Chapter 7: Tactile contrasts

We were asked to make a sampler using different fabrics manipulated in different ways so that each patch differed from its neighbour.

Top row: Left to right:
1. Strips of calico with frayed edges were stitched in piles down the centre of the strips.
2. Muslin was backed with a layer of quilt wadding and a piece of thin calico then quilted using a set machine embroidery stitch
3. A square of calico backs a piece of silk velvet twice the size. The velvet was gathered around the edges to fit then stitched down at irregular points to cause furrowing.
4. A group of small yo-yo's made from calico.

Second row: Left to right:
1. Strips of muslin are knotted at irregular intervals and couched onto a square of calico.
2. Deep pin tucks are stitched with several rows of machine stitch to make them stand up.
3. A layer of organza was stitched onto calico backing and stuffed with tiny cotton balls
4. Diagonal tucks were stitched in calico then stuffed with toy filling

Third row: Left to right:
1. Two layers of thin cotton fabric were stitched horizontally then the resulting tubes stuffed with cotton wadding.
2. Strips of folded calico have been stitched along the length then woven to form a basket weave.
3. Strips of gathered muslin were coiled and manipulated and couched in place
4. Strips of fine cotton fabric were stitched across at regular intervals allowing soft folds to form

Bottom row: Left to right:
1. Fine pin tucks on medium weight calico
2. Furrowed thin cotton fabric worked in a similar way to the velvet on the top row.
3. Fine cotton padded with quilt wadding was quilted to form quite a flat surface
4. Strips of thin calico were rolled tightly and stitched in place.

I really enjoyed making these samples and ensuring that each one feels very different to the touch. My favourites have to be the silk velvet, the gathered strips of muslin on row 3 and the yo-yo's. I had not done furrowing before but love the effect that this gives and it is interesting to see the difference between the beautifully soft silk velvet and the much crisper cotton fabric.

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.

Chapter 4: Fabric investigation

For this chapter we had to make a collection of all the neutral coloured fabrics in our possession and to make a thorough investigation of their various properties. The vast majority of the fabrics that I own are made from natural fibres.

Fig. 4:1

Fig. 4:1 shows cotton fabrics as follows:

C1 - A1447 Natural cotton fabric from Whaleys - soft, quite thick, clear weave

C2 - Osnaburg, a soft, thin cotton fabric with a slubby even weave which looks a little like linen (bought from Doughtys)

C3 - Curtain lining from IKEA - 100% cotton which is thin, soft and has a close weave. From previous experience this takes dye particularly well and has the added bonus of costing only £2 per metre.

C4 - Patchwork weight 100% cotton fabric is soft, easy to sew and has a close weave

C5 - Cotton muslin is soft and thin with an open weave.

C6 - Cotton scrim bought from Whaleys is thin, soft and has a very open weave.

C7 - Denim - just a small sample of this from Natural Fibres so it is 100% organic cotton, thick, firm with a diagonal twill and dense weave.

C8 - Organic cotton flannel, again from Natural Fibres. This is thin, very soft with a close weave and a brushed surface on one side.

C9 - Organic cotton twill, again from Natural Fibres. This is thin and densely woven with a diagonal twill.

Fig. 4:2

Fig. 2 shows a mixture of fabrics as follows:

J1 - Jute hessian from Whaleys is a coarse fabric with an distinct quite open weave

J2 - Jute scrim again from Whaleys is again a coarse fabric with a very open weave

M1 - Nylon organza bought several years ago from a floristry supplier - soft and transparent with a close weave and a distinct sheen

M2 - Velour picked up from an oddments bin - very soft with a plush pile and a shiny surface. I think possibly viscose

M3 - Nylon lace from my stash so no idea of provenance - soft with shiny areas of pattern woven onto an open background

M4 - Poly-cotton quilt batting - very soft with a brushed surface

 

Fig. 4:3

L1 - Linen scrim in natural, bought from Whaleys and L2 is exactly the same fabric in white. Both have a medium weave though the bleaching process has made the white version softer to handle.

Fig. 4:4

Fig. 4:4 shows my silk collection:

S1 - Silk organza bought from Stef Francis - soft and translucent with a close weave.

S2 - Silk cotton bought from The Silk Route - soft with a slight sheen and close weave

S3 - Silk dupion again from The Silk Route - crisp feel and a close weave

S4 - Silk tussah again from The Silk Route - soft with a slubbed pattern and close weave

S5 - Heavyweight silk tussah from The Silk Route - very soft with thick threads and an even weave 

S6 - More silk tussah described only as JB830 on the texture silk pack from The Silk Route - a firm handle with open double weave

S7 - Another piece of silk tussah from the same texture pack (JB829), this time with an uneven slubbed weave but very soft handle.

S8 - A final piece from the same pack as above (JB848), this is firm with a fine slubbed weave

B1 - Bamboo/silk satin bought from Art Van Go - very soft, with a fine weave and a sheen on the right side of the fabric.

 

 Fig. 4:5

Fig. 4:5 shows the results of the fraying tests on a selection of fabrics.

Fig. 4:6

And 4:6 shows the results of attempts to melt the same fabrics. My findings are shown in the table below (Fig. 4:7).

 

Fig. 4:7

 

 

Finally in this chapter we were asked to produce a series of decorative strips with interesting edges.

  Fig. 4:8

1. Evenweave frayed on both sides
2. Evenweave frayed in the same way and then cut into different patterns
3. Curtain lining frayed and rolled
4. Organza slashed on each side with v-shaped cuts
5. Organza slashed on alternate edges and pulled before being fixed in place
   

Fig. 4:9

 6. Muslin cut with pinking shears

7. Linen fabric frayed down the centre then folded to make a looped fringe

8. Nylon organza torn then knotted (some with a double knot to make them more pronounced

9. Nylon organza strip slashed on both long edges then twisted and frayed

10. Linen fabric with bands of threads removed from the warp then the edges frayed