all Threaded Together are pleased to showcase aspects of our art textiles on a thematic basis every three months.
July 2020 - Colouring fabric. Part 2 (printing, marbling, oil paint stick .......)
June
Here a few images of block prints I’ve done in the past. The Crocus image was subsequently used in the piece I made for the ERTF Exhibition ‘Collections Re-Crafted’ which was held in Saffron Walden.
The other images I have used on sketchbook covers - in one case these have been embellished with machine stitch.
Here a few images of block prints I’ve done in the past. The Crocus image was subsequently used in the piece I made for the ERTF Exhibition ‘Collections Re-Crafted’ which was held in Saffron Walden.
The other images I have used on sketchbook covers - in one case these have been embellished with machine stitch.
Chris
I enjoy experimenting with surface design techniques, and often use several different processes to build interest and depth in my work.
I enjoy experimenting with surface design techniques, and often use several different processes to build interest and depth in my work.
Sarah
Surface decoration is very much part of the way I work. It is a fantastic way of stamping ones original ideas of commercial fabrics and enhancing those we have coloured ourselves. The following are examples of methods I use regularly in my work.
Surface decoration is very much part of the way I work. It is a fantastic way of stamping ones original ideas of commercial fabrics and enhancing those we have coloured ourselves. The following are examples of methods I use regularly in my work.
APRIL 2020 - Colouring fabric. Part 1 (dyeing, painting, monoprinting, rusting ....)
Gill
As you can see, I found a rusty old spanner, it’s amazing what textile people get excited about ! I also had a rusty square left over from the scaffolders.
I made a solution of half vinegar and half water, added the items and fabric and ignored them for a couple of days. I’m thrilled with the results but not sure what to do next.
Hopefully inspiration will strike!
Chris always prefers to dye her own fabrics for her creative projects. Two techniques she favours for creating a palette of fabrics she knows will work together are a value gradation method and a colour exchange method.
In the gradation method, several pieces of fabric are dyed in a single container to create a set of fabrics the same colour but different values. The fabrics are stacked in the container one by one 5-10 minutes apart. As the time goes by, the dye becomes spent so the fabrics that go in later in the cycle will be lighter than those that went in at the beginning.
In the gradation method, several pieces of fabric are dyed in a single container to create a set of fabrics the same colour but different values. The fabrics are stacked in the container one by one 5-10 minutes apart. As the time goes by, the dye becomes spent so the fabrics that go in later in the cycle will be lighter than those that went in at the beginning.
In the colour exchange method, 6 containers are used with 2 complementary dye colours. Different ratios of dye solution are mixed in each container, then fabric is added to produce a set of harmonious coloured fabrics. In the example here, the pure colours were the red and green fabrics at the top and bottom, the four fabrics in between resulted from the varying ratios of those colours.
Sarah prefers, where possible, to dye her own fabrics for major projects. She uses three techniques for achieving the colouring of fabric lengths and pieces:
- Plastic bag dyeing - Here the dye is made up in small quantities and the prepared fabric place in a plastic bag. The dye is then added to the bag. The more the bag is agitated in the next thirty minutes the flatter the resulting colour. More than one colour h=can be added and if left minimally agitated will give a mixture of the dyes and patterning from the way the fabric is folded.
- Tray Dyeing - Here the fabric is arranged in a shallow tray, in plough lines, swirls, scrunched etc. The dyes are dripped in to different areas of the tray and no agitation takes place, the natural combining of colours is the desired result.
Pole Dyeing - Here the fabric is stitched tightly around a pole and scrunched down the pole at tightly as possible. This will create a wavy effect across the fabric. The pole is then soaked in a bucket of dye for at least four hours.
Diana likes the marbling effect obtained by using shaving foam. Spread a layer of foam about 1cm thick on a waterproof surface. Drop on fabric dyes or paints and swirl them about with a cocktail stick. Put the fabric on top and it picks up the colour. Another piece of fabric will pick up the colour but it will be paler. Scrape any excess foam from the fabric and leave to dry.
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JANUARY 2020 - Free Machine Embroidery
Tracy uses machine embroidery freely in her work often in really small scale.
Sue uses Free Machine stitch widely in her work. Machine embroidery and quilting are the techniques employed in my art textiles that I enjoy most. I try To make the stitch relevant to the subject.
Diana uses granite stitch, a free machine embroidery technique that can be used to show relief, to bring parts of an image to the fore. Tiny overlapping circles are stitched in the area to be compressed. The orange sample is stitched on velvet, using granite stitch with a slightly darker thread to flatten the pile. The grey piece was photographed while in progress. There were two layers of wadding between the backing and surface fabrics so the stencilled trilobites stood out when the background was covered with granite stitch.
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Sarah uses free machine embroidery widely in her work, enjoying the freedom to more the work in any direction under the needle and create interesting textures.
October - Text
Sue:
I have used text in several personal quilts. ( Left to right above)
‘Remembrance’ was made in memory of my grandfather, killed in WW1. The detail shows a PC written a month before he died and his handwriting.
For a challenge to depict a poem, I chose ‘Ulysses’ by Tennyson. I printed text onto small ‘bricks’ to applique onto the wall.”
“Part of a memory quilt of my childhood in Africa with fabric photos of my parents’ handwriting.”
I have used text in several personal quilts. ( Left to right above)
‘Remembrance’ was made in memory of my grandfather, killed in WW1. The detail shows a PC written a month before he died and his handwriting.
For a challenge to depict a poem, I chose ‘Ulysses’ by Tennyson. I printed text onto small ‘bricks’ to applique onto the wall.”
“Part of a memory quilt of my childhood in Africa with fabric photos of my parents’ handwriting.”
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Chris
I love using words to tell a story or evoke a feeling so using text is a recurrent theme in my work. In these two examples, handwriting has been printed as the background for further layers to be added through more printing, piecing and stitch. |
Philippa
The text is part of a family history quilt. It is a fabric copy of a postcard sent from my Grandpa to my Grandma in March 1919. He was in Folkestone about to sail for France to continue his service as a mechanic in the Airforce.
Sarah
I really like to use Text in my work if it is appropriate. It is interesting to print text in different sizes and cut it us to appear in small areas as well as using free machine stitching to write in longhand.
I really like to use Text in my work if it is appropriate. It is interesting to print text in different sizes and cut it us to appear in small areas as well as using free machine stitching to write in longhand.
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I have also tried using machine infilled large lettering to make an impact. I enjoy this stitching but not always appropriate .The final piece is no longer in my possession but here is one of the trials. I have also used applique. Here as a pun on a Knot Garden for a challenge. |
July - Handstitch
Tracy
* Detail of folk inspired flowers and leaves on a Harris tweed background, worked in satin and stem stitches.
* An example of straight stitch, bullion knots and applied beads from various cotton, linen and wool threads on linen base. The design is from a detail of a pen and ink mark making exercise.
* A sample worked in half and full ribbed/whipped wheel and filled and unfilled spider web stitches. Contrast in depth is achieved by the used of padding in one ribbed wheel and working over a wooden bead on the far right. Two vintage beads, or shankless have been applied and the whole effect is enhanced by the use of hand dyed variegated linen thread on a linen background.
* Detail of folk inspired flowers and leaves on a Harris tweed background, worked in satin and stem stitches.
* An example of straight stitch, bullion knots and applied beads from various cotton, linen and wool threads on linen base. The design is from a detail of a pen and ink mark making exercise.
* A sample worked in half and full ribbed/whipped wheel and filled and unfilled spider web stitches. Contrast in depth is achieved by the used of padding in one ribbed wheel and working over a wooden bead on the far right. Two vintage beads, or shankless have been applied and the whole effect is enhanced by the use of hand dyed variegated linen thread on a linen background.
Diana
These images show some of my more traditional hand stitching.
When I was growing up the only embroidery I did used stitches such as stem stitch, lazy daisy and satin stitch on tray or table cloths pre-printed with floral designs. The owl was the first time I tried to embroider a picture with no pattern, done for my mother about forty year ago! The red kite was done for a travelling book three years ago and the kingfisher last month for a project with Aspects of Stitch. For all these I started with a photo, plain fabric and a box of threads.
The red image uses traditional blackwork techniques but I changed the colour. Hardanger embroidery is traditionally white stitching on white fabric but I used a variegated yellow/green/orange thread. The flowers are an attempt at crewel work.
These images show some of my more traditional hand stitching.
When I was growing up the only embroidery I did used stitches such as stem stitch, lazy daisy and satin stitch on tray or table cloths pre-printed with floral designs. The owl was the first time I tried to embroider a picture with no pattern, done for my mother about forty year ago! The red kite was done for a travelling book three years ago and the kingfisher last month for a project with Aspects of Stitch. For all these I started with a photo, plain fabric and a box of threads.
The red image uses traditional blackwork techniques but I changed the colour. Hardanger embroidery is traditionally white stitching on white fabric but I used a variegated yellow/green/orange thread. The flowers are an attempt at crewel work.
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Philippa
I have been working on hand stitch assignments from the Royal School of Needlework on the Diploma course. The following images are of the Blackwork element. A portrait of my father.
I have been working on hand stitch assignments from the Royal School of Needlework on the Diploma course. The following images are of the Blackwork element. A portrait of my father.
Sarah
I have incorporated surface design in the form of Hand Stitch in many of my creations. I love the change to the surface these stitched create. These are a selection of the ways in which I embellish my work.
I have incorporated surface design in the form of Hand Stitch in many of my creations. I love the change to the surface these stitched create. These are a selection of the ways in which I embellish my work.
April - "Metals"
Tracy
Detail of a needlework case. Red kid leather, hand dyed silks and threads, couched goldwork threads and metallic ribbons. Metal beads from recycled tomato paste tube. The design was inspired by the patterns of Maori tribal tattoos and colours of the feathered headdresses of Amazon tribes.
Diana
Ironing metallic sweet wrappers gives a range of
effects depending which side you iron, how hot the iron is and the
thickness of the foil. This one, from a large Cadburys bag, gives the
effect of molten lava and can be coloured before incorporating into a
textile pieces with fabric or felt.
Goldwork and other metallic additions to fabric as samples.
Ironing metallic sweet wrappers gives a range of
effects depending which side you iron, how hot the iron is and the
thickness of the foil. This one, from a large Cadburys bag, gives the
effect of molten lava and can be coloured before incorporating into a
textile pieces with fabric or felt.
Goldwork and other metallic additions to fabric as samples.
Philippa -
Still 'work in progress' - my Etui Wren from a fabulous course with Jenny Adin- Christie.
Sally
Painted and stitched pieces influenced by rusted metals. Made with fabrics, trims, acrylic felt, sequins, metal wire and nails
Painted and stitched pieces influenced by rusted metals. Made with fabrics, trims, acrylic felt, sequins, metal wire and nails
Sarah
Over several years I have experimented with metals in my art work. It's a lovely contrast with the soft and pliable fabric.
I've used: Copper gauze; metallic sweet wrappers; chain; washers and cogs.
Over several years I have experimented with metals in my art work. It's a lovely contrast with the soft and pliable fabric.
I've used: Copper gauze; metallic sweet wrappers; chain; washers and cogs.
