M2-Chapter7 Traditional "Piecing" Methods

Transfer adhesive method

width of each fabric strip: 2,5 cm

method: I backed the strips (black and white together) on bondaweb before cutting them up and ironing them onto a base white fabric. The cut edges were then covered with a narrow zigzag stitch.

Sample 1 - 3Sample 4
Sample 5
Sample 6
Sample 7

For this sample the strips were cut at an 45° angle

Stitched seam method

Stitch width was 3,5 cm including the seam allowance of 1,5 cm

For this method one should try to iron the seam allowances towards the dark fabric, if possible.

Sample 1 - 3
Sample 5
Sample 6
Sample 7

Sample 4, 8 and 9

Sample 8: The black and white strips were cut with a triangle ruler with the 45° tip.

Sample 9: the fabric was cut into stripes of different widths, sewn together as shown on the diagram

General remarks:

The samples produced with the transfer adhesive method are, and also, look "flatter".

Some of the backs of the stitched seam method samples look very interesting.

I tried to use up some of my cold wax printed fabrics where the pattern was too "obvious". Cutting up these fabrics broke up the pattern.

CAUTION

When using the rotary cutter, care has to be taken to cut "away from the body"

It's also important to keep it away from children.

M2-Chapter 7 Traditional "Piecing" Methods

I put the paper sample and the fabric sample next to each other.

In all the samples the tone is going either from light to dark or from dark to light

Sample 1: All the stripes have the same width and are getting darker

Sample 2: I changed fabric for each piecing

Sample 3: different stripe width on the left and right side, different fabric value

Sample 4: courthouse steps log cabin

Sample 5: same as sample 4 but with one more "round"

Sample 6: courthouse steps log cabin with decreasing width of fabric strips

Sample 7: square put in the right corner

Sample 9: instead of a square, a triangle was used, which, of course changed the shape accordingly
Paper sample 10: square put diagonally
Sample 11: here the square is rectangular

Sample 12: here the center piece is irregularn so that it produces a shape which reminds me of the tortoise pattern

M2-Chapter 6-Patterned Fabrics

As with the patterned papers I tried to do a column placing the lighter fabrics on top and the darker ones at the end.

Module 2 - Chapter 6 Patterned Fabrics

The following rubbings were done with Markal Paintstiks on fabric. This allowed me to reproduce some of the rubbings I had previously done on paper.


Sample V

Sample W

The previous rubbings were done using rubber mats

Sample X

Rubbing done on carpet

Sample Y and Z
White Paintstik on black commercial fabric (see rubbings on paper)

Painted Fabrics

Samples A1, A2, A3
A1 and A3: painted with a brush

A2: bubble wrap print

Sample B1 and B2

A pattern was produced using cold wax and black fabric paint

Module 2 - Chapter 6 Patterned Fabrics

Sample C1 and C2
Both (commercial) fabrics were discharged using Jacquard Discharge Paste, C1 using a tooth brush, C2 making a bubble wrap print

Sample C3

Commercial fabric discharged using a paint brush

Sample C4 and C5

Procion dyed fabric discharged using different brushes

M2-Chapter 6 Patterned Fabrics

Sample P and Q
Black fabric paint was used to produce these two patterns.

For the next patterned fabrics I used Procion Jet Black dye


Sample R

Sample S

Sample T and U

General Remarks:

I find it easier to use funky foam sheets for the printing as they keep the paint better and give a crisper result.

Using Procion dyes has the advantage, that the reverse side of the fabrics can be used.

M2-Chapter 6 - Patterned Fabrics

All the following samples were done on cotton using Procion Jet Black

Some patterns were taken from the following books:
Shibori: The Inventive Art of Japanese Shaped Resist DyeingShibori for Textile Artists by Janice Gunner

Tritik Shibori

I used a cotton thread to gather the fabric
from left to right:
A: simple gathering horizontally
B: the fabric was folded before being gathered
C: gathered in wavy lines


Tritik Shibori
D: gathered vertically and horizontally
E: the fabric was "wrapped" around the needle
F: wrapped around a thick thread and then gathered


Arashi Shibori
G: unthickened dye
H: thickened Procion dye and finer cotton fabric

Tritik Shibori

I: The fabric was stitched twice to form little "houses", like in the tortoise pattern. It was then gathered around a soy bean in the middle. The thickened dye was applied with a brush.

This is definitely my favourite and it will be hard for me to cut it up.


Tie and Dye

J: The fabric was pleated vertically and held by big bull-dog clip
K: Fabric "zig zag" pleated and held by finer bull-dog clip


Tie and Dye
L and M: pleated and held with bull-dog clip

Arashi Shibori

N: commercial black fabric was discharged with Jacquard discharge paste which produced an interesting brown pattern

Tritik Shibori:

O: Here the Procion dyed fabric was stitched diagonally and then discharged with Jacquard discharge paste

It is interesting to see, that commercial discharged fabric turns to a brown colour, whereas, Procion dyed black fabric becomes white the more steam you apply to it.

General remarks:

When dyeing with Procion dyes, the pattern remains crisper when the dye is thickened and the fabric is dry. In this case it has to be soaked in soda ash and then dried.

In Tritik Shibori, it is recommended not to immerse the fabric totally into the dye bath, but to apply it (if possible) with a brush. Immersing the fabric produces darker fabrics.

It's probably also easier to work with finer fabric for this kind of fabric patterning

Health and Safety Considerations:

For dyeing with Procion dyes:

-Wear appropriate clothes and gloves (without holes)

- As the dyes come in powder form, it is important not to inhale the fine dust during the mixing process

For discharing fabric with Discharge paste:

If possible do this outside, as it is very smelly

M2-Chapter 6 - Patterned Fabrics

Commercial Fabrics

Val d'Argent - Inspiration

On the 18th of September I went to the Val d'Argent in France for a big quilt and textile art exhibition.
These are two books I bought there:
"Textile Nature" by Elsbeth Nusser-Lampe, a German artist and very nice lady I met at my sketchbook class with Jean and Jan last year. Her work is very feminine and delicate.

This is the second book I bought there. Lots of information and an interesting chapter on how to blend colours in machine stitchery.

Of course there was a lot of beautiful art work. These are a few examples on black and white embroidery and textile works.