Sonntag, 16. November 2014

 Picture 83, 84 85, 86, 87 and 88:
The following 6 pictures are variations of my design of picture 80, 81and 82 composed by Photoshop Elements with different filters. I find all of them interesting. My favorite is the design of picture 88.
I elongated sideways and lengthways of the original design to get the measures for my wall hanging.



Picture 88 is my wall hanging design.


Picture 89:
My manipulated fabric technics for my wall hanging. I used synthetic silk, stitched with pearl  yarn in the bobbin in meandering and whip stitch. The layer underneath is crash fleece. On this picture can you see the difference before and after ironing. This is my translation from the brown paper strips.
Fabric B:




 Picture 90:
This is my translation of my blue paper strips. I have dyed cotton in blue and green (the second layer) the first is silver aluminium foil. I have created lakes with zig-zag stitch and cut the cotton parts out. The third layer consists of two layers of blue organza, bonded with painted Bonda- web. After free zig-zag stitching with  Whip-stitch I have treated it with hot tool. 
Fabric A:


Picture 91:
My red dyed fabric for the red waves was printed with silver acrylic by silk screen technic.
Fabric C:

Picture 92:
I am sewing my white wavy parts for the sea foam. From this pattern I have made two different technics. One on water soluble fabric and the other was done on a sheer organza and after stitching melted away.
Fabric D and E:

Picture 93:
This picture shows the hand stitching yarns I have chosen.

Picture 94:
This picture shows my stitch design for the wall hanging. Stitches and yarns I have used, which I selected:
1. Madeira Lana as bobbin thread, zig-zag whip stitch.
2. wool/ silk knitting yarn for the bigger knots.
3. hand dyed silk thread for the little knots.
4. green metallic thread for making an accent for the zig-zag machine stitch (hand stitched)
5. big zig-zag stitch between fabric A and B, silk thread.
6. metallic thread in seed stitch laying over the fabric B, which was stitched before with Pearl bobbin thread and after crunching. (7)
8. silver metallic for herringbone stitch.
9. rayon Madeira for making the sea foam.

Picture 95:
The presentation of the supporting work
The blue strips represent the blue clean water of our seas. The reflections are demonstrated by pieces of aluminium foils. The brown crunched strips symbolise polluted water. The red woven wavy strips are positioned between these two different facts (poluted and unpolluted water). The stitched zig-zag lines- as well machine and hand stitched- symbolise the conversation from whales and humans. The red wavy strips are so oriented, that you can visualise whales. The knots symbolise the water drops. The sea foam arises when water and air  are mixed together. Protein polluted water produces also sea foam. The manipulated fabric for the strips are made separately and attached down to a backing fabric such as callico. These strips are secured on the background fabric with invisible, tiny stitches and the hand stitching part was done after this process thereby the fixation was increased. I have used for my hanging method a wooden stick with visable machine stitching loops. For the finishing edges I have chosen a simple turned hem.

Picture 96 and 97:
My wall hanging based on polluted  and unpolluted water with conversation.
Chapter 12:
Study three artists:
  • Jean Maries:
She is a well respected textile artist. She has explored several methods to make from paper technics translations into fabrics and stitched works. About these technics she wrote a book. She also gives online workshops. The connection from her work to this module is the interpreting and manipulating of designs inspired from the nature to a personal art.
  • Barbara Lee Smith:
She is also a famous artist. Her personal feature  is the use of one material, an industrial grade polyester non -woven fabric. She also wrote books about her technic. She is also inspired by nature. She works in a free manner, paints her material and manipulates it in several ways. Each finished piece attaches to a wooden frame, which is mounted behind her work to keep it away from the wall. 
  • Maggie Grey
My third chosen artist is Maggie Grey, she is a highly experienced teacher. She published a lot of textile books. The connection to module six is, that she works with dissolving and washing away. melting and distorting fabrics. She works with machine and also with hand stitching in combination. As many artists she is inspired by nature. She is very famous for her innovative mixed media ideas and technics. In order to consider the copy right I can not present pictures from these three artists.
Evaluation of completed work:
The embroidered piece for module 6 is an imaginary story of  water, water pollution, conversation based on a paper design.
  • Do you feel satisfied with the result?
It was difficult for me to keep to my paper design and manipulated papers. I had to make the connection between my papers and fabrics visible.  I felt a little bit restricted. I am quite satisfied with my result.
  • Is it fit for its purpose?
I think so, the transposition of my story is clear.
  • If you were asked to make it again......?
I would use one of my other designs because I do not want to make the same design twice.
  • Costing of the materials:
for papers, paints, glues,  different fabrics, threads and yarns:  about 40,00 Euro. The most of these materials are from my stash.
  • My work samples are between layers of tissue paper in a box.
  • Health and safety rules were observed. The most part of these works were done outside.
  • Timing:
I started with the download on the 15.07.2014 and completed this module on the 16.11.2014. In this time I did the design work and embroidery work. I needed for this 67 hours not included is the time for reading, research and uploading on my blog.



Mittwoch, 22. Oktober 2014

Chapter 9:
Decorative  papers:

My choice of  the  color scheme is blue, green, turkise, magenta and silver white. All the colors are in different ranges from light to dark tones.

Color symbolism:
The color blue is the coolest and most calming of all the colors. It represents the water and the sky. In Christianity the color blue becomes the symbol of the Virgin Mary. I like a deep blue as it is a enjoyable color.

The color red/ magenta represents universal harmony and emotional balance. It is my second complementary color in my color scheme. In the meaning of colors, magenta represents universal love at its highest level. The color magenta is a color of cheerfulness, happiness, contentment and appreciation for what you have acquired and achieved.

The color white contains an equal balance of all the colors of the spectrum, representing both the positive and negative aspects of all colors.
The color silver has a feminine energy, it is related to the moom and the ebb and flow of the tides. It is the color of illumination and reflection and modern hi-tech.

Picture 73:
My used stemps for making the next papers.

Picture 74:
A range of blue papers.
1: the basic is made of water color and than stemped with acrylic dark blue and silver
2: a sheet tracing paper was rubbed over cartridge  with oil paint stick and than a wash blue of diluded acrylic paint
3: acrylic paint was applied with a sponge and than I used a brayer with silver acrylic paint to make a  pattern.
4: rubbing with a candle by using my stemp and than blue wash with Brusho paint
5: the same technic as No 4 only using Procion
6: painted Bonda web was applied to a sheet of paper
7: the first layer was painted with Procion and Brusho, stemped with bleach
8: it was painted with Brusho, stemped with acrylic
9: a light wash of water color paint and than was salt applied
10: tissue paper was used. The linol stemp was rubbed by oil paint sticks. After drying a color wash was applied
12: different blue Procion colors and a little bit red was painted and than I applied salt.
13: two colors of Brusho were applied
14: crumpled brown paper was put in a bath of blue Procion for a short time, after drying it was ironed.
15: On a plastic bubble wrap was glued a layer of painted tissue paper.

Picture 75:
 -First row from left to right:
Procion color with salt
water color paint with salt
the first layer was done by candle wax and than blue ink
-Second row
a thick layer of different green and blue colors was applied on a sheet of paper, a brayer was rolled over to get the bubbles
different water colors were applied with a brush
the first layer was done by drawing spirals with neo color 2. A layer of silver was layed over, at last I used a brayer for making the bubbles
I made marks with a candle wax, sprayed water on my paper and than blue and light green Brusho was applied

Picture 76:
I have made marks with masking paint and than I painted with brush after drying I removed the masking paint
water paper was sprayed with magenta paints and than was applied a layer of salt
making marks with candle wax and it than was painted by Procion
the wavy lines were made by oil paint sticks and than painted with Brusho
the first layer was water color paint and than stemped with a round sponge acrylic paints in red, blue and silver
oil paint sticks were rubbed over cartridge paper

Picture 77, 78 and 79 are examples to my black and white papers. These are exercises for   the developments of my designs. These are my warm-ups to get an idea of the harmony with the different forms.

Design into full color:

Picture 80:

Picture 81:

Picture 82:

Freitag, 17. Oktober 2014

Chapter 8:
Research for conservation theme:
To find my story line for this module I switched back and forth in this chapter 8. I gathered ideas and things for the theme sea including the pollution and exploitation and the linkage of all these facts.
For a better understanding of the following thoughts I mention that I was born  in the Nederlands at the North Sea cost. When I was a child I collected many things after the retreating of the flood. The most categories of these shells and things can not be found any more because of the pollution and exploitation.
Verbal information:
  • excess
  • overwhelming
  • partnership
  • rhythmical- waves- walesongs
Warm up exercise:

Picture 70:
Here are my collected ideas for finding my design. I have drawn a tailfin to demonstrate the similarity of this design  to a ginkgo leaf.
My blue plastic net demonstrates the plastic waste in our seas.
The two round stones which I found in Wales obtained their form by abrasion on the way to the beach.
I painted the beach by acrylic paint and I positioned shells, a plastic net, stones and driftwood on it.
The two drawings in the middle of the picture are the starting point of my story line. A line can be straight or wavy which can be subdivided into different forms. Walsong is transformed in a graphical way. Wales communicate over thousands of miles by these songs. This kind of communication is a part of their social network. Waves are almost everywhere.

Picture 71 and 72:
Design exercises; in black paper to the words in this chapter. I have ripped, cut, manipulated different kind of black paper to reflect the meaning of my words.

Sonntag, 12. Oktober 2014

Chapter 7:
Use of dissolvable "fabrics":

I have used different sorts of dissolvable fabrics. The shrinking process varies one by one "fabric".

Picture 62:
8 small patches using different machine stitches. I have used your numbers from 1 to 14 for my little exercises.
Exercise 1: 1-8-15
Exercise 2: 2-4-5
Exercise 3: 2-8-6-3
Exercise 4: 2-3-6-15
Exercise 5: 2-4-6-8
Exercise 6: 2-3-7-12
Exercise 7: 2-5-13
Exercise 8: 2-3-7
As you can see the results are very different- sometimes better, sometimes less.

Soluble lace samples based on sea and my drawings:
Picture 63:
I worked with different types of yearns also to create reflections (metallic yearn) in long zig-zag lines with straight stitches.

Picture 64:
I used for this sample adhesive Wash-Away. I layed thick yearn on adhesive surface and I covered with a second layer dissolvable fabric. I sewed over this grid to get a connection with the yearns.

Picture 65:
I used the same technic, but I used strips of organza and I connected these strips with sewing circles.

Picture 66:
I created dots to illustrate bubbles of air in the water.

Picture 67:
To get short and long wavy lines  I used straight stitches and I put these together with a small zig-zag stitch.

Picture 68:
For this sample I have used a twin needle and wipstitch. The swirles are not good recognizable, because I missed the cross points and after I have dissolve  these pieces fell apart.

Picture 69:
After this disappointing result I needed a success. I painted a paper and made a stemp in ammonite shape. This form has a long history and I find this shape very beautiful. I stemped on my paper and sewed on dissolvable fabric. I cut out the ammonite shape to create this paper.

Dienstag, 7. Oktober 2014

Chapter 6:

Picture 54:
To be able to make cutwork I have to put several layers of fabrics on each other. Each layer is stitched to make texture. This picture shows the aluminium foil  and than the blue dyed fabric was stitched in long elipse forms and wavy lines.

Picture 55:
The third layer  was made of two layers blue Organza, processed with hot tool and than it was placed on the prepared layer of picture 54,  sewed together with whip stitch.


Picture 56:
The first and the second layer can be seen on picture 53 . Picture 56 and 57 are a replication of this fabric, which is the second layer. The third layer is Organza.

Picture 57:

Picture 58:
On the third layer I have sewed swirrels and cut partly away to get waves on the ocean.

Picture 59:
Here is my dyed and sewed fabric. This is my first layer.

Picture 60:
The second layer was sewed with an all over meandering. I left different parts free to cut the fabric away.

Picture 61:
This exercise consists of two layers. The first layer was sewed in long zig-zag straight lines in different blues and shiny silver. The second layer is cheese cloth with zig-zag stitches sewed and than partly cut away.

Dienstag, 23. September 2014

Chapter 4:
Coloring and bonding from fabrics and threads


Picture 45:
My selection of threads in dye bath . For my fabrics and transfer adhaesives I have used Procion also Dye- na Flow and Javana silk paints. The results can be seen in the following pictures.

Picture 46:
My threads. I shall use also threads  bought from Anne Lange.

Picture 47:
A selection of my dyed fabrics. I have dyed on wet and dry fabrics , I have also used salt crystals. On a wet fabric the color was easy to overlay to get more interesting movements.

Picture 48:

A selection of my silks.

Picture 49:
A selection of my transfer adhaesives.

Chapter 5:
Free machine stitchery to interpret drawings.

Picture 50:
I have made 3 different types of stitchery based on my drawing.
Left: a scrim, done with zig-zag stitch to get wavy lines. The threads were pulled together.
Middle: zig-zag stitch free hand .
Right: a double layer chiffon machine straight stitch with twin needles.

Picture 51:
5 exercises related to my drawing.
Left: callico, first I sewed with a thick yarn in wavy lines on my callico. In the gaps I sewed white bubbles.
Middle: on painted Bonda web I have sewed wavy bubbles.
Right: wavy lines and bubbles on scrim.
Left under: meandering in wip stitch in two colors about each other.
Right under: two layers chiffon with little pieces painted Bonda web between. Free hand stitching around the bubbles.

Picture 52:
3 exercises related to my drawing and fotograph.
Right upper: 2 layers of organza sewed in meandering and than melted partially away, but this effect can not bee seen on the foto.
Left under: here are 3 layers: first layer callico, second layer a fine layer wool, third layer Kozo faser, these 3 layers were sewed together in straight stitches.
Right under: scrim sewed with zig-zag stitch to get oval circles.

Picture 53:
Right upper: Baby wip sewed in long zig-zag lines related to my drawing.
Left under: painted callico even so stitched in long zig-zag lines.
Middle: this is a house hold foil stitched even so in long zig-zag lines. From this foil I have bent over a little piece to demonstrate the material.
Right under: a piece of jute sewed in zig-zag stitch in long zig-zag lines.