Module 2 - Chapter 5 - Patterned Patterns-Ink Marks

All the markings were drawn with Quink Ink.

The little "houses" were drawn with a twig and refer to tortoises markings. The other drawings on the lower part of the page are done with a brush.

For the next drawings, where I tried to reproduce birds' markings, I used a bit of funky foam.

Refers to E2

Refers to E1

Refers to C1

A bamboo stick was used as printing device.

The tissue background paper was first painted with diluted ink before being dabbed with a brush.

M2-Chapter 4

I used the pictures gathered in the introduction to develop the pattern drawings. They were turned into black and white, then enlarged as much as possible to allow me to develop the patterns. The drawings were made with a black felt tip pen.
To make it easier to compare each of them with the corresponding machine stitched bands, as well as the patterned papers and fabrics, I put a number next to the drawings.

I must admit, that sometimes it wasn't very easy for me to develop the patterns as the enlarged images became very unclear. Maybe I also didn't have enough imagination.

M2-Chapter 3 Tonal Effects in Machine Stitchery

Ordinary Stitchery

All the samples were worked with the same black sewing thread in the bobbin and on the top spool. Only the stitch length and width vary



Sheet 1 - samples worked in ordinary stitchery



Sheet 2 - samples worked in ordinary stitchery

Sheet 3 - samples worked in ordinary stitchery

Sheet 4 - samples worked in ordinary stitchery

Sheet 5 - sample I - worked in ordinary stitchery

sample J worked in whip stitch

Sheet 6 - samples worked in whip stitch

Sheet 7 - samples worked in whip stitch

Sheet 8 - samples worked in cable stitch

Sheet 9 - samples worked in cable stitch

Trial sample with different yarns in the bobbin, the thickest being the "coton pour tapisserie". Unfortunately my machine didn't accept thicker thread very well and I didn't want to put too much strain on it as I already had it repaired because of tension problems (getting a second bobbin case here in Luxembourg seems to be a problem).

M2-Chapter 2 - B Tonal effects using the technique of Blackwork

Using Pattern Development
Thread used: DMC Mouliné spécial 25
I found it easier to start with most complex version of the pattern, reducing the number of stitches gradually

Using Spacing of the Stitches

At the end of this sample I overlapped the crosses slightly to achieve the darkest tone

Using Thickness of Thread

I started this sample by stitching with one single thread of the DMC Mouliné and then, gradually, added one more thread until I stitched with 4 threads. The last series of stitches was done with DMC 4 coton retors mat pour tapisserie.

General Remark: In the last two samples overlapping the stitches or using thicker thread makes the original pattern hardly recognizeable.

M2-Chapter 2 - B Tonal effects using the technique of Blackwork

This is the same "basis" pattern than in the post before. It shows how additional stitches can make it appear darker.

M2-Chapter 2 - B Tonal effects using the technique of Blackwork

Sources:

Internet
Schwarzstickerei, Christine Stettner-Ulrike Clasen, Augustus Verlag
Blackwork, Lesley Barnett, Search Press



Continued. Sorry it didn't fit on one page.

M2-Chapter 2 - Tonal columns

Threads used: thickest thread in white from Texere

thickest thread in black : DMC4 coton retors mat pour tapisserie

all other threads in black and white from DMC: coton perlé 8 and mouliné spécial 25

I started this column with the thickest white thread and then continued with coton perlé 8, overlaying the cross stitches and varying their size to cover the "holes" of the canvas underneath.

I gradually introduced black threads using only 2 strands of the mouliné, overlaid them with white mouliné so that only the black shone through.

In the last third I used black thread as ground layer and placed white crosses on top.

Like in the abstract painting class I'm taking and where I overlay different colours to create a certain effect, this column is stitched in several layers (it took me quite a long time to finish it), in this case the medium being the thread. It would be interesting to see how it would look like using 2 different colours.

Stitching this sample also taught me how to accomplish a smooth transition from one colour into another in embroidery.