filzlaus

module five chapter 9

2012-02-05T08:56:00.000-08:00

Chapter nine
Threads and Stitchery


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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.

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

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Arrowhead stitch in formal stitching rythm

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Chevron and half chevron stitch in combination star and knotted stitch

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

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Flat stitches with different thick wool yarn


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Regular and irregular heringbone stitch with some variation

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Variations of cross stitches

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

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Sheaf stich with different threads

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Straight and algerian stitches and needle wave

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

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Buttonhole, closed buttonhole and buttonhole double chain stitch

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

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

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

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

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Knotted buttonhole stitch with beads and boullion stitches

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Diamond stitches in informell stitching rythm

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Composite stitches with laced herringbone,crown - and head of bull stitch, chain stitch spiny


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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

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Chalk and pastels

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Oil paint sticks and pastel pencils

Module five chapter 8

2012-02-01T12:21:00.000-08:00

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.

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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 .


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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


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picture 9

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


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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

Module five Chapter 7

2011-10-30T13:39:00.000-07:00

Chapter seven
The next step is to create a sampler with fabric pieces, which are folded or gathered differently , so that I obtain a surface with tactile contrast.

                                                                             picture 1
                                              From left to right:
                                             furrowed(cotton teddy)
                                                 crunchy(tüll)
                                            angular(cotton tucked with twin needle)
                                            firm( rolled linen)
                                            padded and smooth(silk)
                                            stiff(tucks filled with pipe cleaner)
                                            wooly)(corded effect yarn)
   coarse( folded fusible batting)
                                           firm(tightly winded flax)
                                        Yielding(with cottonwool padded organza)
                                                    precise relief(direct smoking of cotton satin)
                                            Padded and rough( padded calico with polyesther batting and tightly quilted)
                                             Scratchy( padding of wood wool)
                                             Net like( twin needle stitching parcel string)
                                               Fuzzy( folded and snipped tucks of linen)
                                        Floppy and angular(cotton folded by darts in different direction)
I hosted a game with the children (eight and ten years old) of my neighbor. Their eyes were linked, they should feel and choose blindfolded the place for every part ; from soft to coarse, smooth to scratchy, etc. We had a fun and entertaining afternoon with some heated discussion to determine the surface properties and design of the contrast

Mdule five chapter 6

2011-10-30T13:30:00.000-07:00

Chapter 6
After wonderful holiday weeks in Denmark and in the foothills of the Alps I had some problems to occupy myself with the course work.Chapter 6 takes a lot of work samples to determine the different techniques of fabric manipulation. Everything under the motto: Tucks, Pleats and Gathers. For some examples, I tried the structures of the bog, as I had photographed them to implement textile

picture 1

several darts were sewn in an organza scrap and applied to painted canvas

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The upper picture shows a mountain of many dried turf. For the textile implementation I used teddy fabric which I laid in pleats of different directions to each other.

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By this textile image I assimilate the impressions on an autumn walk through a bog nature reserve.I didn't make a mock up I just started with stitching.I colored linen and used paper balls for filling the contours in the foreground and polyesther batting. The other parts of the “landscape” were gathered by the technique of direct smoking

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The fabric of the pictures 3-5 shows my choosed colour scheme for the resolved sample

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Polycotton and polyesther chiffon machine gathered,also with a ruffler. In an attempt to gather the fabric with
an elastic thread in the bobbin , my sewing machine went on strike. She does not like the rubber cord. So I
had to give up the smocking by machine. In my first attempts to try the smocking as decorative embroidery techniques, the book of "The Art of Manipulating Fabric by Colette Wolf was a great help.

sketchbook day 12-16

2011-08-30T14:55:00.000-07:00

day 13
the following day I tried several colours in combination to build layers

Picture 1
Watercolour and water soluble wax crayon

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wax crayon and water soluble pencils

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a pear with a infestation

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here I used my new pencils Graphitint. There are water soluble tinted graphite.I like the muted colours

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I nearly used all kind of colours

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the background coloured with brusho had been treated with bleach, because the read background was to dark.

day 16 ripping and sticking

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picture 8

Module five chapter five

2011-08-30T13:41:00.000-07:00

Chapter five Quilting, Padding and Stuffing

Wadded Quilting

picture1I used for the pieces left dupion silk and right habotai. The batting is a thicker polyesther vlies.

picture 2
Experimental Variations with unusual padding like wood shaving from the wood turner studio of my husband and frayed threads remained of ch four.the top layers are net . The backing of all pieces are calico.One example had been stitched by machine and the other by hand

Shaped Quilting

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From left to right. 1.row: corded wool under dupion silk with back stitch , curtain rings with dupion silk, backstitch and needle waving inside the rings , bubble wrap under polyesther organza machine quilted
2. row: wool felt under habotai with heavy machine quilted, styropor balls under habotai with back stitch

Padded quilting

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Left: wool felt padding under habotai, right :cotton wool under calico

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The starting point for further work samples is the image above.

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For the wadding material, I used thorned pieces of corrugated cardboard. The background is stabilized cotton and the top layer is gauze. Thus the structure of corrugated cardboard is still visible.

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To emphasize the relief of cardboard I applied acrylic paint with a rubber roller. Unfortunately, I have applied the color too thick in some places. That looks very smeared to me . The next time I will attempt to make sure the rubber roller to move very lightly only against the direction of the relief.

picture 8
The same startingpoint as before. I used for the top layer calico and than as wadding material also corrugated
cardboard. The wadded scraps were painted by rubbing with wax crayon. I mounted the pieces with my embellisher on painted calico and than I all machine stitched

picture 9
At least I wanted to know how the sample would look like a picture with a passe-partout . I made a design with photoshop.

Corded quilting

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Linen with machinen stitched corded embroidery yarn, linen with wool effectyarn machinen stitched wizh floaters,corded wools under polyesther chiffon, corded cotton yarn with calico, corded embroidery yarn under linen scrim

sketchbook day 10 and 11

2011-08-23T06:37:00.000-07:00

paper batik with a mix of brusho colours and wax crayon. the colours on the right are a copy of the paper over it

with scratching

a collage with fabric scrap out of my fabric remaining box

Pansies from my garden bondet with coloured bondaweb . The background are coloured with brusho and wax crayon and has been textured with machine quilting

Module five chapter one-four

2011-08-21T16:15:00.000-07:00

Chapter one
.The subject of this chapter is Texture Landscape.
I live in a very rural area where still peat is mined in drained bogs. Some of the dried peat is still used by older inhabitans as fuel. The bog, with its wetlands, in which the variety of grasses and silvery birches are reflected exerts a special attraction for me. I am faszinated about the history of the marsh colonization. Some of our older neighbors have punched peat in the bog as children with their parents. I like the smell of the peat fire. I am fascinated by the gnarled bark of the structure of the bog oak and its wood grain

picture 1
A board path in the bug

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A close up view of the board path with the aspect of the old weathered wood

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In former times hand brushes were tied by this gras

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A close up view of the Bentgras

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Gras pattern with the help of Photoshop

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Blooming wool gras

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A piece of peat out of the stock of our neighbour. The peat lies on bricks ,which are burned with peat.They formed the plaster of our front garden

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A close up of a pice of peat

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A peat wall of a cottage in Iceland

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A part of a trunk of a bog oak

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A drawing as a close up

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Another trunk of an oak

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A branch of a birch in winter

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A playing with photoshop with a motif of winter trees

Chapter two
Paper reliefs

picture 1
I get scraps when I tear the paper against the grain. If the paper is torn with the grain direction, I get a
relatively straight paper strips.

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Waved paper stripes. I used copy paper and japanese linocut print paper

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Waved paper grid crunched

   picture 5
                                         1. kitchen paper,freezer paper, copy paper
                                         2. brown paper, japanese paper, pastel paper
                                         3.tissue paper,parchement paper, heavy watercolour paper

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Crumpled tissue paper covered with a tissue paper spiral

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Crumpled and rolled kitchen paper

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Folded and scrunched kitchen paper making little balls

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A paper relief of rolled and folded kitchen paper

Chapter three
Texture and relief in paper

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The board path in the bug, kitchen paper rolls, edited with photoshop

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Scraps of scrunched brown papers

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Corrugated cardboard scraps and scrunched and glued tissue paper

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Rolled tissue paper

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tissue paper rolls glued on brown paper rolls

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Pieces of mounted corrugated cardboards

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Folded and rolled tissue paper

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Cutted stripes of copy paper

Chapter four
Fabric investigation

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My fabric collection

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The burning experiments of the natural fibers

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Further burning examples

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From left to right: light linen, habotai, polyesther chiffon,linen, polyesther chiffon, synthetic organza, silk

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from left to right: knotted and frayed linen, cutted microfibre, corded silk, microfibre snipped at right angle

on alternate edges, rolled calico, frayed and snipped light linen, gathered micro fiber

Sketchbook Day 9 - puzzling pattern

2011-08-17T11:22:00.000-07:00

.
actually I have made this drawing for the tasks of the first chapter of the fifth module. But it also fits to the scetchbook topic" puzzling pattern" . It is a line drawing of an ancient trunk of a bog oak using a charcol pencil

a folded piece of striped cotton. the drawing is made by a roller ball

Day 5-8

2011-08-12T02:59:00.000-07:00

I know that I am behind with my drawing tasjks.. I had used a bookbinding course in Hamburg and a museum visit in Neumünster (European Art Quilt VI) for short vacation of nearly a week. Everything was well worth it and I've learned a lot.

day 5
the torned stripes of the fruit bag look like a foregroung. But they form the background for the drawing of the peach and two mirabelles. I used a soft pencil (Nr.9) The sun didn't shine therefor I used my lamp to get shadow.

day 6
the same motiv without the stripes in the background

drawing with a roller ball and a light wash with brusho

day 7 getting bigger

day 8
a frayed and exhausted piece of wood the background of the left part is a glued piece of newspaper, painted with gesso and afterwords sanding some parts.

Sketchbook

2011-07-29T12:25:00.000-07:00

After I had finished module IV, I found out the new Project of Siân Martin . I also belong to the people who think of themselves, does'nt able to draw and wouldn't learn it any longer. That was already rubbed my nose since my school days . Perhaps after a certain time the participation in the daily drawing lesson will teach me something different
As I have problems with spatial perception, I have used a trick when drawing . I took a photo of the object which I have been drawing in my sketchbook with the help of a grid. The three-dimensional object lying on the table became two-dimensionally by the photo.

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an orange drawn with a soft pencil

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a banana skin ,drawn also with a soft pencil

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I painted the background with to much colour pigments of brusho. It became to dark . The subject was a faded rose out of my garden

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the same subject, drawn with brown felt pen on a background of very watering down brusho. I made the shadow with water soluble wax crayon. Ilike this little painting

                                                                       picture 5
                                            the shell of my eaten breakfast egg drewn with a lead pencil