Diploma Module 3 Chapter 8 - To The Edge

SECTION 1

Using what was readily available, the fabric in my samples is 'Melbury', adapted from a Sidney Mawson design by Liberty of London.  It is a heavy-weight, flame retardant upholstery cotton with a prominent large design of a pomegranate tree, plus other smaller details of leaves and berries in a rich Autumnal colour palette (8-1).  I chose strips that had both large and small scale design elements.  Though not as clearly defined as the given example I hoped they would give me enough scope from which to extend the design.

Four strips of this fabric were extended onto plain paper using various media (8-2 to 8-5).

Media in the above edge designs included Koh-i-Noor wax aquarelles, Inktense pencils, both dry and dry-on-wet, Ergo Pro ink brush, permanent sepia fine line marker, oil pastels, wax candle, damp tea bags, metallic Gioconda Artist Leads and acrylic wax.

SECTION 2

Turned Edges

8-6    Turned edge padded and stitched

8-7    Turned edge bound with padded contrasting fabric then embellished with French knots mimicking the design on the pomegranates on the Liberty fabric.

8-8    Selected parts of the design machine stitched and then the edge turned. Shapes cut from  the design on the turned edge.  The turning formed loops through which sari silk strips have been threaded.

8-9    Even weave linen with drawn threads and frayed edge which has been turned over a painted bamboo stick and then held in place with single faggot stitch (diagonal square stitch).

Bound Edges

8-10    Edge folded and bound with plain fabric and design detail inserted in the binding.

8-11    Drawn thread channel turned and bound with design detail.  Surface French knots (on seeds) to hold the applied details in place.

8-12    Fabric edge frayed and then folded on drawn thread section.  Into the fold a contrasting frayed fabric is inserted which is held in place by hand kantha stitching .

8-13    Even weave turned and bound with design detail.  Sympathetic back stitches hold the turning and applied pieces in place.

8-14    Frayed edge turned and bound with design detail.  Surface hand stitching holds the turning in place.

Faced Edges

8-15    Shaped faced edge free machine stitched in contrasting colour and then cut close to the stitching.

8-16    Two fabrics turned 'inside-out' after inserting design detail (leaves )into seam before stitching. The leaves were then mirrored in free machine embroidery (note, you can see the faced edge in some places - careful pressing is needed if this is not the desired result).

8-17    Two layers of fabric were padded and then stacked to form multiple layers.  Cut shapes from the design also echo the repeat pattern.

Frayed Edges

8-18    Even weave with drawn threads that have been woven with contrasting threads, enclosed in borders hand stitched in single faggot stitch (diagonal square stitch).

8-19    For this sample I returned to the Manx Crosses theme as inspiration.  From even weave I created three layers

• bottom layer - piece of frayed even weave
• second layer - piece of frayed even weave with deeper frays than bottom layer.  This was then divided into 'clumps' by plaiting pairs of threads
• third layer - the withdrawn threads were plaited and placed on top of the second layer and held in place top and bottom with small stitches, creating a channel.

This created various possibilities (see 8-20-22).

8-20    A piece of black linen bias binding was frayed on both edges.  This was inserted between layers one and two of 8-19.

8-21    The bias binding was placed on top of layer 2 and under layer 3.

8-22    The bias binding was threaded through the channel created by layer 3.

Ruffles

8-23     A bias strip was cut and one of the long edges was machined using the automatic stitch pattern #16 on my Bernina, which gave a scalloped edge.  The material was then folded in a ratio of about a third to two thirds and machine gathered on the folded edge.  This was machined to a piece of calico and then the longer edge was frayed.       

8-24    Again using bias strips, the edges were stiched with automatic stitch pattern # 13. They were gathered at an angle down the strip and machined to a piece of calico.  This was repeated, placing the strips at different angles.  

Flounces

8-25    Three 22cm circles were cut from calico and then from inside this circle 

• a 12cm offset circle was cut (8-26)
• a 12cm circle was cut from the centre (8-27)
• a 17cm circle was cut from the centre (8-28)

All were then cut to give a strip of fabric which was machine to calico to produce the  different flounces shown in the pictures below.

Stitched Edge

8-29    These were made using heavy duty hot water soluble film.  Image 8-29/30 replicates 8-16 but with this technique, the stitching being extended past the edge onto the film and then the film dissolved.

8-31    The edge of the fabric was machine stitched as in 8-17 and then the fabric was trimmed to the stitching.  In the 'gaps' formed, the pattern was extended past the edge onto hot water soluble fabric.  Once complete, the soluble fabric was dissolved.             

Folded Stitched Edges

8-33    This sample was inspired by the carnation stems and leaves from the Melbury fabric, interwined and overlapping.  The design was extended past the edge onto hot water soluble fabric and then onto a parallel piece of fabric. The soluble fabric was then dissolved and the fabric folded in half to give a decorative edge - 8-34.  (Note I didn't continue the pattern on the bottom piece of fabric in the detail I had done on the top as once it is folded over it won't be seen.)

8-35    This sample is based on the plaiting found on Manx Crosses using the technique above.

SECTION 3

Using the edge design 8-2 from Section 1 as a starting point and after some adaptations I made the textile edge 8-38.  The edge is made up of several layers, from top to bottom

• three wired scuptural forms inserted through holes made using an awl in the second layer
• three applied semi-circular faced shapes in calico.  The design was free-machined and the shapes were calico-faced.  Sheer flounce edges were inserted when the facing was applied.
• a plain calico flounce
• a sheer flounce with distressed edges
• a second calico flounce with cut outs of leaves, the outlines of which were free- machined
• a second sheer flounce.

All these are attached to a free machine piece of fabric with a simplified design interpreted from the original Melbury fabric in 8-2.  The colours were altered to use materials I had available. 

Diploma Module 3 Chapter 5 - Stitched Braids

Below are the sketchbook pages (5-1 to 5-4) on which these braids have been presented.  These use some of the stencilled backgrounds made in Chapter 4, waxing one of the pages for increased rigidity to hold some of the more complex braids.  Where possible they are interpretations of my research theme of Manx Crosses and strapwork of this module.

Notes on the preparation of the braids are given in the appropriate section.

1 Stitched Braids for Pattern

These were made using some of the limited stitch patterns on my machine, in some cases attaching snippets of fabric.  For some braids stitch patterns were overlayed.  Cords were also couched onto background fabrics with machine stitching.  These were supported by calico and net.

2 Wrapped Braids

Wrapped braids were made using machine stitched cords which were attached to a backing using either machine stitch patterns or free machining, sometimes adding additional fabrics.

3 Stitched Thread Braids

These were made using a 7 Groove Pintuck Foot.

4 Wrapped Frame Braids

These were made using either a Hair Pin Lace Frame (5-5) or a bent coat hanger.  When made with the lace frame I crocheted the centre and then added needleweaving or free machine stitching.  The large white braid was made from Tyvek strips wrapped around a coat hanger and then free machine stitched.

5 Water-soluble braids

Apologies, conspicuous by their absence as no water soluble.

6 Threading and Inter-weaving Braids

These used shapes/designs related to my study of Manx Crosses.

Diploma Module 3 Chapter 6 - Resolved Sample Featuring 'Constructed Fabric' Methods - Option A - Knitting

The research topic covered in this chapter will be a continuation of the work on Manx Crosses in Chapter 1.  These stone sculptures are internationally significant with over 200 complete and fragmentary stone slabs registered by Manx National Heritage. I will focus on those sympathetic to the interlacing theme of this module, focusing on shape, colour and texture.

During the first part of September 2019, accompanied by my (very patient) sister, visits were made to many of the parish churches on the Island and the Manx Museum in Douglas to photograph these Crosses and gather information about them.  These photographs combined with reference books and the new three dimensional laser scans launched in 2019 by Manx National Heritage form the basis of my study.

I will also focus on a cushion that was sitting on a chair in Harry Kelly's Cottage at the Manx National Heritage Village at Cregneash that caught my eye (6-1).  Knitted in Manx Loaghtan wool, the knitted pattern intrigued me as not only does it feature interlacing but also appears to be knitted on the vertical, rather than the more normal horizontal knitted structure.

As my initial photos of the cushion were poor I returned to take more.  I then discovered there were several other cushions with different patterns sitting on other chairs in the cottage (6-2,3). The patterns on these were more 'normal' and this was probably why they had passed me by.  After some sampling I managed to replicate the stitch on the cushion 6-1 and called it 'wonky blocks'.  Examples of this stitch in different 'yarns' are given below 6-9 to 6-18.

I started with a few simple samples:

6-4 - 3.5mm needles; washi paper yarn; garter stitch

6-5 - 3.5mm needles; folded paper yarn; garter stitch

6-6 3.5mm needles; stocking stitch; folded paper yarn (front)

6-7 3.5mm needles; stocking stitch; folded paper yarn (back)

6-8 3.5mm needles; basketweave stitch; double knitting wool

Then I focussed on the 'wonky blocks' pattern from the cushion in Harry Kelly's cottage using different 'yarns'.

6-9 3.5mm needles; wonky blocks; cotton ribbon

6-10 3.5mm needles;wonky blocks; ripped scarf strips

6-11 3.5mm needles; wonky blocks; sari silk strips

6-12 3.5mm needles; wonky blocks; climbing plant wire

6-13 3.5mm needles; wonky blocks; dish cloth cotton

6-14 3.5mm needles; wonky blocks; perlé cotton

6-15 3.5mm needles, wonky blocks; Wendy cotton and linen

6-16 3.5mm needles; wonky blocks; washi paper yarn

6-17 3.5mm needles; wonky blocks; Oasis bindwire

6-18 3.5mm needles; wonky blocks; folded paper yarn

Other stitches and 'yarns' were then sampled in an attempt to mirror the carving on the Manx Crosses.

 6-19 3.5mm; plait cable; ripped scarf strips

 6-20 3.5mm needles, plait cable; ripped scarf strips and folded paper yarn

 6-21 3.5mm needles; woven cable stitch; cotton ribbon

6-22 3.5mm needles, woven cable stitch; folded paper yarn

 6-23 3.5mm needles; plait cable; folded paper yarn

6-24 3.5mm needles; horseshoe cable; cotton ribbon

 6-25 3.5mm needles; horseshoe cable; folded paper yarn

 6-26 larger needles; horseshoe cable; folded paper yarn

 6-27 3.5mm needles; interlace knitting; folded paper yarn

 6-28 3.5mm needles; interlace knitting; dishcloth cotton

6-29 3.5mm needles; interlace knitting; thin metal wire

6-30 3.5mm needles; basketweave stitch; folded paper yarn

Observations from sampling:

• colour/texture - the introduction of coloured/textured  'yarn' to this type of knitting detracts from its beauty - see 6-19,20  (its texture is also detracting from the stitch - 6-10).  Pattern is lost with the introduction of colour/texture as there is too much visual noise.  My samples are, therefore, predominantly in one colour allowing the stitch to produce its unique surface pattern.  It is with good reason that Aran knitting has been in one colour for so long.
• thickness of 'yarn' and size of needle - once the needle becomes too big compared to the yarn, giving too much space in the knitted structure, the pattern becomes less defined and in some cases disappears - see 6-24, 25, 26.  This can lead to interesting discoveries in the construction of the stitch and the appearance of the sample - see 6-22, but this was not what I was trying to achieve.
• elasticity of the 'yarn' - this is mainly a personal preference - I found no pleasure in knitting with yarn that had no 'give' i.e. metal, wire core, etc. As the results are so glorious with paper yarn I persevered with this, though only the folded paper yarn had the strength to produce some of the cable stitches, the washi paper yarn breaking with the strain of the construction process.

Many of the Crosses are fragments and show wear.  Rather than drop stitches and lose the construction of the stitch I decided to experiment by knitting with materials that I could heat distress, i.e. Tyvek material (from Tyvek overalls from a charity shop), horticultural fleece and white spunbond corovin.  This would allow me to heat distress my knitted surface pattern and fingers crossed would give me some interesting 'aged' results, sympathetic to the appearance of the Crosses.  I also coloured them grey, using various methods, to see what happened when these were heated.

6-31 3.5mm needles; plait cable; Tyvek

 
 6-32 3.5mm needles; four rib cable; Tyvek


 6-33 3.5mm needles; basket cable; Tyvek

 6-34 3.5mm needles; five rib cable; Tyvek

 6-35 3.5mm needles; four stitch cable; Tyvek


 6-36 3.5mm needles; woven cable; Tyvek


6-37 black Quink; Paynes Grey Golden Fluid acrylic; Payne's Grey Inktense

6-38 black Inktense block; Payne's Grey Daler Rowney Acrylic; Ink Black Inktense


 6-39 10mm needles; garden fleece

 6-40 10mm needles Corovin

6-41 10mm needles; garden fleece; woven cable

Observations from further manipulation of samples

Taking some of the samples above I heated them gently with a heat gun, both sides.  There was shrinkage on all the samples, those coloured with acrylic having less shrinkage as the acrylic appeared to stablise the fabric and make it less susceptible to the heat.  Also, where the maximum heat was applied there was concentration of colour as the fabric shrank.  All samples hardened but those coloured with all but acrylic hardened less.  Additional work was carried out on some of the samples as detailed below.

6-42 Payne's Grey Inktense pencil; Tyvek

I was relieved that when heated, the Tyvek in this structure, didn't give the characteristic bubbling one would normally expect. If this had occured I would have had to start my experiments again with other materials.

6-43 Ink Black Inktense pencil; Tyvek

 6-45 Black Inktense block; Tyvek

 6-46 Pewter procion; Tyvek

 6-47 Payne's Grey Golden Fluid Acrylic; Tyvek

6-48 Payne's Grey Daler Rowney Acrylic; Tyvek

6-49 Pewter procion; woven cable stitch; Tyvek

 6-50 Pewter procion; Corovin; garter stitch 

On heating Corovin it tended to disintegrate, rather than 'melt' as the Tyvek did.  This was not what I was after.

 6-51 Pewter procion;Garden Fleece; garter stitch

On heating the garden fleece it behaved as the Corovin had done.

 6-52 Pewter procion; garden fleece; woven cable stitch

The garden fleece with a knitted pattern became unrecognisable on heating.

 6-53 Pewter procion; five rib cable stitch; Tyvek

So Tyvek was giving me the effect I was after, painted with acrylic, but the question arose, should it be coloured before or after heating.  I therefore took unpainted samples 6-54,5 and heated them.  Once cool I painted them 6-56,7. 

Additionally, I had the option of varying the width of the Tyvek strips cut for knitting.

6-54  four stitch cable; Tyvek

 6-55 stocking stitch (reverse side); Tyvek

 6-56 four stitch cable; left - Payne's Grey Golden Fluid Acrylic; right Payne's Grey Daler Rowney Acrylic; top section - acrylic wax; Tyvek

6-57 stocking stitch; Payne's Grey Daler Rowney Acrylic; right hand side - acrylic wax; Tyvek

I wasn't surprised that the Payne's Grey Golden Fluid Acrylic appeared very blue as I had had this result with it before (shame I have a large bottle).  I peferred the Daler Rowney acrylic.  Applying heat to the Tyvek and then colouring it gave me better options than colouring it first as I could apply as many additional layers of paint until I had the desired effect.  It also meant I didn't have to heat the acrylic (Health and Safety).

Resolved Sample Created from A Knitted Fabric

Based on the criteria given, the resolved sample needs:

• to show knowledge of how to control the technique
• not to be just be a happy accident
• have a specific aim
• be based on a design

From the samples already made I had the basis for my design, based on the designs on the Manx Crosses.  These I wanted to appear as if in situ surrounded by grass - perhaps a little morbid, but I decided to go with it.  I considered how I would make the Tyvek structures rigid enough to stand.  My first thought was pelmet vilene but this was too heavy for what I wanted.  My second thought was aluminium modelling mesh, but again I thought this too fussy.  I decided to back the Tyvek pieces with calico and then wax the pieces for rigidity.  I tested whether this was feasible on a piece of Tyvek knitted in stocking stitch and then melted, 6-58. 

This I free machine stitched to calico painted with matt white emulsion and then painted it with Daler Rowney Payne's Grey acrylic, 6.59.

Five panels of Tyvek were then made using lengths cut with approximately 5mm width. The stitches used were woven cable (6-65), double cable (6-61), 5 rib cable (6-63), banjo cable (6-62) and six stitch cable (6-64).  These are shown before distressing in 6-60 and after heat distressing in 6-61 to 6-65.

These were then free machine stitched to calico painted with white emulsion and then painted with Payne's Grey as above.  When dry, the detail was highlighted with silver metallic rub-on and white Inktense pencil.  Holes were made through the backing calico with an awl where some of the Tyvek had distressed to holes.  A piece of monoprinted calico was also prepared to mimic grass.  The first placement of the distressed Tyvek panels in the grass is shown in 6-66.  

The final resolved sample shows the cut down distressed panels in their final arrangement.  Once the pieces were machine stitched together they were waxed with paraffin wax to give them the rigidity for the piece to stand.

6-68 shows the light shining through some of the holes in the backing calico.

6-69 Aerial view of panel.