Thursday, 19 August 2010

Chapter 10 - Inlay applique

Inlay applique is a new technique for me - basically it involves cutting the same shape from two pieces of fabric, swapping them over and stitching them back in using an insertion stitch. Traditionally, a fabric that doesn't fray is used - eg felt, leather.

This series of samples are all made using felt.


This is a series of insertion stitches. The background is various fabrics bonded onto felt, cut into strips, and rearranged. The strips were stitched to a piece of tissue paper to support them while the stitching was done.

The top pair of samples are made from hand painted papers, and the bottom pair from felt with painted bondaweb.I used a simple insertion stitch, added some running stitch to the backgrounds, and buttonhole stitch round the edges. I tacked the shapes onto brown paper to support them as I was stitching, and I found this easier to handle than tissue paper.


For this sample I used some beautiful hand dyed hand made felt which I had bought some time ago. Because the felt had such lovely texture, I decided not to to do any bonding or embellishment other than the buttonhole stitching round the edge. Once again I used brown paper as support.

For this final sample, I selected fabrics and shapes as detailed above. I wanted to use a different insertion stitch, and tried joining two bits of felt by machine, using the thread that was already in the machine - pale blue. I liked it and used it to join everything back together again. Finally, I added the running stitch.

I didn't think this sample was going to work, but I think the running stitch draws everything together and I really like it

Chapter 9 - Reverse Applique

The summer (what summer?) is not a good time for getting on with C&G work, but I am concentrating again, and getting on with it.

This chapter is about reverse applique using both traditional and contemporary methods.

Firstly, the traditional method, which is based on Mola Work, produced by the native people of the San Blas Islands.


The drawing at the top is the design I used for these first samples - a simple cross with echo lines round it. I found this technique quite demanding, and didn't make it any easier for myself by choosing a shot silk for the top layer. Apart from being very beautiful, San Blas molas are immensely detailed and one can only admire the skill of the women who made them.


These two samples are made using a contemporary method. In both samples I used 5 layers of fabric. In the left hand sample, I machine stitched the inner line first (from the back), then cut away the top layer of fabric close to the outside of the machine stitched line, then repeated with the remaining three layers. In the right hand sample, I did the reverse, machining the outside line first and cutting away the top layer of fabric inside the line, and then repeated with the three remaining layers of fabric.


Chenille or slashed reverse applique - I have used 8 layers of fabric to create this sample. Starting from the bottom layer they are:
  1. cream curtain lining with the design drawn on it - I added more echo lines.
  2. dark green cotton
  3. lime green dress lining
  4. terracotta cotton
  5. apricot crystal organza
  6. pale apricot shot silk
  7. light green cotton
  8. green/cerise shot silk
I left the dark green layer uncut. The only layer which has had an impact on the finished sample is the sixth layer - the pale apricot shot silk, which has frayed and poked through the cuts.


The final sample in this module is the multi-coloured ripple effect sample. I layered up a variety of fabrics, most of which don't extend over the whole area of the sample, ending with a dark red organza which does cover the whole area. I started by machining the outside line and cutting away the organza inside the line. Then I built the pattern up in a much more random way machining lines and cutting away, sometimes inside the line, sometimes outside. I am really pleased with the end result.