Module 1 Chapter 12 – Towards an Embroidered Item

This part of my blog contains the documents I created for the final stages of Module One.

In  chapter 12 the aim is to take a design idea further.  I have worked the chapter in two sections.

Stages 1-5 are related to creating a background surface to cut up into different shapes based on ideas from previous chapters, then arrange in an interesting composition.  My photographs and notes are shown in this pdf here:

Module 1 Ch 12a Towards and Embroidered Item

Stage 6 is the proposal for a resolved embroidered item.  I have chosen to develop ideas based on the poppy seed head to make a 3D vessel.  My thoughts and notes are in this pdf here:

Module 1 Ch 12b Proposal for a Resolved Embroidered Item

For chapter 13, I focused on the following textile artists.

            Lynda Monk

            Sandra Meech

  Ann Small

My notes include photographs of the artists’ work (for which I sought written permission).  The work was sent by pdf direct to Sian as it is personal research.

I have completed the admin for Module One which includes:

• Final Evaluation of completed work

• Costing of Materials & Recording Time

• Storage of Work Materials & Equipment

Module 1 Final Evaluation

Chapter 9: exploring design with abstracted fragments (part 2): Translate fragment with texture

Hooray, I have managed to finish chapter 9.

Rather than spending frustrating hours trying to upload my photos and notes, I created a PowerPoint which has been converted to pdf for easier viewing.

Read about my progress for this section here:

Translate fragment with texture

Now onward with the next chapter.

Not much progress...

Oh dear....  I had grand plans of making great progress with Chapter 9 during March,  I tidied my works pace in the garage so I could do some messy work, but life stuff got in the way... I reviewed my To Do list,  reset the targets with grand plans to work on Ch 9 in  April, Oh dear, I went on a Guild embroidery course, and got tangled up in that, and working on mt leaves project for Tracy...  Revised plans again for May. Oh No must get stuff ready for Regional Day....  then there is all the web site updating and time spent with hubby..  Oh No it's the end of May...  And now it's the beginning of June and we go on holiday so will be away for nearly three weeks, there is only space to take tiny bits of stitching....

Can I put all my Guild stuff aside when I get home and concentrate on finishing chapter 9...  I will set myself a new deadline for the of end of July (but there is another holiday to fit in as well) to finish Ch 9.

I shall be writing lines soon:  I MUST FINISH MODULE ONE, I MUST FINISH MODULE ONE, I MUST FINISH MODULE ONE.....

Chapter 9: exploring design with abstracted fragments (part 1)

In this chapter the aim is to explore a design idea chosen from chapter 4 'solid shape', chapter 8 'hollow outline' or choose a new design from my other sketchbook drawings or photographs.

I have split this chapter into two parts as I seem to have completed a lot of samples, with many more ideas to explore.  This post explores the initial designs using the abstracted fragments, computer manipulation and then exploring colour with small designs.  In part 2, I will write about developing the designs with texture.

I reminded myself about the ‘design recipe’ or elements to be looking for:  polygons, spiral lines, concentric lines, lines beyond the edge, lines confined by the edge, straight lines, curved lines, semi-circles, cross-hatching and shading.  

Having looked through my sketch books I decided to revisit my original photographs and enhanced colour images that provided the inspiration of my simple shapes previously used. These two images (A and B below) are my chosen sources.

Image A

 

Image B

 For the first set of exercises I cut a window 7cm x 4cm from card to look for interesting sections to make the tracings.  I tried two different positions for my window on image A. This produced radiating lines resulting in a very simple design.  I thought this was too simple and would not produce sufficient interest for the further exercises.

I added some detail with small sketches of my simplified shape.  I'm not entirely sure that they have worked to help with the design so I moved onto looking at a window from Image B. 

Image B is a manipulated colour image so there is more subtly in the detail to look at for my tracings.  I  think having a colour image is making it easier to see lines of interest.

In this set of images, I found a simple set of lines, then adding more lines, to produce polygons to the tracing. 

Here the lines are almost straight.  I wanted to include some very curved lines, so traced some detail from the top right-hand corner (see image B2  below):

  

The first tracing (B2) started off as quite an elegant design, but rotating (B3) and adding more of the similar lines  (B4) seemed to make this too complicated!  So, now to try again with fewer curved lines and with different sizes of my simple shapes beneath the tracing.

I made a second tracing of the lines without the added curved shapes for the next exploration.  In B5, B6 and B7 (images above) I used different sizes of ‘my shape’ as a background. I’m still not quite happy about the design arrangement in this iteration so try another scheme.

I scanned a clean copy of B2 to print and/or manipulate in other digital programmes.  I played with a few ideas finally settling on a design that included adding and extending some curves that had more potential for exploring abstracted fragments.  I printed several copies of Images B2 and B2b to explore methods of shading the abstracted fragments.

The designs of B2 and B2b seemed to work well for exploring a series of changes:

In B8 and B9 I included spiralling lines and concentric lines to create pattern within the polygons.

In B10 and B11  the counterpoint shows the addition of my shapes and semi-circular motifs. 

  

However, an example that used cross-hatching was a bit of a mess!  I am pleased with progress of developing this abstracted shape as I was struggling with thinking of words/phrases to use in my 'recipe'.

  

Explore design ideas with the computer:

Unfortunately, this opportunity is like falling into a rabbit hole for me!  There are so many different effects that can be achieved through image manipulation.   I therefore set myself a limit of one morning only to work on this section and to choose ten effects.  For all but two of the images I used the package Gimp.  Two images were altered using MS Word.

 

These exercises have been useful, as I now have some ideas of how different stitch patterns could be used to define lines and edges; how layers could be added /cut back to introduce colour; how to introduce background texture; how the surface of papers / fabric could be raised; how pieces of fabric / paper could be cut up and transposed; how fabric / paper could be twisted.  Plenty to explore in the part 2 of the chapter!

Design exploration with 'fragmented shapes'

Adding colour with the computer:  The three images below show a good quality scanned diagram used in Gimp.  Polygons coloured with a basic red/green complimentary colour.  In the second image the red polygons were selected and colour manipulated.  In the third image a background texture applied to the whole image.

 In this section, colour has been added manually.  

4:  Derwent colour pencils with analogous colours (ultramarine, oriental blue, purple, grey). 
5:  Complimentary colours with Dekka silk paints (violet, lemon) 
6:  Analogous colour using System 3 acrylics (cadmium yellow & vermillion as end colours, red-orange mix and orange as two intermediate colours).

Further exploration of colour composition includes

7: Using mainly light toned colour with one area of a dark colour mixed using system 3 acrylics Vermillion & Ultramarine & White.  Darkest colour mixed first, then more of the white added to produce paler tones.  Block coloured rather than individual fragments to emphasise change in tone.
8:  Mostly harmonious colour with one area of complimentary colour.  Using the same mix of colours as number 6, but replacing red with ultramarine in one block
9:  Combination of two complimentary colours in equal portions. Derwent colour pencils light blue and orange.  Additional diagonal lines drawn across design to indicate approximate half and half of design to be coloured.

10 & 11:  (Images below) Combination of two complimentary colours with one dominant colour.  I had several attempts at this; first using Derwent Inktense paints (which looked awful!) then using acrylic paints.  Knowing the science of the complimentary colours I was expecting one of the colours to appear much brighter, but I clearly did not have the proportions right.  So, I cheated!  I printed a transparent outline onto to coloured sheets of paper, then cut out a small number of sections from one colour (green) and stuck them onto its complimentary colour (the red paper).  I then used the green paper with cut-outs to overly the red paper.  Voila – the complimentary colours reversed.   I repeated the exercise with blue and orange paper.  I had a much better result with this technique as the colours were even and the optical effects could be seen more clearly:  the colour in the background (fewer blocks) appeared much brighter than the foreground.  I found this to be a very useful reminder of the exercises from chapter 5.

12 a and 12b:  For these samples I was trying to create a connected group of shapes of similar colour within a background. I had several attempts at this one (see below)…  Firstly, trying out painted bondaweb (blue & mauve with orange) ironed onto fabric with two of my shapes included as distinct colours, machine stitched to emphasise the linear features.  Then I added embossing powder – how awful does that look – guess what I won’t be trying again!  The second attempt was painted bondaweb (red, orange and yellow), this time I covered it with a layer of red organza with the aim of burning away some sections to reveal the colour below.  I hand stitched around the two shapes, but that made it look a bit daft, so I added running stitch outlines at random places to try to break up the background, it still didn’t look ‘right’, so I added another layer of organza, that didn’t look right either, burning back didn’t seem to help… time to abandon this one!

12 c: I had a break for a few days while I caught up the stitching for chapter 7 revisions and, to think through some other ideas.  My third attempt was much more successful.  Using one of my coloured fabrics as the background, I cut some semi-oval pieces of painted Thai silk tissue paper, that drew on the oval shapes in the early designs (image B2).  I played around with different ideas on how to connect them.  I liked the linear idea but they needed layers of different texture and stitch.  The layers are the dyed sinamay (distressed) held down with hand couched yarns from the Oliver Twists pack, then the connected shape, another line of couched yarn to hold them in position then finally, machine stitching to outline the element of the design.  This sample was a break-through moment as I felt I was beginning to get somewhere with creating an interesting sample.

13:  My next sample used the scraps of tissue paper from previous sample, couched to a contrasting background with zigzag machine stitch covered cord, a layer of distressed dyed scrim was placed beneath the scraps in the central portion to draw the eye into the composition.

14:  Faux chenille with cut away sections.  I really like the faux chenille technique, so was looking forward to trying it out in this section.  Here I have six layers of fabric in different colours and textures from my dyed fabrics – dyed cotton, organdie, scrim and silk hankie.  In two of the larger sections I sewed the lines for chenille in different directions to create added interest.  As I fluffed the cut parts up, the silk hankie completely disappeared, but strands of scrim were evident, and the cotton and organdie have lovely frayed edges.  In other sections I cut different layers away to reveal the textures and colour below. 

15:  My final sample for this section was layers of paper stitched together with the linear design, then cut up to stick on to a base of layer as exploded fabric.  I cut and folded back some of the layers to reveal the layers below, the long strips were reversed to change the colour pattern from the original top layer.  I like this idea, but the choice of papers I could have used in the layers could have better.

I have really enjoyed this section and eventually came up with some samples that I like and can take forward.  I have more ideas to try out for my part 2 of this chapter.

There were no additional costs with this part of the module as I already had all the materials to hand from previous chapters.  I spent about 40 hours creating the samples in this section.

Unfortunately, my virus has returned so I must take a few days to rest up before working in the garage on gluey, melty, messy things.   

Chapter 7 - Revisited: Colour and Texture in Stitch

Feedback from Sian on the samples I included in the posting were very positive and have helped me see how to improve my interpretation of "colour and texture in stitch".  I had lost sight of the two key words in the title colour and texture.  Although I enjoyed using colours observed in my digitally enhanced images, I was trying too hard to be precise in using the shape as the focus of the samples.  Using the dyed fabrics and threads from chapter 6 was not enough in itself to provide the inspiration.  At Sian's suggestion, I have looked again at some of the painted papers and designs from chapter 4 (revisited!) to find inspiration from the colours and textures that I created.

In my previous sketchbooks I noted that I particularly liked my revisions of Ch 4, exercise 17, with their coloured backgrounds, textured wallpaper, and added scrim.  I had also produced more painted papers using dilute Brusho spayed onto the paper with salt crystals thrown onto the surface of the wet paper.  These created very interesting abstract patterns and colours.

Below are some extra examples I have worked for colour and texture in stitch:

Sample 11:  Painted papers interpretation – Felted wools on linen scrim:  I had been struggling on how to interpret the background colours for this sample.  But I discovered the way forward by a happy accident!  I found brightly coloured tumble dryer fluff in the filter after washing a new set of towels.  I thought this is too good to waste, so used it to make a felted background on linen scrim using the embellishing machine (at last I have used the thing!).  Choosing the shades of turquoise and an orange colours as my guide, I stitched very large fly stitch and cross stitch with tapestry wool in relaxed lines and blocks.  These were felted into the background to build up another layer, then more stitching with strands of wools in blended colours to build up the texture.  Large overlapping cross stitch in shades of turquoise, large fly stitch in darker blue, and blocks of straight stitch finish the piece. Eight hours to complete this sample.

 

Sample 11: Sketchbook painted page source

Sample 11: stage 1 above, machine needle felting, below stage 2 with added hand stitching

I am much happier with this piece of work as I now understand more about creating a needle felted background and adding stitch as the texture.  The linen scrim has advantages and disadvantages:  It readily accepted the fluff at the first stage, but I added snippets of the wool to try to create blocks of colour where there were blank areas.  Here the linen fibres broke down, making large holes in the background.   This may be useful as an added texture if it is required, but can be messy if this is not a desired outcome.   The linen scrim was easy to stitch into with the wools, but overall the piece is flimsy and needs a bonded background to make it more robust.  However, this is a technique I will explore more in future.

Sample 12.1:  Stitching onto paper:  Overlapping lines and blocks of hand stitching.  I used one of my painted papers bonded to calico for this interpretation.  In chapter 8, I created a series of overlapping shapes then drew a line of interest through a horizontal section thus reflecting the idea of my shape without it being clearly defined.  Here I have used a similar idea to machine (thread-less) lines across the paper.  Some of the linear features intersect to produce new spaces which could be filled with stitches.  The linear features have been reproduced for overlaying more stitches.  The background colour is mainly a pale turquoise so for threads and yarns I have used the complimentary colours of shades of turquoise and orange. Eight hours to complete this sample.

Sample 12: Stitching onto paper

In sample 12.1, I used different stitch patterns with textured yarns to build up texture.  I struggled with this sample and I'm not altogether happy with it as I think it is too large (A4 size), too complicated, and I have tried to put too many different stitches in it. The small filled spaces with herringbone have not worked, either the scale is wrong or the colour is wrong of both! 

Sample 12.2:  Stitching onto paper:  In further attempts with this technique, I tried drawing onto paper versions at different scales and simplifying the lines to focus on a smaller simpler section. My final attempt is shown here:  Not all the lines were punched onto the paper, some have been elongated as I wanted to simplify the sketch even further.  I decided to not to stitch along the lines in previous attempts, but this time to stitch between the lines to fill the spaces.  Texture introduced with the use of the Oliver Twists' experimental yarns and threads in shades of orange on a pale green/turquoise background painted paper. Although I seemed to spend a lot of thinking time on this version, it only took three hours to stitch.

 

Sample 12.2:  Image source above.  Stitching on paper below

Sample 13: Digital printing onto paper with added hand and free machine stitching: For this sample I wanted to use linear stitching and layers to build up the texture.  My source was the image from Ch 4 exercise 17.  I used textured wallpaper and distressed dyed scrim for the surface texture, with layers of coloured wax crayon for the background.  I stretched the image to fit A4, then digitally printed it onto cartridge paper, then bonded it to a calico backing.  I hand stitched long running-stitches in a heavy turquoise cotton perle to mimic the wallpaper markings. Dyed scrim and strips of organza were distressed and roughly stitched in place as part of the surface texture.  A piece of pale turquoise chiffon (from my scrap bag!) overlaid to hold everything in place.  The chiffon was distressed with the point of scissors to create linear marks to reveal the fabrics below.  The whole piece was then stitched with free machining straight, using two multi-coloured threads on the top thread.  Using the two threads in one needle ensured that neither of the colours would dominate the surface stitching, rather there is a subtle blend of the threads. I didn't use a twin needle as I didn't want to wreck another needle by stitching through the paper. Two hours to complete this sample.

 

Sample 13: source image above, below layers with machine stitching onto paper

Sample 14: Linear texture with surface texture: In this sample I have tried to create the appearance of shadows and background texture from one of my digital images of the poppy seed head.  There are lighter and darker areas made by the undulating and mottled surface in predominantly grey colours, with splashes of green. I have ignored the splashes of yellow/orange, as I have used these colours for several of the other samples.  The fabric is from one of the bags of dyed with emerald + violet.   I have exaggerated the raised surface by using gathers on two opposite sides of the fabric.  The spaces between the gathers have been covered with seeding in shades grey threads to suggest the mottled background.   Eight hours to complete.

 

Sample 14: source image above, below raised surface with two side gathers and hand stitching

Sample 15: Raised surface background with surface texture:  For sample 15, I have used a different type of gathering; stitching four parallel lines horizontally and four lines vertically.  The gathers pulled up and basted to a square one quarter size of original piece of gathered fabric (a piece from dye bag mix of turquoise and lemon mix).  The created all over bumpy surface is a different exaggerated representation of the surface of the seed head.  To create the mottled effect, I used blocks and spaced out loose French knots in a complimentary colour.  Five hours to complete.

 

Sample 15: source image above, below raised surface with horizontal and vertical gathers and hand stitching

Sample 16: Couched cords and scrim on spaced dyed fabric for texture: For this sample the inspiration was the patterning in the source image above with the turquoise and orange mix of space dyed fabrics and threads from chapter 6.   This particular piece of fabric was crumpled up so the dye markings lend themselves to interesting patterns. Here I have used space dyed scrim and cords (made from twisted sari ribbon) plus a bundle of loose fibres dyed in the same lot to raise the surface.  Couched threads & yarns with different textures have provided added texture.  I left some spaces between the couched features to reveal the base fabric. Six hours to complete.

 

Sample 16: Couched cords and scrim

Sample 17: Machine stitching (vermicelli) on spaced dyed fabric for texture: For this sample I used a cropped portion of one of my digital colour enhanced images from chapter 5.  The chosen section was the inspiration for the turquoise and orange mix of space dyed fabric in chapter 6.  Here I have used the fabric, 'spiders web' and vermicelli stitch as the background. 

 

Sample 17: Surface texture with machine stitching

The aim was to see if I could make a pre-programmed decorative stitch look less linear and regular.   My free-machining skills are very basic, I have not mastered a true vermicelli stitch as a background.  For this sample I used a textured yarn in the bobbin with ordinary thread on the top.  Working from the back,  I used the pre-programmed vermicelli stitch on my machine, but rather than stitch in straight lines, I kept moving the fabric from side to side and overlapping previous areas to make the stitch flow less formally.  This technique worked well with a fine cord, but is limited to the amount of cord that can be wound onto the bobbin. However, it will enable me to build up a textured background more quickly for larger pieces of work. Very small sample 40 mins to complete.

Sample 18: Machine stitching with couching foot on spaced dyed fabric for texture: This is part 2 of the above sample using the same background fabric.  Here I used a much thicker multi-stranded combination of textured yarns from an Oliver Twists bag.  Working from the top side of the fabric with a specialist FME couching foot (for the yarns), and self-coloured threads on top and bottom of machine.  My attempt is a bit of a mess and it is basically a large scribble stitch – my lack of control of the fabric and cord through the machine.  Very small sample 20 mins to complete.

 

Sample 18: Surface texture with machine couching

With practise to control the movement and placing of cords I think this could be useful for creating a textured background where a variety of yarns is required. The drawback of the couching foot is that it is limited to using a straight stitch which often misses the cord leaving gaps in the design. Perhaps practising more zigzag FME would be more useful…

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Overall summary of chapter 7.

In re-visiting this section, I have learnt so much more about the process of taking an inspiration to stitch.  In thinking about interpreting colour and texture with stitch, I found different ways of using my subject that was clearly visible in some samples and how to use it as a suggestion.  At first, I would just 'go for it' with familiar stitches and ideas, but by really thinking more about the abstract ideas and sketching them out on paper with colour pencils, drawing stitch ideas helped me break away from the familiar and be more experimental.  There are other techniques I would have liked to include in this section, such as free machining on soluble fabrics and perhaps some faux chenille work, perhaps I can include them at some other point.  Not all my ideas worked out how I thought they would, there were several others that did not get photographed for this page…  Even now I still feel there is still a long way to go before I can really break out of the RSN mode of stitching and become confident with contemporary stitching… 

Having looked again at the early samples, I realise they do have a 'value' as they demonstrate ideas that have not worked.  I have also been prompted to do more research into artists that create texture for their work.  Some of the books from my collection that I have found useful are: Maggie Grey "Raising the Surface" and several of the booklets from Jan Beaney & Jean Littlejohn, particularly "Over the Line", "Embellish & Enrich", "Bonding & Beyond" and "Seductive Surfaces".  However, this has also made me realise that I have barely scratched the surface of the range of techniques that can be used to add texture; being quick is not good enough and, how much more experimental work I need to do.

In all I have spent about 42 hours on stitching these extra samples, and more hours thinking, evaluating and writing up the blog about them.  I have not yet mounted them in my sketchbook. 

Chapter 8: design exploration with hollow line

Developing Ideas from Option A (chapter 8) Looking for edges and lines around shapes

The aim of this section is to use a linear shape to explore layering and pattern.  For this I chose and cut out 12 of my simplified shapes from the previous design exercises.     

The first exercise patterns were made directly on my scanner plate so I could explore the patterns different layouts made and immediately have digital images to play with.  The first three were arranged along a curved strip of paper, the fourth a simple arrangement without the strip.  Five and six used the painted lutradur with cut out shapes (left over from exercises in chapter 7) as a mask for arrangements of shapes underneath it.

Series of shapes arranged on a curved strip, black background	Series of shapes arranged on a curved strip, black background
Series of shapes arranged on a curved strip, black background	Linear arrangement of shapes, on black background
Lutradur mask over series of shapes, black background	Lutradur mask over series of shapes,coloured paper background

The three images below present different patterns.  The first I drew my simplified shape in many different sizes overlapping each other, this became very complicated to find lines and spaces that were interesting.  Unfortunately I used an HB pencil so the scanned image is very paint (perhaps a 6B pencil would have given a darker line to use).  The second image was an arrangement that I enlarged on the photocopier to about 400%  this have resulted in some very interesting lines and spaces (showing up as grey), the third is an enhanced image using a MS Word artistic effect 'glow edges'. 

Overlapping shapes of different sizes

Enlarged arrangement to find interesting lines and spaces

Image enhanced with MS Word 'glow edges'

For the next exercise I like the arrangement of lines and spaces in image 2.  I cropped the image and enlarged it, printed, then traced it onto a fresh sheet ready for colouring:

Image cropped to find spaces

Spaces with added colour

 I enjoyed this exercise as it has shown how different arrangements can provide potential for developing the enlarged sections to find spaces for colouring.  

Stacking and Unstacking:  Linear Shapes into Solid Shapes

For the exercises in this section (stage 3) I used some of the papers from my stash that I painted last summer (when the weather was fabulously warm and they could dry outside...) and some gift wrapping paper. 

Image with line of interest	Line of interest cut and laid on top paper
Further lines added ready for serration	After serrating through all the layers of papers with the sewing machine, and separating the individual strips I tried different arrangements. Pair 1:  One layer of paper, strips in order moved slightly apart.  Paper strip rearranged some overlapping. Pair 2:  Two layers of paper, alternate strip removed to show different colourings with no overlap, from front and reverse. Pair 3:  Two layers, similar to above, but with some strips rearranged and overlapping. Pair 4: With a third layer of paper overlapping the previous arrangements. Pair 5:  With a fourth layer of strips added to the composition.
Pair 1:  One layer - in order spaced apart	One layer - rearranged and overlapping
Pair 2:  Two layers - In order, alternate strips from the front	Two layers - In order, alternate strips from the reverse
Pair 3:  Two layers - Some adjacent, some overlapping side one	Two layers - Some adjacent, some overlapping side two
Pair 4:  As above, with three strips from third layer	As above, with three strips from third layer
Pair 5:  As above with two strips added from layer four	As above with two strips added from layer four

This was a very interesting section.  It was fun to play with the different arrangements in paper before thinking about any of the folding stitching etc and how they could be attached to make the arrangements more stable.  

Stage 4:  attaching shapes to create compositions

Having played around with different ideas above, now was time to make the arrangements more stable:

Composition 1:  Using an A3 piece of tracing paper as the background, I used some of the strips as a template to make pierced zigzag marks using the sewing machine without thread (unfortunately these do not show up well in the photo below), then added a line of zigzag (with thread) beside each one.  The centre panel has two strips sewn to the backing on reversed, one pleated and stitched into position.  I then added a further strip glued to either side to provide a bit more colour to the composition.

Composition 2:  A strip gathered with a single thread, attached to a complete background with all the lines of interest and piercings.

Composition 3: Adjacent strips from two different layers of painted papers, machined together without spacing using zigzag, then pierced with needle without thread (on to plain paper background).

Composition 4:  Adjacent strips from two different layers moved apart, stitched to acetate.

Composition 5: A single sheet with all the strips in order, but moved apart to create voids.  Straight stitching horizontally to attach each strip in position, but to allow movement when hung from a rod.

Composition 6:  Three random strips from three different layers, overlapped and hand stitched to a manipulated piece of jute scrim.

Composition 1: Stitching, gluing and pleating
Composition 2: Gathers onto background with the lines of interest
	Composition 3:  Adjacent strips from two different layers fitted together machine stitched to a plain paper background
Composition 4: Adjacent strip from tow different layers moved apart stitched to acetate
Composition 5:  A single layer shapes in order, moved apart, straight stitched horizontally, without any backing	Composition 6: Three random strip from different layers overlaid hand stitched to a jute scrim background

Evaluation:

This was a very interesting set of exercises.  I first thought my simple shape would not produce enough variation for exploring edges lines and further shapes.  There were many other variations from the first section that were discarded before I found the arrangement I liked.  I puzzled for a while to understand how to find the line of interest for stage 1, but once I got it, I was able to move forward quite quickly with ideas of how to make the compositions. 

I enjoyed exploring different methods of stabilizing the compositions, although I  have used some of the techniques before, stitching onto tracing paper and acetate were new to me.  I have not done such exercises with paper, so this too was a revelation of how to plan and practise ideas before moving onto fabric.

I could take this further with fabric stabilised with bondaweb to reduce fraying, or use fraying at edges as part to the texture.  I also think this has potential for the faux chenille technique.   

In all I spent about 36 hours on this chapter.