Project three, Experimenting and taking risks

I’d like to think I’ve already done lots of experimenting, because I claim that as my thing, but in this project I will try and push it to extremes even for me. I’m excited to get started.

Lying awake last night when I should have been sleeping before work thinking about experimenting I could do:

-Very thick yarn with central white core and cloud of blue thread. Bulky enough that it could be displayed on its own. Maybe it could be arranged in a triangle like a shell. Maybe needle felted to turn back into a flat work

-nest of shredded fabric held together with stitch. Not too adventurous but maybe I’ll try it unbacked so it has light through.

-green rug pulled stitching thread and yarn.

-heavily worked and built up surface to look rusted. Maybe rust stained and then work the turtle surface around that

– manipulate fabric with heat

– resist lines crackle on cyanotype. Maybe I can create these simply by crushing the fabric before exposure. Layered cyanotype some sort of glue resist or wax resist

– hone in on super detail of one of the drawings

-build up imagery and texture with multiple layers of organza

– make cyanotype transparencies that could be layered and also allow repetition for more cyanotypes😀

Thread tangle substrate

The first of my experimental textiles. This is a substrate made from a crocheted thread tangle with the addition of further tangle stitching. It’s only very small because it took ages and I’m not sure this is the most effective way of achieving this sort of substrate. I have painted it with paint and textile medium and this keeps it together a bit and more like 2d substrate to work on.

Thread as substrate and fabric as thread

Here I have used stone paper as a stabiliser but then tried to build up a surface with thread. As this is just a tester I haven’t taken it as far as it could go. Then I’ve use torn fabric as my thread for stitching. Same sort of thing could be done on water soluble vilene to make it an entirely thread substrate.

Yarn as fabric

Here I have taken the tangle thread to a further extreme by repeatedly sewing sock wool over water soluble vilene and then washing away the vilene. This has produced quite a stable complex fabric that is easy to stitch into. More subtle colouring of the wool would be better so it was more about texture and less colour contrast.

Next I am looking at distressing fabric with the use of repeated cyanotype exposure, bleaching with washing powder, rusting and toning with tannins.

Photo here

Stitch will also be added in an attempt to reference the turtles back drawing.

Project Two Building a response

Colour palette

Can’t use the internet at present but reflecting on my drawings and their original source materials from the natural environment of Heron Island, I think I am going with:

Sky blue

Teal blue


Muted pink/orange


Darker brown

Green blue and brown will be the predominant with pinky orange as highlight.

The above is a starting point. I find that the CMYK numbers help me get proportions right for mixing colours or dyeing.

I don’t think the inks I have with me are true primaries, especially the red but we’ll see how I go creating some chips later.

This little turtle was found struggling towards the water on the beach. Sadly a seagull took him. I looked the colour palette because I was attracted to the blue gray and this colour palette makes me think of dulling down the palette for this collection a bit.

Inspired by an artist

Sue Hotchkis

I’ll have to wait until I’m back with internet access to include images and more information but I love the textural and colour elements of Sue’s work and I think it relates well to the direction I seem to be heading for this assignment. She includes lots of fine detail which is very effective and something I feel is often lacking in my work. I tend to rush the work and lose patience with the effort required to create the sort of complex work that I first envision. Viewed 21 June 2018 Viewed 21 June 2018

Susan works with an aesthetic of decay and the imperfect and is influenced by the Japanese wabi Sabi aesthetic. She is interested in the interaction between the natural and man made and how they both change each other. She also uses text in some of her work, which is something I have also been experimenting with.

I have also been working with degradation and rusting and enjoy the serendipity of results when some of the result is left up to the elements.

Betty Busby

This quilt is from a gallery on Betty’s website called macro.

It reflects the features of a macro photo. Lots of detail looked at closely to effectively abstract the imagery but it still retains a familiarity that is recognisable. Viewed 21 June 2018

I would like to incorporate some of these elements of semi abstracted imagery sourced from close detail of natural or unnatural objects.

Sue Reno

Uses cyanotype and moisture, calling it wet cyanotype. Like my starfish cyanotype. Then she makes art quilts. Need to research and write her up.

Lisa Walton

Australian quilt artist.

Here she has used traditional appliqué over traditional patchwork to wonderful effect. Something I would like to try. Viewed 10 July 2018

Reading the above I can see that this is not appliqué but instead is quilted then painted. I saw this in the work of Glad Howard at the Tasmanian art quilt prize and am also interested in incorporating that. I image that quilt lines would contain paint to some extent and maybe even contain thin dye. Am going to try soon.

Ann Johnston

Textile artist that works in quilts. Seems to focus on colour, texture and abstract pattern to create evocative works.

Balance 30: In Between

33” x 23”

Iron stained silk, whole cloth, machine and hand stitched Viewed 10 July 2018

Surface manipulation, stitch and yarn concepts

Preliminary ideas –

1. Grid creasing paper to create the sort of lit grid of the play of light over water ripples that I fairly unsuccessfully tried to draw. Maybe I could cut the tops off the creases to allow more light through. Creases could also be held in place with stitch.

2. Nest shape molded in paper with the use of glue and then fine loose stitching to outline

3. Coral shape drawing cut out as a silhouette and then cut into pieces and reassembled like a mosaic with spaces in between like the cell looking drawings.

4. Create translucent paper with textile medium and gentle colour

5. Shiny paper with Elmer’s school glue.

Moving on to some textile stitch and yarn explorations. Here I have cut silhouettes from paper and reconstituted using Joomchi. Then have stitched on silhouette yarn. This is referencing the layering of the silk organza cyanotype drawing and their silhouettes.

Sock wool yarn used to create a hairy green yarn and a paper manipulation also referencing my seaweed drawing.

I seem to have lost the hours of work I put in putting up all my textile and yarn concepts. OMG I can’t write all that again now. I’ll just put up all the photos and let them speak for themselves at the moment.

If I get time or motivation I’ll go back and write up all these photos like I did the other day but in the meantime I’ll just curse and move on I think.

Part Five Building a collection. Project one

Strengthening a theme:

I’m going to revisit tropical tourist. When I last did this theme I was on Hamilton Island. This is a commercial tourist resort island with some permanent residents, large hotels and an airport. I used garish items obtained from the local souvenir shop for my still life.

Insert photo here when I have access to my old photos again

This time I will be taking a slightly different slant on the theme. We are holidaying on Heron Island now. Heron is a remote coral cay on the barrier reef. It has a resort and a marine research station. It is a haven for birds, fish and turtles and is situated right on the coral of the Great Barrier Reef. I plan to use found items only for this still life. It will be a combination of natural and unnatural objects from the beach and the local environs I will need to return any natural material as it is a national park and no natural material can be removed.


I plan to use a range of drawing techniques and the first I am currently experimenting with is cyanotype. This involves using chemicals to sensitise fabric to UV light and produces a Prussian blue pigment in the exposed areas.

My first idea was to walk around the island regularly and collect any rubbish left behind on the beach after the high tide. Fortunately I guess this didn’t really result in much. Mostly small pieces of glass. My first attempt at a cyanotype drawing here with the found rubbish is above. I was using rubbish partly because I am allowed remove that from the beach to set up a still life. But I don’t think this will result in enough variation of texture and interest to create a still solely from this. There are so many wonderful nature colours and textures around that it would be a shame to ignore all that.

So I moved on to considering including natural objects.

I set up a couple of mini still lifes in situ on the beach and was quite pleased with the results.

Insert photo of result here

My next thought was to bring some of these objects back to the cabin and work with them there to create various still lifes that I could draw and then return the objects later.

Unfortunately once I had set this up I watched it for a while and noticed some of the shells moving. I realised that I had taken living creatures from the beach and felt I had to return them as quickly as possible. So this turned out to be a one shot only still life. I felt bad and hope I didn’t damage the creatures.

Here I am returning them to the beach.


I was excited when I saw an old rusty wreck beached off the island and immediately thought of documenting this through rusty fabric. I successfully snorkelled out and attached a piece of fabric to the boat at high tide.

This photo was taken at low tide when I discovered you could walk out to the boat.

It didn’t seem to be rusting much so I moved it to another spot. Unfortunately after 24 hours it was gone. I attached it tightly so I’m hoping someone simply removed it thinking it was rubbish. I chose silk in case it did come loose, thinking it would be biodegradable, but I’d hate to think that somewhere a sea creature was caught in it in the meantime. I seem to be having a run of endangering creatures in the name of art and I don’t like this.

I have tied silk in a couple of more accessible spots that I can check regularly, and where they are tied firmly through a loop so cannot come loose.

And yesterday I added a new spot just around the high tide mark. I had to change the position because when I came to check the high tide wasn’t quite reaching it.

It’s on a chain that is fixed to a block of concrete in the sand under those rocks which I placed to mark it.

These wonderful tide marks were present in the sand when I last checked the fabric.

And this is a 97 sec video on the tide just reaching my work in progress.

Ink and Watercolour

I’m going to move on to some ink and watercolour drawings from photographs of reef life. It’s not possible to include these in a still life as they are part of the living reef but they need to be included in a documentation of the island as they are such an integral part of this beautiful place.


I’m going to use adobe Capture to look at various colour palettes for the area.

This is the gentle palette I created from the sand water and sky at sunset. I loved this when I came out of the bush and saw it.

Sea star from the reef walk. I’m going to look at all the colour palettes and then create my own. Probably a blue green palette. In the meantime I’ll do some colour drawings in these palettes

Pisonia tree salt leaf. Apparently all the salt that builds up is directed to single leaves in order to sacrifice a few for the good of the tree.

Seaweed growing along the bunt wall


Purple coral

Plant printing

I’ve buried some paper and fabric under the Pisonia tree near our hut and I’m watering it and compressing it with my feet. Probably won’t get much but I’ll be able to augment with drawing.

These spiders and spider webs in the forest also make great imagery.

The drawings

I decided to take some small items from above the high tide mark that definitely don’t contain animals.

This drawing takes the colour and some of the linear elements and form from this little still life.

I have used textile medium primed silk and then watercolour and acrylic ink. The idea is to produce a washable drawing and I have had some success. Some of the watercolour did wash out but most stayed. That was only with handwashing though and it’s likely that more would come out with machine washing. Also the fabric has gone very translucent which is not fantastic. Next time I will try with watercolour diluted with textile medium and see how that goes.

This is an example of a cyanotype still life I did yesterday.

In progress

After processing

And this is a cyanotype on paper instead of fabric

Unfortunately it got a hole during processing. I guess I’ll repair with stitch or reverse appliqué

Silver eye birds nest made from Pandanus fibre

Ink on stone paper

Ink and a “nest” of tangled silk fibre from the edge of my fabric.

Ink, water and glue on stone paper. From a piece of dead coral.

Purple and fushia pink/orange coral. Unfortunately the color looks totally wrong in this photo. Only slightly better in real life.

This is watercolour and textile medium on silk. I am learning that textile medium will bind watercolour to fabric. An additional bonus is the effect of irregular colour where the dots of textile medium have been placed.

Clam in ink watercolour and textile medium on paper. These ones had to be from photos and on site observation.

Coral cells and seaweed. Ink on stone paper.

I have retrieved two of the rustings. Hardly any marks but the photos look ok.

This was the result of rusting around a chain, with the tides.

Those tide patterns in the sand are created by tiny balls of seaweed and the shadows. I have tried to use that idea to inform the mark I made for this drawing.

Textile medium on paper sensitised with cyanotype and exposed. The pale areas are areas of washout of chemical before they have been fixed with exposure.

Another cyanotype moved by pouring water along the base.

Collage inspired yarn (4.5)

I have chosen to work from just one collage for this segment. This collage has contrasting textures and simple but interesting colours.

Button yarn was fun to do but pretty time consuming. The flower motif was not the most relevant but it was all I had in that colour. Woven yarn was tricky because of the delicacy of the ribbon and is fairly uninteresting. The glued collage tape on the right references collage more clearly and I was able to also incorporate the shape in the original collage.

On the left is rug hooked elastic. I consider this successful as a technique but to be honest it doesn’t link back to the original collage very well.

Finally I have a multilayered glued yarn. I was trying to reference the layering in the base of the collage with the blue sitting on top. It doesn’t do it for me. I would have been better using tissue paper as in the original collage for a better layered effect but I didn’t have those papers available at the time.

Deconstructing colour as yarn. (4.4)

The watercolour line paintings were used to guide the colours and translucency of the materials I have chosen to deconstruct and create yarn.

Rope is deconstructed progressively until I discover it it’s made of a monofilament of nylon fused with a softer fluffy nylon thread. I have manipulated the photograph here to highlight the finer threads which didn’t show well on their original white background.

Cotton yarn is unplyed and then the single is further drafted out and reknotted as it was too delicate to stay together.

Loosely woven teatowel is pulled apart and partially unpicked. I did try to remove whole threads to simply open the weave more but that proved too difficult to hold together so I had to make a few cuts to facilitate removal of some of the thread. If I had done it with a larger piece of fabric and then cut the loose weave out later it may have worked.

Even though I cut this seemingly holey sponge as thin as I could it doesn’t really give the airy look that I am going for.

I considered these deconstructed straws some of the more successful. It is helped by the translucency being evident even in the original straws.

Again this starting solid material isn’t too solid already and the deconstruction here is pretty basic but the resulting yarn is a successful light airy yarn.

Some less successful attempts. The left hand cotton interlock tape has not deconstructed at this point to be light and airy. If I continued the process and went over it again with scissors I could probably open it up a bit more.

In the centre is a piece of hand dyed silk/hemp. The surrounding yarn is actually just tangled yarn retrieved from the dryer. I tried to emulate this on the right by washing, manipulating and drying a piece of the silk/hemp but it has not unwound enough in the washing. Again if I had worked with a large piece and then just pulled my “yarn” off the edge at the end I may have had more success.

Exercise 4.3 Re-interpret, re-invent

I have started this section by looking at my materials from the yarn wraps in response to the old masters painting, which was of a girl sewing by Vermeer.

I’ve tried to include the essential colours across all the five yarns but haven’t included too many colour ways in the one yarn for fear of muddying the colours. I have utilised the sumptuous textures in the painting by including lacy, shiny and velvety materials.

Now I need to create small structures with a technique such as macrame or crochet. I think that the mood of the painting most suggests braiding to me but I’m not sure that I will achieve the firm contour associated with braiding using my yarns.

When I was in Vietnam a couple of years ago I learnt a braiding technique from a lady who ran a craft shop there. I’m going to see if I can remember that and maybe research a bit more around braiding. I can do Kumihumo braiding but I am looking for a more simple flat structure braid here to best display these yarns.

I’ve had a look at a you tube video to remind me of the macrame. I’ve last done macrame maybe 40 years ago and I was excited to try it again. It’s deceptively simple with just a few basic knots as elucidated by Andy Newcombe in this appealing video with its giant macrame ropes 🙂 Viewed 25 March 2017

I’ve also tried to remember the braiding I did in Vietnam but it turned out a bit rough and irregular.

My braiding on left and spiral macrame on the right.

I think a flat braid best shows the yarn. Here I have done a flat macrame, then I tried a simple braid which was a plait, and finally and six thread flat braid. I was really enthused by that. It’s like off loom weaving where the threads are both warp and weft. I’ve never actually tried that before and I would love to try a much wider one. I’m really attracted to simple techniques that just use simple equipment and limited set up.

Had some fun making simple structures with my yarns.

Had to ad lib a bit because of various problems. Understand the braiding now, just take the outside thread and weave across to the middle, then back to the other side. That’s what I’ve done for the first two and it was good for the ric rac because it allowed me to keep it flat. I decided to use macrame for the second two (from left to right) because I only had short lengths and I used an extra central ribbon to knot my yarn around.

Finally the right hand one would have unravelled if I cut it, so I used a very simple hand built crochet chain instead. I would have liked to try braiding it but next time I’ll need to plan ahead for that.

Reflective commentary

I really enjoyed this section. It felt good to be actually making something even if it was only a little useless form. I had forgotten about macrame and have never understood braiding. I’ve only touched on a couple of braiding techniques but I like to just learn the basics and then just run with it rather than follow patterns. I was happy with my hemp samples and tried to move towards which technique would most suit my yarn samples.

I encountered a few problems along the way. I found that when I had cut my materials to make the yarn that there was a lot of fraying that took away from the smooth lush appearance I had hoped to achieve to resonate with my Vermeer painting with its lush painted textures. I also found that the sparkly materials shed a lot which contaminated other yarns and was unpleasant to work with. I had to have a few attempts and getting my structures to lay flat and unpick the ones that just looked like a tangle. I also hadn’t thought ahead to the technique when I made the yarn. The crocheted yarn could not be cut without unravelling and was therefore not suitable for braiding. As a result the final form was not as dense as I intended as I had to devise a structure from a single thread.

I feel like I have gained the ability to braid any number of threads in at least one pattern and think that I would be able to change up that pattern and explore other configurations of braiding. I am quite excited by this new skill as I love to learn new things and especially love simple techniques that don’t use lots of equipment and are also longstanding, ancient crafts. I love to take a new craft and see how I can make it my own by not learning too many rules and rather trying out things for myself.

I felt that the imagery and mood of the Vermeer painting was one of lush domesticity. I tried to include materials of the colours in the painting and combined them in groups of two or three to save muddying the original colours. I also chose textural materials to emphasis the lush velvets and materials present in the painting. Finally I have used braiding as my main technique as I feel it references the decor and techniques of the time. Also in keeping with the past I have not used the machine for any sewing but have included some hand stitch where necessary.

Review point: Demonstration of creativity

I think I’ve been a bit limited in my creativity around the yarn making to date. I have only used a limited number of techniques to produce yarn and in the last section I have focussed entirely on trying to spin yarn. I find that I get engrossed in trying to improve a particular technique if I enjoy it and don’t really spend enough time considering other possible solutions. Having said that I think I am quite good at pulling in techniques and ideas from a variety of disciplines in order to adapt and create a technique suited to my current project.

I try to keep my eyes out for ideas from all sources and find that some of the best ideas come when I’m not trying to concentrate on problem solving but have just kept my current project in mind as I go about my day. As far as personal voice goes, I’m not really sure I understand what this means. I can see there are aspects of image making that I gravitate towards, namely serendipity, complexity and colour, but I don’t seem to keep my interests narrow. I have a tendency to leap from one technique to another without fully developing a single one. I’m not sure if this is working for me or against me. It is useful to have a range of techniques to consider when looking at the best way to develop an image, but then perhaps I do end up as “master of none”.

And just because I don’t like to have a post without an image, here is a photo of a textile work from a couple of years ago where I have stitched back into a piece of wax resisted fabric. 😀

Experimental yarns and concepts (4.2)

1. Colour placement and exploration

I think I’ll use the Mexican looking bandana fabric to work from to inspire yarn. It has three or four colours and black. I think I’ll start by using four embroidery threads and spinning them together.

I also have some little elastic bands in an appropriate colour that I could use. Perhaps i could link loops of yarn in the right colour with elastic bands and form a yarn by knotting them.

Another thought is painting yarn. Or dyeing. Or spinning the right colour yarns by blending fleece. As I’m now considering using this fabric for the next segment I might use my flower fabric instead. I could dye silk gauze to cut in strips and spin to make yarns.

I could use a traditional yarn and make a few skeins of yarn that were dyed in the skein in various colour proportions. Or simply spin in the pre blended or dyed fibre.

Actually as I’m using the bandana for the next segment I’ll use my floral liberty fabric for this segment instead. It has lots of small dots of colour that I could combine equally or I could play around with the proportions a bit.

2. Materials Exploration

I’m struggling a bit here with thinking of unusual materials suggested by my fabrics or gouache studies. As above the pattern on the fabric mentioned above reminds of Mexico or South America. Mexican hats and Piñatas use raffia or paper, so it’s a bit of a stretch but I might use crepe paper to make a yarn. I could include molded paper shapes to include harking back to Joomchi or paper mache.

Little motifs to include could also be colour blended and baked from poly clay.

Trying to make a link between this bandana and materials I remember that it was a bandana sold at the petrol station for fundraising for the cancer council. I’ve nicked some clear oxygen tubing from work that references sickness. I was really thinking of IV tubing but I suspect that might be more expensive. Thinking of chemo here. I’m considering filling the tubing with colour in some fashion. Not sure how. Maybe inject paint in??? Has got me thinking about other hollow materials that could be used. Maybe like a i cord knitted in a range of colours or clear filament and stuffed as you go. I could blend fleece and insert as I went. Or a tiny knitting Nancy. Maybe I’ll get one tomorrow.

3. Texture and Tonal Qualities

I’ll probably use the diamond textures Japanese silk as my neutral to explore texture and tone. Possibilities would be to use the neutral colour and then deepen the tone by core spinning black thread over. Could use white to add the highlights.

I could reference the stitched texture by making bobbles in a loose soft yarn by winding thread tightly to crest segments.

Extensive overspinning could also create bobbles.

I’m not sure how to best represent the muted colour palette I can see of olive green blush of pink and lemon yellow. Using fibre would be fun but pretty traditional. Combination of paper and thread would also be good.

Stitching on water soluble vilene may be a way of creating a fine net like yarn that may show subtle colour and tone dependent on the density of stitch. Especially when presented on white. And I might be able to work in stitch bobbly texture too. Could try using the preprogrammed machine stitches.

This is all just brainstorming for the next segment. I’ll add the yarns to this post once made.

Colour placement and exploration:

For this section I have used my own yarns spun from dyed wool fibre, which I have then blending to try and achieve the main colours in my fabric. Here are the yarns that resulted.

Fabric with colour chips and blended fibre

Fabric swatch and colour chips with blended fibre

Equal segments of the main colours spun and Navajo plyed into a yarn

Three colours and black spun and plyed together

Felted bobbles of orange and pink with a smaller proportion of the peacock blue

Black background with discrete short segments of colour

Peacock blue background with short segments of orange and pink. No black

I was interested to see how the inclusion of black dramatically changes the feel of the yarn. To my mind the black adds much more of a harshness or boldness to the yarn, even when used in equal proportion to the other colours. In contrast to this the yarns with no black look softer and less dominant. I wasn’t happy with the yellow in any of the yarns. It was actually meant to be a blended orange from yellow and magenta, but if any yellow escaped into the yarn it stood out very prominently and inappropriately for the fabric swatch. A lot more time needed to be spent blending the fibre for a better result, but I got impatient.

Materials exploration:

I have used the Mexican/South American Cancer Council bandana to inspire me in three ways. Firstly I have linked the origin of the bandana as a fundraiser for the Cancer Council to suggest sickness to me. To reference this I have tried to use tubing or tube like structures, as for IV tubing or oxygen tubing. Secondly the Mexican reference suggests Mexican hats or coloured piñatas, so I have used coloured paper for some of my experimental yarns. The third is a bit of a stretch but looking at the brick like pattern I have considered the stone steps of Mexican pyramids. This has led me to use my new fancy stone paper for one of the yarns.

Red watercolour paint was messily suctioned into oxygen tubing and sealed with knots and superglue for this yarn. It’s a bit stiff and rope like but it can be manipulated as evidenced by the knots, because there is a certain amount of stretch in the plastic.

A red straw has been cut into sections here and threaded over a bright white cellulose yarn, again referencing the tube nature of medical equipment.

Yarn has been twisted from tissue paper and glue to create “piñata” yarns.

Stone paper cut into brick like shapes and twisted to create a more rounded yarn.

Texture and Tonal Qualities:

In the photo the pink tint shows up strongly and whilst it is there to some extent there is a yellow hue to the background that is not evident in this photo. I used flecks of pink and yellow on a background of white/cream to try and reflect this colour scheme but I find it very hard to blend colour in this very gentle range. I idea was that shadow in the yarn would give me the darker tone but this didn’t happen. I may edit this photo to better match colour if I can.

Again the white background appears pink in this photo. Not really this appearance in the edited photo but I’ll check on other monitors and may try and correct. Here I have made a chunky yarn made of hand dyed one plys wound together. The strength of the colours is much too strong even though I watered the dye down a lot and tried to mute it with complementary. Not very successful.

Next I’ll try to introduce a tiny trace of colour into the yarn by using a thin woolly nylon thread. I will wind the nylon tightly to great exaggerated bobbles to reflect the texture in the sample.

This photo is a better colour representation than the one above. I have tried to be be more subtle with colour and more exaggerated with texture in these ones. Probably that one on the left is the most successful but sadly none are great. I have to move on though or I will not get through the work.

Yarns inspired by stitch and marks (4.1) The long threads

Next I need to move on to three longer threads. I’m going to try and combine techniques or extend the most successful elements of the short threads to create new more complex threads in 1 m lengths.

For this thread I plan to try and incorporate the embossed and red square elements. I’m looking at using the polar fleece and laying that under some water soluble paper and then stitching the red squares by machine over that. Or I might use some cotton batting actually because that would hold the thread better and also be in keeping with the natural background colour. I want to used enough batting around the stitching this time to give the full effect of embossing into batting. I could make all the squares first I guess and then link together by machine again or I could kept the whole thread a bit wide.

I wasn’t very happy with the results for the ink drawing. I’d like to get the viscous, drippy, layered and slightly shiny feel of the drawing.

Ideas are to spin thick and thin black wool yarn and then use that as a core for a shinier surface thread. Maybe an embroidery thread. I’m not sure. I think the wool does give a dense look but I want to avoid fluffy hairy bits. Another option would be to coat in a glue or paint to give the shine. Black printing ink might work in that it would retain some flexibility. I might be able to make a wool thread and then work the printing ink inside and outside to some extent.

These threads were fun and successful. With one exception they were achieved by machining on watersoluble vilene. I would like to have a yarn that showed the parallels of different colour in the drawing but also the fuzzy and irregular appearances also in the drawing. Thinking of distinct parallel threads machine couched down to a couple of layers of stiff net like tulle. This time I’ll likely couch the threads separately so I don’t see so much of the joining machine thread. Or I could use invisible thread to couch. I have my new free motion couching feet for the sweet sixteen so I’ll probably use them. That will guarantee some irregularity to the thread too 😀

The cling wrap yarn was not fun to work with and not overly successful. It’s too shiny and doesn’t have the shadows of texture that the paper yarn does. I’d like to try again with the paper yarn and make a longer segment and work it for longer to see if I can get real softness into it. I will need to get some more fibre paper from somewhere and I’m thinking of incorporating a long fibre thread through the middle to stabilise it and allow me to work it harder. So much fun but I wish I had more time.

I’ll come back and add the yarns to this post once they are done.

This yarn is created by spinning a thick and thin black wool yarn and then over spinning it again and then finally rubbing it with black screen printing. Ink. Interesting most of the ink has absorbed into the wool and the yarn has retained seemingly all it’s flexibility. The ink has provided areas of shine though and controlled the fuzziness to some extent.

Here I have taken a white batting (why I didn’t use neutral like I had planned I don’t know) and used the machine to sew a square linear embroidery pattern on the batting. I was trying to press some batting down so the other would pop up like the embossing. That is happening on a very small scale that is not evident in the photo. If I free machined the red squares I could flatten them much more but to do that on a little scale like this for a yarn would be very tedious.

Here I have attempted to incorporate the parallel lines of colour and the fuzzy appearance into one yarn. It is two lines of thread machine couched down on to a piece of net. I would have preferred that the yarn sat flat instead of twisting to better highlight the parallel lines. I’m not sure if this is a function of the net background or if it’s machine stitch that stretches and shrinks areas. Possibly if I did this by hand it may lie flatter.

I ended up having three goes at creating a long yarn to resonate with the crinkly nature of this work. First I did a machine stitch only yarn just because I could. I wanted to see if I could build up areas of texture. I can see that it may be possible but I would need to continue longer with this or use a thicker thread in the bobbin.

Then I have twisted two different weights of rusted fabric on itself and fixed the twist with machine stitching and then washed the yarns. This was an extension of the joomchi paper yarn I made but I wanted to incorporate more resilience by using fabric. I think the light weight fabric in the top left was the most successful as it retains more of the flexibility of yarn and shows crinkles well.

I’m really enjoying this yarn exploration and am excited to move on to the next section.

Yarns inspired by stitch and marks (4.1) Four more

From left to right:

Hand made felt cut into squares and linked together by white machine stitch. Inspired by the red square embossed image.

Knotted hand dyed silk – looking for something with shine to reference the black ink drawing but the knots poke out too much for the drips really.

Sari silk and Perle cotton thread couched together on the machine. This was another attempt at a yarn with parallel lines. Would have been better if I hadn’t used red to machine it together but I was being lazy. Might try a hand stitched version with “invisible” thread.

And one final 30 cm segment:

I was quite pleased with this one which was silk thread stitched through a thin strip of tulle and then the tulle was trimmed close to the thread.

I was going for a central core with hairiness around the outside that had a degree of stiffness to it. A pleasing irregularity also developed fortuitously that added to the connection with the drawing but also suggested further uses for this net sewn thread. I could pull a core together much more tightly with machine stitch and possibly use multiple layers of tulle. Maybe machine couch a core.