Chapter 10 Counterchange and Interchange

Sample 1 - Counterchange - cross shapes cut and swapped to produce a counterchange effect. Stamped fabric and threads were bonded to felt to produce two contrasting fabrics for the sample. These were stitched using a simple insertion stitch, in pink and blue wool thread, with no gap between the pieces. Each square was edged with blanket stitch in the same colour thread used for the centre shape.

Sample 2 - Interchange - (a work in progress) - fabric shapes based on cut and fold paper shapes from Chapter 4 were bonded on to pink and mottled moss green felt. Stamped green and red fabric and hand dyed silk were used in this sample. Another simple cross shape was then used as a template to cut from each square. These were rearranged in different squares to create an interchange effect.

Shapes were sewn into each square using two machine stitches, a zig zag and ladder stitch. Squares were joined together using a simple machine zig zag stitch.

This sample is very busy and I wanted to unify the units by incorporating some hand stitching. I am not quite sure the best way of doing this and some further experimentation is planned.


Sample 3 - Counterchange - four different squares of fabric were used for this sample. Stamped and plain fabric in cotton and rayon (also using reverse) were used for contrast of colour and texture. A simple shape from Design Sheet 3 was used to create the pattern used in this sample. Pieces were rearranged in a different order creating four squares of different configurations of the same design.

Pieces within the squares were joined with machine stitching in cross stitch using a variegated pink satin thread. Each square was then joined to the other squares using hand dyed stranded cotton in colours to match the fabrics. Beaded insertion stitch was used to joint squares together using small iridescent green hexagonal beads which tone very well with the fabrics and also provide some 'life'.

I am not sure whether further hand stitching would enhance this sample and may experiment further. I do like the solid colour areas in contrast to the busier elements of the sample however some advice about this would be welcome.

Chapter 10 Inlay Applique

Insertion Stitch Samples - woven strips of fabric were bonded to felt, cut into strips and rearranged in a different order to create some movement and interest. I have used a variety of threads in these two samples including, hand dyed pearl cotton, silk and wool. I also used glass beads for one of the stitches.

Insertion stitches were used in the following methods shown in the picture above from the top down: twisted insertion stitch, laced insertion stitch, plaited insertion stitch, knotted insertion stitch and beaded insertion stitch.

I have to admit that I was not really taken with this technique until I finished the beaded stitch and then instantly fell in love with it. The beading added some additional excitement and enabled me to recognise the potential for these stitches in many different applications.

Mock Insertion Stitch - stamped green fabric was bonded to felt and cut into a cross shape. This was bonded to a dark red fabric. Pieces were 'mock' joined together by hand sewn cross stitch in silk thread in variegated light green colours.

Chapter 9 Ripple Effect

This is my first attempt at achieving a Ripple effect with different layers of fabric stitched and cut. I will make further samples as this does not quite achieve the effect as I envisaged it. The spaces between the shapes could be smaller and this can be achieved by layering and cutting more fabric. I was not sure which layers to cut when layers overlapped and therefore some rounds would have the same fabric as previous rounds.

The use of Moire taffeta in the background enhances the ripple effect. I seem to be using this a lot in the applique samples, I must like the effect of shimmering and sparkle it produces in contrast to the more muted cottons.

I am feeling more confident after my first attempt and will produce more samples for this page.

Watch this space!

Chapter 9 Machine Stitch Applique

Machine Stitched Applique - Outside stitched first. I like the shimmery effect of the Moire taffeta as a background. This seems to illuminate the bronzed stamped top fabric.


Machine Stitched Applique - Inside stitched first. I am pleased with the layered effect with frayed edges. Careful placement of fabric with this technique could produce an almost dimensional efffect.

Machine Stitched Slashed - Stamped fabric on top to produce a 'distressed' and old look. Red fabric with bronze stamping provides a pleasing contrast. Darker turquoise and shiny orange backing fabrics provide contrast and nicely frayed edges. The edges have to be 'worked' fairly hard to produce a noticeable frayed look.

All of these techniques are very versatile allowing a greater range of fabrics as edges do not have to be neat or turned under.

Chapter 9 Reverse Applique

Paper Design - I chose a design in paper that would be easy to execute in the samples however still be effective for the techniques in this chapter. The shape is slightly irregular for added interest.

Fabric Sample - I chose bright contrasting colours to emphasis the different applique layers and create vibrancy. I found it difficult to execute the applique using tacking stitches as a guide. I have previously used needle turn applique and found this easier, perhaps because as I am used to it. I am prepared however to practice the tacking method as I am sure there are situations where this is easier.

Chapter 8 Module 1

Chapter 7 Module 1

Chapter 6 Module 1

Chapter 5 Module 1

Chapter 4 Module 1

Chapter 3 Module 1

Chapter 2 Module 1

Coloured papers and cut paper shapes showing the colour range of violets, lime greens, reds, greens, red/orange and torquoise. Papers coloured with inks in torquoise, violet, green, pink, rust, peach and oranges. Some papers sponged with sea sponge in tints of base colour eg. violet and violet tint.

Paper cross shapes using scissors, torn paper and decorative scissors. Interwoven shapes form interesting patterns. Paper used includes: cartridge paper, tissue, kitchen towelling and phone books. Stamped paper from hand made rubber stamp using acrylic and bronze paints. Some interesting effects with 'shadow' printing where outline is stronger than centre printed area. Need to ensure that thick edges do not form on stamp. Colours used: torquoise, bronze, green, yellow.

Level 3 Certificate Embroidery Shape and Colour

Chapter 1 Research Cross Shapes

Coloured Paper

Coloured paper examples. Grey and Paper was painted with water colour and overlaid with pastels and oil pastels to create textures. These papers were then torn and cut to create strips for weaving.

Woven patterns were created to simulate the shapes of the rock wall and to simplify the original shapes in the photographs. These were used as inspiration for the final resolved samples.

Colour Mixing

Three different methods of colour mixing have been used here.

1. Different threads were used in the needle at the same time using tent stitch. Colours grade from the yellows/ochres to the dark browns and blues of the rock wall. Some colour from the different areas was also intermingled with previous areas to help achieve the transition.

2. Broad Cross Stitch was used to move from one colour to a second darker colour. The stitch was executed in the lighter grey colour, then with the plum colour underneath, the grey colour underneath until final;y moving to completed plum colour.

3. Rice stitch was used in different weight threads and colours to create a unifying effect over blocks of different colours. This is very effective for highlighting specific areas and for tying in colours.

Rubbing Interpretation

The rubbing interpretation was stitched in brown/grey neutral threads on 14 pt canvas which had the background painted in cream/grey. I placed the canvas over the rubbing and marked the different textured areas with dark pencil. This was then stitched using a range of different stitches to depict the different textures and surfaces.

Threads used were: silk, cotton, crewel wool and perle cotton. Stitches used to illustrate textured areas were: cross, Smyrna, Portugese knot, double leviathan, Chinese knot, Ray stitch, oblong cross and vault stitch. The background was stitched in lighter colours using satin, diagonal and cretan stitches.


Some green colour crept in as I was sewing in poor light one evening and did not realise the colour difference. This illustrates however that this sample is best executed in one colour to see the differences in texture more easily.

Ex 6 Sample of One Stitch

This sample uses one stitch in thedifferent threads of one colour to illustrate the different effects that can be achieved. The canvas is 10 pt and the surface has been painted in dark brown to provide a pleasing contrast to the orange coloured threads. The stitch used is Cretan Stitch in a range of threads from top left to right: metallic machine, cotton flower, cotton perle 8, crewel wool, knitting ribbon, bobbly yarn, cotton perle (5), stranded silk, silk ribbon, tapestry wool, raffia, string or twine, leather cording, fabris strips, fancy yarn and crewel wook (double thickness).

Some interesting textures can be achieved using different weights and types of thread. Some yarns such as raffia, string, leather cord and bobbly wool are perhaps better if they are couched onto the surface as these were quite hard to pull through the canvas. Fabric strips produce an interesting effect when the edges fray and would be good for landscape or natural subjects.

Stitch Key for Canvas Stitches

Letter are a bit hard to read but I have named the stitched from left to right, going down first, then across to the line stitches.

A. Cross - small, B. Cross - large, C. Satin, D. Blanket, E. Herringbone, F. Wave, G. Cretin, H. Cretin - wide, I. Chain, J. Open Chain, K. Running, L. Long Arm Cross, M. Rice - small, N-P. Smyrna - large and small, Q. Chinese, R. Portugese Knot, S. Stem, T. Cushion, U. Eye - large and small, V. Canvas Fern, W. Rice - large.

Canvas Stitches in One Colour

This sample uses one colour thread on 10 count mono canvas. I used Perle No 5 cotton in light green. This type of thread has a nice sheen and produces interesting textural effects on stitches in a repeat pattern.

I would not generally use this colour but it was a close colour to the light green moss on the rocks. I tea dyed the canvas to take away the stark white and give an 'old' look.

A stitch key attached indicates the stitches used.

Black and White Shape Studies

I have created two shape studies in black and white. One with cutting the paper and the other tearing the paper. I focussed on different areas of the wall for these studies.

The one with cut shapes gives an interesting effect and the negative space could be used to for a base for an embroidery design. It could be viewed as a two dimensional work with the dark areas representign garden beds or ponds and the white could be a winding path between.

Some of the rocks in the wall were quite large with smaller rocks filling the gaps. These larger areas could be broken up with different designs and colours within one area.

Colour Studies 2 and 3

I have created two more colour studies using water colour base and soft and oil pastel over the top. These give a good textural effect and colours can be combined, drawn over each other to create other colours eg. voilet and light grey creates a pleasing lavender effect.

One study focusses on the colours in the moss from light blue/green to dark purple/green. It also experiments with the lighter pink/peach/yellow hues of the top of the rocks.

The other study looks at the ochres and browns of the darker rock areas.

Black and White Image

As a precursor to the Shape Observation in black and white I have copied the original photograph of the wall in black and white to obtain a feel for the shading of the piece.

I have cut these shapes and rearranged them on a white background (below) to give an idea about the shapes that the separate rocks create.

I found this interesting as it altered my ideas about how the different shapes were structured when they were cut out separately and did not relate to the overall wall.


















I will use these as a base for the Shape Observations.

I will also create solid black shapes by eye and with cutting and tearing the paper to see what different effects these create.

Colour Study 1 of Rock Wall

I created this colour study using water colour and Prisma colour pencils. I painted a paler wash of the desired colour onto water colour paper and overlaid this with pencil shading. I built the colour up with various shades of pencils in differenct colours.

I was amazed at the range of different colours and tones which appeared through careful study of the photographs. Previously when I have created embroidered pieces I have tried to translate the colours directly from the source to selecting the threads and chose colours in a random fashion as I created my peice. I found that by developing the colour study of the rock wall I examined the photograph more carefully for colour changes and noticed many more colours than I might otherwise have chosen.

I found this exercise very rewarding and valuable.


I will develop further colour studies using a water colour base overlaid with pastel and oil pastels.

Rubbing of Rock Wall

I made a rubbing of one segment of the rock wall using white tissue paper and black pastel. It was very windy and therefore hard to get a good sample as the paper was blowing everywhere. I will take some more rubbings using black paper and white crayon, of different areas of the wall.

When this sample is magnified it does however, provide some interesting texture (from the mossy surface and the rough stone) and portrays a feeling of movement.

Photo of Rock Wall

This photo is of a rock wall from my garden at Binalong, NSW, Aust. This is my study for the Foundation Module in the Embroidery course with Sian Martin, UK.


This photograph was taken in the early morning in bright sunshine.






This photograph is a close up of an element of the above photograph.

I have chosen this study as there is a pleasing contrast between rough and smooth surfaces, light and dark contrast and range of hues.

I also just love the mossy rocks and the variety of texture and colour they contain.