Monoprinting was fun. You can see some of the ghost prints turned out line too. After the first pull, I spread the glass with water for the second pull. You can see on the bottom, second from the left the difference to the original immediately to the left. On some of them I decided to use fabric for the second pull. I will include those in the examples for the next class. I used printing ink for silk screening and Golden's Carbon Black fluid acrylic paint. I also thought that I needed a few that would be darker so using a black paper, used golden's Zinc white to print. I wanted to make sure that I had a full array of tones.
Sunday, December 25, 2016
These were done on printer paper. Most were done using a cardboard box that I cut up in different shapes. I tried to use the drawings that I did to "interpret" the animal patterns. What I began to notice is that with each set, the designs got more stylized.
Sunday, December 18, 2016
Sunday, December 11, 2016
A and B were the original stitch layer (see previous post).
A.1) Went over scallop stitch with uniformly formed zigzag stitch to create a linear pattern.
B.1) Went over the gathering stitch with the triple straight stitch; it didn't add a lot of interest but could for another pattern perhaps.
As this was still a general experimental exercise, I used the base and created different variations.
A) working with the honeycomb base, I added some additional rows to create a darker tone and then a connecting line.
A.1 and A.2) Crisscrossed the line to create possible snake skin pattern
B, B.1, and B.2) Running Stitch base with Stitch #6 over it; not very interesting, but I did do a few more rows under it.
C) Stitch #6, then dropped the feed dogs, whip stitch
C.1) Stitch #6, then dropped the feed dogs, heavier whip stitch, and freeform zigzag in one row, connected
C.2) Stitch #6, then dropped the feed dogs, whip stitch, connected freeform zigzag to create spots in center; played with denser, and then gradually lighter stitching toward the right.
- I really wanted to use a hoop to insure that I could control the large piece of fabric and stabilizer, but it accommodate the length, I had to use the X-large hoop; I quickly learned that it was hard to control the stitches as I was almost a foot and a half away from machine when I reached the end of the row and I still couldn't turn the piece easily and therefore had to use "reverse" on the machine. It was hard to stitch a straight line. (HINT: use a water soluable marker to to create line guides) Also, in the future, don't use hoop but a instead a good stabilizer, either felt, washaway, or thicker paper.
A) Scallop, only changed width at end
B) Gathering stitch #7, changed stitch length and went over a few areas to create tone.
C) Honeycomb stitch; wasn't great at keepingit straight, I decided to accentuate the shift.
D) Running Stitch; I didn't change the stitch length until the last two passes; reverse stitched rows were completely different look.
I had a few hiccups when I started doing my cable stitches! In the past, I have done lots of bobbin work (especially with Ricky Tims sparkly thread) so was frustrated with the mistakes. After I "got it", I remembered how much I love this effect.
A) Straight stitch with Pearl cotton #5 hand wound in bobbin; It came out great, except I had stabilizer on the bottom which is where the cabling appeared.
B) Gathering stitch but stitch length increased, no stabilizer; bobbin tension is off slightly, but I like it; would like it better with stabilizer to control puckering.
C) Bottom part: tried repeating A, but the machine "ate" it! Came back later and used a thin but long zigzag stitch. I really like it even though the bobbin tension is too loose, but I take it as a happy accident.
D) This one was just for fun. I had to drop the feed dogs for a few minutes at least! It would be a very easy way to build tonal variation like this. I also wanted to see what it would look like when repetitively going over the lines and seeing the buildup.
I adjusted the bobbin holder one half turns to the left
A) ZigZag, black thread in bobbin, white on top; I began by trying to adjust the tension. After awhile, I really wanted to drop the feed dogs to create more stitches at a faster rate, easier.
B) ZigZag with Straight stitch, black thread in bobbin, white on top; very interesting pattern.
C) Honeycomb Stitch 13, black on top and bobbin; I tried to ceate variation throughout. The zigzag looking area in the middle happened when I dropped the feed dogs and hand pushed the fabric.
D) ZigZag, Black thread top and bobbin; created mainly changing the stitch width and changing the length on only a few.
With the white thread on top, it creates great stitch texture, while having black on top and bobbin, creates great spidery effect
Saturday, December 10, 2016
9) 50wt Aurafil cotton thread and stabilizer, Pearl stitch #25, I used mirror image on some lines and reversed occasionally; I really thought it was missing something so added some straight stitches.
10) 50wt Aurafil cotton thread and stabilizer, Scallop stitch #18, width and length changed; Realization: I don't like it on the diagonal as a way to create tonal change.
11) same as above but straight stitch
12) No stabilizer but two layers of cotton, Honeycomb stitch, changing length as I went, repeated over some layers to create darker tone.
5) Quilting thread w stabilizer, Universal Stitch #6 and varying stitch length and width; realization: changing stitch width and not length covers more faster.
6) Quilting thread with stabilizer, Honeycomb stith #13; Note: would make great reptile skin.
7) Sulky nylon thread with stabilizer; Gathering stitch #7
8) Sulky nylon thread with stabilizer; Universal stitch #6, changing only stitch length during the row; Very interesting, but hard to do on my Bernina 1090; might be easier on my newer more computerized machine.
In chapter three, tonal effects with machine stitching was explored. I haven't stitched with my feed dogs up and a real presser foot for a while! It took some practice and I learned/relearned a lot.
1. Stitched with quilting thread with a zigzag stitch, stabilizer used, varied distance between stitches, highest width and length settings
2. Stitched with quilting thread with a zigzag stitch, stabilizer used, varied stitch width, tried doing it with reverse stitch setting instead of flipping it every time.
3. Stitched with quilting thread with a zigzag stitch, stabilizer used,varied stitch length only, didn't want to overlap as much, wanted to let stitch line density to create the tonal change.
4. Stitched with quilting thread and stabilizer using a running stitch #3, varying width and length, it is a wavy stitch. Realization: It is frustrating sewing with my feed dogs and not having complete control of my sewing. It is something I need to practice to make myself more comfortable!
1 idea: circular like a jaguar pattern with thick thread at center (maybe three), breaking up the pattern as it moves away from center and going to lighter weight threads.
E) On C above, I didn't think there was enough of a tonal variation so I went back with two strands of cotton floss at the top.
I just had hand surgery so although I enjoyed doing them, it was tough creating them. I hope to circle back and try some more either working blackwork into the piece or doing additional samples.
A) This was hard for me. I have only worked on canvas twice in my life. I also haven't done cross stitch in decades. I do have to admit that the repetition was relaxing, but then I would make mistakes. It wasn't until half way through that I remembered how to do half stitches to keep filled uniformly at the sides! I really didn't want to allow myself to do half stitches, as then I would have just stared doing straight stitches at a diagonal instead of sticking to a true crossstitch. I would have much rathered doing it more freeform because I feel much more comfortable with it, but it I do appreciate working out of my comfort zone.
Speaking of comfort zone, I have never done blackwork before! I had to buy the RSN Essential Stitch Guide to Blackwork. I actually enjoyed doing it. There was something very calming about it. I have to admit. I was pretty bad at following the pattern and went from my gut several times in all of the black work pieces.
B) done with 14 count Aida and #12 pearl cotton from DMC
C)Harlequin pattern on 14 count Aida #12 pearl cotton from DMC. I started with a more squared stitch but then started over with a more elongated stitch.
k) Base is black acrylic paint applied with hog bristle brush, white acrylic paint added with finger. maybe machine stitch black and then come in with hand stitching on top
l) Black acrylic paint with dry brush efffect, molotow pen was applied on top
m) sumi ink base then white acrylic paint was applied with side of a foam brush
n) sumi ink base with white acrylic paint applied with finger (spider web stitch?, buttonhole in circle)
f) Black acrylic paint applied with hard edge of hog bristle brush, dotted and pressed. Lots of fun to create with hand stitching with different lengths and weight of stitches
g) Black acrylic paint with hard hog bristle brush with slightly wet
h) Molotow White Acrylic pen on black paper. long stitches or long couched threads of different weight for more interest
i) White conte crayon with black paper. hand stitched with french knots with different weight threads or detached thick stitches.
j) Snipped DMC floss thread glued to black paper.
Chapter One of Module Two is about studying tone. The exercises are to learn about creating a gray scale using different methods and mediums.
a) Faber Castell 1.5 bullet nib black pen and squiggly lines. This would be easy to translate to machine stitch. Hand stitch could be with couched lines
b) Cut black paper. Easy in hand stitch maybe a sorbello stitch or just a group of straight or crossstiches. Also easy with machine stitch
c) White pan pastel on black paper (black pan pastel added to top to create a better black). Not as easy with stitch unless you do very tiny stitches, but easy with dyes or paints.
d) Black sumi paint base with white zinc acrylic paint applied with brush pushed and squished.
e)Black sumi ink applied with side of foam brush; create in stitch with machine stitch changing stitch width or by hand with bullion stitch perhaps.
f) Black sumi ink base with zinc white acrylic paint added with side of foam brush.