Still sampling.

But embroidery this time, not knitting. I watched some videos (now taken down) from  about the sampling methods used by Sue Stone, and although the presentation of the videos reminded me a bit of those self help books that include a few ideas padded out with lots and lots and lots of repetition, I did like her approach to embroidery. Which is, to select a few simple stitches, impose some simple limitations on the way you work, and explore all the variations you can think of. Stone suggests you work on a small scale – 5 cm squares drawn on fabric. As my previous attempt to explore button hole stitch ended up as a sprawling monster I was thoroughly bored with, this had a certain appeal.
Slightly influenced by Stone’s choices, I made a list of the stitches I seem to use the most – straight, running, couching, and French knots, and added needle weaving because I like it. I decided to limit my first experiments to horizontal rows of vertical stitches, so they are not running stitches, although there is a danger that they could become satin stitch. These are the first 4: I have several more ideas.
The videos emphasised that samples are just samples, and that they are meant to be used to inspire real work. I know the danger of ending up only making samples (from bitter experience), so I have told myself that after every ten or twelve I must try to make something with the ideas. At the moment I have no idea what, but hopefully something will come. Meanwhile I am just enjoying the graphic nature of the mark making.
As I’ve finished the last year of stitches sample, I’ve replaced it with these samples. I’m aiming to do one little square a day, more if I get carried away! 

It seemed like a good idea at the time.

This is a sampler for Year of Stitches, inspired by Dawn Thorne’s book, Transparency in Textiles. (The fact that it didn’t work is my fault, not hers!) She suggests layering strips of sheer fabric and joining them with running stitch, which I did. I mounted them on Aquabond first, which made it easier to manage. So for so good. 

Then I decided to add some prints on acetate, which meant washing out the Aquabond before I started, because water and prints on acetate don’t mix. This was not such a good idea. The base fabric distorted when I washed it, the acetates were slippery and difficult to sew, and the thinner areas tended to go into holes which distorted the stitching. I should have stuck with Ms Thorne’s suggestion of adding appliquéd sheers. 

Still, it was a learning experience.

The best thing I’ve done all week was this, which was a quicky for Make Something Every Day. The prompt was to use coffee in some form. I had some coffee stained paper, so as I’ve been playing around with ideas inspired by hawthorn blossom, and have a flower shaped punch, I decided to punch out some coffee coloured flowers, stick them on some paper, and call it done. (OK, they’re not much like hawthorn flowers, but I was cutting corners.) 

But then I found this bit of stencilled paper that’s been hanging around for years, and the whole thing got a bit more elaborate. If I have still got the stencil, there might be an embroidery in it…

Samplers, samples and experiments.

I’m really enjoying this Year of Stitches sampler. I’m much more process than product driven, so I like this sort of piece, where I just get started and follow the ideas that come up as I’m working. It doesn’t always work – it didn’t for the first Year of Stitches sampler, but I’ve realised that it works better if I put down some guidelines when I start, though I am very likely to change my mind later. This one started with wave-like lines across the fabric, but as you can see, they morphed into leaves and petals.

Unfortunately, the Frixion pen I used to draw the lines has left marks on the fabric so it’s a good job I’m not so worried about the product. I’ve had it happen before on coloured paper, but not on fabric. This is hand-dyed with Procion, so maybe Frixion and Procion don’t get on – I know Procion is supposed to discharge with bleach.

The experiments didn’t work. I’ve had some alcohol inks for ages, and never done much with them, so I decided to have a play. They worked OK on various bits of plastic, spread with some felt in a bulldog clip, but I wasn’t wildly excited by the results. I read somewhere that you can drip them into water and marble them, so I gave it a go. 

The results were so awful I didn’t even take photos. I think the ink set as soon as it hit the water. The white just went into clumps,   and the other colours  were reluctant to marble. I did dip sheets of plastic into the mess and some ink was picked up, but as it dried it just flaked off. So I put the results down to experience and in the bin.

The knitted samples aren’t very exciting either. I’ve found when I make my SKO’s that I tend to use the same few base patterns and some of them don’t  lie flat.

So I’m working my way through Nicky Epstein’s ‘Knitting in Circles’. I shan’t try all 100, because:

a) some have seams and I refuse to sew up seams;

b) some of them, like the really lacy ones, are probably unsuitable – although it might be interesting to try one or two;

c) I shall get bored. 

The icord knitting hasn’t gone away. I currently have 4 on the go. The 7 metre blue one is in the process of being coiled into a bowl/basket, but the process is hard on my arthritic hands, so it proceeds slowly. The yellow one has been sewn into a loopy thing (in both senses of the word) and is awaiting the addition of beads and French knots. The shorter blue one will be wired, unless a better idea comes to me. And I have a brown one on the needles, which is progressing slowly for icord. In theory if I slip stitches at regular intervals it should become kinky – although there is no sign of it doing so yet. The problem is that, to ensure the slip stitches come in the right places, I have to chant ‘1 2 3 slip’ as I knit – there are 3 stitches so this means that the slip stitch moves one stitch over each row. Should be easy? It isn’t. It’s a bit like meditating in that my mind wanders, and I find myself just counting ‘1 2 3’. Which does not work.

The openness photographs have fallen by the wayside a bit, but I hope to find a few more before I move on the next topic in the middle of the week. There is this one, though. Guess which book this is?

Still here, still sampling. 

Plus some embroidery, and winding of balls. Of wool, you understand. And some photography. I’m fascinated by the reflections in our wet car, but it’s difficult to take photos without them turning into selfies. However the iPad conceals quite a lot.

These are the previous three samples, finally shrunk. The polypropylene ruffles on the left remind me of those wonderful chickens with amazingly feathered heads, which is probably why I’ve been sketching bottle-shaped SKOs with feather necks. 

You knew I was weird, I hope?

 This is the current sample – more polypropylene, but in loops and bulges this time. I got carried away with various ideas from Nicky Epstein’s  ‘Knitting Over the Edge’, but I think the loops are my favourite. 

This afternoon I’ve been balling up hanks of yarn for future SKOs. This is Airedale’s wonderful Poodle Super Gimp, which looks and smells nicely sheepy. (That’s not a criticism – I love the smell of real wool.) I have no idea how you would use this for conventional knitting, but I see stripes of it on an SKO in the future. Or the sides of an SKO. Who knows?

 I shall sample it to check needle size and see if it felts, though I suspect it will.

This, on the other hand, probably won’t, as it contains a high proportion of nylon. It was an irresistible bargain from my local Oxfam shop – 400gms for £3.96. I shall sample it just to confirm it doesn’t shrink, and then  probably space dye it for use as a non felting yarn with some all wool Aran. I think from the labelling and Google that it is getting on for 40 years old, but it seems in good condition- clean, and no sign of moth. 

And I’ve started a new Year of Stitches piece. I’ve decided that today will be my last day with the beige one, I really don’t like it, so why carry on?  New month, new start – though I jumped the gun a bit. This is an old bit of handdye, plus some hand-dyed and commercial threads – and one of my favourite sayings. I keep telling myself to work small but it doesn’t seem to happen.

Life goes on.

There’s been lots of knitting since I last posted – including my fugly socks – so ugly that I photographed them in B&W to save you from the full horror of the colour scheme. But I normally wear them inside my slippers, and anyone who is close enough to see them will be grovelling at my feet, so I think I can get away with it.

My main Year of Stitches embroidery also demonstrates some horrible colour schemes – which is probably to be expected when you pick colours at random. When I studied colour theory for C&G embroidery, we were challenged to produce an ugly colour scheme. I found it quite difficult at the time – should have dawned on me that purple, yellow, orange and rust really don’t work together.

The threads for the one with a black background were carefully chosen, so, apart from the blue which reads as black, the colours are better.

I’ve finally finished the four Yorkshire Wildlife Trust vessels. I’d love to be able to use their wool for SKO’s, but I think it’s too fluffy for them – stitch patterns just vanish when felted. Might work for colour work, I suppose – which might be an excuse to buy some more. 

The before and after photos are of an SKO made from some left overs from the giant gloves – Berber rug wool from the much missed Texere yarns, although I think Airedale yarns sell it. I wasn’t sure how well it would felt, but it does so quite nicely – stands up well, but still plenty of stitch definition. (The odd colour of ‘before’ is because I photographed it in artificial light- ‘after’ is much more accurate.

I’ve got another experimental sample waiting to have some embroidery/weaving added to it before it goes in the wash, and one on the needles which has stripes of cream wool and fine black polypropylene. I kid you not, Airedale yarns sell it, and it’s softer than I expected, and quite easy to knit with, apart from being a bit splitty. We will see what happens when it meets the hot water.

Progress on several fronts -eventually.

The Yorkshire Wildlife Trust SKO turned out OK,  albeit a bit smaller than I was anticipating. It probably wasn’t worth working the pattern on it as it’s almost invisible in all that fluff, but it’s quite cuddly. I learned to sample before I knit, though it didn’t seem worth it for a piece made from 1 50gm ball.

The samples were rather less successful. It took three goes through the washing machine, at gradually increasing temperatures, to get any visible shrinkage, but I wasn’t intending to use this wool for a full scale SKO, (it’s 4ply) so that’s not a problem. I also learned that the colour of the black string runs. And that fake purple raffia is not my thing.

Despite  having a feverish cold for most of the week, I managed to keep up with 1 Year of Stitches. I learned that the black one is b****y difficult to photograph. 

And finally, after several weeks of procrastination, I added some stitch to an older, not so strange knitted object, which has improved it somewhat. I learned that stitch won’t correct a crooked SKO.

Quite a lot really, considering how grotty I felt for most of the week.

The sound of silence…

has been because I’ve been in a creative slump – the muse has definitely gone on holiday, and unfortunately I haven’t gone with her. I couldn’t work out what to do with the masks idea, the 3D explorations were sabotaged by problems with my sewing machine and a lack of enthusiasm on my part, and the knitting has become predictable and boring. 

See photograph above of boring knitting. 

So I have gone back to basics. I am going to do some ordinary knitting – using a pattern! – written by someone else! – which will require very little thought, though I did have to unskein a couple of skeins of wool before I could start. 

And, inspired by an exhibition of Diana Harrison‘s work, and rereading Helen Parrott‘s book ‘Mark Making in Textile Art’, I decided:

1. To go back to embroidery,

2. That the sort of embroidery I like best is reliant on colour, and stitch as mark making,

3. So I needed to start exploring mark making through drawing and stitch. 

Which I did, and it was fun, because I started by taking lots of photos – until the printer started playing up. Still, that seems to be fixed now, so fingers crossed I can print off some photos and start work. 

The wedges below are not cheeses, by the way, but firewood stacked up at Mottisfont.