Saturday, 12 January 2013

Raised and Structured surface textures continued

I found that although I had spent as much time as I thought reasonable on this exercise, I kept coming up with more things I wanted to do. I also made the mistake of finding 'The Art of Manipulating Fabric' by Colette Wolf, Krause Publications, 1 Oct 1996, which I think I must have bought shortly after it came out and immediately lost somewhere in the piles of fabric in the loft. As you do. This exercise was the motivator for me to find it again, and the result was the following:


I saw a woman in a tweed coat with deep wrist bands
of furrowed tweed which looked interesting, and warm.
Mine is uneven and might look better in a thicker fabric.

I frayed the hessian on top of the silk,
and then the other edge of the silk on top of the hessian.

Two layers of fine silk slashed over printed cotton.
It reminds me of a photo I saw at the Saatchi gallery of
Marilyn Monroe showing through a traditional oriental image.
To demonstrate how insidious is the influence of the West.
I'm thinking about what images I would use...

Seamless Tucks

These are tied tucks in a regular square pattern.
I like the way this looked with muslin.
It's so floppy but it takes the forms very well.

The cord is sewn into the back with herringbone stitch.
This is one of the shapes from a design inspired by a
photograph of water in the swimming pool.
English Smocking

This English smocking has a few rows with red thread on top.
It's surprisingly deep, and surprisingly regular.
If the fabric were altered, could this one show imprisonment
or something analagous?
 Italian Smocking
This italian smocking is very hard to get on film.
Not least because it's fiddly so it's only a very small piece!
I like the way it looks but it was quickly clear to me that
muslin is too fine and flimsy and it would be better to use
calico or something of similar weight, to allow the
interesting regular structure to show off.

Machine quilting of 2 layers of cotton
The gaps between the rows can be stuffed, or have threads
pulled through them to make it stick out further.

The plain back shows the patterns of the stitches more clearly.
I love Durham quilting, that is just white on white, using the
shadows cast by the quilting to make the pattern.


One piece of calico was folded in half diagonally,
gathered in the middle, sewn onto a square, and stuffed.
Although it is quite firmly attached, it looks
as if it's just sitting there ready to leap away like a grasshopper.

Threading ribbons and fabric strips through fabric

I used hessian because of the loose weave which allowed me
to use wide ribbon and strips of fabric. This is the selvage
of the hessian, which has two blues woven into it during manufacture.
 Finally, no sewing involved, PVA moulding.
This fabric was moulded around two spherical bottle tops
of different sizes. The fabric is quite stiff when it's dry,
but will clearly keep the shape well.

This one was pushed into the centres of little cookie cutters
 in various shapes. It looks to me as if sharp edges work
better than rounded ones for this technique.

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