Cording & Embroidery Foot.
During the first week of machine embroidery, we were taught the various techniques of cording, and the textures it can create.
The set task was to produce 10 samples relating to your own visual research, through the 'Data' project.
The sample that didn't work too effectively for me with these techniques is pictured below. Here I simply layered different weights of monochrome materials together to create the effect of the 'limpet shells' i have been researching throughout my sketchbook. The choice of materials was rigorous because I decided to layer them, I didn't want the materials to bulk up when sewing into them - and equally I didn't want the layers to dull and dampen the straight lines of embroidery. Whilst sewing this I altered the width of the satin stitch, and with the Cording I altered the length and choice of thread.
The sample that I could improve included two layers of material. On the under layer I made my own thread using the Cording foot, by feeding ribbon through and sewing a zig-zag over the top, this was then couched down. The top layer is Ice Wool, after placing this over I used the embroidery foot to sew a straight stitch around the cording - this refelcted some of my sketchbook drawings and created a textured relief surface. For this sample I chose to use white on white, as it allowed the texture to really become the main focus - this wouldn't have worked with a combination monochrome colour pallet. The inspiration to start using the same colours together (e.g. white and white, black and black) was Karen Ruane, her work is mainly textural - and by placing white with white it really emphasises the new surface that she is creating!
The Cotton Muslin sample was the most effective for me as the fabric is lightweight and quite durable, so when I started to stitch into it, the material gathered and folded in places to create a further texture that unknowingly liked to my sketchbook work. I tried the eyelet press on this fabric, however it was too lightweight and the circle didn't hold its shape, therefore I stitched around this, which also mistakingly created a valid link to visual research! I also stuck with the white colour pallete in this sample as it was more effective than mixing colours. When couching into this material it started to puch holes as it's a lightweight material - this introduced me to the 'Sword Needle' which purposefully punches small holes whilst sewing.
The sample that didn't work too effectively for me with these techniques is pictured below. Here I simply layered different weights of monochrome materials together to create the effect of the 'limpet shells' i have been researching throughout my sketchbook. The choice of materials was rigorous because I decided to layer them, I didn't want the materials to bulk up when sewing into them - and equally I didn't want the layers to dull and dampen the straight lines of embroidery. Whilst sewing this I altered the width of the satin stitch, and with the Cording I altered the length and choice of thread.
The sample that I could improve included two layers of material. On the under layer I made my own thread using the Cording foot, by feeding ribbon through and sewing a zig-zag over the top, this was then couched down. The top layer is Ice Wool, after placing this over I used the embroidery foot to sew a straight stitch around the cording - this refelcted some of my sketchbook drawings and created a textured relief surface. For this sample I chose to use white on white, as it allowed the texture to really become the main focus - this wouldn't have worked with a combination monochrome colour pallet. The inspiration to start using the same colours together (e.g. white and white, black and black) was Karen Ruane, her work is mainly textural - and by placing white with white it really emphasises the new surface that she is creating!
The Cotton Muslin sample was the most effective for me as the fabric is lightweight and quite durable, so when I started to stitch into it, the material gathered and folded in places to create a further texture that unknowingly liked to my sketchbook work. I tried the eyelet press on this fabric, however it was too lightweight and the circle didn't hold its shape, therefore I stitched around this, which also mistakingly created a valid link to visual research! I also stuck with the white colour pallete in this sample as it was more effective than mixing colours. When couching into this material it started to puch holes as it's a lightweight material - this introduced me to the 'Sword Needle' which purposefully punches small holes whilst sewing.
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