Category Archives: Process

Laser Cut Yarn Samples


Yarn – 3mm

Hook – 4mm

Stitch – Foundation Chain, Double Crochet, Front and Back loops



Right Side

Yarn – 7mm

Hook – 6mm

Stitch – Foundation Chain; Raised, Treble



Wrong Side



Stitch – Foundation Chain; Brick



Stitch – Foundation Chain; Arcade



Stitch – Foundation Chain; Bouclé



Yarn – 3mm

Hook – 3mm

Stitch – Foundation Chain; Double



Hook Test

Yarn – 3mm

Hook – 3mm

Stitch – Foundation Chain; Double




Stitch – Slip Ring; Double, Increase and Decrease.




Stitch – Double, Mitre Square; Raised Treble; Slip stitch.





Stitch – Foundation Chain; Double, Mitre Square; Treble. Decrease.



Stitch – Foundation Chain & Double Crochet.



Tree Form

Stitch – Ring Foundation Loop; Double; Increase & Decrease; Bouclé




Stitch – Foundation Chain & Double Crochet.




Solomon’s Knot



Diagonal Stitch.



Ball Stitch



Woven Stitch.


L21 A, B & C

Screen Foil Trial, Hand applied.

Stitch – Double Crochet



Yarn – 3mm

Hook – 3mm


Yarn – 5mm

Hook – 4mm


Yarn – 7mm

Hook – 3mm



Yarn Ball

A Result of Winding Gone Wrong


The yarn had been wound as a dual wind process using two hand operated ball winders in tandem.

The next phase is to wind onto cones to enable easy storage and management of the yarn.

The yarn ball is transferred onto a cardboard tube and placed on an axis to allow free spinning as the yarn is ripped from the tube to through the cone winding process.

The tube is held unevenly on the axis spindle and can lead to erratic jolting. Also the loss quality of the yarn can lead to movement of the yarn ball and it slips from the tube and then winds and tightens around the axis spindle which knots to such a degree that is proves impossible to detangle

The yarn ball is an example of what is left.


This problem is yet to be resolved

Solutions to try

  • Leave as a ball the wind to cone from centre of the yarn ball.
  • Leave yarn ball on its winder use a bung with a hole in to stabilise spin on axis spindle.
  • Centralise cardboard tube to stabilise spin rotation.


Double Stitch


Alternate stitch



Dye Recipes



Using Dyeing cotton, Linen or Viscose Rayon with reactive dyes Procion MX Cold following the measurements for medium so –


“1.0 to 1.5gms of Procion MX 60gms salt 8gms of Soda Ash”



A medium sized mixing bow was used as a dye bath

2 Litres         hot water was used

3 level           dessertspoons of salt

¼tsp               Procion dye *Bottle Green


Soda Ash was diluted in a separate bowl in order to allow reuse of the dye bath.

8gms                         Soda Ash


2nd use of dye bath

⅛tsp.                            Procion Dye *Brown/red



In both uses all pieces of fabric were placed in the bath then pieces were removed at intervals.


Bath 1 Times of removal






Recipe 1

18.5gms Acid Dye *easidye Moss

2.0gms Ammonium

½ dessertspoon


Recipe 2

18.5gms Acid Dye *easidye Moss

6.0gms Ammonium

½ dessertspoon


Submergence and Removal Times In Out
1   10mins
2 2mins 12mins
3 4mins 14mins
4 6mins 16mins
5 8mins 18min




In pursuit of upcycling and having knowledge of an under used resource of ex-hire bed linen I engaged my brain in thinking of ways to use this source. After a lecture by Tim Parry-Williams on his practice and his time spent in Japan. I combined two Japanese techniques. These techniques were Saki-Ori, shredding and weaving cotton reclaimed textiles, and Shifu, the art of creating paper yarn. These techniques combined showed a way forward in the use of the bed linen. The sheeting being of significant size pure washed and bleached able and ready to take dyes or lend itself to numeral processes.


I created Illustrator files to mimic the zigzag form that paper yarn takes after rolling and cutting. This would then be taken through the laser cutter to create the yarn.   These files contained three gauges of yarn 3mm(as in Saki-Ori), 5mm and 7mm. Choosing these three grades to trial was to then test in knitting and crochet samples using a variety of needle and hook sizes. Then study the effects on aesthetic, strength and appropriate uses.


  • The flexibility of the yarn to increase its desirability can occur at several stages. In the first instance the fabric can process through dye baths screen or hand printing/dying.
  • The next stage of colour manipulation can occur after shredding and treating and traditional yarns; dye baths, dip dying and space dying etc.
  • The final stage of colour manipulation is when the item/product is finished and experimenting with all printing and tying technique can take place treating it as a piece of fabric.
  • Also a few decision need to be made of how to create the zigzag to have it running aligned to the well or with the warp of the laser bed as the shorter turns could create and interesting texture when knitted.


Initial testing in the feasibility of creating the yarns has delivered promising results and the excitement of opportunities of more trials and possible outcomes.


Lessons learned from the initial tests taught me to have control over the yarn as it leaves the laser cutter bed to prevent tangling which are difficult to free. In disentangling has created an interesting frayed edge that could add to the aesthetic and charred edges creating in the laser cuts.


On discussion with my tutor another prospect of yarn technique was discussed spinning and developing the yarn to refine the finish even moving into plying the spun yarn. This could lead to another technique of cord making form plying or braiding the spun yarn using traditional techniques as in medieval times with a ‘lucet’.


There is much to do and explore in developing this further

  • Knit and crochet samples
  • Collaborations
  • Weave
  • Natural Dyers
  • Treatments Stages.
    • Pre
    • Post
    • Final



Machine Embroidery

David Maisel’s photography collection “Terminal Earth” has been a leading inspiration in colour and technique exploration. The images displayed here have been used to inspire a collection of hand/machine embroidery, displayed here along with the original artwork created from the photographs.

I enjoy sketchout idea with machine thread and whatever there is to hand. The artwork as a guide and expression of stitch, mind and hand step forward as the machine rumbles and thought is focused. The ideas that flow from needle and tread are food for thought bringing life and colour to ideas. It feels good to let it out.

I used squares from the hand brushed fabric spamples crated int the Brush technique experiment. The square form was selected to represent the patchwork square traditionally use in basic quilting and echo the shapes of the evaporation ponds in the original imagery.

Avenues to explore

  • To up scale the samples
  • Introduce ways of adding texture to fields of colour
  • Move scanned samples into Illustrator to experiment in machine embroidery.
  • Refined small samples for individual use on products such as
    • Bags
    • Cushions
    • Place Mats
    • Patch Pocket details.
  • The small ideas can be explanded in detail and explored in colour and pushed forward to form more individual pieces or a large faux patchwork piece.
  • The Scanned artwork and embroidery can be taken into Photoshop and manipulated to create digital print designs for interior or fashion design.

Working on these samples re-engaged me with previously learned techniques and will always be a way of expressing my idea as much as using mixed media art materials. I must remember to start here as well as dream big.


Experimenting with screen foiling velvet using a variety of adhesives and their application.

  • Screen foil glue
    • Roller
    • Brush
  • Bonda web
  • Bonding powder

Then using the heat press to adhere the foil to the various glues.  Results were satisfying and delivered a series of possibilities to be retested and moved forward.  The aims of the trials are to discover a pleasing aesthetic that would also give enough foil density to trial in laser etching and embroidery; to render the design visible.20160316_102049

Inspiration for the fabric aesthetic came from viewing the Chancellor’s purse at the Holbourne museum. The fabric’s worn and faded and in places threadbare, the lived in look adding to its value and respectful age.20151124_155709



In testing proved too dense making the fabric un-pliable for stitching although would work well in laser etching but the foiled area lacked texture and desired worn appearance.


Bonding Powder

This gave a desirable sprinkle twinkle to the foiling, although the application of the powder needs to be refined to give an even effect or controlled to use in designed line. For this trial it will remain untested as the foiling is not dese enough to show the laser etch or embroidery as it is too busy.20160316_101620


Practise needed in getting even coverage but a pleasing effect giving the appearance of distressed painted surfaces. Again the trail will be left to a later time, as before the foil coverage is too busy.


Although the glue has been too heavily applied the coverage is sufficiently dense and even to move on the further trials to improve glue application, with a view to move into laser etching and embroidery.


Using ex-hire bed sheets in an experiment in mark making using a brush and screen-print pigments. The aims of the trial to enhance upcycled fabric to then test the appearance after laser shredding for use as yarn.


Securing the material to the table I applied the diluted pigment in strokes across the length to have the colour vary in density as the stroke went from application to faded end. The inspiration for this technique came from a visit to the Tate Modern viewing a painting displayed in Techniques and Process exhibit by Lee Ufan called From Line 1978.  The philosophy of the piece speaking through the stroke application appearing at first bright vibrant dense transforming, diminishing, thinning and vanishing; echoing life vibrant and full to the waning and end. Connection all things have a beginning and end.  How can we extend the life and when it’s over has it truly vanished or merely transformed?

Lee Ufan 1936 From Line 1978 Oil paint and glue on canvas

Exploring the brush stroke learning to reduce the amount of pigment on brush where to start and finish. Thus increasing the desirable aesthetic.