I did try to do the same to this piece as the previous one however I feel that this was not so successful. within this image the colours were a little stronger than the previous image. I tried to emulate this within this piece, however the trims I used are a little to strong for the colouring within the stained glass, but not as strong as the appear on this image here. in addition my lines are not straight within the piece, when you look at this work your eye is drawn up to the both the top corners giving the impression that the work is not a square. most irritating.  

This is also a successful piece. The simplicity of the lines within the art work, works well with the substrate fabric as well as seeing the edge of the emulsion paint transfer. The subtle colours compliment the washed out look of the transfer.   

There is a lot to be said for taking a decent photograph. I'm not saying that I have. however this image has work much better than most of the others. I only wish I knew what I did differently. You can see the detail and the strength of colour this is so much more like the original piece. I feel this that this piece is the most successful out of the 10 pieces produced for sale. as there is a little more technique within this work as well as the stronger colours and embroidery still show though the light voiles. 

With this piece I was trying to put some of the colours of the stained glass back into the design. The photograph makes it look more confusing as it really is. The light has reflected on the silver voile that is in the top of some of the embroidery. it has the same feel as the image above which I feel shower off the image in a more true way.

This is my least favourite piece, produced before my tutorial. the colours within the image you see here are stronger than if you were seeing the real piece of work. I feel that there are to many lairs of fabric and ribbons. if I were to re do this piece I would reduce the fabrics but leave the hand made paper and may be re-design the free hand embroidery. 

the angle of the piece is more of an accident than design. When making up this piece making sure all the tapes and voiles are at right angles to each other I did not notice that the chimney was leaning to the left! so when placing the completed piece into the frame I positioned the chimney so it was straight. I do feel that this works well and so does someone else as this piece has now sold. I have re-looked at the photograph and other photographs I have taken at the mill site, and im sorry to say it is my bad photographic skills to blame! in my defence I was focusing on the water wheel. 

  

As you can see in the previous section of the Blog, the red on the doors is very strong. As I was going to place this piece within a shop in cheadle I felt it was important to stay true to the colourfulness of the door and the inertia of the church. The colours used down the side of the piece were used to represent the strong colours Pugin used within the interior. 

This was the first piece to sell. 

I tried to keep the colours on this piece down to a minimum as the red in the bricks did not was out as much as the other images. again there is machine embroidery on the sides in the frame 

There is a little more colour to this piece although you can not see within this image but the machine embroidery is also on the side of the frame to add some extra interest 

The soft colours work well with this image of the booking office at Cheddleton steam railway 

When producing the emulsion paint transfer for the work for sale I was unaware that the printer I was using would not give me the Strength of colour my old printer produced, when using this method in the past. This was quite disheartening when I washed off the first emulsion transfer. 

After producing 18 images and finding all had lost almost all their colour, apart from the black and grey's only some remnants of the strong green's, browns and red's remained. In my eyes this was a disaster, at the very least. At first I could not see that this could become an advantage not a disappointment. As you can see from the images below there is a marked difference from the peeled image to the washed image.

I tried to develop the colour Strength within the image by sewing into the image with stronger coloured threads as you can see this is not a successful sample, however I was quite impressed with my attempt to recreate the wicker effect within the pigeon carrier. But on reflection this was going to be to time consuming if it was to be used on all the art work produced for sale.  

however within a tutorial session it was suggested that this may not be a bad thing, and this may help me to produce work that would appeal to a wider market. At first I was not so sure, this was going against the plan of adding texture and colour. As they say you will not find out if you do not try. I did go back and change the layouts for the less stronger images. Using less or no voiles muted coloured threads within the embroidery. 

as you can see above this has given the range of styles more scope and hopefully this will widen the appeal.     

stitched within an inch of it's life!  

After the washing!

After peeling the backing paper but before the washing!