Saturday, 14 March 2015

Module Two – Chapter Ten

 

‘PIECING’ – A METHOD OF CUTTING AND SEAMING

PAPER METHOD

I have completed the samples as set out in the Chapter. The way in which the patterns develop is intriguing, particularly when one thinks that it is only two colours that are being used.

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I decided to develop a couple more designs of my own. This one was developed from cutting strips of alternating colours into triangle shapes and then reconnecting them.

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In another design I used the alternating strips cut into different widths and then reconnected them in a regular pattern.

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FABRIC METHOD

I did this piece until I couldn’t sew the seams any more. It certainly made me realise how much variation and texture can be achieved by simply cutting and re-joining.

 

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Front of the piece.

 

 

Reverse side.

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Reverse side.

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Module Two – Chapter Nine

 

THE FIBONNACCI SEQUENCE AND GOLDEN SECTION

I did not have any knowledge of these processes and so I found them fascinating and began to find them occurring in all sorts of places – in nature and architecture for example. I have done the samples as set out in the Chapter and then I did a few extras that I made up for myself.

 

THE FIBONNACCI SEQUENCE

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This pattern has white in between, so it does not show up in the scan so well.

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I used some of the same strips of paper and created a design diagonally across the middle section of this sample, although that didn’t create a pattern in the outer edges.

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I put these strips together to create a design that had darker tones in the top left which then gradually moved into the lighter tones. The strips extend beyond the edge of the pages but wouldn’t fit on the page.

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Again I used the strips and created a dark section in the middle section – the ends are lighter tones and the strips extend beyond the edges of the page on the top left and top right.

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GOLDEN SECTION

The proportions in this are really interesting and can of course be seen everywhere.  I did the first design and then did it in reverse colours.

 

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Module Two – Chapter Eight

 

NOT WHAT IT SEAMS!

I did a number of samples using some bits and pieces from my stash. I can see that there are lots more things I could do on this theme and it has certainly made me more aware of thinking of seams in a different way.

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This sample is very difficult to see because I have inserted a fringed rayon knitting yarn in maroon, pink and black into the seam. The top sample is sewn into the seam with a single layer of the yarn and in the second I used a double layer.

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The top sample is white cotton fabric with a knotted bobbly fringe inserted into seam, so it was showing on the “wrong” side. I then sewed a row of straight stitching to hold the seam back out of the way and it has had the effect of making the fringe sit up.

The bottom sample is from a piece of white cotton voile (or similar, not really sure because it’s been around in my stash for ages). I sewed a very wide seam and then stitched triangles shapes out from each side of the seam.  It looks good from either side really.

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The top sample is fringe sewn into a seam in black cotton.

The bottom sample is two pieces of curtain fabric which has a really interesting fringed selvedge, which I would never have thought of using on the front previously. Unfortunately it is not showing up on the scan very well.

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The top sample is the other side of the seam in which I had inserted the white fringe (above). It wasn’t until I had sewn it and pressed it that I realised the reverse was interesting too.

The second sample is a piece of white and piece of black cotton fabric joined. I pressed the right hand side of the seam towards the white fabric, and then cut triangle shapes out of the black seam. For the other half I made regular cuts into the seam and then pressed them alternatively over the black and white fabric.

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For this seam I sewed a wide seam in the white voile fabric and then sewed a straight stitch line along each side of the seam, after which I frayed the fabric. I did think I could try catching bunches of threads into groups, but the threads are quite fine so I think they may break and just look a bit of a mess.

 

SIMPLE IDEAS FOR TRIMMINGS

RIBBONS

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The left hand sample is a piece of my printed fabric with a Greek key design down the centre.

The right hand sample has a number of my printed fabrics cut in strips and sewn down the middle.

 

CORDS

 

 

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I made cords in the way suggested in the chapter, with the first two being single pieces of printed fabric, the third being a bundle of printed fabrics and the final three being knotted. the first knotted one is a single strip of printed fabric, the second is a stitched bunch of printed fabrics and the last one is a group of four printed fabrics knotted together. Although I didn’t do any samples that were more complex, I can see that there would be lots of variations that would be possible, so I am thinking about the possible of something along these lines in my final piece.

TOGGLES

 

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These were a little hard to scan because the knotted one on the right is so bulky. But I think they are clear enough. The left hand ones are fabric rolls, one with a waist and one without. The other is a bundle of 4 fabrics folded over and knotted.

Module Two – Chapter Seven

 

TRADITIONAL ‘PIECING’ METHODS

LOG CABIN METHOD

The following are my paper samples which I made from commercial papers and some of my own printed papers. I am not really a patch worker and  quilter so I have only made a couple of log cabin squares in the past. I found this an interesting exercise because it was interesting to see how the designs developed.

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I then did the following pieces in fabric on the basis of my paper samples.

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I was intending to do a couple more samples but once I had done these I had to go to hospital for my surgery and now I am not able to use my sewing machine for a few weeks.  The other problem was that my sewing machine decided to throw a wobbly and desperately needed a service, so that has been done during my convalescence.

 

SEMINOLE METHOD

I did some research in relation to this method as I didn’t know much about it, and I found it interesting to read about the history and development of the designs. The following are my paper samples – because they are pasted on to white paper the edges of the white squares get a bit lost, e.g. the top sample has a white strip below the black one:-

 

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And the following are my fabric samples. I did those outlined in the notes and the last one was one I created from my left over fabrics. There is the same problem with the white fabric not showing up well against the white background. It is not something I thought of until I saw the scans. Also some of them look a bit wonky, so I will have to be more careful and make sure they are straight when I scan them because they are not really that uneven.

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For this sample I used some of the left over pieces from my log cabin and Seminole samples to create another piece of fabric.

This sample was too big to go under the scanner so I did it in two halves, but the two sections don’t join up exactly. If I was very clever I could edit the scans to stitch them together – but I’m not! I found it interesting in this chapter the way new designs developed when I started experimenting with the various shapes.

 

 

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This is the centre section.

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