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.