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!
No comments:
Post a Comment