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.
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.