Developed and composed samples (2.4) results

Here is the first of my two larger samples of stitch on manipulated paper. My paper supply is a bit limited here but I have tried to emboss this paper with folded flower shapes which I have then pressed into damp paper with the aid of a towel and my not inconsiderable body weight. Because the paper is a bit light it has not held the embossing well like my squares embossed paper which was proper heavy weight printing paper. 

I have chosen to use the embossed marks as my guide for stitching creating an irregular stitched flower shape. I have then used the movement of the sweeping yellow paint line and stitched in parallel lines to evoke this movement and varied the distance between the lines from one side of the page to the other to further evoke a sense of movement further away from the viewer as well.

That’s all well and good but I’m not really sure that I’m happy with the end result. It looks too scrappy and messy for me. If I was to try again I would make sure my surface was more clearly embossed by using better paper and possibly use a more contrasting colour thread for the lines. 


This is another fairly direct translation of the drawing. I have used handwoven grey thread and then when I lost that thread I resorted to handdyed thin brown silk.  Turned out to be a blessing because the thinner thread adds a bit more variation to the work. I was going to cut the threads in the middle to try and evoke a mending repair aesthetic but at the last minute I chose to put a hole in the paper instead. This is a bit of textural Joomchi paper with an inclusion, which I love, but I’m not sure how much the stitchis adding. Given more time I think this would benefit from a lot more stitching but I am happy with the placement of the hole and the brown patch. 

Both of these are very literal translations of my drawings and I don’t think this is good and will try to get away from this in the textile works. 

Developed and composed samples (2.4) Sketchbook entry


I have chosen embossing and Joomchi as the more successful of my paper manipulations and couching and visible running stitch  and loose thread as more successful of the stitch techniques. 

These compositions are pretty literal translations of my drawing but I did consider composition in the original drawings.

I want to use repetitive directional line to show the movement evident in the original yellow drawing and develop that drawing with the added dimension of texture and paper manipulation to make it a more complex drawing with greater depth. 

With the patch drawing I want to represent the mending quality of the central square and I plan to start with continuous line through couching and then go to running stitch with the same thread and even some loose thread to emphasis the mending quality.

Drawing with stitch onto paper Part Two (2.3)

Here I have used the paper I deemed as soft and stitched with soft fluffy yarn in an attempt to create an irregular soft outline as in the plant negative space drawing. The irregular outline comes from the diffusion of watercolour through the paper and I have attempted to recreate this look with yarn arranged in knots rather than a linear arrangement. If I had more time this would have benefited from knots all over the background leaving only an outlined negative spaced drawing of the plant as in the watercolour drawing.

 

This stitch drawing is meant to reference the flowing overlapping lines of the kimono drawing. To this end I have doubled the thread and left the ends free. 

For this stitch drawing I have added fine lines of very lightweight machine thread in red to overlay the embedded collage and reference the random wispy lines of the red collage.

Here I am using the slits cut in the paper as a guide for my stitching. They were not originally cut for this purpose but the in exact way I have cut them makes for pleasing irregularity. 


The curly line of my grass drawing are shown here in curly yarn on raffia embedded paper. I have couched the yarn down only loosely to allow it to have some level of free rein to it’s curl. This yard has been knitted dyed and unpicked, hence the curl. 

 

Here I have used the embossing as a guide to fill in a geometric square but repeatedly using the same holes in different directions to build up a solid woven surface.

Similarly here I have used weaving but for this one I actually wove the stitches rather than just overlaying layers as above. 


In this paper I was thinking of the line that forms at the joining edge of two patches of watercolour. 

I used this to guide me in putting stitches up to a line and along a line. 

Various weights of thread highlight the contours in this work, attempting to give a sense of depth and movement towards the middle. 

This one comes from the same source drawing and this time I am using the direction of line to suggest depth towards the centre.

The solid wide yarn which ripples on the surface relates to the thick layers of dark ink in my source drawing. 

And finally little repetitive red marks in various scales and placements that are determined by the underlying structure of the surface. By not making any marks on the white collaged lines, I am hoping to suggest a space behind these in which the ‘T’ s exist.