 6:7

 

Fig. 6:8

Turner's paintings are always very atmospheric, and I was intrigued to learn that he used watercolour techniques whilst working with oil paint in order to achieve this, and again uses complementary colours, albeit in more muted tones than Van Gogh.

 

 

Fig. 6:9

 

Fig. 6:10

Finally I tried a few samples on transparent surfaces.