Sewing the Distance!: July 2024

Distant Stitch Diploma, Module 6, Chapter 10 - Resolved Stitched Samples

The following sample is based on Chapter 5/55. Strips of painted bondaweb have been torn and arranged on black felt.

I painted pieces of painted bondaweb and bonded this onto white polyester. I applied bondaweb to the back of the polyester, which was then cut into small shapes, using a soldering iron.

100

Vertical and horizontal rows of machine stitching were added. The effect was not quite right, so I added small straight stitches to the surface and then added black net and machine stitched more rows, see below.

101

I added longer straight stitches on top of the net to complement the shapes. As the original design came from a photo of sea urchins, the long straight stitches are a reminder of their sharp spines. I also ironed on a few more small shapes over the net. I was very happy with the result.

102

Close up of 101.

103

For my totem, I sprayed water onto bondaweb and then sprinkled Brusho inks on the surface. I dabbed the excess water away, which helped to blend the inks together.

104

My totem represents my memories of my four personal assessment pieces (PAPs). I chose the hexagon as the base of the design as it is the shape of a coral skeleton. I have tried to reuse/upcycle as much as possible. The lowest hexagon shows stitching from my bolero (PAP1). The next piece shows metallic threads and mirrors based on the nautilus piece (PAP2). The third hexagon shows samples from my climate change embroidery (PAP3). The top hexagon shows a rocky surface, based on PAP4, which is currently incomplete. Tha painted pearls are also based on PAP3 and help to guide the eye through the embroidery.

Distant Stitch Diploma, Module 6, Chapter 9 - Bonded Layers

I have used bondaweb and Super Mend throughout the C&G Certificate and Diploma and find it a very useful medium.

I bonded pheasant feathers together and then bonded them a second time onto black felt (see below).

Feathers were bonded onto black felt and covered in black net. Straight stitches were added to emphasise the ends of the feathers. I used a soldering iron to bond the net to the felt around the edges.

A background design creating by monoprinting in Module 2.

Layers of threads and silver netting bonded to the background and distorted with a heat gun.

Close up of 93.

I re-used fish shapes stitched onto organza for PAP 4.

I also reused pieces of coloured organza, layered with the fishy organza, using bondaweb onto mulberry paper.

A piece of painted bondaweb with a dried leaf arrangement, bonded on top.

Distant Stitch Diploma, Module 6, Chapter 8 - Use of Plastic Materials

Using a plastic balloon as a background and quilling with double-sided plastic fabric, the quilling ironed onto the background really well. Not very inspiring.

This is a small plastic bag that I saved after a visit to the Van Goch Museum in Amsterdam. I cut out the lettering and arranged it over the design and added stitching to the sunflowers.

I used a black bin liner as a background and cut up colourful plastic bags into small pieces and ironed the two together. This design is based on Module 5, 54-56. I have added small parallel stitches to emphasise the fragmentation.

Distant Stitch Diploma, Module 6, Chapter 7 - Quilling

I selected a background that I had been a sample for PAP4. The fabric was wrapped tightly round a tube with string, painted and left to dry, resulting in some lovely creases.

I found quilling very relaxing and enjoyable. In 83, I have used raffia, ribbon yarn and woven cord.

In this sample, I cut up a rubber glove into strips and 'quilled' them. There are multiple joins, but they are well hidden! The background is pelmet vilene, marked with a soldering iron, with touches of colour added.

I went back to PAP4, where I have been experimenting with 'fish feet' and applied quilling to them.

I was very pleased with the result but this is still work in progress.

Distance Stitch Diploma, Module 6, Chapter 6 - Making Beads

I started to sort out items from my stash to see if any had 'beady' qualities!

The first type of beads I have made are from clay. I used cutters and shell imprints to create the beads below. I used mushroom coral, cockle shells and sea urchin shell to make the patterns. I painted them lightly with pink and metallic paints. Each bead can be linked onto a thread.

I shrunk Christmas glitter strands, which formed an interesting mesh. They can be moulded whilst still warm and could be shaped into toggles.

More plastic shrinking! This did not really appeal to me.

This time I painted some plastic in blue and yellow diagonals and then applied heat to shrink it.

Next I sandwiched threads between OHP sheets. The plastic only shrank a little but the edges became sealed.

Pieces cut and threaded with ribbon.

Another shrinking experiment - a couple of old popsocks over a glass tumbler. The nylon blistered rather than shrunk but the emerging layers were beautifully delicate.

The nylon cut from the glass.

A selection of toggles, made using bondaweb and tyvek as a base. The 2 on the bottom left are made from pop socks. I have decorated some with sequins, sequin waste, plastic coils and threads.

The base of this toggle is an OHP sheet. I pierced holes using a soldering iron, then wrapped strands of FuseFX around it and sprinkled it with embossing powder and heated it with a heat gun. A lovely delicate effect.

With re-use and re-cycle being part of this module, I have used some of my fish samples from PAP4 that probably won't make it into the finished piece. They are made from felt and polyester organza, wrapped round a kebab stick and heated to form a toggle.

This is a longer strand of fish.

The toggle is large but the emerging patterns, with the melted organza and unaffected stitching is very pleasing.

The reverse side.

Beading on a loom was quite a challenge. I decided to use section from the totem, designed in the last chapter. I worked out a grid but the beads I chose didn't quite match up to the grid pattern, as they were not all the same size.

The black beads were tall he same size but I used a variety of sizes for the coloured beads, not realising how this would distort the design, not a major problem, but a lesson learnt.

A close-up of a slightly wonky bead sample!

I have to admit that I rather liked the unpredictability of the pattern, so I did another one, this time deliberating choosing different sized beads.

Another re-cycling experiment, this time using buttons to make a bracelet, chunky but wearable!

Beads arranged on 78 and 79 for presentation purposes.

The necklace was madee some time ago at a workshop, so I've added a matching ring, made from moulded clay, painted and wrapped with coloured beads.

I made the background during chapter 3. I love the patterns that are created by rusty objects. The beads are made of painted tyvek, wrapped with metallic thread. I arranged the 'fans' inspired by my research photos in chapter 1.