Monday, 13 February 2012

Module five chapter 10

Chapter 10
Stitch to translate
I had to translate some of my rubbings into stitchery using mainly one stitch for each, but
using as many of it’s variations in order to achieve just the right effect as in the rubbing.
As in the previous chapter I shows my works here with photo collages, to document the
relationship between landscape, paper collage and the rubbings on paper reliefs

picture 1
The Braid stitch embroidered with thicker chenille yarn in combination with fly stitch with sewing thread made to represent the grass on the banks of the small channels in the moor

picture 2

Buttonhole double chainstitch with trellis represent the structured surface of the peat wall of an old cottage on Iceland 
picture 3
Couched hand spun wool  as fly stitch in combination with running stitches with sewing yarn. The surface is formed from molten organza 
picture 4
 Couched rose stitch with structured wool yarn represent the pattern of the surface of a piece peat fire 
picture 5
                                   Heringbone stitch in informell rythm with different yarns 
picture 6

A path made ​​of old tree trunks through the bog. He is shown with an open chain stitch

picture 7
The sampler with different stitches to represent the patterns of the rubbings made from paperreliefs

Sunday, 5 February 2012

module five chapter 9

Chapter nine
Threads and Stitchery
picture 1

These are the yarns that I bought for the embroidery work of this chapter The effect yarn I will use for couching.
For actual stitchery I will go back to my stock of cotton silk and wool yarns.

picture 2
                         Couched hand twisted effect yarn by cross stitches with bourette silk threads

picture 3
                                                  Arrowhead stitch in formal stitching rythm

picture 4
                     Chevron and half chevron stitch in combination star and knotted stitch

picture 5
                                  Darning stitch one with twisted effect yarn and the other with wool yarn

picture 6
                                                   Flat stitches with different thick wool yarn

picture 7
                                Regular and irregular heringbone stitch with some variation

picture 8
                                                        Variations of cross stitches

picture 9
                      Open sqare stitch with wool yarn one belong to the structured wool yarns

picture 9
                                                            Sheaf stich with different threads

picture 10
                                             Straight and algerian stitches and  needle wave

picture 11
                  The sampler with the majority of the flat stitches most in formal stitching rythm

picture 12
                                   Buttonhole, closed buttonhole and buttonhole double chain stitch

picture 13
                 Buttonhole-and loop stitch, feather stitch-and maidenhair ,cretan- and cable chain stitch

picture 14
Chain stitch, braidstitch, open chain stitch, zigzag chain, chain detached twisted,wheat ear stitch,rosette chainstitch

picture 15
                               Sorbello knot,french knot with needle waved twisted silk yarn,basque knot stitch

picture 16
        Spiked knotted cable stitch, coral stitch, diamond stitch, french knot, pistil stitch, boullion rose

picture 17
                                   Knotted buttonhole stitch with beads and boullion stitches

picture 18
                                                      Diamond stitches in informell stitching rythm
picture 19
                  Composite stitches with laced herringbone,crown - and head of bull stitch, chain stitch spiny

picture 20
                                         The sampler with knotted, chain, loop and composite stitches

Rubbings taking from paper relief surfaces.
Because I don’t have flimsy black paper for the rubbing, I dyed a silk paper with black ink. I got the best results with chalk, pastels and oil paint sticks. The last named, however, must be applied with little pressure, otherwise there are no lines but smear. I used natural colored tissue paper for the black pencils .I like the results on the light background better. There are more recognizable details that I can use for embroidery.

picture 21
                                                         Rubbing with Neocolor wax crayons

picture 22
                                                                     Chalk and pastels

picture 23
                                                          Oil paint sticks and pastel pencils

Wednesday, 1 February 2012

Module five chapter 8

Chapter eight
Paper relief into fabric reliefs
After I had allowed myself a break to follow my wish to do some traditionel quilt works ,to sew a large blanket for my daughter and to finish an ufo for myself, I thought to be able easily to continue exactly where I left off. I had already completed the textile work for this chapters but not written the report yet. Meanwhile, my textile work samples had become almost stranger. That was also so for the kind of the fabric manipulation for the textile implementation of paper reliefs. I nearly had to start from the beginning.
To show the relationship between paper reliefs and the textile realization I've made ​​photo collages with Photoshop Adope.

                                                                    picture 1
For the flourishing cotton grass, I used small shapes of organza, whose edges I had melted. They were embroidered on a felted background

                                                                   picture 2
The inspiration for this piece is a path of ancient tree trunks, which leads through a bog. I used rolled strip of toilet paper for the paper relief. The wood grain is represented by lines on a stitched cotton fabric dyed with monoprint. The fabric relief is made ​​by corded quilting with pipe cleaners.


picture 4

picture 5    

On a walk through a bog, where peat was mined in the past, I am fascinated by the earth layers of peat cutting which are already partially obscured by vegetation, as you can see it in the picture detail. For the paper relief I colored different papers thick and thin, even transparent and torn into strips and then set up a collage. For the fabric layers I dyed cotton, cheese cloth, Ramin and felt freely applied with hand embroidery and machine stitches on jute.after structured the surface with darts and patted pleats .

picture 6
picture 7

Sunset over the moor, photographed through the branches of the bare birch trees in winter. For the network of branches, I rolled and folded colored paper strips. The cotton fabric is printed with a stamp for the coloring of the birch trunk Twigs and branches were imitated by machine sewed quilting and surface- tied tucks.I have worked the edges of the cloth with my Embellisher

picture 8

picture 9
Crumpled paper balls formed the dried marshy soil. I used the technique of reversed direct smoking for the textile implementation.

picture 10

The still moist peat briquettes are placed in stacks to dry and sold as fuel later . I depicted the layered briquettes with torned pieces of cardboard. I interpreted the paper relief with colored linen strips structured by various smocking techniques, among other things, with elastic thread in the bobbin .
In my work for this chapter, I learned the benefits of design with paper. It prevents myself to get bogged down with photographic details