C&G Level 2, Module 1, Chapter 5 completed

The first exercise was to stitch a simple colour wheel using the primary and secondary colours and either zigzag or a machine pattern.

In this sample I used a feather stitch pattern for the red, blue and yellow primaries, then zigzag for the orange and a machine pattern for the purple. I liked the purple element of the colour wheel most of all so decided that for the second stitched colour wheel, I would use the pattern throughout. For both samples I used calico on a Stitch and Tear support, Madeira threads and a size 100 needle as this takes the two tops threads well.

The second colour wheel was stitched with the machine pattern I preferred from the first. I think that the result is very pleasing. Where there were gaps I moved the embroidery hoop used to support both pieces to ensure that gaps were stitched over. 

I like the red/blue mix to make purple and the blue/yellow mix to make the green - it is interesting as a painter to see that the same effects as paint mixing can be achieved with thread. I think that the pattern used also makes the wheel attractive

The two samples above will be on Page 25 of my book.

The next piece is the use of primaries and secondaries as blocks alongside which are their shades and tints achieved by mixing black with the main colour to achieve the shades and white with the man in colour to achieve the tints. 

I used calico, again backed with Stitch and Tear and Madeira threads and a zigzag stitch on the machine with a 100 needle. Using my widest stitch width and a short stitch length, the blocks were filled which left a small gap down the middle of the block. I infilled this with a narrower stitch width. 

This was interesting with a pleasing result. I had to move the hoop to get to the edges as I had used an 8" hoop and the foot hit the edge on the top and bottom corners. This was not a problem and I didn't get puckering despite fairly dense stitching.

From needle to brush, the next sample was the tonal piece with the primaries adding black and white in small gradual amounts to get a range of the shades and tints of the primary colours. 

The two samples above will be on page 26 of my book

And finally two colour wheels were painted. The first, Colour Wheel 1 was a fairly simple wheel of primaries and secondary colours and the second, Colour Wheel 2, more complex using primaries, secondaries and tertiaries, both with tints and shades. My palettes were works of art in themselves, I should have photographed them as well. 

Colour Wheel 1

Colour Wheel 2

These two colour wheels will be on page 27 of my book.

I enjoyed this chapter and look forward to some serious sewing with the Prairie Points in Chapter 6.

C&G Level 2, Module 1, Chapter 4

Level 2, Module 1, Chapter 4

Zigzag stitch and automatic patterns, changing stitch width

My first piece was worked on one of my dyed samples although I used the original painting again and using a new dry iron, got a much better image transfer. It is polyester satin and was backed with Stitch and Tear. I altered the stitch width from the narrowest, almost straight stitch to the widest which on my Juki machine is 7.0.

I used green and orange threads to match the fabric colours and stitched over and over but allowed the fabric to remain visible through the stitch. I like this sample.

This image will be on page 21 of my notebook

Changing stitch length.

I used a piece of black felt, backed with another. I used vibrants colours Bright pink lilac and blue and altered the stitch length from almost satin stitch to long stretched out zigzags. On a couple of rows I also changed the width but only a few as I realised that this was not part of the exercise. The black is a good foil for the vibrant colours.

This image will be on Page 22 of my notebook

Experimental piece

The sample that I used is calico on felt. It was a piece of fabric that I had dyed previously with Procion dyes and I enjoyed the result of that dyeing and thought it would provide a good background for the exercise. I have used the same fabric for the next three pieces. I used variegated threads with good colour mixes to stitch this piece and used a range of widths and lengths intermixed. I particularly like the effect if the 'satin stitch' with the variegation and the expanding and decreasing shapes to their left.

This piece with be on page 22 of my book. 

Automatic patterns

This was a good exercise to make me explore the many possible patterns and stitches that I can stitch. It also allowed me to know which would and would not let me expand and decrease them and how they looked. 

I used the same fabric as the last piece for the next two. With this first piece, I used a purple thread and used a star pattern in lines across the width of the fabric, then using lilac, orange, blue and pink threads that reflect the fabric, I stitched between the lines of stars, changing patterns as I went. Some could not be altered, but as can be seen in one of the lilac and two of the orange patterns, I was able alter the set pattern.

The following two pieces will be on page 22 of my book.

I like the result with this piece but was astonished at how much thread some stitches used. I have thankfully been using a white bobbin thread. 

This is the second piece using machine patterns and trying to modify the stitch length and width. I used purple, lilac and pink again as they work with the fabric. The patterns I used on this piece seemed to be more amenable to being changed. I think that this piece works well although quite like some of the original patterns without them being altered. Some great patterns for future use. 

I then changed fabric for my final two pieces again using machine stitches and altering their length and width. I used two layers of white felt for each piece. In both, I wanted the stitch to make the statement and not the fabric, just to see what they looked like. So, the first piece was stitched with variegated soft colours with a range of stitch patterns, some could be altered some not but the result is quite delicate and pretty. The colours and stitches explored could be used for a baby item. I used my letter stitches, L mixed with a flower pattern just next to a row of the @ symbol. which could not be altered but looks good as a pattern. 

This and the piece below will also be on page 22 of my book.

My final piece for this chapter was also worked on double white felt but this time I changed to bright variegated threads trying out some different patterns and seeing if I could alter them. I like the unchanged pattern second form right with the variegation then the patterns to the left of these, I will use again. The colours and designs reminded my of Native American Peoples' designs and colours. 

I look forward to creating a stitched colour wheel in the next chapter!!

Chapter 3, Module 1, C&G level 1

Chapter 3

Straight stitching. This was my first sample, using the purple 'leopard skin" with my second attempt of paint transfer using a dry iron at a much hotter temperature than I could achieve with my travel steam iron. I used a 100 needle on the polyester satin based, stabilised with Stitch and Tear.  Quite fun, it looked like a modern tartan - with a Scots background, this may be sacrilege. I used a purple yarn, the complimentary yellow and then a pink as a near complimentary to the yellow. I really like the result.

Stitching a diagonal grid. This is my second sample. I used two layers of black felt, 100 needle and three yarns; blue, pink and green. I had no puckering and am pleased with the result although my line are not very straight!

Stitching lines all over. I found it very difficult to do straight lines when I wanted to stitch a picture. I used sunset over green fields with a tree as my inspiration on calico backed with Stitch and Tear. I use all the colours used in my two previous samples.

I enjoyed this exercise and look forward to zig-zagging in the next chapter

City and Guilds level 2, Module 1, chapter 2

This chapter was to collect a group of differing fabrics, from sheers to thicker and to use a variety of  threads, then determine which needed stabilising.

I have a large fabric stash so selected 10 as suggested. For each I either used a matching or contrasting thread. For the sheers I used a stabiliser, either nappy liner or water soluble support (aquafilm). For the heavier weights I didn't use stabiliser, but should have done on reflection. None of the samples were pressed after stitching. These samples will all be added to my notebook at pages 16 and 17.

This is my range of needles from which I chose what I thought would be the correct needle for both the fabric and the yarn. I used Madeira yarns throughout.

1. This is a piece of orangey-red organza. I stabilised it with Aquafilm and chose a blue tip (75) fine fabric needle and stitched simply in straight stitch. The sample stitched well and was well supported.

2. The fabric used is a lightweight Habotai silk stitched on Aquafilm with the same size needle and same yarn as sample 1.

3. This is a piece of lightweight polyester crepe backed with nappy liner and straight stitched with a yellow contrasting Madeira yarn. I noted some slight puckering and wondered whether I should have used a stronger backing to prevent the puckering.

4. I used a piece of wool mohair for this piece, unsupported at is close woven and fairly heavy. I decided to use a triple needle and threaded three lilac/purple yarns, one on my top thread and two in small bowls behind my machine. I have never used this needle combination before and was really pleased with the effect - interesting and I'm sure I will use it again.

5. I kept the triple needle in the machine and changed the threads to match the fabric. As the velvet is lightweight, I backed it with nappy liner and it stitched really nicely. I like this piece very much.

6. I kept the same three colours in the triple needle and used black unsupported felt. I decided to be a bit more adventurous with design even though using straight stitch. The contrasts are lovely and would look good on a larger piece.

7. I changed to a double eye needle for this piece of polyester satin and green thread. I had a poor result with bird-nesting of my thread so changed to backing the fabric with nappy liner and reverting to a blue tip fine fabric 75 needle. This worked reasonable well with a degree of puckering.

8.  I used an unsupported piece of a suede-like fabric and changed to a 100 needle to penetrate the material. I used three threads, a metallic gold, a variegated black/gold metallic and a yellow variegated. I wanted to make something more interesting whilst continuing to use straight stitching. I think that the result is pleasing.

9. This is a piece of slub silk. I tried to sew with the 100 needle unsupported and got a lot of puckering which I undid. I then used nappy liner (NL on photo) on a part of the fabric and still had puckering, so again behind a small piece of the fabric I used water soluble (WS) Aquafilm and was able to create a more regular result. Not very pleased with this one.

10. I used a piece of light weight poly cotton initially with no support (NS on photo). The fabric puckered so I slipped a small piece of nappy liner (NL) behind and still had puckering. After adding Aquafilm (WS) the result was better but on consideration this piece of fabric would have been much easier to stitch if it had been mounted in an embroidery hoop. I have had very good results with mid weight silk unsupported by stabiliser but mounted in a hoop, so should probably have treated this fabric similarly.

I have enjoyed trying different needles, threads and fabric weights and recording my results. It was a good discipline.

So on to Chapter 3!

C&G level 2 – Module 1 Chapter 1 Completed

Looking at colour

This was an interesting exercise. I had many more examples than I have used in my book. What I had chosen as orange became more like brown, green more like yellow and vice versa; blues more green and vice versa and reds were actually pink.

I sorted all my colours in better daylight and even then, when they were stuck down, I felt that some were out of place in their tonal range. I have noted these in my book.

Looking at Colour - Green

Looking at Colour - Red

Looking at Colour - Blue

Looking at Colour - Yellow

Looking at Colour - Purple

Looking at Colour - Orange

Collecting colour

I enjoyed looking at colour within my photo collections and found very few primary colours. That was interesting as I am not naturally drawn to them finding them rather harsh and full on. My photo pages and descriptions of the colours I found was a pleasing exercise as I found poems about colours on the Internet which were very descriptive and enjoyable.

Collecting Colour (1)

Collecting Colour (2)

Poem about Orange

Poem about Africa

Collecting Colour (3)

Poems about Green, Yellow and Purple

Collecting Colour (4)

Poems about Green and Blue

Poems about Blue

Collecting Colour (5)

Poem about Red and Discussion on Primaries

Primaries

Transfer Dyeing

I have tried transfer dyes before and found them to be very disappointing, but I learnt why. They work best on man-made fibres and not well on natural or animal fibres. I have used them, (fairly unsuccessfully) with calico and this time, silk with a similarly poor result.

I use screen-printing paint for paper and fabrics, (calico usually) and Procion dyes for animal fibres (silk) and both work well.

I purchased a small amount 25cm or both acetate and polyester satins and tried on both. I think that I am happier with the outcome on the polyester satin fabric.

I have entered my dyed fabrics into my book and have number the pages according to the order of the photos taken and as suggested in the student handbook.

Transfer paint brushed on acetate satin

Page 12. This was a poor quality transfer - I left the iron in one spot too long; top right hand corner which has left a mark. I've now purchased a dry iron with a flat base plate. 

Transfer paint sponged on acetate satin

Page 13/1. Whilst the transferred image is low quality, I was much more pleased with the result and think that it looks like a purple leopard's skin! 

Transfer paint dripped and run on acetate satin

Page 13/2. This was dripped, allowed to run and the gaps stippled - I think that this is pretty despite being pale.

Transfer paint brushed on polyester satin

Page 14/1 - I like this soft transfer - pretty tones

Transfer paint brushed and blocked on polyester satin

Page 14/2. The yellow didn't transfer well but the blocks in darker colours have  become delicate and pleasing.

Transfer painted brushed on acetate satin

Page 14.3. I think I like this transfer piece most - the colour transferred better and the design is pleasing.

I look forward to chapter 2…