Module 1 Chapter 8 Design Exploration with Hollow Outline

Overview

This chapter takes a shape from a previous study and explores how it can be manipulated to produce a design.

Looking For Edges and Lines Around Shapes

I chose a shape based on an individual flower from verbena bonariensis which I had used in the solid shape chapter. I experimented with overlaying the shape to create different designs. I found it useful to draw the shape several times  onto clear, stiff plastic.

8.1 Shape exploration.

8.2 Shape exploration.

8.3 Shape exploration.

8.4 Shape exploration.

I also tried using cling film which produced some wonderful results.

8.5 Shape exploration on cling film.

8.6 Shape exploration on cling film.

8.7 Shape exploration on cling film.

Sections of these designs were enlarged on to A5 paper and the designs were coloured in.

8.8 Enlarged sections of designs

8.9 Coloured with water colour paint.

8.10 Coloured with wax crayon and water colour paint.

8.11 Coloured using masking fluid and water colour paint.

8.12 Coloured with water colour paint,

8.13 Collaged paper.

8.14 Coloured with wax crayon.

Stacking and Unstacking

The next step was to create a stack using the papers created in chapter 5. I drew a design on the back using the previous designs as a guide. The pages were firmly clipped together and the lines were serrated by using a threadless sewing machine. The pieces were separated and used to develop the design. I found one of the shapes reminded me of an open mouthed dog or crocodile and that was all I could see! I discovered that changing the orientation of the design could overcome this.

8.15 Design drawn on to reverse of paper stack.

I tried removing layers of paper to reveal the other layers. This exercise is a good example of how the impact of colours can be affected by their immediate neighbour.

8.16 Removing various pieces to reveal lower layers. Note the contrast between the dark brown and light blue.

8.17 Removing various pieces to reveal lower layers. The central green/yellow piece stands out against the dark background. The small triangle in the lower right initially stood out against the original background but in the final design is is barely noticeable,

I then played around with the shapes, arranging, weaving and slotting them together. I tried various colour combinations.

8.18 Arranging the paper shapes.

8.19 Arranging the paper shapes.

The next step was to create more resolved designs using stitching or sticking with glue.

8.20 Pieces of the same shape slotted together and stuck down

8.21 Pieces of the same shape folded, arranged and stuck down.

8.22 The pieces of the design were separated slightly to reveal the background and then machine stitched. The design made me think of a dog or crocodile with ears and open mouth and once I saw this I couldn’t unsee it! It looks better when seen with a different orientation.

8.23 The pieces of the design were separated slightly to reveal the background and then machine stitched. The piece was cut into three and reassembled. This also over came the problem of seeing the dog and crocodile!

8.25 Pieces arranged and stuck together. Wrapped with thread and stuck to the background.

8.26 Four pieces of the same shape were placed face down on the background and machine stitched along the lower edge of the shape. The pieces were then folded back to reveal the layers.

8.27 Several shapes were stuck together to make a long strip. The strip was then pleated and machine stitched.

8.28 Four of the triangular pieces were arranged on to the background paper and stuck down. Tucks were made in the paper to distort the shapes and machined stitched.

8.29 Similar to 8.28 but ieth diagonal tucks.

Edges as Lines

I tried the “pin man” exercise using my slightly modified flower head shape. The idea is to see the effect of removing pieces of the design to see how much can be inferred from what is left.

8.30 Removing parts of the design.

Using the same motif I used the “whack and stack” method of designing. Several layers of paper were stacked and cut using the sewing machine. Designs were created using different combinations.

8.31 Different colour combinations.

Module 1 Chapter 7 Colour andTexture in Stitch

Embroidered samples based on colour, texture and shape studies.

7.1 . Based on the internal structure of bamboo canes. 18x15 cm. Background of duchesse satin coloured with transfer dye. Strips of sari silk were sewn together and reverse appliqued to the background fabric using shapes from previous studies as the design.. The fabric was then gathered.

7.2 Based on virginia creeper stems in winter. 13x11.5cm. Medium weight vilene was coloured with transfer dye and decorated with a design using fabric crayons. The fabric was  backed with felt and machine stitched to give a quilted texture which looks and feels velvety. A tuck was machine stitched into the fabric to create different effects with the circular design. Tucks were machine stitched into paper and strips were formed by machining without thread. The paper strips were couched down and more stitching applied over the joints.

7.3 Based on the cut ends of bamboo canes. 13.3x10cm. Duchesse satin was coloured and decorated with transfer dye. The background fabric was applied to pelmet vilene. Cotton embroidery floss was couched down using machine stiching. Needle weaving was then used to create more texture. Finally, coils of wire were couched to the centre of each circle.

7.4 Based on little “pimples” found on a bamboo cane. 12x12cm. Background is duchesse satin coloured with transfer dye and over printed with a grid pattern made by rubbing a wire baking rack with transfer crayons. The background fabric was applied to pelmet vilene. The grid pattern was machine stitched. Organza was used to create the texture; The centre of a small piece of organza was wrapped in thread to create a peak and the little dome-like structure was stitched down by machine. More texture was added by stitching down the off-cuts of sari silk from sample 7.1.

7.5 Based on virginia creeper in winter. 19x13cm. Pearlised taffeta was coloured with transfer dyes and a basic outline of the design drawn with fabric crayon, was applied.The background fabric was applied to pelmet vilene. The stitching is all by hand and only fly stitch has been used. I started with a heavy hand dyed cotton tape and gradually reduced the weight of the yarn. 

7.6 Based on the stem of a red hot poker flower which had been damaged by slugs. 8x17cm. Background fabric is pre-dyed cotton. which was applied to pelmet vilene. Fabric beads were made by wrapping strips of sari silk around hemp cord. The bead strings were then couched down. The rest of the embroidery is large running stitches wrapped with threads.

7.7 Based on bamboo canes. 20x13cm. Background fabric of pearlised taffeta  was coloured using transfer dyes. Bamboo canes were rubbed with fabric crayons and the images applied to the background fabric. The background fabric was applied to pelmet vilene. I held the piece up to a window and copied the design on to the back of the viilene. I used these lines as a guide to use cable stitch on the machine. I used various weights of thread in the bobbin, including wool, pearl cotton and soft cotton. Finer details were machine stitched on the right side of the piece using thick embroidery thread. To make the piece more interesting I cut it up and reassembled it.

7.8 Based on the structure of bamboo canes and some markings found on the canes, 13x13cm.  The background fabric of pearlised taffeta was coloured using transfer dyes and decorated using stamps and acrylic paint.  The painted design was enhanced with handstitches. The tube structures were created by wrapping strips of cotton fabric around a piece of wooden dowling and stitching with blanket stitch. They were handstiched to the background fabric. The cone shapes were made by stitching pelmet vilene and cotton fabric together and using a template to cut the required shape. The cones were handstitched in place.

Module 1 Chapter 6 Colouring of Materials

Options

Two options were offered in this chapter to colour fabric and yarn, using cold water fibre reactive dyes (procion) on plant derived fibres or disperse dyes on synthetic fabric. I decided to colour fabric using disperse/transfer dyes and fabric crayons since I had not used them before.

Fabric Crayons
I experimented with 2 brands of crayons; Di-Stix and Crayola, The pack of Di-Stix came in 10 colours, cerise, yellow, orange, red, purple, blue, green, black, brown and dark green. The Crayola pack contained 8 crayons, magenta, burnt sienna, orange, green, violet, blue, yellow and black. I found that the Di-Stix were softer and more prone to blobs than the Crayola. My first trials were to see how the colours were reproduced on various types of fabrics and to see how many times the transfer paper could be used before the image was too faded. I used the following fabrics: chiffon, netting, organza, crystal organza, microfibre, pearlised taffeta, duchesse satin, garden fleece, medium weight vilene, polycotton and pure cotton. In general the colour lasted well when repeat printing with most fading in the green colours. As expected, colours were paler on natural fabrics. Things to consider when using transfer crayons is that the result can look “sketchy” if the colour isn’t applied evenly. Also, as with wax crayons, small flakes of crayon can occur which need to be brushed off - they can spoil the finished print and can really stand out.

6.1 Trials using Di-Stix on various fabrics


6.2 Trials using Crayola fabric crayons on various fabrics.

I tried overlaying the colours with each other to see if  it would result in the expected colour mixes. Firstly I tried a sample where I crayoned the vertical and horizontal lines on the paper and then ironed the paper onto polycotton. I wondered whether there would be a difference if the one set of lines was ironed on after the first but there was no appreciable difference.


6.3 Effects of overlaying colours. Left photo, horizontal lines crayoned over vertical lines. Right photo, horizontal lines applied on top of vertical lines.

The next trial was to see if fabric crayons could be mixed to achieve the colours in my colour scheme. Some good matches could be achieved but some colours didn’t seem to mix well when ironed. They look better when viewed from a distance since the eye mixes them.

6.4 Mixing greens, blue and violet

6.5 Mixing browns,  golden yellow and dark green.

I then tried a tonal column in crayon to seen if I could achieve light and dark tones. This worked quite well for the first print but was less obvious in subsequent prints.


6.6 Tonal column using fabric crayons.

Disperse Dyes

Transfer Method
I made up the dye by mixing the powder with 100ml of water and stored the dye in plastic bottles with flip spouts. This made it easy to dispense the dye into wells on a paint palette. My colours included bottle green, emerald green, golden yellow, lemon, violet, black, dark brown and ultra-marine. I later made up some red dyes when I had trouble achieving a dark brown colour. .

6.7 Tests using transfer dyes where the dye is painted onto paper and then ironed on to the fabric.

Bath Method
I stitched several types of fabric together and cut across to create narrow bands made up of all the fabric types. Each strip was coloured to match my colour scheme by boiling in a pan of dye for 20 minutes. The way in which each fabric type took up the dye differently becomes obvious when seen side by side, I found that I only needed a small amount of dye powder to achieve quite deep colours on some fabrics. To achieve the lighter tones I started with minute amounts of dye powder and then built up the colour as necessary. After all the strips had been dyed, rinsed and pressed they were stitched back together.

6.8 Colour scheme using bath method.

I then tried some dye techniques such as shibori and tie dyeing. The stitched shibori had very subtle markings and the tie dye had stronger markings,

6.9 Shibori using stitching and gathering on folded cloth.

6.10 Stitched and gathered centre shape. Edges of fabric tied with yarn.

6.11 This was to see the effect of over-dyeing and shibori on a design created with fabric crayons. The original yellow of the fabric crayon can be seen in the centre of the lines.

6.12 this was created by rolling fabric around a length of sisal string and scrunching the fabric around the string.

Other Experiments



6.13 Mono printing. Background coloured using disperse dye and transfer method.  On paper a square was coloured in with fabric crayon. Another piece of paper was placed on top of the square and the design was drawn on the top paper, The top paper was then ironed against the back ground fabric.


6.14 Sgraffito. A layer of fabric crayon was applied to a piece of paper and another colour applied over it. The design was scratched out using a kebab stick and then ironed onto fabric.

6.15 Masking. A piece of  paper painted with transfer dye was placed over a doily and ironed onto fabric.

6.16 Printing using the transfer paper used in the doily print.

6.17 Masking. This print was made by placing a pressed verbena bonariensis flower on the fabric and under paper painted with disperse dye. I had to press hard with the iron to get the print because of the bulk of the flower head.

6.18 Ghost print of the verbena flower.

6.19 Frottage. Rubbiings were taken using fabric crayons of a bamboo cane and fine corrugated card. These were applied to a background coloured using disperse dye on paper.

6.20 Frottage. Rubbings in fabric crayon on a background coloured using disperse dye on paper.

6.21 Frottage. A shape was cut out of paper which had been rubbed with fabric crayons. The shape was ironed on to a background coloured by disperse dye on paper.


Other Methods of Colouring Fabric
I tried dyeing fabric using turmeric and salt. The colour was initially a deep yellow after boiling the fabric in the turmeric solution. It lightened considerably when rinsing. I found using detergent could mark the fabric.


6.22 Fabric dyed using turmeric.