I am continuing experimenting with edges for this chapter, working up to making an edge based on the designs in my last post. Once that is done, only one more chapter for module 3 - hoorah! I have downloaded the next module which is themed on flowers - a bit of a change of style for me. It will be fun to see how to tie it in with my personal machinery/industrial landscape theme; I have been reading about
yarnbombing which suggests one way and I am sure there are others.
There follows a list of all the samples so far. The sizes vary, so I have put a 10p coin in the photos for scale.
Picture 1 
is a repeat from an earlier post to keep all the images together. From the top there is
a) edge cut at 45 degrees and frayed on left, threads withdrawn on right with running stitch added.
b) horizontal threads withdrawn part way up the fabric, machining over vertical threads into bars, fabric folded and twisted to leave machined bars at the edge.
c) bottom edge frayed for about 2 inches then folded to the back and the frayed ends pulled through and stitched down in bunches.
d) bottom edge frayed as before and threads withdrawn further up. Folded back and machine stitched to make a hem with the area of withdrawn threads at the edge and the loose frayed ends hanging behind. A strip of dyed scrim is slotted through the loops.
Picture 2
a) Stitched peapod shapes inspired by the chosen fabric. There are two layers, the top one has been cut away at the edge and inside the pod shape while the bottom one is faced and stuffed.
b)The edge has been cut into triangles and zigzagged; 2 rows of triangles cut from stitched fabric have been applied above. (The triangles refer back to the research project in module 1).
Picture 3
More triangles from stitched fabric, this time connected by lines of straight stitching to spill over the edge.
Picture 4
3 small samples of edges created by joining two pieces of fabric with a water soluble material and stitching. These were then folded over to make a stitched edge. From left
a) yarn trapped in the stitching to hang down - this is not quite right as I should have worked from the right side of the fabric to stitch the yarn in. If you enlarge the picture, you will see that the hem is on the outside.
b) straight stitched lines
c)tried to make pod shapes.
Picture 5
Two samples using sheer fabric
a) distressed by running under an embellisher and slashing to give a frayed edge that continues up into the fabric.
b) 3 layers cut and joined using a stencil cutter in repeated cog shapes.
Next is batch of flounces - I got into these so there are quite a few. I found a useful resource was a book called Decorative Dressmaking by Sue Thompson which has a chapter on using flounces . I have shown them with the paper patterns to show how they work.
Picture 6
A straighforward circle gives an even flounce along the edge.
Picture 7
The same size circle but with the cut out part offset and cut apart at the narrowest point so the flounce is larger at the centre.
Picture 8
As 7 but this time cut at the widest point.
Picture 9
As 6 but cut apart at an angle which gives a slight taper and curved ends.
Picture 10
Changing the shape of the curve - I think this is more elegant than the circle.
Picture 11
Another trial shape - not as successful on a straight edge because the centre is boring, but might work better on a shaped edge.
Picture 12
Changing the edge of the flounce using a circular saw shape.
Picture 13
This one doesn't have a pattern as it is a cut out spiral - didn't really work on this scale, I think it would need to be much shorter and fatter.
Picture 14
Last two flounces. I like the sculptural possibilities of using stiffer materials - I can see how they would work vertically, for example on a vessel, holding the waved effect. These two are made from left over scraps from samples made for Cogitation, and both use a circle pattern as in picture 7. From the top
a) lightweight lutradur, painted and stitched, is attached to pelmet vilene. This holds the curves really well without flopping and looks quite delicate with light shining through. It could be put into seams or lots of layers could be added up with the curves lining up. And of course some of it it could be burned back.
b) loose threads on partly dissolved soluble (as we did at summer school) - this is a bit crunchy to the touch and doesn't have the elegance of earlier samples. However, it can be pinched and folded into shape when dry and does hold its shape well.
Picture 15
A late addition to the water soluble edges. This one has a satin stitch edge with the shapes echoed below by lines of free machining and above by Markel sticks brushed off a stencil.
Picture 16
Starting to think about interpreting the paper designs, these final two samples are based on the peapod shapes. From left
a) shapes stitched on soluble material and onto the fabric - I wanted to have some as outlines and some solid, but the outlines did not have enough stitching to hold together when I dissolved the water soluble material.
b) same idea but this time stitched on polyester felt which was cut away with a stencil cutter. The felt was applied to the fabric, some more stitching added and then the background was cut away to give a shaped edge.
Photo 11, below, shows the tiny piece of wire weaving combined with another sample. This could be the resolved sample as both pieces were based on ideas from the research project.
Photo 14 shows the pages inside.
