Threads and stitchery:
Picture 38:
A selection of embroidery yarns for the next exercises.
Picture 39:
A sampler with stitches from different categories:
flat stitches: straight, stem, radial, satin in repeated groups, satin different length, twisted satin, thorn, dot or seed in single, double, seed in angles, arrowhead, cross stitch in upright, cross stitch with an upright cross stitch over it, chevron.
looped stitch: button hole with variations in length and distance between the stitches, spaced button hole, knotted button hole, fly stitch, fly stitch crown stitch, loop or centipede stitch, Vandyke stitch, scroll stitch, cretan stitch, cretan stitch one by one alternately by turns, feather stitch: straight, closed, slanted and slanted in variations.
Picture 40:
chained stitches: detached, zigzag, basque, open chain, twisted, wheat ear, raised chain.
knotted stitches: french knot, rotating, bollion knot, long stemmed bullion knot, coral knot, squared palestrina.
composite stitches: laced cretan, whipped chain, interlaced fly stitch, guilloche stitch, raised stem spider web, two parallel rows pikinese stitches.
Picture 41:
Stitch effects:
A sampler of formal stitching rhythm:
from left to right:
linear pattern
separate marks
forming groups with different yarns and gaps
dove tail
variations of size from large to tiny
build up layers of blocks
linear patterns with gaps
couching
cross stitch wrapped
Picture 42:
Informal effects with a stitch:
I have chosen for a straight stitch. To get a rhythm I used a stiff zigzag with a thin and a thicker thread and ad least I created boundaries for more effect.
Loosely stitched curves with different crosses left and right.
Long straight stitches wrapped in single loops.
Straight stitches in circular pattern.
Long crossed straight stitches, the crosspoints are detatched.
Picture 43:
Rubbings from my paper reliefs made earlier in this module. I used black and white tissue paper with oil pastel, chalk, pan pastels, Shiva paint stitch, ink and bleach. In the following examples you can see more ideas about my rubbings.
Chapter 10:
Stitch to translate my rubbings:
Picture 44:
Two rubbings:
One with oil pastel and the other was made of candle wax and than I made a wash with grey water color paints. On the black cotton background I have made rubbing marks with oil paint sticks. In this exercise I have two patches with these background marks. The other patches have no marks. I used these two technics to show the different types of contrasts ( hard and soft). The stitchery is a thick twisted chain stitch. Afterwards I did overlapping with fly stitch in different sizes and yarns.
Picture 45:
Rubbing with chalk,
The stitch translation was done by using cretan stitch with small organza strips and different yarns.
Picture 46:
Stitched translation of rubbing of gathered tissue paper relief, big sorbello stitch to get a chunky bold effect.
Picture 47:
2 translations of my rubbings. The black cotton fabric is also rubbed with oil paint sticks. The stitch translation left shows raised chain bands with thick yarn. On the right site are long straight organza strips overlapped with chain stitch worked in circles using two different yarns. Several circles have two layers of chain stitches.
Chapter 11:
Use of texture- A
Picture 48:
The following 3 pictures are my decorated papers. I have used ink, paint, stamped with acryl , bleach. Herefore I have made the stamps and linol cuts and rubbings. The picture bellow shows a flat texture paper.
Picture 49:
This pictures show a selection of raised texture paper.
Chapter 11 B:
Use of shape :
Picture 51, 52 and 53:
In the first step I have taken fotos of the beginning of this chapter. I made different line drawings from these pictures.
In the second step I used my simplified drawings. I ripped my earlier produced papers along the lines of my subdivisions and clued them.
Picture 54, 55, 56, and 57:
Picture 58:
Abstract shapes:
Two samples of my abstract shapes.
Chapter 12:
Stitch trial samplers by using extreme contrasts:
Picture 59 and 60 show my trial samplers translated from my decorated papers.
From left to right: destorted scrim overstitched, a thin layer stretched trikot, snipped yarns, covered with a white chiffon, free hand stitched, shrinkage was caused by stretching before stitching, knotted strips of felt, hand stitched.
Picture 60:Three more trial patches:
Left: on black felt I layed down three little white felt strips. Then I have done needle felting to get a soften edge, free hand stitching by machine. overstitched with thin strips of organza.
Upper right: a padded piece of felt. Using different yarns in knot stitch and seed stitch.
Right under: painted bonda web on black felt, stitched with button hole stitch.
Picture 61: Design board- resolved sampler
I am approaching to my resolved sampler. The landscape in my neighborhood with mountains, hills and valleys has an effect on my design in this chapter and on my resolve sampler. There exist extreme contrasts.
On the left side of the picture my paper design with flat and raised areas
In the middle a description of my ideas for the translation in stitchery
On the right side the selection of yarns
Picture 62:
left: paper design
right: the stitching result
The next picture shows the result of this module
Detail-Pictures:
Chapter 13:
Study three artists:
Jennie Rayment and Michael Breenand-Wood are two artits, who work with many different kinds of manipulated surfaces but they have a very different character in their design and execution. Both are well known.
My choice for the third artists are Jan Beany and Jean Littlejohn. These two artists work extremely with studying the nature and landscape. They make beautiful sketch books, especially during their journeys. At home these drawings are the source for their works. They manipulated fabrics in different ways; per example dry felting water soluble fabric, painted bonda web. They have discovered the basic embroidery stitches in many possibilities. They experience in different kind of ways with yarns and fabrics. They are well known all over the world. A workshop with both of them is an absolute highlight.
Evaluation of completed work:
The completed embroidered assessment piece for Module 5 is an imaginary landscape based on the design of paper manipulations.
I am satisfied with my result
Especially with the trial patches, it was funny
Changes design: In the beginning I had no idea which way I shall go, because I have just started. In progression of the work I get more and more ideas about the special design in this module. Through the hole chapter there are points where you have to decide which way you want to go.
If I had to do it again I would decide for another direction, because I don not want to make it twice.
Costing Materials:
nearly all material is from my stock
Astimation: about 20 Euro
Timing:
I started on the 12.02.2014 and comleted my work on the first june 2014. The hours of work are 62 hours not included is the time which I needed for fotography, posting the blog, organisation work
(storage of my work and materials, tools and equipment)
Health and safety rules:
I took care of the safety rules, especially by blaech burning and melting the fabrics.
Authenticate my Work:
Student Name: Saskia Hetzel
Date: 29.06. 2014
Module 5
The coursework that Saskia Hetzel
is submitting for this Module is her own work
Dr. Heinz Hetzel, formular is added
