Chapter five – Sample

I chose a range of stitches worked in embroidery cotton DMC 597 on aida.

The stitches used were:

  1. Fly stitch at various angles and overlapping in places
  2. Cretan stitch
  3. Block shading using straight stitches
  4. Long and short stitch
  5. Stem stitch
  6. Trellis stitch
  7. Detached chain stitch
  8. Fly stitch
  9. Wave stitch
  10. Basket weave stitch
  11. Square stitch with a diagonal filled in
  12. Square stitch
  13. Mosaic
  14. Straight stitch blocks at various angles
  15. Seed stitch
  16. Sheaf stitch

See 5.1 below:



Image 5.1 – Stitch samples

Most of the stitches were new to me and it was really interesting to see how well, or not so well, they covered the cloth and could create interesting shapes. In terms of creating interesting shapes and textures, I think overlapping fly stitch (1), detached chain stitch (7) and Cretan (2) are useful.  Long and short stitch (4) provided good coverage.  Sheaf stitch (16) gave a nice ‘nobbly’ texture which could be interesting in a thicker thread.


Chapter Four–Shape Observations

The course notes suggested ripping or cutting black paper and arranging it on a white background to reconstruct the patterns in my chosen piece of wall.  Because I have chosen to study the face of one piece of rock, rather than a section of stones joined by mortar in a wall,  I have struggled to work out how to do this.  There were no bold shapes within my stone, but there were lots of small shapes where the colours changed. The best way I found to identify the shapes within the stone was by tracing over the photograph to identify the shapes of the different areas of colour as shown in 4.1 below.   :


4.1 Tracing

Image 4.1 – Tracing of the shapes within my chosen piece of stone.

Having traced the shapes I tested out whether I had made a useful representation of the shapes by colouring in the sections in (roughly) the colours as they appear in the stone.  I used graphic colouring pens to give an indication of whether I had identified enough different shapes within the stone of colour to represent the rock, rather than to give a true account of the actual colours.  See 4.2 below:

4.2 Coloured tracing

Image 4.2 – Tracing coloured to identify the main colour variations in the stone.

I found that my original tracing did not identify enough patches to represent all the different areas of colour and so I drew in a few more lines in order to get a reasonable representation of the large number of coloured areas in the stone.  Image 4.3 shows the photo from which I tried to match the coloured areas.

Image 4.3 – original photo of stone that i used to identify shapes and areas of different colours.