Module 1 Chapter 7 Colour & Texture in stitch

Continuing with work in previous chapters I have chosen to work with colour in a rag rug found in a cottage in the Isle of Man.

Here is a photo of it with a section highlighted to help with colours and sequences.

Colours
Most of the samples in this chapter are based on the colours above, using cotton and wool threads that were in my stash, some of which were dyed.  I also used torn strips of fabric.

Backgrounds
I chose a variety of backgrounds mostly different cotton types: canvasses, decorated net, dishcloths, Khadi paper, Rug canvas, towels and dishcloths, plain and dyed, Vilene, cotton and calico.  Some were plain others dyed.

Stitchery methods
I used both hand and machine stitch methods, not only aware of the texture of the rag rug but also using other materials with a textured surface.
Some of the hand stitches were 3 pile stitches: Rya stitch, Velvet Stitch and Surrey stitch; Running stitch, Satin stitch and weaving; Seed stitch, long stitch, chain stitch and
Fly stitch.
I also drop spindled to spin together some coloured cotton and woollen yarns to prepare a yarn for Tunisian crochet.
The machine stitching included both the presser foot and free machine foot and a looser tension lower spool for cable stitch, the stitches included running stitch, zigzag stitch and cable stitch.

Samples of Methods The illustrations shown are samples presented on A4 sheets of Khadi paper

Hand stitching
1.  Pile stitches
I obtained some excellent instructions from a Reader's Digest Sewing encyclopaedia, which explained how to use Rya stitch, Velvet stitch, and Surrey stitch where in the left column the loops were retained, in the right column the loops were cut.
I used 2 colours of dishcloth cotton yarn on a strong canvas, producing a super looped effect to depict the rag rug in yarn.  The second photo shows the back of the fabric.
When working this stitch it is best to work left to right and from the bottom up.
A tapestry needle keeps the thread from splitting and is easy to use with large enough spaced holes in the canvas

2. Pile stitches
2a. Velvet stitch
The top sample uses a mixture of yarns matching the colours in the rug I produced a small sample on canvas: From bottom to top the yarns were cotton dishcloth, cotton embroidery thread, dyed perle, darker blue 2-ply wool, more cottom embroidery thread with a final row in thicker perle.  The sample is based on the top colours in the highlighted strip.
It produced a lovely looped textured surface.

2b. Rya stitch
The lower sample  was on a commercial gold net, worked in a circular direction from the inside of the circle to the outer edge, using all the colours in the rug (from bottom to top see original photo).  The same threads were used as in 2a, adding a crinkly black yarn and blue variegated double-ply wool.  It produced a looped surface with a different pattern from the rug and interesting design

3. Pile Stitches
I used Rya stitch, a little more economical with the yarn, and the loops still remain in tact.
The sample is 6cm by 15cm on a piece of cotton dishcloth, taking advantage of the grid arrangement in the cloth.  The same yarns were used in Sample 2, adding a 2-ply black and white yarn for a mottled effect as found in coloured presentations of the rug strip (Chapter 5) and mixing of colours where 2/3 threads combined to give a more realistic shade to depict the pale orange area on the rug. A great ragged textured effect.

4. Pile stitches
Velvet stitch.  This sample is a change from a column effect, varying the width of rows, stitched on to khadi paper

5. Pile stitches
Velvet stitch, using strips of fabric on rug canvas
I felt Velvet stitch was the best choice to ensure the fabrics stayed in place.
The sample is 7cm x 17cm.
The fabric strips are mostly cotton based, plain and commercially dyed fabrics with some denim.
I feel this is more like a rag rug, using old bits of fabric and as in history recycled materials.
The fabrics were torn apart to give ragged edges and the ends of strips remain loose.

6. Running stitch on cotton towels
I wanted to experiment with cotton towel backgrounds, an already textured material.
Although I still continued with the sequence of colours as found in the rag rug I chose other hand stitches.
The first of the next three samples show a sequence of running stitch in a mixture of yarns, but mirroring the patterns found along the edge of the towel, more widely spaced.
I hoped the stitches would flatten the towel, like along the edge patterns.  This only worked slightly.

7. & 8. Needle weaving
Above are two further techniques: Sample 7 using dyed cotton towel I chose to weave all the threads the same, trying to repeat the edge on this towel. I wove under and over but I chose not to alternate use of the warp threads but use the same ones, almost producing a long stitch on the weft held down by a warp threads.  It's a different technique, but I feel the warp threads are too loose.  The warp thread was a perle the same colour as the background.
Sample 8 is on cotton tea towel.  I like the squared texture of the tea towel.  I feel the needle woven design is more substantial than in sample 7.  The warp threads are the same as in sample 7.  It's an interesting presentation of the rag rug colours using this needle weaving technique.  I also like leaving the torn piece of fabric with a frayed edge.

9. Various overlaid hand stitches
I enjoyed playing around with different yarns, combining threads, doubling up on colours to try to better match those colours in the rag rug.  I also tried to use different stitches linked to the texture in the rag rug.
This sample I feel has worked well.  It is 4cm x 15cm
Stitches used from top to bottom are seed stitch, fly stitch, chain stitch, long and short running stitch, then variations of length, size and direction.  The sample is made on a recycled tea towel, with an interesting woven texture.

Machine stitching  (See also Cert 3 Module 6 Chapter 3 for machine stitch examples)
10, 11 and 12 
Sample 10 is free machine running stitch on acrylic painted cotton towel.
The back ground colours swamp the stitches, or the machine stitching provides a subtle effect!  In this sample it's either the paint or the stitches that would be the effect as needed.

Sample 11  Zig zag stitch using presser foot on dyed cotton towel. 
The threads show up in another subtle effect, with the stitches flattening the cotton towel fibres giving a different texture to the original fabric.  The colours are following those in the rag rug.

Sample 12 Free machine zig zag stitch on Vilene.
This sample is beginning to show a more textured effect with variations in length of stitch.
I was having some trouble getting the zig zag to work properly, due to problems with my tension, but the effect nonetheless is more effective than in Samples 10 and 11

13. Tunisian crochet
Whilst visiting a local business in Colwyn Bay, The Lost Sheep Company I thought it would be interesting to experiment with some of my cotton yarns; white and cream dishcloth yarn, black and white cotton embroidery threads (6 strand) and a striped brown and cream wool.
The colours were chosen based on the rag rug.
I spun the yarns together with a drop spindle then crocheted the resulting new yarn to form a sample of Tunisian crochet 8cm square. 
The resulting texture is relevant and can be finer or thicker dependent on the size of crochet needle or thickness of the yarn.  It is also an interesting way of combining the colours from the inspiration.
Here are photos of me drop spindling (preparing next length of yarn to go on spindle), the ball of spun yarn and needle, finally some of the crocheted piece.

14. Machining using running stitch to trap loose yarns
This technique was found in 'Machine Embroidery' by Pamela Watts, pages 14 - 16.
I selected various yarns to match the colours in the rag rug.
I used a piece of calico, then cotton, and overlaid the threads with fine grey organza, before machining a grid of running stitches, starting at the centre line vertically, then repeated horizontally.
The texture was flattened because of the organza, but looks quite effective
The sample is 17 cm square.

15. Free machining using zig zag stitch to trap loose yarns
The process was similar to Sample 14, but this time using free machining and the yarns were allowed to find their own space before stitching.  The tension for the zig zag was unusual but produced an effective stitch design, giving more texture to the finished piece (17 cm square).
I think the problem may because the foot screw was slightly loose.  I actually rectified the problem when I completed Sample 12., adjusting tensions, tightening the foot screw and threading the spool and needle with pressure tension of 4 and spool tension of 3.

16. and 17.
Cable stitching using a looser spool tension
These two samples were done using a free machine set up and hoop for the cotton fabric.
Of the two I feel the shorter sample 17 is a more interesting texture, with yarns laid over one another. This technique is so effective, but requires a lot of practise, especially since you cannot see how the stitching takes shape as it is underneath the cotton.
I did change the colour of the upper threads from time to time to match the textured threads, and I feel overall especially Sample 17 turned out well.

18. Using a tailor tacking foot
There isn't a sample of this technique here, but it is one found in the machine embroidery book by Pamela Watts, pages 28 - 29.
It produces a super looped effect when machine stitching, but I don't have the foot required.  Once I do, would love to give it a go.

So I have tried a number of different techniques and there are probably many more that I should try.
I hope the variety used are relevant.
I certainly should try combining hand and machine techniques and adding more stitched layers.
Of those shown in this chapter I love hand stitching using the pile stitches on canvas and would like to try Sample 18 on the machine!

Module 1 Chapter 6 Colouring of materials

My theme is cotton. Different cotton fabrics and yarns are what I chose to dye and colour.
The rag rug from the Isle of Man, as studied in Chapter 5 is the item for which I will be trying to produce matching colours.
Because my theme is cotton, a natural plant fibre, I chose Option 1 Cold water fibre reactive dyes using Procion dyes.  Option 2 Disperse dyes are better used with man made fabrics. 
I selected a number of cotton fabrics and yarns and several techniques to colour them.

Following is a list of the selected cotton fabrics and yarns, followed by a list of colouring techniques, accompanied by methods and results of those fabrics that best match the colours in the rug.  The final piece is a collage using only the matched coloured fabrics and yarns. 
Quantities, methods and results were all recorded in my 'Dye Handbook' alongside Health & Safety requirements

Cotton fabrics used:

• Plain cottons - calico, white cotton, dishcloth, different cotton lace, towels, Broderie Anglais, Empress Mills' lined cotton, scrim, sports wear 
• Coloured cottons - embroidered tray cloths, tea towels, Laura Ashley patchwork, kitchen hand towels, handkerchief, jersey, Sanderson prints
• Yarns - 4-ply Twilley's dishcloth cotton; other 2-ply dish cloth cottons, white and off white; ribbon cotton, variegated baby cotton

Colouring techniques in order:

1. Composted Calico recipe from Sara Wilson
2. Procion dyeing
3. Household food ingredients: coffee, gravy browning, tea,
4. Shoe polish
5. Inks
6. Acrylic paints

1.  Composted Calico recipe from Sara Wilson

• Two months ago soaked a length of calico in vinegar
• Covered it in food waste: onion skins, coffee granules, used teabags, potato peelings
• Rolled it up tightly and wrapped it in newspaper
• Buried it 12" deep in a large plant pot (not much alternative ground space in the garden)
• Dug it up 2 months later, carefully unwrapped it and rinsed it twice in warm water.  (Didn't dare risk putting it in the washing machine) 
• Produced a very fragile fabric especially when still wet, leathery looking, drying paler and slightly stronger.  The earthworms had had a field day!

The following pictures show the fabric when first unwrapped (very carefully); the remains of the fabric and dyed yarns when dry laid on a piece of cotton; and a close up of a dried section:

 

This could be used to match the rug colours, but I see them better used as individual smaller pieces in a series called 'Fragility of the earth' or something!

2.  Procion dyeing
'Procion' is one of the trade names for Cold water, fibre reactive dyes.
I used the proportions and mixes as given in Helen Deighan's 'Dyeing in plastic bags' Crossways patch ISBN 0954033302 to prepare samples of appropriate colours.
To do this, you require a selection of dye mixes, salt solution and soda solution, stored in separate sealed and labelled containers.

The mixing dye was 1 heaped tsp of dye to 100 ml of warm water
The salt solution 250 gm salt dissolved in 1 litre of boiled water
The soda solution 200gm washing soda dissolved in 1 litre of boiled water
(These quantities were increased proportionally as more was required)

The dye mixes were placed in plastic bags
Once the dyes, soda and salt are mixed this fixative solution lasts for up to 4 hours, requiring some agitation to ensure the dye is dispersed through the fabric or yarn

 

The fabrics and yarns were all washed before hand, allowed to soak and used damp

I prepared 6 cotton arrangements including yarns to dye, indicated below:

2.1  9 pieces of calico, A4 including one to remain free of dye
2.2  7 strips of non-coloured fabrics were machined together, then cut at right angles to form new strips, one remaining free of dye

 

2.3  9 pieces of white cotton, A4 including one to remain free of dye
2.4  7 strips of coloured cotton fabrics were machined together, then cut at right angles to form new strips, one remaining free of dye

2.5  8 pieces of fabrics, A4, using both coloured and non-coloured
2.6  8 skeins of cotton yarns, dish cloth cotton and ribbon yarn, including one to remain free of dye

Initially the colours I was trying to make were orange and blue, hoping that mixing the two I would get brown and for some added black.

2.1 and 2.2 I used magenta and lemon yellow in different regulated proportions working towards an appropriate orange. 
Calico only:  Counting vertically in columns I thought the 6th was most appropriate to match one of the rug colours, so using this same mix in a second bag added 1 tsp black for a brown colour, maybe I should have added 1 tsp of ultra blue.  However on doing so with a dry piece of calico both came out green when dry!  The dry sample turned out stronger.

 

Took them from the bags after 1 hour, rinsed in cold, then soapy warm water, then cold again, leaving the fabric strips overnight, before rinsing them and leaving them to dry naturally.  

2.3 to 2.6 I used ultra blue to make blue, using different quantities.  I was disappointed that there was not such a variation in blues.  And when trying to make brown used scarlet and golden yellow.

The main colours that could be used to match the rug are the white no dye pieces for the white, 3.7 to 6.7 for the orange and 3.5 to 6.5 for the blue.

I had yet to find appropriate dark blue, brown and black fabrics to match the rug colours.
I could have continued mixing and matching using the procion dyes, especially as I had a black dye mix already but thought now was the opportunity to try other colouring techniques.

3.  Household food ingredients: coffee, gravy browning, tea,
Using a variety of cotton fabrics, approx. A4 size: cotton lace, dishcloth, towel, cotton calico, plastic wrapping and bubble wrap, useful also for their textures, I prepared dye baths for coffee, gravy browning and tea.  All pieces were added to each bath.

Initially 4 tsp or equivalent were added to 2 litres of boiled water.
After half hour cut off a quarter piece from each, laid between cling film, one for coffee, one for gravy browning, one from tea, stacked on top of each other.  To strengthen the mix added another 2 tsp extra to each bath.
After another half hour repeated the collection of pieces, adding food dye again to the mix.
Then after an hour repeated the process again, leaving the remainder of fabric with an added food dye, overnight.

The following day all pieces were rinsed, in the three stages, and placed to dry naturally, the last lain flat.

The heavier fabrics all showed more intense colouring: cotton lace, towel and calico
The lighter fabrics more subtle colouring: cotton, dishcloth,
The plastics did pick up a very little colour, the plastic wrapping showing a textured effect with spots of brown running through them, the bubble wrap loosing most of the colour.

 

The sequence shown above are the last pieces left to dry: coffee, gravy browning and tea. 

I feel the coffee produced a softer warmer brown, the gravy browning a darker brown and the tea a colder brown.  In each the denser fabrics picked up a darker shade, and all three contribute a different brown required in the rug.

 

4.  Shoe polish
I had four different shoe polishes, black, orangey brown (cold), reddy brown (warm) and grey.  Using shoe brushes rubbed each across cotton or calico fabric.
Samples are shown in my 'Dye Handbook'.
Although the colours could be matched to the rug I wont use them, however as all are wax based it will be interesting at a later date to use them as resists.

5.  Inks
I used four different inks: black - 'Quink' ink and Kandahar; brown - Winsor & Newton peat brown and Alcohol based rust
Using a sponge I used each ink neat dabbing heavily, then lightly the rubbing across cotton lace, cotton, towel and plastic wrapping.
All could be matched to the rug, but in particular felt the plastic wrapping and towel are good representations of the black and white mottled effect seen on the rug.

6.  Acrylic paints
I used four different paints: black - Chroma A2 opaque black & Bondmere black, mixed a brown using Chroma A2 purple with Chroma yellow oxide.  I used approximately a tsp of each colour and using a small container of water added enough by dipping the sponge brush in it to mix.  I mixed extra when needed.
The fabrics used included cotton, calico, towel and plastic wrapping.

Interestingly the Bondimere black produced a more intense black which could be used as a match for colour on the rug, and the towel and plastic wrapping an alternative to the mottled black and white. 

 

 

The brown was a warm chocolatey colour which seemed a matching brown for the rug, an alternative to the gravy browning.  However on drying not so sure it matched.

 

All that remains is a dark blue.

For this I will use a coloured fabric in my stash.

 

Finally here is a collage of fabrics and yarns to show the colours chosen, including some yarns on courses attended (see below)

 

 During the three months working on the dyeing and colour mixing I also had a try at rust dyeing, natural dyeing and early in February Indigo dyeing.  The first I did at home, based on instructions at website.

http://sewobsessed.offsetwarehouse.com/2015/06/17/how-to-rust-dye-fabrics/ 

The other two were courses through our branch of The Embroiderers Guild.

 

In conclusion I'm adding samples from each of these.

 

Rust dyeing

I'd love to find some bits from machinery based on the cotton industry. 

I had to make do with pins and safety pins, washers, spring, nails, keys, screws, a set of old pliers and my Victorian iron. 

I used a series of trays. 

Pre washed the cotton, calico and towel fabrics to remove any dressings, placed a piece of fabric in each tray, regularly sprayed them with 50/50 vinegar and water to help oxidization, then after at least 24 hours, rinsed them with salt and water solution to stop the rusting process and protect the fabric from future deterioration (see my 'Dye Handbook').

  

 

The textured effect on the towel (bottom right) certainly matches the rust on the old Victorian iron (see also Sketchbook 2).  This was left for at least 24 hours and is darker than the more orange effect on the cotton above, left only a few hours.

I like this process and would like to learn more.

 

Natural dyeing yarns course with Judy Hardman (June 2017)

I wanted to go on this course to see how natural plants and some animals could be used to colour yarns.  The course was mostly dyeing wool (home spun fleece) and silk, but I was lucky enough to prepare some cotton prior to the course with Judy's help and consequently dye some cotton yarns.

I was introduced to preparing the yarns prior to dyeing, using different mordants based on weight and the different methods of heating and using different plants and some animal (cochineal).  Samples of each are in my 'Dye Handbook'.  Here are the cotton yarns that I now have for my course:

 

  

Indigo dyeing with Kate Whitehead  (February 2017)

The indigo vats were prepared by her partner.

We were introduced to preparing fabrics and yarns for use in a woven piece as well as seeing some of her beautiful work.  I used various cotton pieces, again relevant to the theme on this course, made our own loom, dyed relevant fabrics, left to dry fortunately on a lovely sunny day, then wove a length of fabric.

I decided to make a length of fabric for a cushion cover, based on 'Time for tea' using tea towels, patchwork pieces, tray cloths and other materials including ribbons with added wording such as 'Cuppa cha', 'Elevenses', scone and Victoria sandwich cake recipes in very faint small print.

Here is it so far, but hope to finish it before long

 

 

So I've been getting into colouring fabric.

I have to admit finding it daunting at times, especially trying to record more precisely, what quantities, times, results and matching colours - but I've started my 'Dye handbook' and hope to keep up with this.

 

This Chapter has taken some time, and that has partly been due to putting off to do tomorrow what could be done today!

 

 

 

 

 

 

 

 

Module 1 Chapter 5 Colour Study

Observations

Taking some of the photos related to my theme I chose 2 or 3 items selecting a rag rug found in a rural cottage, Egyptian cottons and twisted cotton rug. In particular I decided to follow through with the rag rug because two hues I wish to develop are orange and blue, complementary colours on the colour wheel, and the rug fitted this preference.  Ideally I should use the original item, but as it is on the Isle of Man, the photograph had to do.

 

 

 

Taking the first photograph I decided to manipulate the photograph using the provision in editing pictures.  Initially, I cropped and rotated it, providing a close up and an enlarged example, showing different tones of colour:

 

 

From this photograph I took a diagonal area using a window cut from paper about 1cm wide.

 

Records

 

Then, I started to experiment with the colours, recreating the long strip using acrylic paints, wax crayons, soft pastels, water colour paints, and inks, blending colours to try and capture the actual colours in the photograph/rag rug.

 

The first sample was the window strip but then the rest were made up of the strip to the right of the paper strip.  All are shown below:

 

 

I could have mixed the colouring materials but instead used one material after the other.

 

Make coloured areas

 

There were several colours captured in the strips and for each of these I selected the acrylic paints to make 15 cm squares, ensuring all colours were recorded, as best as I could.  Maybe I didn't experiment sufficiently, not providing rubbings, but I did see some effects where liquids blended when still wet (as in the water colour paints and inks above).  Later I also used different surfaces.

 

At this stage I would like to refer back to the colour wheel work completed on the Certificate course Module 1, showing the main hues (chroma), shades and tints (hints incorrectly labelled on the wheel!).  Primary colours were mixed to make secondary colours, shades by adding black and tints by adding white to each hue.  Here are the samples provided on the earlier course:

 

 

 Colour groupings

 

Exercise 1

I started by drawing 2cm wide, 15 cm long strips on the khadi paper, as the background.

Then, I grouped the colours using 1cm squares from strips 1cm wide by 15 cm long, strips cut using craft knife on cutting board with metal ruler (H&S)

The following page shows:

1. Colours in order warm to cold
2. Colours in order light to dark
3. Colours in order by hue
4. Colours in order of quantity / proportion
5. Colours in order as they appeared on the strip

In 4,  I now realise that each piece of colour should have varied in length to better indicate proportion and I made this same mistake when working on the Zeke colour scheme later.

 

Exercise 2

The next exercise was to provide 2cm x 15cm strips of the coloured papers, placing the coloured sequence as they appeared on the strip, with the same sequence of 1cm squares.

Comments were made beneath each sample of the effects created.

 

 

Exercise 3

The next exercise I chose to select different materials to match the colours, as labelled, using the same sequence as above, but presented vertically.  The same comments apply.

The one colour I don't seem to have captured is the orangey brown colour as in (5) above

 

 

Computer manipulation to produce different colour effects

 

In order to produce first orange hues, shades and tints then blue, I returned to the computer, changing the background colours according to the selection on the photo editing, resulting in the following:

 

The first (A) is a colour combination called Zeke, the second (B) is Arctic.

 

I chose one to develop further - Zeke

This time I cut a 1cm wide strip vertically, slightly in from the edge of the photograph.

I only used acrylics, but coloured different background materials, using different papers and plastics as labelled.  The bubble wrap also gave a translucency showing through the background colour, the white plastic bag was more opaque. 

I then did the same as in Exercises 1 and 2 above, with the following results, which added texture to the colours:

 

 

 

At a later date I could repeat these exercises with the Arctic blues, including more layering using different colouring materials and rubbings.

I enjoyed experimenting and recording the results in another booklet called 'Colour studies' using sheets of Khadi paper. 

I am not sure I've done sufficient for this chapter and still have a lot to learn in using colour, especially distinguishing warm from cold colours.

I have two references which I hope will help me 

 

Karen Barbe 'Colour confident stitching: how to create beautiful colour palettes' Pimpernel Press 9781910258651 (2017) a book discovered in a recent article in 'Embroidery magazine' 'Creating colour confidence' May/June 2017

 

Carolyn Warrender 'Book of colour scheming: how to identify colours right for your home'

Harper Collins 0583337082 1998 as my theme is cotton used as household linen.