Chapter 5: Interpreting drawings

For this chapter we were asked to interpret some of our papers from earlier in the module in free machine stitch.

 

Fig. 5:1

White thread using a zig-zag stitch on a painted bondaweb fabric

 

Fig. 5:2

Sample 2 shows a whip-stitch spiralling vermicelli pattern in anvy thread with a bright yellow viscose thread on the spool on a snow-dyed cotton fabric.

 

Fig. 5:3

Sample 3 is whip stitch crosses in a dark turquoise thread with the yellow viscose thread still on the spool. It was worked on a snow-dyed cotton fabricand some of the joining threads were left in place.

 

Fig. 5:4

Sample 4 is a whipped zig-zag stitch in a random pattern using white thread on a cotton fabric background which has painted bondaweb attached to it.

 

Fig. 5:5a

 

Fig. 5:5b

 Sample 5 shoes whip stitch circles in a navy sewing cotton and a yellow viscose thread stitched on top with white sewing cotton on the spool. 

I've employed a little poetic licence with samples 5, 6 and 8 as the paper in the original drawings was white but I have used the snow-dyed fabric as a background to give more colour and visual texture.

 

Fig. 5:6

Sample 6 is 'satin stitch' spots worked with a zig-zag stitch in navy cotton thread.

 

Fig. 5:7

 Sample 7 shows straight stitch worked in pale turquoise thread with patches of cable stitch using one of my hand-dyed perle threads.

 

Fig. 5:8

Sample 8 shows spirals worked in a dark turquoise machine embroidery thread and a bright yellow viscose.

 

Fig. 5:9

Sample 9 is circles stitched on hand-dyed scrim. Some threads of the fabric were cut to produce holes, while others were just pulled apart. I love this lacy effect!

 

Fig. 5:10 

Sample 10 shows cable stitch lines in a white perle cotton. The loops of the top thread that happened along the way actually serve to mimic the blurred sections of the original monoprint.

 

Fig. 5:11

This final sample shows circles stitched in a deep turquoise and a yellow thread. I was hoping to achieve the same visual mix which appears green in the original, and in some places, where the threads are very close together, I think this almost works. The reverse of this piece (see Fig. 5:12 below) has produced a lovely whip stitch as I forgot to change my tension before starting to stitch, which does mimic the blurred lines made with the oil pastels on the original rubbing.

Fig. 5:12

Overall I'm really pleased with how effectively the machine stitch echoes the original marks made on paper, and, against all my expectations, I've really enjoyed this chapter and am definitely beginning to feel more in control of my sewing machine!!