Thursday, November 12, 2009

Frankenstitching










Back in March of this year,I started keeping a "stitchionary" file of things that worked when i was first working on my Artist's Body series. These are from my current project "My Heart Has A History", "Mitochrondia: Incubation 1" and "Beautiful Bones"


First of all, this is not rocket science. You just have to forget some of the rules about embroidery we've all strained to achieve when first learning to keep stitches even, fabrics flat and threads untwisted. Fuhgeddaboudit--none of that applies here.

Find yourself a fabric that is mottled in appearance: this can be a hand dye, something previously overlooked as "ugly" or frayed "holes-and-all" scraps. Any of these can be a cotton, rayon, silk or even a shifty synthetic :} You need a "batting"---- i use flannelete, old or new (but washed: sheets, diaper material, old PJ's!) or something of similar hand and weight, as it gives enough body but still has some drape when the whole is complete. Lay your top fabric on this and DON"T worry about straightening or being on grain! Frankenstitch is a way of "leveling the field"---the more bumps and borgles you have, the better. In fact, you can cut your top fabric slightly larger than the batting, pull it in to fit and pin all the edges to hold together. (Use safety pins on the reverse so they don't stick you or snag the working threads.)

You can use any thread that will fit through any needle for this; just be aware of how much friction there is as it goes through your fabric. I use either 6 strands or 3 strands of embroidery floss, depending on the feel of the piece. One strand if using an embroidery floss or fine thread would snap because of the tension used in this technique, but could be effective if the stitches are smaller on a finer fabric. Experiment with perle cotton and any heavy machine thread as well.
I posted this last week on my main blog, but thought i would add it here as well, for you Mettle Maidens :}

Okay, you've made your fabric and thread choices, and may have already started without me. (DO NOT USE A HOOP. This is truly a hands only technique.) On the fabric sample i've been using there are areas that are more defined by the dye---i could choose to use those as the areas to stitch or define them more by framing them with stitch. (This is why i suggested a "mottled" fabric to start your adventure with.) You can build a design from the appearance of the fabric, or add stitch in a pattern of sorts to create a design. I find this technique is more of a background enhancer that an actual image in itself, though with some planning, i suppose that could be as well!

I'm not going to take you through basic stitches in this lesson--i'm assuming you already know how to embroider. If not, do a little research: there are tons of books in the library or look online for detailed photos and instructions.

The piece i used in the video is Beautiful Bones.



When using the backstitch so loosely and in large motions, make sure your tension is not so tight that you squinch the back as well--the stitches should hold the bulges but not flatten them. If you do have this problem, simply flip the piece over and pull gently on the "edges" to raise the front more.

Sometimes you will create more borgles and lumps with this technique than were there initially--this is okay, just use them also---in the end if there are many, start doing smaller stitches on smaller "pinches" of fabric to square up the piece. It's akin to creating darts that are visible to "flatten"! (On a side note, this technique is fabulous for creating 3 dimensional shapes as well as high relief on 2 dimensional projects.)

Now for what i call the "built in" stitch. This is areas that are started by using a large buttonhole or basic needlelace technique over a much wider expanse than normal. It pulls the fabric into valleys and spaces under the stitches. The top buttonholing can be gone over in random directions with other colours, thread weights or densities of the buttonhole, but leave some spaces open. Though fiddly, it is worth the effort and correct mouth position to then add stitches under the buttonholing. Beads and found objects also come into play here. The idea is not to flatten out this area but to allow the depth to happen. Use more of the Frankenstitch, spiderwebs, smaller bits of buttonhole, backstitch, whatever you like, in the dips and grooves. You can also use any other method of "threadwork"--there are bits here of needleweaving, crochet and raised buttonhole bars as well. Sky's the limit , but remember this technique shouldn't overshadow the main focal point!

Clear as mud now? Doing this is easier than explaining it! Breaking things down into steps is the way to learn and teach, but i'm not sure if i haven't just gotten too wordy about a very simple method! All you have to remember is to forget what you learned previously about precision, daintiness and tension! Now go play with it. I'd love to see some samples from you too, please!

Tuesday, September 22, 2009

"gridded" dyed backgrounds

I love dying cotton flannelette. Like velvet, it has a distinct nap, but unlike its uptown sister, the direction of the pile is indiscernible. I have immersion dyed some pieces, but this is my favourite technique with it. Spray dying means saturation rates are different depending on how heavy the application is. Some of the dye will seep down its "fur", some sits on top, which means a variety of different effects are possible.

Cotton flannelette is one of those utilitarian poopoo not fancy fabrics that is with us through our lives, from diapers and swaddling blankets to pyjamas, nighties and sheets. How can you not love it? It cries out for hand stitching as well: machine stitching works but doesn't have the same satisfying depth to it. Working with it is a tactile experience that is comforting and exciting at the same time.

These pieces below are from the "shop towels" i bought at Princess Auto. Not as high a quality, but the sheerness of them, due to the lower thread count, means the hand is lighter as well. The threads separate easily on a raw edge, an advantage if one wants to then use those threads for stitching back in or couching them, or dyeing them separately.

And they make a great resist if you're using a spray bottle of dye! Lay some in a grid:


Spread some out in tangles, knots included:


The detail can be very fine:


Lay more tangles and torn strips on top and spray again:



YUMTH factor to the nth:


Scrunch up the pieces themselves and spray again, lightly:


DElishus!




These were done with fuschia, scarlet and golden yellowy orange, all in Procion. I had done several with over the counter dyes (Rit and Tintex) and the colours were almost "smoky", a reaction that implies (to me) that the OTC's weren't "saturated" enough and don't penetrate as much. Still lovely though! I saved the scraps and threads that were used as "resists" and will incorporate them into other pieces. Waste not, want not :}

Several pieces with both dyes were used in "Baby XX80XY" back in March of this year:


The hot colours are the Procion, the cooler are the OTC dyes. This wasn't a deliberate choice in usage for the colours, it was an expedient way of using the dyes i had on hand--all my Procions are hotter colours! I've since remedied that, but realized that the black and the olive i have chosen to use next are classified as "warm" versions--must be a subconscious thing :}

I have a more "expensive" version of this fabric "on the table" and will be trying the same technique with it. I figure the colours will be even richer because of the density of the thread count and the pile. YUM.

Tuesday, September 15, 2009

Textile Arts Resource Guide: Tyvek Disintegration???

Textile Arts Resource Guide: Tyvek Disintegration???

Something to think about!!!! I stopped using Tyvek because there are so many other materials that we can use to create somewhat the same effect. As noted by one of the commenters in this post though, we should still experiment and play! Personally, i am sticking to more natural materials as i want my work to last, and there's something more involving about using bits with a history.

One thing to note is that a lot of museums are afraid to acquire certain contemporary works of art that are mixed media, because the life expectancy is really still an unknown.

Sunday, August 16, 2009

Over the counter dyes experiments

Tonight i put to test the new big pot. It holds 10L of water but i filled it only a third full with these:



I didn't go out and deliberately buy these; in my stash already from top to bottom, a good quality cotton flannelette, the shop towel flannelette, cotton sheeting and a miscellaneous eyelet embroidered piece. All have been previously washed.

I have the same amounts unscoured, as "controls", and am going to see if it makes any difference with the Rit and Tintex dyes. I do love Procion, but sometimes just wanna mess with easier methods and less chemical fuss and cost. Why am i doing this? Curousity plain and simple--if i can use less spendy dyes and still get good to reasonably exciting results, i can do more dyeing. No, these dyes aren't as lightfast or as fade resistant, but so what? Even if anything made with these results becomes an "heirloom", well, it's in the nature of an heirloom to be faded and vintagey! HA, take that, you purists.


More of my dye experimenting can be seen on my main blog in the "dye experiments" category.

Thursday, June 18, 2009

Using "over the counter" dyes, part one


Good old "over the counter" dyes like Rit, Tintex and Dylon are under-rated, and under utilized. Don't turn your nose up at them: they are available for ease and safe, aggravation free dyeing! (You should still use some common sense however.) I don't always like messing with Procion, and right now with everything in boxes for the move, and space at a premium, they are more than adequate for my purposes. I did a rough wrap/bind shibori this morning in a strong mix of Tintex's royal blue and black, transforming this scrounged piece from this to this:



I don't wet my fabric first when i'm doing this---for me it seems to give sharper definition, unless it's purely luck. This is more what i'm looking for for the Hoodoo fabrics, some definite striation, some really blended colours and scope for additional stitch to sex up the areas. Beads will further turn up the heat.



This is the wrap/bind technique i used on this piece:



You may or may not get as vivid colouring as Procion, depending on your fabric, but the smoky shades that usually happen with these commercial general purpose dyes are equally as lovely for your stash. It's also a much cheaper way of exploring possibilities, colour combos and techniques, so give it a try! The most i have ever paid for a box of this stuff is 2.49, and that was in a little guy's store who was trying to charge enough to pay the rent in competition to the big boys.

PLEASE--if you are dying fabric for clothing, then check the references at the end of this post, in particular Paula Burch's page, information and tips from a true Dyeing Guru. Since my pieces using these dyes are not either going to be washed again or in direct sun with a lot of wear and tear, i don't worry about it. This is my PERSONAL choice and method; make up your own minds about results and end use longevity.

RIT
Paula Burch
DYLON

Flickr Group----NEW
(Crossposted from my squarespace blog)
Tintex is made by Kiwi Brands Inc, the shoe polish people and seem to have no actual website--the Australian "Tintex" site does not have any affiliation as far as i can see. (If i'm wrong, please correct me.)

PS i haven't posted much here as i am working more at the flower mines, in a summer textile art residency and packing for a move, my apologies. And where are the rest of you posters?????

EDIT: Picasso apparently is being a pain in the ass, so hopefully the photos will come back!
If not, read the post at my squarespace blog.

Sat Jun 20, 04:27:00 PM MDT


EDIT: June 24/09 added the pics back as Picasa doesn't seem interested in helping with my questions

Saturday, May 16, 2009

hmmmmm

It seems that since i "opened" this blog to all viewers, nothing has happened here. I plan on writing a couple of posts this coming week, this time with one on the backs of embroidered pieces, and one on easy dying of fabrics.

Monday, March 30, 2009

stitching with textiles and metal

Lots of ways too play with these!

Use loopy stitches on edges to “hem”
Build layers of same stitch on same area to make more solid
Cut holes and edges—irregular, shredded
Edge holes with threads couched or yarns torn twisted strips
Stitch across slits
Encase metal in layers of tulle or sheer
Applique sheer motifs on tulle
Could have metal in them
Trapped sequins paillettes mirrors feathers ephemera
Metal threads yarns jewellry bits
Handwork in raised stitches
Dissolvable areas—edges and holes
Metal held on dissolvable at edges and holes
Grids of machine to add hand work to
Handwork stitched down with machine
Gathered ruffled manipulated areas
Layered areas
patched in colours or sheers or threadwork
chains to weight edges or manipulated areas
godets biscuits smocking
woven areas

Working with Copper

FIRST-this is metal, so be careful, as with any sharp edged medium! It can be cut with scissors,
but dedicate a pair strictly to this, or use a strong sharp exactoknife and a ruler for straight lines.

If you wish to stitch on copper, use a size 14-16 needle in your sewing machine. Work slowly, wear safety glasses or your regular ones at the very least! A neutral thread will accent the stitch pattern and holes, a contrasting thread can add an optical illusion of colour being added to the area. It's best if you have a thin layer of padding behind as it helps the needle and thread "grab" more securely and gives some depth and stability to the stitched areas. You can also stitch patterns on the copper with an unthreaded needle! Stitch bits to the copper as well!

If you wish to attach to a backing with hand stitching, place the copper on a thin layer of padding and using a large needle, punch holes in the desired areas. When stitching, whether using threads or 'beading as you go", make sure the pokey bits are on the bottom or your thread will shred.

You can also emboss, using a dull pencil. (Anything sharp may puncture the metal.) Either side can be utilized, one being concave, the other convex. Alternately you can punch with screwdriver ends (different patterns), wood blocks, other pieces of metal.

Crimp it, bend it, fold it, heat with a blowtorch (USE PROPER PRECAUTIONS), paint it or distress it. You can weave small strips, cut holes, layer it: your imagination is the only limit! Save the tiny bits too-they can always be used elsewhere!

New methods and ideas are always welcome, as are questions! I'd love to see what you come up with!