Roads not Taken

Amongst a number of ideas I've decided against pursuing are printing using fabric paints, and printing on organza using the fish images taken early on in the module.

1.  Printing on Organza

Printing with fabric paints on organza was a worthwhile exercise.  I discovered just how light a touch I needed to be successful, and the effect created when too much paint was applied.  I wrapped string round the roller to produce these sketchy marks; had I chosen to pursue the technique further I would have made some printing blocks. The marks on the piece above could have machine embroidery added.

2.  T-shirt Transfer

3.  Non-washable Organza

 The digital images produced with these two products are very clearly defined.  The t-shirt transfer, however, produces a thick matte coated surface which is too stiff for the collar, though stitching on it works surprisingly well.

I had expected the fish print to work well on the organza and I was not disappointed: the print is clear and the fabric's feel is soft.  However, it is much finer than the organza used in my other samples and has a blueish haze which does not look right when integrated with other organza pieces.(see Sample 4 below)

4.  Fibonacci Sample

I also set out to explore how I could use the Fibonacci Sequence thinking that I could apply it to the construction of the main fins.  Sample 4 above shows this with its bands in a 1, 2, 3 sequence.

5.  Fibonacci Sample

6.  Fibonacci Sample

Samples 5 and 6 show how much more effectively a design can work when the dyed and machine embroidery is orientated in the same direction.  On Sample 6 I used a dark petrol blue to machine waving loopy lines through the dark dyed surface linking it with the two other fabrics. Whilst tonally I like this piece it has become yet another of my discards:  the seams create bulk and a tension which I can only overcome by machining any tucks I make down thereby loosing the sense of loft I like.  Also, when dyed the organza has a slightly crinkled appearance, though attractive does not marry-up well with flatter pieces.

So if making Fibonacci Sequenced fins doesn't work, will applying the sequence to the width of each fin as it curves from centre front to centre back?  

7.  Collar Toile

 For Collar Toile 7 I used the sequence 1, 2, 3, 5, 8.  I also had to include the width of the fin insert after each main fin.  The resulting callico collar need quite large tucks to make it fit.  Even though it fits the back view on image Collar Toile 8 clearly illustrate a rather flat looking piece of fabric which is at odds with my intention.

8.  Collar Toile

I also tried out a 1, 1, 2, 3, 5 sequence and a 1, 1, 2, 3, 2, 1, 1 sequence (Collar Toile 9) and came to the conclusion that my original thought of making all the main fins the same width was probably most likely to be successful by allowing me to position the insert fins where I wanted them.  In other words I was creating an unnecessary straight jacket for myself.

9.  Collar Toile