Lacy paper frames

This section of work looked at creating contemporary lace effects using stitch with handmade paper and wirework.  Initial frames, approx. 25cm square, were made square using 1.25mm wire, then wrapped and tied with various fibres eg. perle 5 cotton, thicker jute string, thin strips of muslin.
These frames were then dipped in white paper pulp, pressed and left to dry completely.

8.1: Example of

I then stitched back into the frames using hand and machine stitch trying to make connections with the original lace patterns found in Reticella and Punto in Aria.

8.2: grid stitching across voids with couched perle

8.3: further threads wrapped over paper then drawn together using free zig-zag to create 'branches' of varying thicknesses

8.4: detail of 8.3

The additional stitching in 8.5 below was done by hand to simulate the woven bars and grid patterns used in Reticella lace.  The handstitches used were twisted lattice stitch (top left in photo 8.5), knotted buttonhole filling stitch (middle) and cretan open filling stitch (right and bottom)

8.5: handstitched "lace"

Having read Sian's work in"Approaches to Stitch"only recently I decided to make some wire bottles in a similar fashion. My bottles were pharmaceutical based for reasons which will come later in another chapter.  The wire was thinner this time (0.9mm) to bend more easily but still retain a firm shape and  I wrapped the wire with masking tape to enable the paper pulp to better stick to the outline,

8.6: wrapped wire bottles

8.7: after dipping in paper pulp and drying

then painted them with acrylics

8.8: bottle wire frames painted and further stitched into

I turned back to my research theme and created some wire frames in the shape of the floral motif used in earlier chapters of this module.

8.9: floral wireforms (top left one had windings of muslin strips which account for the greater paper pulp trapped

These reminded me of brittle leaves and might be something I'll take forward into designs for the final assessment piece.  But back to my bottles for the next design part..

Pocket features - chapt 7

Great fun researching pocket ideas - amazing how many enclosed compartments and 'pockets' you can start finding around the house and in nature of course.  Think of any seed pod and nut and it can be translated into a clever llittle pocket feature.  I jotted a few down to remind myself:

7.1: simple drawings and notes on pockets

along with various means of closure eg rivets, solder, lacing etc.
Origami folded pockets are extremely numerous but I liked  these in particular:

7.2: folded origami pockets using tracing paper (lying on A4 sketchbook for scale)

I then created a few pockets of my own using mainly clear acetate (the flexible kind for covering books) - some are both open topped and some completely enclosed, attached on to a thick vilene backing for support.

In detail they are:

7.5: module 5 motif machine stitched enclosing lavender 

7.6: open topped acetate pocket made with eyelets holding scrim

7.7:
acetate channel pockets standing proud of backing, holding machined cords

7.8: open pocket sealed with glass beads

7.9: mesh of melted plastic food bags, stapled to backing to create pocket

7.10: enclosure created with sewn buttons holding buttonhole samples

7.11: open pocket made with twisted buttonhole stitch in perle 5

7.11: holes in acetate pocket sides 'sealed' with blanket stitched cords

Silk paper suspensions - chapt 6

Working towards using silk paper in some resolved samples later on, I played around with suspending various 'treasures' within silk fibres, initially undyed tussah silk. My intention was to make the items appear to float on the surface, so the silk layers were very thin, particularly over the items themselves - not so apparent in the photos on a white background.

6.1: captured scrim and soft cocoons

6.2:eucalyptus leaves 

6.3 wool nepps

6.4: feathers

6.5: raffia strips

Then did a bit of dyeing of the fibres using acid dyes

6.6: dye added and 'squidged' through the fibres previous soaked in vinegar

6.7: Wrapped in clingfilm and steamed for 30 mins

6.8:dried dyed tussah silk

Used this dyed silk for more paper

6.9: trapped leaves and machined cords

6.10: torn photos of vegetation

6.11: sliced felt ball

Chapt 5: Making more holes

Back to coursework for module 5, in particular chapter 5 where I've been messing about with devore paste.  I've taken some time to post on this work because quite frankly it's been a bit of a disaster, and really the first area of textiles I would rather 'lay down and avoid'.

I used "Fibre Etch" paste and began by stencilling the paste through various masks using a brush onto cotton fabric of various thickness. This was done outside on the decking with appropriate gloves and mask then the fabrics were left to dry naturally on the clothes line.  It 'seemed' to have worked in that a representation of the stencil could be seen, particularly when I had ironed to a caramel colour, but when washed out, the fabric became a shredded mess with no apparent pattern.

I decided to try again with a silkscreen to achieve a more even coverage of paste and also to try a mixed fibre fabric intended for devore.
I prepared a pattern mask on acetate using one of the motifs I'd developed from Reticella lace samples

and screenprinted the paste through the positive and negative versions of this stencil onto a viscose velvet/ silk fabric.
The sample pieces were then dyed in an urn for 45mins using an olive green acid dye.

5.1: negative images made in fabric

5.2 positive images made in fabric

I can appreciate the skill and experience involved in achieving precise and sharp images in devore but the rather tatty look, I had no problem in producing, kind of appeals to me.  Still, the blend of using hazardous liquids and my least favourite technique of screenprinting dissuades me for pursuing this much further.

50 Shades of White

Yesterday saw the opening of the Craft NSW fibre designers annual exhibition in Sydney entitled "50 Shades of White".

It's a striking display because of its simplicity in colour but also because of its complexity in textures.  It covers beautiful work both wearable and sculptural, from the weaving, knitting, and felting members and from 3 guest exhibitors.
I am now fortunate now to be a member of the group and have various pieces in the show from wearables to bags and hangings but all have a common design theme of bubbles, circles in them:

 nunofelted silk habotai on corriedale, wool flannel

corriedale wool, metallic thread

This felted hanging is approx. 55cm by 120cm is entitled "Thought Bubbles" and features various hand dyed silks and merino tops with metallic thread free embroidery.  The different textural features were great fun to do.

"Thought Bubbles" 2014
(merino wool, silk, metallic & silk thread)

Some photos of the details:

The gallery is open every day from 9.30 to 5.30pm and the exhibition lasts until 9 June.  It coincides with Vivid Sydney, a display of amazing lights and processions through the city, so the gallery window is filled with beautiful felted lamps by Pam de Groot.  

There is so much more to see - don't miss it!