Saturday, October 25, 2014

Stitched Shibori week 4 area enclosing

Hi again...my last post for the stitched shibori month...Marsha from coolquilting.

Week 4 is area-enclosing stitched shibori, which according to "my interpretation" is the technique where the end and the beginning of the stitching are the same so that when the stitches are pulled up it gives an enclosed area. I couldn't find a clear description of this technique anywhere so if I am wrong about this, I hope someone will correct me in the comments sections. I believe that other stitching techniques can also result in enclosed areas, but I am unsure of this...some shibori stitching seems to fall into more than 1 category so it gets confusing to me!

Nonetheless, I was delighted to get to this technique for week 4, since it includes my absolute favorite shibori, makiage. Makiage is not just stitched shibori however, but is actually a combination of stitched and tied shibori so I am stretching the limits of the techniques we are supposed to be doing this month! I am hoping this is okay!!!

The technique is the same regardless of design size or shape and is shown in the collage below. I stitched around each circle on the drawn lines in a continuous line of running stitching for each circle(left photo in the collage below). I then pulled up the stitches tightly and tied the threads off for each circle. This left some fabric in the centers that "poufed" out(the "area-enclosed"). I took some additional thread (or you could use the ends of the thread used for stitching) to wind around this fabric "pouf" a few times. These threads are pulled very tightly and then tied off. The thread can either be wound spirally or in a criss-cross pattern, or for me, a combination of both depending how I managed to secure the threads. The fabric all-pulled-up-and-tied is shown in the middle panel. The combination of the stitched circle and the resist threads produces a lovely pattern, seen on the right:

These circles were small, only about 1.5 inches in diameter and didn't give much "pouf" to work with....but they were still big enough to produce the very distinct patterns in the fabric from the "pouf" typical of makiage. This was silk noil with colorhue dyes.

I also had done some of this stitching/tying on cotton which was then dyed using a pre-reduced indigo dye kit. But on a slightly larger scale:
These circles were done the same way as the smaller ones on silk, but they were about 3 inches in diameter. This larger circle gives more room to do the winding of the thread around the fabric "pouf". The large circle on the right is just a zoom-in on one of the circles on the left. Each makiage turns out differently so it is always lots of fun pulling the threads out and seeing what pattern emerges.

Finally a 10 inch circle..again with cotton and indigo:
Lots more room to wind the thread around the "pouf." However, there is so much fabric in the "pouf" that is hard for the dye to penetrate deeply, so there is often a lot of undyed fabric...but this also depends on how tightly and how closely together the winding is done. The photo on the right shows a detail from the whole circle on the left. 

There are variations with the winding and tying that can be done. For example, a part of the "pouf" can remain unbound to form a dyed stripe:
The stitching was done on the outer circle only...the inner circles were guides for doing the second stage of binding the "pouf". The stitching is shown in progress on the left(it needs to be completed to get back to the beginning!). In this example, the small inner and large outer areas had thread wound around, tightened and tied, but the middle area was left free. The unbound area shows up very nicely dyed, but still with a bit of resist due to the folding(scrunching) on either side of it. This was done on silk noil with colorhue dyes and the circle is about 5 inches wide.

Designs other than circles are possible too. And lots of fun to try!

For instance, I did 2 leaf designs.... running stitch around the outside of the leaf and then winding and tying thread around whatever fabric "poufs" up. As expected, this gives very unpredictable dyeing and resist patterns. This leaf also had some stitching along the fold for the stem, and I placed a couple of drops of blue dye on the "pouf" hoping it would blend with the overall green dye(but it just formed blotches!). This leaf which is about 4 inches long was done on silk noil with the colorhue dyes:

I also made a second slightly smaller leaf, using silk habotai and colorhue dye. The thinner habotai made it easier to pull up the "pouf" for the thread winding and tying:

Again, there was some stitching on the fold to create the stem and some extra drops of blue dye.

The possibilities for this stitch and tie resist are almost endless and I hope these examples have shown you why I love this technique so much!!


I found that I had lots of little shibori pieces from this month of trial and error. I like to combine projects together and since I had just bought the 2014 Quilting Arts Holiday magazine, I decided to make one of the projects using my scrap or small shibori pieces. I chose the "Gather your Sewplies Project Bag" by Melanie Testa. It makes a small bag that hangs around your neck(and loops around your back) to hold all your hand sewing supplies...she carries her supplies for embroidery but I thought that this bag could hold most of my stitched shibori supplies: scissors, threads, needles, seam ripper and frixion pen as well as some small fabric pieces. A small spray bottle of water to moisten the fabric before the final thread tightening would probably fit too.
The photo on the left shows a patchwork of silk noil shibori pieces for the body of the bag. It includes a red piece with a square-shaped area makiage design that didn't work very well! When I was making this patchwork piece, I had intended on using the "large" salmon pink makiage piece on the front and just make the back half out of the tiny pieces. However I liked the patchwork of the tiny pieces so much I decided to use them as the front instead. The completed outside of the bag is seen in the upper right while the inside of the bag is shown in the lower right. Very easy to make...and very useful too!

So that is it for me. I had great fun playing with all the shibori stitching and again I want to thank Nienke for including me in the month of posting.

Friday, October 24, 2014

WEEK 4 - ENCLOSING SHAPES

WEEK 4 - SHIBORI STITCHED RESIST - ENCLOSING SHAPES

It is hard to believe we are now posting our last samples of shibori.
This week's samples were fun to create. The results, once out of the dye bath and stitches removed and unfolded, revealed new exciting results.
It seemed that every good idea sparked another. Finally I married up my machine drawn work on the pleater with the enclosing shapes. I have posted a photo of the pleater working fabric through it to answer the questions about how it worked.



The fabric is rolled around a dowel and fed from the back into the rollers. It is crimped as it turns and the series of needles (up to 24 full rows and 12 extra half width rows) take a nip into the fabric. Once the fabric is through the pleater, it is carefully slid off the needles.

SAMPLE 1:
This sample showcases simple box shapes that were hand sewn on linen. There was not a lot of overlapping when pulling up the shapes.









 SAMPLE 2: A Flower
This sample was sewn on raw silk. The fabric was folded in half. This meant I stitched two half ovals over the fold and three ovals positioned between the two half ovals.






SAMPLE 3: HEART
The heart was hand stitched on linen.  I couldn't find the stitched design photo although I remember taking one. Basically it was five rows stitched close to one another in the shape of the outer outline of the heart.



SAMPLE 4: Branch with leaves
The outlines were drawn and sewn on a pre-dyed cotton yellow-green fabric. Several types of stitches were used to create the branch- whip or overcast stitch for the branch, running stitch around the leaves, and a running stitch on a fold for the center of the leaves. Interesting patterns evolved when the leaf shapes were tightly drawn and the fabric squished.






SAMPLE 5: A FLOWER DESIGN
The design was sewn on the silk duplioni fabric. It was a larger piece at 12 X 12 inches. It was sewn flat. There were four large petals, four smaller petals and a circle in the center.








SAMPLE 6: circles
The silk duplioni fabric was folded in half. Half circles were drawn on the fold and the opposite raw edge.  They were stitched and echoed for five more rows. The shapes were tightly drawn up and then dyed.






Once I returned home from my travels, I did try several more shapes that I will share with you. I made a circle, an oval and star on the pleater by picking up the fabric and removed the extra stitching that I didn't need for the shape.
The circle is just OK. There is much room for improvement! I used a thin sewing polyester thread that I doubled as I forgot my thicker, better thread at home when I went to my quilting satellite. the sample is on linen.



Again thin thread doubled was used on rayon. It was not really sturdy enough for the task. But will work as a background.



My stormy gray redeemed itself! I used a deep concentration on raw silk. It required a lot of the pleater thread to be removed to make the shape. It was still the thin polyester thread but drew the thicker fabric much better. I took an idea from Eke and used embroidery floss to define the drawn shape.



The last pleater drawn sample was my idea for a multi-color tulip. I drew rows across the width of the raw silk fabric. I broke the lines to allow for the middle petal to be hand stitched vertically. The fabric was soaked in golden yellow and at the 20 minute mark, some rust orange powder was stirred into the dye, soda ash was added and the fabric put back in the liquid. The final result was somewhat undefined. I outline stitched around the basic shape using some of my hand dyed floss.



The final sample was created on rayon using dental floss and four rows of echo stitched resist were created with dental floss. I made this sample to compare the result to the pleater drawn up star. I thought this would be my favorite but I do like the pleater drawn one better.


LEARNINGS FOR THIS WEEK:
·         Thread weight and choices definitely make a difference.
·         Rayon consistently gives me the crispest lines.
·         The thicker fabrics consistently give more texture - raw silk, linen, silk duplioni.


I am including two lovely pieces created by my friend, Lynda Williams. She gave me permission to post. She had done a lot of indigo work. These are two of my favorite pieces.
The star was created with a variety of stitches and carefully planned angles of stitching. Beautiful!


Here is a magnificent turtle. Washers and other shapes formed the shell within the stitching. There were hundreds of threads to pull ! I find this truly inspirational.


And this brings me to the end of my shibori experiments for now. My regret is that I was unable to hit the indigo pot or explore discharge work with the shibori techniques but that leaves me new frontiers to conquer.
I have enjoyed the process of creating samples to share with you. I do thank  Nienke for the opportunity to share my experimentation.
Happy dyeing and may all your drawn work shibori designs be good ones!

Sheila

Wednesday, October 22, 2014

Week 4 Area Enclosing

This week we will show you some examples of Area Enclosing stitched resist Shibori.



A little experiment, with a stencil I drew shapes into a figure:


The one on the left was made by whip stitches over a group of pleats of each shape. The one on the right was made by tacking stitches.





Dying:


That is an interesting outcome!




Let's see what others discovered in this range!

Tuesday, October 21, 2014

My third week with stitch shibori.

Hello, here Eke Krug again, I am a guest on this blog this month, you can see me every Tuesday in October.
This is already the third week with stitch shibori. Time flies when you're having fun. And fun it is!
It is nice to sit and stitch, it is exiting when the dyeing process starts, and it is wonderful to see appear the lines while pulling out the threads.


This week parallel lines, another challenge. I made my six swatches and decided to make four bigger parts by the size of 50 x 75 cm. Those will be the middle of the quilt I will make, and all the other swatches will surround it.


 This is the first draft of my plan.


First big part with parallel lines.


After dyeing, the colour doesn't look like the real one, that is brighter and more green.

And here my six swatches for this week.























 The colours I used  this time are: amber (a dark yellow) and azurite (a nice blue one),  in the following amounts: 30/70, 50/50 ans 70/30%. The bigger one with the parallel lines I dyed in 50/50%.

Also I started embroidering the first swatches with the straight lines.






And of course, I had to lay it together with the big part, the way it will be in the quilt.


This was my selection for the third week. I do like playing with the lines and thinking how the quilt will be when it is ready. Today I bought a new sewing machine, so I can go for it.
See you next Tuesday with the area enclosing.

My blog: ekeskleurdesign