MODULE 1, CHAPTER 10

MAKING RIPPLES

CHENILLE OR SLASHED REVERSE APPLIQUE

A few different drawings of possible designs

1a

1b

1c

2. Slashing outside the design

3. Slashing inside the design

OPTIONAL MELTING SECTION

Test 1a

Test 1b

Test 2a

I really thought from Test 1a that the thickness of the velvet would work well, but it actually did not turn out as well as expected.  It might have been better with fewer layers to counteract the thickness.

Test 2b

This was definitely easier to work with as I used thinner layers of organza or more lightweight fabrics.

TRANSLATING A DESIGN USING A SOLDERING IRON

3

I think this is quite effective.  The green layer was able to be burnt as well, but it was a little thicker than the other layers so could act as a blocker.  The colour of the bottom cotton fabric was bright enough to show up well.  The whole effect though was a little more like "plastic" than I would have liked and I think another time I would use less layers.

MODULE 1 - CHAPTER 9

REVERSE APPLIQUE - TRADITIONAL AND CONTEMPORARY METHODS


TRADITIONAL METHOD:

1. I always enjoy hand stitching, although it is slow, there seems to be always so much more control

CONTEMPORARY METHODS USING MACHINE STITCHING

2. Cutting on inside of stitching - starting from outside in. This is a bit like map reading for me, I have to read the instructions multiple times to make sure I am getting it right

3. This one I started off on the wrong track - I got confused with cutting inside or outside stitching. I ended up doing an extra row.  I quite like the red cross in the middle, a happy accident.  Then  I got it right and cut outside the stitching, starting from the inside.  These accidents do show the way to other possibilities!

MULTI-COLOURED RIPPLE OR CONTOUR EFFECT

4. This is definitely a "learning" piece. I cut through too many layers, but it made me much more careful for the remaining cuts.  My mistaken slash could be used as a surface design tool in the right circumstances

5. I tried using more haphazzard layers of fabric and at different angles.  I can see using lots more small pieces of fabric would have various different effects depending how much you cut away

MODULE 1 - CHAPTER 8

COMPLEX SAMPLES

1. The machine embroidery I did in a hoop, but there is still a little buckling

2. I really like the simplicity of this and I think that doing the machine embroidery following the interior of the design is quite effective.

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3. Next time I will do a double line of stitching, not cut so close to the stitching and use less stuffing material. I burst the seams with the over stuffing and had to do some repairing of the burst seams.  I like the general design though, using the same shape, once with stitching and then using trapunto for the other shape.

4. This time I used two similar but different shapes in machine embroidery and then bonded the top silk layer.   

5. I tried some more trapunto, this time I used much less stuffing and mostly used it in the main areas, the smaller areas were quite a bit more tricky to manouver.  There was some residual wonder under on the silk, so took some separating to make that work, resulting in cutting through the top layer.  So many things to think of.  The design on the bottom could have been slightly larger and the top design could have been better centred

6. This time I wanted to see how it would work with just layers of machine embroidery and whether it would be enough to show that there are different layers.  I think it worked quite well.  Either more or less dense machine embroidery would change the effect.