Wolff -The Art Of Manipulating Fabric

=r~ E AR1 0~ ~ Manipula tin ~ Fabric Colette Wolff The Art of Manipulating Fabric Colette Wolff ~ lir~mse ~ r publicntions I I 1\'1 5 1'l'Xl.OIIOI S U 'C4.' l • 0 ll, • 7f)() 1 •., ~ I U I C 7 1 S/4 t~ ·22 ll Tl·ll:p hun c: • • l l •'P' n~ht () I <l<le> h' ( o>l<'ll< \\"oil! All Rt~h'' Rc-•·n cd Published in loin. Wo-nsm, 64990 by Krause Publications 'o pan of tho' lx><>k m''' h.· reproduced. tr.on,moncd. or scortd m Jn\ £t\rm tlf b' M1v mc.m electroniC' or ffiC'Chantcal, \\ lthOUI pru,U \HIItC11 pcrl111!!>~100 £rom the pubh,her Eduor> Robboc l·.mning. Rc".1hc Cooke Producuon Ro,,thc took< Book dc gn: Ro,,tl)'ll C.u,on Cover dcs<gn Amhon) jocobson l'h01ogrophy· Mcchacl Kagan Line ;JTI: C'olcuc Wolff Proofreader Mcrcdnh Plnlhp' ~bnufa cturcd m the l·nncd States of Amcnca Llbral) of Congrc" (' atologmg m l'ubhc.uton Data Wolff. Coltllt. The an of mancpuiJtong f.>bnc I Colcnc \\'t>lff p em. lndud~ btbhogr•phl(,<l rdncnr._ .md mdex ISO:- 0·8019·8-196·3 (phk ) I Sc\\mg 2 I .tnt) work I lnlc . T'l705 \\'54 I 996 646.2 ddO 96·32201 CIP 4S67HCJO 'i•fl2 1U'IH PrtJducr n.mw' mt·ntmnc·cJ Itt 1hr' III.UIU .alm.~y hl· tr.tek· mark" ur rt 'l(l\ lc •rt•d h.ldt·monk, uf lht·lr rt''JWC.liVt' nun JMnu·, •nd .<rc• ht·rc·hy "' knnwlnlw·cl Otlr cr Boohs Available from Krause PublicaLions ,,,., , 'UP{.Ut,lchl) l.I,Sl\, H~,.ltl'Jt" \c ,, n v.z~.h nt h\ j.ln s~tunder~ \ •H,. ,r " .,, 1) r't,lllrflaa®. by :\.lnc\' "-llrn\\dl • riiJ'h.•l' t 'lit. h•'" '" /"mel&- Ma<hrnr. h\ l~llllhn \'o:-hurg Hal1 8rhl,,l l.{)ucwc:. by ~us 1n KhalJC ( "'' ~ll,lf[ln 'F,t.Jnic St·wmgGtti,ft•. by L •·llf< II. '-l1.1d!er U>mrw·· Bt~t/: oj .\fdchmt Embrordc"· l,y Rohhre nnd Tony Fanmng · ' Contor.rcttlt~ .\f~~(hmc fmbroidcn·. bv Deborah Gc,ncl · · Embdft,hmo:t- Addmg Glamour to Garmrnt>. by Unda Fry Kenzie (r<lllllcnh '"'" .\t>lc, b•· \lary :' !ulan jan ScwnJ,·•s' \\'ardrobc Qurck-Fu:cs. by J.m S.1unders I.Jjt Is \'m A Dress Srzc. by Rita Farro Madt wtth Leur. by Gmny 8ams10n More Swcatshtrts wuh Style. by Mary \!ulan Pattern-Free Fashions, b)' Mary Lee Trees Cole Sew & Ga Baby, by jasmine Hubble Sew & Ga. by Ja,mme Hubble Se"· Any Pauh Pocket, by Clane B. Shaeffer .So> Any Set-In Pocket. b)' Clatre B. Sh;w(fer 5o• s~nwtwnal Gifts. by t'aomi Baker and Tammy Young Shtrlry Adana' &It Ba~aar by Shorle)' Adams Snap It Up!, by jeanone Twtgg Stlftch & St-w® Gurdt to Stwrng on Kmts, by Ann Person Sw((Jl\hlltS "'th 5tylr by ~ary \1ulan Tecuh rout~cl{.\1a(htnc Embroidm, by ~us:m Rock 1 c;cturf wtrh To.:ttlrs, by l~nda \ftCrrhrc Your 'irwrn : Ma< hrnr b)' Jan S.1undcrs All(·, u/ \t•ry,lrtg /1y lam my Young and I 1<11 llollotn Dhtm(l"' :>trgtt c;r/h & Crafts, by "\.:''"l1 S.tkcr .mc.l Tammy Young 1 ""''''<HI\t 5<'X~' 1 h· hv Ga1l Brown :md r.unmy y,)Ung · " Nt'\\' C tt'<lllv_c .Scrgm~ lllu\ltatcd. by P~m f'alml'r • G.trl llrown and Sue Green J\ Ntw Sn!(r Ill Wearable Art, by Ann ll<lycc Sc·w & Scrgt Ptllowsl Pillows' Pillows', by Jackre Dodson and Jan Saunders Sa~tc a SIIIIJ~< ProJW. b}' Tammy Young and Naom1 Saker Scrg rt m un Hour or IL<S. by Cindy Cummm~ Scr~c Somohmg Suptr for Ym.r Kids. by Cmd)· Cummin> S.·" & Scrg,· Terrific Tocrurcs. by Jack•e Dodson and Jan Saunders Sergcd Garments m Mrnutcs. by T amm)· Young and Naomr Saker Vlumatf Sal(p Answer Guide, by Naomi Baker. Gai l Brown and Cindy Kacynsk1 RIBBON ART Glorious Rlbbons. by Christ.ine Kmgdom Morr Rrbbon Embro1dtl) by .\fachmc. by \1anc Duncan and Betty Farrell Qut(k and Edsy \\'ays mrh Ribbon, by Cen Johnson Rrbbon f:mbrordrry by Machme. br Mane Ounc;tn and Beuy Farrell Sea<Oncd Crtatlon,, by Marie Duncan and Bell)' Farrell Sec ret\ of Ft~<luomng Rrbbon Flowas, by llclcn Glbb QVIUING All Qutlt Blc~ bar \ot Square, by !Xbrot Wagner Bnt-f.tn d O.·")l."<'". U>IIC<llon Quttk· _., , Qur/1<, by Amends Top r>.:~rgnn> (crt Qwlh ctll.l (rcrfts. hy Ll\'cr.l l tf'l~~:lll.Ul (<llllf>ll'tr /ltk>ll of M<l<htn<" Qwltlll,~. b) f!uhlur .md Ttlll)' I ,utmng ( omtrlr·tr· Mlni<ltrll<' Qurlt B<~>h, hy llm,rh lr,l\'1' Cor~l£mpor~•) Qutlri!.g TtU""f.US, by P;nnu;~ C.anns Crt~tlw lrwnglcs Jor Qullr<rs. by Janet B Uwrn Dyr·lr• Pwntlt' Qurlr It' by Joy<e Mon .rnd Cynthia M)·erberg l'asl Patch® Kids Qurlrs. by Anua Hallock fa•l Patch®. by Amt<t Hallock Hnrloom Qu1lts, b)· rhe cduoro of Workbasket )apunt>e foldrd Patch,.~rk. by \lary Clar< Cl.uk Mogt< of Cr"'y QuriMg. by Mama \hchler NCI\ Work of Our Hands. h)· Mac R<xkland T upa Pmhwn l'lc«d Qrulrs u.srng rht found<uron Mtthod. b)· Jane Hall and i)rxre ll.iywood Q111lr As You Go, by Sandra tl-hlleu Sadnko and Beyond. by Sarkoh Takano Scrap Q111lrs Usmg Fast Patch®. by ,-\nua Hallock Shrrln &~,f,nd's Daddy's T1<s. by Shrrlev Bot:.ford Stars Gcllorc and Ewn \lore by Donna Po<ter Stot<h ·n Quilt. by Kathleen fawn Super Stmpk Qurlb. by K.1thleen E.lton T t<hniqu<> of )aponese Enrbr,,.da~. by ShuJ• Lunur.1 Tlua-Dtiii<'IIStonal Prw•c/ Qrulrs. by jodre l);wi> Tmrllllmlcll Qurlts. T,><lav's Tt(hmtfU<". by O~bra \\',r~ncr l'lttmate :>oar Qurlt. by Joyce \\on ADDITIOML TOPICS ( 1.1fh ( l,lllln~ \\ llh f'I,"Wr> ,& ~.nur,·- Cn.tm~e>- £\'ll (\.'lhm~ - n, ,d,,th, - t'-•lhn.1km~ w11h l'.lllll'f \l.ldl<' .md r.lpcr~l.l\ - lk.l.l\\tllk -ll.m<hlt;ldc r.1p.:r- ll<>mr 1\·, >1,\lm~ J<'wclrv- K1ds C r.llh Kmlh1.1h- r,nnted Wood 1\>tlrn 1'.11"-'1' (ra[\s Acknowledgments L ookmg b.lek. I rcmemb.:r wnh the detp<"-1 gr.unudc ;~II 1ho-e fncnd' who l"tened The' let me t;t\k .tbom "h,u ''"' and "'II ".m oh'c'"W .md r.uher passtonatc p~o.:cupauon \\'lth 1hc subJeCt ol cloth "' mampuhtt•o•"· .md ;~II the r.umfiCi\Uon' thereof They allowed me to let off st(•;un· so I cottld return to 1hc 'olll.l!j' pursun re-energized Wnh >pec1al acknowledgmenh It> Ann Bradlc)'· Dee Danlcy·Br<>wn. Norma Ellman. Sylvia 1'1>hman. Alnnnh Palinka>. lv Su>;~n Prokop. and Dee Dee Tnplen. who were 111 positions 10 c"cnd help of a more tangtble kmd. thank vou one and all. I would be >cnously remiss if I didn·t thank m)' husband. Ted Wolff. for all those cafre lanes during late mght umes of stress. My thanks to the crca1ive team who worked 10 gc1 1hi s book mto print: To Michael Kagan. whose eye for lighting and insistence on black-and-white per- fection produced such outstanding photographs: to Rosalie Cooke. whose pauent and con«•tntiOIU ednmg challengtd me 1o 'go llut extra distance· to Ro al'n u~· ' ·~n. who a,.;:mbled the ma1cnal ,. 11 h computer mag•c mto 1hc lund'<()lll( pages thm follow 10 my hi-<Oil>Lil editors. Kathy Conover m Pennsylvania and Robb1t Fannmg in Cahforma, who coordma1cd ever;•thing-bul parucularl)·. r and last. 10 Robbie. who kepi the faith, and then some. and mort A C KNOW L E DG~ I E NT S iv FO IIUWO RD vi PR I:I'ACI! . . . . . vii GETm\v TilE M OST fR O ~I T li!S B oo K viii PII RT O N ~ (O'\T ROLLED CR US HI NG C hapter 1 -G ATHE RI NG 3 • Ga1 hc l'i ng Ba sics • S in gk -E cl ge Gathering • Op posilc·Edge Gatbe ri ng • A ll -S id es Ga the ri ng Chapter 2- SH tRR lN G 19 • Shirring • rauem Sh irring PARl Tw o SurrL E ~ l E I\'T A RY FULLN£55 Cha pt er 3 - MAKING RUFF LES 43 • Ruffic Basics • Ga thered Si ngle- Edg ed Ruffic • G aL hcrcd Do ub le-Edged R uffic • P lc :11 cd Singl e- or Doubl c- Ed g.: d Ru ffl e Chapter 4 - M AKI NG fLO UN CES 67 • C ir cular flounce • Controlled flounce C hapt er 5 -M AKING GODETS 81 • Godet Contents P ART T HR EE SY STE M AT IC FOLDING C II APTO\ 6- P J. EA TI NG 89 • Plca1 ll.1sics • fla1 Plca1s • Paralal Pleats • PrO JC Ciing l'leats • Accordion Pleats • Wnnkled Pleating • Do uble-Controlled PleaiS Chapter 7-S MOCKING 125 • Smocki ng 13a s ic s • IZng ll sh Smocking • Dirccl Smocking • No rL h A me r ic an Sm oc kin g • ha ll:m Smocking C hapt er 8- T U CKJ NG H 9 • Tuck ll s•cs • St.1ndard Tucks • Cur\'cd Tucks • Shell Tucks • Contoured Tucks • Sln,hcd Tucks • Cro ,·Stitched Tu cks • Cross· Tuck ed Tu cks • Pu rtiu lly Se amed 'li•c ks • Sea m less Tucks • Pa 1L C I'I1 Tuc kin g PA RT FOUR Fll . LED RE LI EFS Chapter 9-CO RDING 187 • Cording Basics • Hand -S e\\,. Corded Quilting • ~lnchme ·Se wn Corded Quilting • Surfoce Cord in g Cha pt er 10- Q u n.TING 2 0S • Qu il ting Bas ic s • I lun d Quilling • ~ l aclu n c Quilting C hapt er ll - STUFFING 229 • Stuffing ll sic. • Stuffed Quilting • Stuffed Applique • EJe, ·Oied Applique • llnlf- Ro unds • Co nn ec ted Rolls • Ui tk Pi ll ow> • Bisc ui ts • Pea ks an d VA ll eys P AR T f i VE Snt ucru R ED Su R FACES C hapt er 12 - US I NG D AR TS - .267 • D:m lktsics • Single-Pornted Dart • Double-Pointed Oar! P ART St x M IX ED MA , '\ IP Ul.i \TlONS Chapl cr 13 - CO Mlll N Ar l ONS 283 • Techni qu e Va riatio ns • Cr c: ttiv c Con1binations APPI!N DI X 295 • Ha nd Stnches • Gloss.1ry • Selec•ed Blbhograph) • CosiUmC Exlubitions • Endnote INDEX . 304 T he A rt o f Mon i pu lating Fa bri c v /. P erh•'l" you·re f.llluh.u wnh the volume of lcucr. !><tween ""w ell l'cr\ m,, the f,lnlOU' Scnbncr' cduor .md ,urh author. as I Scott fuzger.1lcl ancllcrnc't Hemmgw.w rm thmkml\ of pub· hshmg a 'mular one for the lcuc" and phone calb between me .u>d Colenc Wolff on thb lx>ok h \larted innoccllll)· enough 1n th e early 1 980' Cokuc owned a mail -order catalog m New York Cuy called Platypu<, wluc h pubh~hed her t oy and doll de"gn< amJ sold supplies I wrote a column for a magazmc called Nrrdlc and Tlurad My rrader> told me about her cata· log ; I wrote for a copy ;tnd was m1pre>sed. I rncnuoncd the catalog m a column; and :.he wrote 10 thank me We became long-d"'''"'" friends Over the )Car>. I "" conunually bowltd over not onl) wnh the qual- It)" of her work. but 11\ '<Opc- qUihmakmg. topnakmg, dolhn.tk· mg. co\lummg W;h there .In) thmg thts woman could nut do-and do well> Furthermore. ,he h.•d the mrc tJient of bemg not on I)· J con,um· mate crafl\pcrwn but a l(tftrd graph" J<lt\1 an cxn·ptttlnall) dcM wnter and ;Ill oui\IJndtnl( I til< her In the tmddlr I <)ll(h I tnlltatcd ,1 .cnc~ of huuk' for Cluhun lluok Company N•tlltrally, I appro.ll ht·d Coll"llc .1buu 1 dout~ ,\ l)(mk ~ht• had Wrtlttn ,1 """of quth , lllt llt•' nn thrt·t.··dllll('ll\1011:11 f.tb l l\ rmltl'- and felt th.u wr nr cdt•d ,, hook •hi>W IIIJ( ,t ll! lll' Jlll"lhthlll'' uf tnallti>Ui•llll~ f,ohllt IIIJl. llll lt"d hy lt"duwl 01 ' In du· 1 . ul y ~~~IW''t, WI' Foreword oiled the book Falmc 111 Relief. undoub~rdl) d forcshadowong or uur £cchng ,.,~hen 1he book would finall) be fmi<hcd. One of my early notes" dated june 22. 1987. ·colclle s;l)'> >he can be done with the book by june 1988." 1 advanced her $100 for materi- ab. an enurcly laughable amount, con<ideri ng that 20 yards of materi- al wem in to the pleating samples alo ne . Anot her note in my file says, "ju ly 1989 -G W received anocher 200 yards of unb l eached m us lin." rhe defining characteristic of consumma t e. gifted, exceptional, Olll~ Canding talent is that they do not skim the surface. If the)' discov- er a s1dc channel and it opens into another maJOr nver. they follow the curre nt And that's why thos book turned 11110 Niagara Falls. Coleue would pronnse a ddivery date, then wmc. ·t keep pronusing myself that I won't add an)· more samples or techn1qucs, and then something .1ppcar and must be included. and ><> 11 go" Pcnod1call). I \\Ould be in the 'arne town J' Coleue and ,he would >h"'' me the .amplcs. Alwa) >. I would be staggered at the workm.1nsh1p and the possibilillc> Who but Coleue could have made d,orh inltl work> of .~rt? I began to dra!: other p<•oplc mlo the meet- Ill!('· Ill<' rei)' roo the ·p tc.O>urc of watc:hm)t th l'lr f.ll.:l '' .t he pulll•d uul unH' \O,&mpk., Ae tml' pomt '""ll'<llll' .11 ( luhun a, ked her to , lupl ct' l ,, unp k' lo l'luladt'lphut l t>1 .o otll '<'lilll(. Colt' lh ' puhh·l)' ,l,k<·d, "A ll ll hnM·,I" VI Tht Art <of Mauljwlalln& f abrlt Uke the boxes. the book greo. and grew. The due date were po-tponcd then agam. As we approached the ' end. I had a sudden case o! the willies. What tf she got hu by a crazy Ne" York taxi and her hu,. band gave ;~II her samples to Goodwill' I called htrn and madt him pro1mse to will me the <.1rnple. if anything happened to her. Then the payoff carne: I had the extreme pleasure of edt ling a m>nu- script that '"" s nearly perfect A seminal book like th os one comes along on!)• once or twtcc m an edt· tor 's lifetime. And thai was b(lore seeing Michael Kagan\ photos. So here tl is-finall)'! I wosh I could watch your face and e>'<>· drop as )"OU look through th" boo k Are you drawn to cuntla r fonn', as I am? Look at rhe yo-yos go>nt ku-ku on page 21 or the cutul.r smock1ng over pleat> on l"'&t 135 Perhaps you hke an undcrh-m~ grid Look how ,he nude pk.u' o>n a Perfect Plc.uer, backc<lthrm ""h iron·on lmrrf.lnng. (Ul thtm mto squares .• 1nd rca 'i(mble.lthtm ""~ a block on Jlii):C 123. But I tuU!ltt return tc.' m~· \\<'Irk;}' ''" ednor The foN ncm ''" the agcnd.1 ,, 10 rcuund ( <>kllc th.ll t\pnl 8. Ill&\. ,he" n>lC. 'Rehd t~chnutut:' t.tk\~ tlw <l'"h U\ ''":h new dncw<>n' th.ul kcl h>ll''"" 1 ~ htb1u "' Rrli<1 "nh .t '«''"'t.u•• 1 "ll,tlkr hll<>k J>,UIIlltl,\1 h (<ll lJIIII trr' 1 ,, rip\' u\(.1 \hu~. ~ ~'" th. tt ,\l ·' ( ,\h'l llll W " Robbit· Ftmnin!t "''Ill'' 1-thll>l T ho< o< a book of tdeas about scwmg cloth The tdca> arc tcchmquc> that change the look and feel of a ptCCC of cloth wuh the aso.tstance of a threaded needle 1 hn tcxtunze. cmbcll"h · mOatc, and support The)· create pu,kcl'>. fold>. w.lvt·,, purr,. prnlcc· tiono. •lnd openmgs Wuh sutch ing by hand or mach me. thC)' resurface. reshape.' . r('c;trucwrt". omd rccon StrUCt a Oat. supp le lliCCC or cloth into cloth wuh an entirely diiTcrem dispOSIItOn. Mo~t of the'c tcchmque s materi- alized somcwne dunng the long history of cloth Along the way, per- sons who handled cloth modified, varied, and altered the elemental techntquc;, mto more t echmque' The techmquc. "'qutred tdcnufymg names like garlt<ring, plrarmg. ruth· mg, ;modmtg, qtultmg. word' that are now pari of our everyda)· vo,ab- ulatj fhc tcchmqucs have bt>tOI)' and longeV~t) they are J> \Jhd now ao they '.ere back then Tod<l)'. an) one ontcrc,ted on the wh.u, wh)·. hen. and how of the'< tcchmques can fmd mformauon -,.c~tttrcd 4111 over the pl•cc tn pnntcd matertab and actUal ;.cw n-cloth ex;Jmplt' Some yea" .1go . I nredcd to re.carch tutk' for J prOJC<I and confronted ,111 o'er the pi:Kr when 1 >tarlt·d loukong Abu from th" bonk, a lot from that houk. due' [rum "'cong ,lttual .oppht.o uon <·vt•ntu.olly 1 tn llt· rtcd ·' m."' of tnfonnauun A ft•w uf thr turk' I dt"OV<rt!d dtdn't 'CI'II1 like Ill( k' JcJ undt'r~lo.uuJ dJ"-IIIlfUOii,, I 111Vt' 11)¥ttcd plt·.ol\, thnt kd "' ll ll ill,ll)' Preface about ;mocking. shimng. gather- mg. and how they rela<e. Always lht sources were a bit here. a lo1 there. wuh clues from pictures and pre:).enlations-and almost always the ~ourccs associaled a techmque wllh one parttcular usage. 1 was frustra1cd because the informa1ion I needed wasn't put together in one place in a manner that allowed me to pick and choose and make my own decisions rcgard- mg applicati on . Embroiderers and nccdlepointers have any number of manuals that show and describe the stitches or their craft, isolated from anyth in g those stitches are used to produce. Similar directories exist for those who knit, crochet, knot, and weave. I wanted that kind of comprehensove, order!)• reference for the scwong techniques tdenttlied wuh rabric manipul:nion. So 1 set our on a journey to sew. wnte. and draw this book. 1 had a working objecth·e: To ca1alog fabnc manipulatton tech- mques, emphasizing what they are. "hat the)· do to a ptecc of cloth. and how tt'> done. de~nched from .b~iations , tth product For mt. domg thai mean1 generalized m truclions , uh enough specifics to be , 1 gutde for you. 1he reader, to con>uh when adapung a techmquc to the project of your chotec h me.nll doagrams to clartf)' the dorrc· 110 ,,. and photograph' ''"'" mg t.•x. unplt ~., or lhr tc:-chmqut~s wuhout rcvtillm~ any parucul:ar envmJI\· 11H'nt II ~•l'u nu Ull fandang ·' ~urro g.&h' for a he ovct ,, lu.· lnun g 1o.mp.r ol Ju l uk pm.'>tiHIHk om· P,l'IU ~rk fo\b· nc that would adju~t to ahr rrqutrc· ments of dtlfenng tcchmque- •nd present those techmqun on t\·en tenns. I chose a medmm-wcight. cvtn weave, 100% colton unblrachtd muslin. To ancrease the mu)hn\ softness and mana.geab•ht)'• It was washed with dcu:rgem. ~put-dncd, dampened, and oroncd before U>C. When sewn lnto samplts. it~ plam. smoothlr woven surface doesn't di~~ tract from the mam pomt, the manipulation. It> bland color proved exceptionally recepttve to the light and shadow of hlnck and· while photography. The subjects In 1he book dttect· ed their own organlz.tmon. The Chapter tttles whtch break down in1o techniques. the tcchmqu< dell· nuions thou expand anto Procedurt~ whtch arc 1hen amphftcd w nit Note. and stretched wnh Varianons. J.nd tht techmcJI mfor matton perunem to nt()rC th.m c:mt techmqur collec-ttd under &'tl' .u the bcgmnmg of 1hc ChJpttr- -tht stntcturr be<.ame ob\·t()U' ~ w(lrk progress.:d The poctun du,ttred ahtr thr how-to\ t:\pl.unm~ ccn~ MMICIIOO tn• group<d t~;1gtlht"r tn ~utnC"t , that rmph t a:.t rtl.mc.\n· ~ht(kt- 1 ,, ,mttd to rn.tke: u "'uJ.lh convcntrnt for \'(Hl tP c.\h"'t~l'\ t ~\ p.uucul.n nt.mtpul.uu.ln ·'' n tiC'' d · <,~ .md dMn~W'· w th.n '"-'" ~;; .m m.tkr dt,('()\'l'11l'' \)r \(.~\l( ~;\\\ll The Art of Manipulating fabric vii Getting the Most from this Book S tart with the pu.:turc- R•ffic through the P·'f.e< unnl om· or a c\u,ter of the photo graphed nl.lmpul.u1on' l.Udle' vour eve '-'top. 'on,1dcr. t•wn l<l<lk at the dr \wmg relc,·.lnt to y1.Htr unmedi~lll" mtcrr't hnd out 1£ 1herc .uc uml.u mampuhuion"' C'l-•cwher~ in the book. Comp.ue S.ilfch for connt·c· tions and conlr;l~h that 'Polfk each other Bmld combinauon<. When )'OU need to know. rrad the mstruc· tlon~ ror your chchl'fl technique:,. tr you're so mchncd. )'OU can ccrta mlr >tart at the begmnmg wuh the tllus· tratcd text and rclcr 10 the ptcturt' as you read. but take 11 m ,mall do>e. Tlus " a book of tdea~ about sewing doth [or you tO interpret as )'OU sec fit ·ru mcJnmg ·proper beconung, 'uu;lblc . . td)U\t· cd or altered to the sub-t.lncc, form, or :,IZ.C requared • I:Ht\ fr<htu'lur m thiS book h Jll bt~ c lwngnl, mMt' m In~. b) hh(U )CIU IHIII~ tc> 11 Jrdm OIH· srdc You'll need to tntcf.r.llc tht· tt{hmquc you\·c dlO'>Cn \\llh the -,uuauon you \\Jnl to put u m , omd the fahnt· )<IU hJ\C m nund Quahfte<IIIUth th.u wtll.1Uect the fu of .1 tt·< hnrqu<' u1dudt•: fabnc A tedmrquc '·'P''"·d to tht· wcrght .<nd phahrht) of tht • unhlc.rd~<·d llltl\hll tl'l'd 111 th" hook m,t)' IX" wrttnl( fm tht • J.rh11r 111 ynur h.md I hl'll "*""· )<1111 fothnc c.ould tl.lll,fnrm ,1 ll'c.h fiiC{Ul' lUlU o,cuJit•thlfiH "t l >t't ml OJ you t ould m.ln.tgt' .UI Ullti,U,,I vui Jhe Att of Mtnlpulatln& fabric 111<'1')\Cr of f.lbnc and ttchnique for ~m unr.xpcctcd and umquc result . Color/texture/pattern . I he>< be.•uuful dtstracuons :tffcct hght and shadow and the nouccabil11y of a manrpulation in ways that can't always be fore· seen. Some techniques wHI be overwhelmed by the color/tex· Lure/pattern in the fabric. Some will be intensified. Design. The vbual. bas-relief elements of a manipulation need to be arranged rnto a pleasing compo· suion. Depending on 1 he tech· niquc. >titchmg. scam lines. folds. proJections. depressions. edges. and opemng> are components of manrpulatcd design. Scale and proportion. 1 hmk ahout juxtaposing b1g and \OI.III rn adpcent techniques. or d"torung the customan· rela· llonshop of >tZC between a tech- mque and ItS sttung. \lsuali:ze a tcchmque expanded to fit wrthm ·' grgantrc format hke a hangmg for tht• Jlnum of a skyscraper. or behn .1bl) muuJtunzed to doll huu"' and doll frgure >tandards Pr".lctrc 11 apphcability Wrllthe tcchmque beh,l\'e when lh moved> ~ 'ill normal han dhn~. 'lf.lltt, or prc'!>urc .1ffcct tht• tnhruquc .od,cN•h? \\'rll 11 'm' •' c l.nmdcnng or dr)· dC'.m· mJt' '" 'llltht• hrmnr ~. •n~ut ~ '"'" ·"' '"'tl(ht .oddt'<l hr the lt 't hlll<jlll' «llllrthtlll' l<l tht• (lUI """' llllt'lllkdl Skill. Sewmg craftsman~h1p ~fleets tit( mstallanon of a ttchmquc for bttter or worst !VIt>haP' inevitably occur. but wh•n th~ do. don't gwe up . Booboos ar< • mnovauons m dtsgmse. \ktween the techmquc>. undtr· neath the descnp\ton>. and around the procedures descnbed in thi< hook, there are devmnons and mutations wailing to be di~overtd I nvent )'Our own modtlkauons. Imagine •·what would happen 1£. Test and experunent. Cloth and what we do with it i\ il rc~lless study. as restless as the cloth 11"'\f Approach wuh a <pmt of ad\'tnturt Controlled Crushing PART [...]... convert~ t~e edge G of a piece of fabnc mto mini-folds bunched together on thread stitched close to the edge Gathering shonens the fabric at the stitching line Beyond the gathered stitching, the full extent of the fabric erupts into irregular, rolling folds A field of fabric gathered only at the top drops in spreading, fluctuating folds to a floating, lower edge When fields or strips of fabric are gathered... of stitching, usuaUr sp:O· yos arc dements for surface dec· oration Outbne... front An extension of fabric covers tltc scam allowances and gathering stilche-; in front, but not in back To tldd an extension either (l) sew the extension to the gathered fabric \\1th tdgcs Dllltching and right sides together, or (2 ) cdgcstitch next to the turned edge of an cxtc~;on plnced on top of the g . =r~ E AR1 0~ ~ Manipula tin ~ Fabric Colette Wolff The Art of Manipulating Fabric Colette Wolff ~ lir~mse ~ r publicntions I I 1'1 5 1'l'Xl.OIIOI. C'olcuc Wolff Proofreader Mcrcdnh Plnlhp' ~bnufa cturcd m the l·nncd States of Amcnca Llbral) of Congrc" (' atologmg m l'ubhc.uton Data Wolff. Coltllt. The an of. ~;\ll The Art of Manipulating fabric vii Getting the Most from this Book S tart with the pu.:turc- R•ffic through the P·'f.e< unnl om· or a cu,ter of the photo