Stitch Experiments

Although not intending to use any specific stitch within my collection expect perhaps hand embroidery, i felt i should attend a stitch work shop just to ensure i had made the correct decision. If i do go onto use any machine based stitch within my final collection this will purely be for finishing touches and decorative purposes as all my imagery will be created via hand drawn illustrations.

So i was prepared for the session i gathered a range of fabrics and substrates and prepared them at home to ensure when i turned up to the work shop i could get straight on with stitching and not waist any time. In the end i only decided to use one substrate which was Plush Minky from fashion formula as this is a substrate i have ordered a sample of and may use within my collection. As well as this, i did also prepare some purple crushed velvet and a shiny iridescent paper based substrate (photographed bellow). Although initially intending to use all three substrates i decided to focus on the one i may use within my collection and can return to experiment on these two substrates if i feel i need further practice and more experiments.

Below shows an example of the cording foot. Although it is a possibility to use this within my collection i remember it being exceptionally easy to work with so decided not to spend time working with it in this session. At this stage i wanted to spend time focusing on techniques i was not so competent with and can easily return to the stitch room if i decide to use the cording foot within my collection so i can experiment with hues and different types of cord.

Also while working Maggie showed me this cushion (photographed bellow) containing some techniques i could utilise within my work. I decided to photograph this and evidence it on my blog so i can see how different stitches can interact with each other and how certain stitches can interact with a wider design. Although my collection will be illustration and print based there are a lot of stitches within this example which i could utilise should i feel they’re appropriate for my final outcomes.

Within this work shop i decided to focus on two different processes which i am not so competent in and felt would relate really well to my project and target market. When selecting what materials i would use i tried to select those only within my colour pallet so if i did come to use either of these processes later i would know if Maggie has the hues i need, or if i would need to buy some in.

The first process i experimented with and the one i spent the most time on was the ruffler. This process bunches up the ribbon to create a dainty ruffled effect which i feel would really attract my target market. As i would only use these stitches for finishes and not to create imagery i decided only to experiment with linear stripes as this is the way i would be to most likely use these processes so wanted to practice it as much as possible. For ease of referring to each technique/ experiment i have numbered them.

1- For this ruffler experiment i decided to create a sample of two ribbons bound together; however, not to fabric. I wanted to experiment with layering two ribbons together which was quite easy to do and i feel creates a nice reversible effect. Although happy with this sample and the effect i have achieved i am not sure where it would fit into my collection. Despite this, if i have any need for anything such as this i now have an example of a process i could use.

2- This is another example of the ruffler. With this process you can change how often it ruffles from every stitch, every 6 stitches or every 12 stitches. This particular example is of the ruffler ruffling every 12 stitches. Overall i do not feel this sample creates any massive aesthetically pleasing effect so will definitely not be using this within my collection. Despite this, it has given me the idea to simply sew the ribbon down using a straight foot which may be useful within my collection.

3 and 5- Number 3 is a development from number 5. When experimenting with the stitch and length i realised once completing sample number 5 that the length was far too long and this would not be safe nor durable for my children’s bed room products as the embroidery thread weren’t bound down tightly. Luckily i realised my mistake and i simply had to turn down the stitch length which is what i did in number 3 producing a much safer experiment especially as my products will be for young girls. Overall i really like ample number 3 as it could be a nice finish for my designs and also bring my colour pallet together.

4- This example is of the ruffler set to ruffle on every stitch. Overall i really like the textural values of the ruffles all bunched together in this way as it is very girly and adds a 3D effect. As i under estimated the amount of ribbon this would need i had to stop half way down the line and start again. However, this became a good opportunity to experiment as it allowed me to add a bow, playing on classic girly themes. Despite liking this as a sample i am not sure how well it will work with my collection as i do not want to over whelm my outcomes with ribbons, bows and illustrative designs.

6-This sample has to be one of my favourite, not because it is the most intresting but because of how i can really imagine it within my collection. I feel from all these samples i have learnt simple is best especially because of the imagery within my illustrations being so detailed. I much prefer this weight of ribbon compared to that used in sample number 4 as the added thickness allows room for error as well as meaning more volume can be created. I would really like to experiment with even thicker fabrics to see if i can create a really big ruffle.

7 and 9- These two experiments are both of the three way cording foot using similar stitches. Despite liking number 9 i have to consider how all these experiments will relate to my collection and i feel number 7 does better because the stitches it is being held down with is a lot simpler so there will be less of a clash when it comes to applying this technique with my illustrations. I do understand that i can create some outcomes which are purely stitched based, which i may choose to do; however, as my key idea now is to apply these techniques to my digitally printed designs this is what i want to focus on.

8- This exaple is of the ruffler being used every 6 stitches. Although this is a lot better than every 12 stitches i still feel every stitch is the most allying and appropiate for my younger girls market. Despite this, if i am to get some wider ribbon i would more than happily experiment with every 6 stitches once again.

10- For this sample i wanted to have a go of lining up the ruffler side by side to see what effect this would create. Unfortunately, due to the foot on the ruffler i was unable to get as close as i wanted to the central purple ruffle with my two thiner pink ribbon ruffles. Despite this, i wonder if i was to get a wider ribbon whether i am able to produce the effect i wanted to achieve which was to create a highly textural area through these ruffles.

11- This three way cording foot example is much like number 3 as it binds the embroidery threads down tightly, however keeps them separate where as number 7 and 9 bind them all together. What i think would be really nice is if i could get embroidery threads with the same hues that are on my colour pallet but also bind them down with a metallic thread; also in a hue from my colour pallet. This would allow me to incorporate some points from my trend reports about metallic threads meaning, my designs would be even more on trend.

12- For my final experiment i tried layering up the ruffler to build textures. As number 10 hadn’t gone exactly as planned i thought this might be a nice alternative way to build up textural sections. Overall this was definitely the hardest experiment i attempted and definitely will not be using it within my collection from the amount that could go wrong. On this machine it was hard enough to keep the fabric straight and the ribbon running smoothly down the page, and having to stitch straight on top of another line of ruffling just made this even harder. When i found using the same thickness of ribbon hard i then tried with one a lot thinner thinking this may help; however, this was just as hard, if not even harder.

Overall i am glad i attended this stitch workshop as it has made me consider how i can add some finishing touches to my designs. Although really liking some of the examples i have produced i will decide whether i think they are appropriate for my designs once i have created my outcomes as i do not want to overwhelm these with more than is needed. Despite this, i will order some thicker ribbon and have a go using this on the ruffler to see if this will produce any different effects.

Croquis experiments

Now having created a diverse range of imagery and researched into different types of repeats i decided to create some croquis designs by hand. Learning from second year i decided not to cut the illustrations out by hand directly around the edge as last year they were so fiddly they kept ripping while i was trying to stick them down. Instead the illustrations have a small white boarder which although will effect how the colour of the imagery relates to the background hue, it has meant that my outcomes look clean and they are more time efficient. When producing my final outcomes in Photoshop or Illustrator i will ensure there is no white background to the illustrations as this is a lot easier process and does not cause the quality of the motifs to diminish.

Reflected and Tossed repeats

Although a croquis design only implies a repeat, to create evidence of a repeating structure some of my outcomes do in fact have a clear repeat. Despite this, as all my outcomes were made by hand and without being measured if i were to develop these outcomes into a repeat for my project i would have to refine them by measuring each repeat/ rotation precisely.

Reflected

The first repeating structure i decided to experiment with was a reflected design. Initially i cut my illustrations out and placed them on the background hue in a variety of different repeating structures to ensure the end result was aesthetically pleasing. Overall i felt a reflective repeat was most alluring for this imagery as the reflection allowed the eye to flow smoothy around the page. Also within this design i decided to experiment with a use of scale in order to add depth to my outcome, i feel utilising scale helps to make this design appear more complex and overall more attractive.

The imagery within this outcome is of one painting. Initially i had painted the illustration without its wings; however, felt it needed an extra element as the neck was so long. Before painting the wings i decided to scan the image in in order to have a version both with and without wings to add some diversity to my imagery. Even if i had continued my painting and not scanned the image in without wings i could have removed them later within Photoshop by using the rubber tool. After scanning each of my illustrations into my laptop i would open them in Photoshop and use the magic wand tool to remove most of the white background and then remove any additional areas this did not pick up with the rubber tool. This process is essential for my outcomes to look professional and will allow me maximum potential for the placement of my imagery.

All the background hues from this repeat are made out of recyclable and sustainable paper which i managed to pick up from town. To select the best hue for my imagery i would pick up the illustration and lay it on top of a variety of papers in order to find the one it suited best. Although blue is not in my colour pallet i felt the green illustrations worked really well with this creating an overall very soft and delicate outcome. Despite this, the relationship between the green monsters and blue background would be different without the white background to the illustrations so although these two hues work well together at the moment, this relationship may change once the illustrations are completely cut out.

Tossed

For my second experiment i decided to utilise a tossed repeat. Within this croquis there is no repeat and i simply placed the imagery on the page in the way i felt would best balance out the negative space. Despite this being the repeat i had chosen for this outcome i also experimented with a half drop and brick repeat; however, felt the imagery was better suited to this more random outcome. Within this design i pushed my use of scale further and decided to have an even bigger difference in the size of my illustrations. I felt the use of scale was really successful within my previous outcome so wanted to push this even further. Overall despite the dramatic difference in size i feel the use of scale within this outcome still really works and brings a level of depth to my work. Within my collection i definitely want to carry on experimenting with a dynamic use of scale in order to create an interesting and diverse collection.

Overall i feel this tossed repeat works really well with this imagery as it creates the impression the aliens are floating in space. The seemingly random pattern allows the eye to flow fluidly around the outcome without being distracted by any repeating structure. Within my collection of 30 designs i will definitely utilise a tossed repeat at some stage; however, will most probably save it for a blender design where my imagery will be a lot simpler and the repeating structure meant to be less complex.

Before printing these illustrations out i decided to have a bit of an experiment with the levels and saturation as i felt the water colours needed to be richer in tone to stand out as they were looking washed out and faded on screen. To demonstrate this development and see if i preferred the original or altered hues i decided to print the smaller scale motif with the edit and the larger scale without, which you can see in my sketchbook. Overall i do feel the edit helps the hues to stand out a lot more as the non edited version appears slightly faded.

Wanting this double page spread to work as one i wanted to select another hue for the background which was light in tone. After looking at the hues available i selected a green as it is soft in tone so relates well to my colour pallet and opposite page. As well as this i felt this hue worked well with my illustrations so was a good selection. Despite this, i feel the green within my colour pallet is a lot more alluring, especially in relation to my target demographic.

Staggered Pillar and Boarder

Staggered Pillar

Although quite simple in structure this repeat could fall under a few different terms depending on which way you look at it. Viewing the two illustrations as one motif it could be a pillar repeat with a slight stagger, or viewing it going diagonally across the page it could be a diagonal repeat. I decided to slightly stagger the imagery up and down instead of having them in linear horizontal lines as i wanted the final outcome to be appealing and not come across with clear linear definition. Overall i feel this slight stagger really helps to make the outcome appear less linear and more aesthetically pleasing to the eye as although these is a clear linear structure going vertically, the horizontal is off set.

I chose these two illustrations to go together on this outcome as their colour pallets worked well together and directly relate to each other. What i really like about these two designs together is one is mostly green with pink accents and the other mostly pink with a green accent so they are in reverse of each other. By utilising two illustrations so similar in tone their different forms are united together through colour. I think utilising imagery and hues which relate together in this way will be really beneficial for my secondary and blender designs will be a lot less diverse in their range of hues than my hero designs.

After getting the idea of the aliens appearing to be floating in space from my tossed repeat i wanted to explore more spaced themed hues to see if this could have any influence on my designs and colour pallet. For this outcome i felt a rich pink was most appropriate as this hue is more harmonious with the pink within the imagery and contrasts against the green which are on opposite sides of the colour wheel. Overall i do feel this works; however, the brightness and richness of the pink does saturate the outcome and makes it appear a little sickly. I feel if i was working for a low end market this would be appropriate; however, for my mid- high end range my hues need to be a little more reserved and considered.

Boarder

For my boarder design i wanted to be really experimental with my use of imagery so decided to select one tall thin alien and one short and fat which would also stagger the edge of my boarder to make it look more intricate. Selecting two illustrations so diverse in form i wanted them to be united in colour pallet in the hope of bringing them together. Despite feeling that this does work to some extent i still feel the aliens are too different to be fully united.

Within my interiors collection i may well want to utilise a boarder so felt this would be a good opportunity to start to experiment with this. Overall despite being happy with this outcome at this stage i feel it will need major developments until i would be happy to include it within my collection. When creating a boarder design i will want to experiment a lot further with the imagery i am using to ensure i can create the best possible outcome for my collection.

Building further on the space theme i decided to utilise a dark purple hue which also related quite well to the rich pink on the other side of the double page spread. As well as this purple i did also have a deep blue i could have utilised; however, felt the purple better related to my colour pallet and my girls market. As well as this, purple and yellow are complementary colours so i felt this purple hue really helped my imagery to pop against this much like it did with my previous experiment. Despite experimenting with these rich and purple hues i do feel my colour pallet which is a lot softer in tone is vastly more appropriate for my market and makes my imagery and collection appear more refined. I may well want to continue to explore richer hues; however, by doing this via Photoshop and Illustrator i will have a much wider array to choose from meaning i can choose hues which i feel are a lot more appropriate.

Corner

For my final experiment i decided to create two corner designs. I was only to create four outcomes; however, had a lot of additional imagery i had cut out but not used within my previous repeats and did not want these to go to waist. Initially i was going to present these on one rectangular sheet of paper, the same as in my previous experiments; however, felt this may be slightly confusing for those viewing the work so decided to cut it in two. Instead of simply slicing it down the middle i decided to work with the contours of the imagery which i think creates a really nice effect. Not only has this made the two outcomes a lot more clear; however, it has also inspired me to create something similar to this for my iridescent effects as i really like the soft flowing lines of the edge of the paper.

Despite being happy with these two outcomes i would really like to develop these designs further as i feel there is so much potential here. Unfortunately due to the imagery being so big i could only fit a certain amount of illustrations in but, if i continued to develop this on a digital platform it would have so much more potential. Within my final collections i would really like to utilise a corner design and could easily develop this into a boarder design so everything comes together. By utilising these repeating structures this would also allow me to be a lot more experimental with my use of negative space as i could have a high concentration of imagery on the outside of my designs and this fade into negative space the more central the motifs got.

What i really think helps this design to be successful is the use of scale as the boarder does not come to a set finish; however, a much softer staggered edge. When developing my boarder and corner designs i will remember this as it is clear how much of a vast difference it can make.

For the background hue i decided to return to a much softer hue which better reflected the tone of my colour pallet. Despite feeling the tone works a lot better than the bright and bold hues of previous, i feel changing the beige hue for a very soft orange from my colour pallet will help to appeal to my target market.

When preparing my images for printing in Photoshop i was trying to work out the best way to fit the maximum amount onto one page to reduce waist and this turned out to be a very interesting expriment for repeats. I have attached a slide show of the repeating structures i used to fit as many onto the page as i felt was possible.

Overall i have really enjoyed creating these experiments as developing repeats is definitely my favourite part of the designing process. I am so interested in how a repeat can make or break a pattern and the amount of possible repeating structure options. From here i really need to crack on with some iridescent experiments in order to work out how i will formulate these as this is exceptionally lacking at this point. Despite this, i really wanted to get to a comfortable place with my imagery as this is key within my collection. Now having developed a diverse range of imagery and knowing my colour pallet and style, i can fully engage with my iridescent experiments without worry that i still am not 100% sure of the direction of my collection.