Module 1 - Chapter 12

Module 1 - Chapter 11

Timing:
Date when design work was started 15.10.2008 completed 23.10.2008
Date when embroidery item was started 03.11.2008 completed 22.11.2008
Total numbers of hours spent working on the design work : 8 hours (for the 3 paper samples) embroidery : 14 hours



Composite Sheet

chapter 11-resolved sample designs

Design A

Sample C

Stage 10 is revealing the third fabric layer

Sample B
This is a combination of two shapes: a templar cross and a star shape applied on top.

I planned to apply a different fabric on the center "flower shape" (maybe polyester?). In stages 3 and 4 the yellow temlar cross is also starting to disintegrate.

Module 1 - Chapter 11 Resolved Sample

Different ways of disintegration with paper

Here I tried several methods with different materials

A star shape was roughly ripped, the idea is base on the stamp used in chapter 5

Ripped paper samples based on a templar cross

Different ways of disintegrating a square of fabric

WORK SHEET

(Unfortunately I made it to big to fit on my scanner, so I had to scan it in two times)

Stitch methods used to make a shape grow and disintegrate

Left row: - Reverse appliqué, increasing number of stitched outlines

- templar cross with frayed edges, applied to background fabric with chain stitches

Right row: Making shape less solid

- lines of stitching in contrasting colour

- cross stitches in similar colour than background fabric

- bonded snippets of background fabric

Use of bonded shapes

Module 1 - Chapter 10 Inlay Appliqué

Insertion Stitch Sample

The following insertion stitches were used:
- simple insertion stitch
- entre-deux en faisceaux noués (sorry, my book with embroidery stitches is in French)
- twisted insertion stitch (entre-deux au point torse)
- buttonhole stitch (entre-deux au point de feston)
- knotted buttonhole stitch
- the last two sets of stitches are machine stitches which can be changed in width and length


Simple Counterchange

I used Procion dyed handmade felt for these samples. Variegated embroidery thread was used for the darning stitches and the little stars.

Interchange Sample 2 A

A simple cross shape with a square opening in the middle was cut out and interchanged with sample 2B. The sample was then decorated with simple straight stitches. The little triangles on the four sides and the middle square are made of decorated fabric.

Interchange Sample 2B

A templar cross made of decorated fabric was bonded to a plain background. The finished sample was decorated with chain stitches.

Samples 2A and 2B would probably have been more interesting if I had used a smaller shape to cut out.

Interchange Samples 3A and 3B

A templar cross and a grid shape were interchanged. (Diagram below). Two different machine stitches were used .

I deliberately did very little embroidery on these samples because I thought they would have looked too "busy".

The orange "fabric" used is in fact a very delicate painted Japanese paper that has been bonded to a felt background.

Counterchange Sample

Fabrics used: decorated, , dyed coton popline

'Mock' Insertion Sample

The same cross shape used in the interchange samples 2A and 2B was used, but cut up in different sections.

Because of the different layers (fabrics, sometimes decorated , bonded to felt) hand stitching is not very easy.

Decorative insertion stitch by machine is not easily controllable when you have to stitch turns. Therefore, I stopped the stitching, turned the fabric and started stitching again.

Module 1 - Chapter 9 Reverse Appliqué

Sampe A - Traditional Method

The inside of the tacking line was cut revealing the yellow fabric. The top layer becomes the background.
The outside of the tacking line was cut for the last two layers.
The finished sample looks like traditional appliqué.
Fabrics used: coton popline

Sample B - Contemporary Methods using machine stitching

The outside shape has been stitched first, the outside of this line was then cut. Thus the second layer becomes the background fabric.

In the following rows, the inside of the stitching lines was cut.

The little star in the middle reveals the last fabric layer.

Five fabric layers were used: commercial coton, sheer, silk pongé

Sample C - Contemporary methods using machine stitching

The same fabrics than in sample B were used.

The inside shape was stitched first and cut out at the inside of the stitching line. In the following rows, the outside was cut.

Starting at the inside causes the last fabric layer to become the background fabric.

The background fabric is a multi-coloured silk pongé. Using multi-coloured fabric could give interesting effects.

Sample D


I tried to combine the methods used in samples B and C in one sample by dividing a simple cross into five equally sized squares.

For the square in the middle, I started by cutting the different layers from the outside to the inside, the other squares were cut from the inside to the outside.

Strangely the middle square looks bigger than the others, although it has the same size.

The background fabric is a coton organza, the rest dyed coton popline.

Holding this sample against the light makes it look like a stained glass mosaic. This effect could be emphasized by using sheers in the last fabric layer.

Sample E

5 fabric layers were placed on top of each other. I used fabrics that fray easily, mostly linen and silk bourette. The fabrics were then slashed between the lines of stitching. Because I wanted more contrast I cut back the top layer at the outside of the stitching. Finally I used a little stitch to keep the inside slashing more open, I thought this added more interest to this sample.

Sample F

I divided the cross shape used previously in four sections. The top layer was cut away at the outside of the stitching.

Some layers only partially extended over the design. This made me a bit confused when cutting back the different layers. I probably should have used more contrasting colours instead of sheers.

Sample G

The same method than in sample B was used however with a different shape.

I also used one of the stamped fabrics for background and was amazed how good it looked.

Extra care has to be taken with this method when cutting back the fabric to avoid cutting into the layer underneath. I think it is also important to alternate contrasting colours for the different fabric layers.

Here I used the cut out shapes from sample G. Looks quite interesting to me.

Module1-Chapter 8 Complex Samples

COMPLEX SAMPLES



Sample A

A cross shape was bonded to the background. An altered templar cross shape was stitched. An opening was cut in the middle and a polyester organza patch applied to the back.




Sample B
The same cross shape than in sample A made of painted cotton organza was bonded to the stamped backbround and partially outlined with straight stitches. The grid shape was machine stitched, then (heavily) padded, cross stitches were added.

Sample C
The same cross shape than in samples A and B was bonded. A star shape was outlined with straight stitches and french knots. The square center was padded.

Fabrics: dyed poplin cotton

Sample D
A templar cross shape made of poplin cotton was bonded to the background fabric. The same shape was twisted and stitched by machine. More hand stitching was added. The center square as well as additional shapes were padded.

Sample E
A star shape made of bondaweb was applied to the commercial background fabric and foiled. The outline of the shape was machined then padded. The templar cross shape was outlined with a couched thick thread. A little star was embroidered in the middle.

Sample F
A cross shape made of commercial cotton was trapped between two layers of polyester organza. The templar cross was embroidered in straight stitches on top.

Several of these blocks could be sewn together and hung in front of a window.