Resolved Sample

Hi Sian, more pics and detail are in the Order of Work attached via email in a Word doc.

An angle view showing pleats.

Here it is stretched out.

The finished sample is robust and easy to

manipulate.

Chapter 12 Trial samples using extreme contrasts

I chose these three samples and the one below to work with.

For the background, I decided to work with the pleated vilene with a mix of scrunched habotai silk and chiffon stitched on with the wire.

Scrunched scrim on calico attached with stab stitch.

Thread: DMC linen in ecru.

Stem stitch on calico.

Thread: stranded cotton.

Snippets of habotai silk attached with stab stitch.

Thread: coton a broder.

Markal Rubbing.

Pekinese stitch.

Thread: coton a broder.

Gathered running stitch in spirals.

Thread: stranded cotton

Muslin on black cotton.

Couched gimp with danish flower Thread.

Stem stitch in Anchor lame.

Snippets of muslin and organza bonded to calico with bonding powder. Straight stitch and cross stitch added.

Thread: Madeira Metallic machine embroidery thread.

Pekinese stitch in stranded cotton.

Red strip: running stitch snipped, glued at back to secure. Trying to work out a way of stitching the door shapes.

Quilted with polyester wadding halved to reduce bulk.

Thread: stranded cotton.

Quilted with polyester wadding halved to reduce bulk.

Thread: coton a broder.

Fabric printed to imitate decorated papers

Left: Markal rubbing over scrunched paper.

Middle: Funky Foam stamp with white acrylic.

Right: Ditto

To allow background to pleat here is a Vilene sample stitched with 28 gauge beading wire with zig zag stitch length 1.5 and stitch width 2.

Underneath left the wire is stitched over scrunched silk and right over scrunched chiffon. Burn marks for texture.

Background samples: scrunched silk and chiffon on vilene

Design work with decorated papers

Chapter 11 new beach huts sketch and collage

Another possibility: print the design onto vilene or canvas and manipulate the fabric.


Beach huts collage using flat and textured papers.

Working out a design; experimenting with shape.

Beach huts, South Beach, Lowestoft. Inspired by the row to change the shape of the collage and number of huts in the design.

Hi Sian. A very happy new year. Your thoughts on this much appreciated before I start to translate into fabric. Many thanks. Nicky

Chapter eleven. Design from landscape. Use of shape.

ABSTRACT SHAPES: triangles and rectangles. Inspired by beach huts viewed from Claremont Pier, Lowestoft while drinking tea. First layer

(not shown in this image) crumpled tissue paper. Next layer (top) acrylic applied with card edge. (Bottom) funky foam stamp and acrylic. Hut shapes collaged from sand paper, sgraffitto paper and toothbrush splatter paper. Shells added. SIAN, I WOULD LIKE TO TAKE THE HUTS FORWARD TO MY RESOLVED SAMPLE AS THE LAYERING AND USE OF DIFFERENT PAPERS SEEMS TO OFFER THE MOST OPPORTUNITY TO EXPERIMENT WITH EXTREMES OF HEIGHT AND TEXTURE. What do you think?

DETAIL of design from landscape; original source dried grasses; using paper washed with acrylic and sgraffitto lines made with a twig.

Design from landscape; original source dried grasses.

DETAIL of design from landscape; original source jellyfish cocoons. Using paper stamped with funky foam shape and acrylic painted mounted on copy of sand paper.

Design from landscape; original source jellyfish cocoons.

Line drawings from plastic debris. (All four drawings).

Line drawings from dried grasses. (Bottom two drawings).

Line drawings from pebbles and tracks in the sand. (All 4 drawings).

Line drawings from jellyfish cocoons. (upper two drawings).

Lind drawings from a feather in the sand. (upper two drawings)

Line drawings from a stone rubbing.

Line drawings from a crab shell (upper two drawings)

Line drawings from crab, net and shells (upper two drawings).

Chapter Eleven. Design from landscape: use of texture

Sand paper. This was so much fun. I collected sand from Lowestoft's south beach. I added a small amount to a half and half mix of acrylic and PVA and applied it to card with a thick brush.

Polyfilla embedded with dried grasses. Acrylic wash added. Some of the grasses removed.

Stamp: string block and bleach.

Rubbing: Markal oil stick over paper balls.

Shredded paper and PVA.

Funky foam stamp and acrylic paint.

Acrylic paint and sgraffitto with a twig.

Funky foam stamp and acrylic paint.

Bleach applied to inked paper with a paper towel.

Crumpled tissue and PVA.

Acrylic paint and card edge.

Mark-making tools: funky foam stamps, string blocks, toothbrush, twig, card and kitchen towel.

Toothbrush splatters with a wash of acrylic

A variety of mark-making techniques were used to make these flat and textured papers. Including sand and PVA, cement and dried grasses, sgraffitto, stamps, string blocks, toothbrush splatters and acrylic washes.