Gathering. I kept the proportions of fabric and stitch size the same so there was a clear comparison between fabrics ranging from thick vintage linen to almost transparent manufactured fabric .
The translucency of this is fascinating, water-like yet also captures the etherial quality of the reflected light photos in found drawings.
In comparison this cotton weave sample is quite lifeless.
A stack of samples to build up. The volume.
I love the undulating lines of the side view of the vintage linen.
experimenting with parallel gathers, asymmetric, and sine wave, the asymmetric sample folds into a 3 sided pyramid, this may have scope for further investigation. I have a fascination with 3D forms.
Folding
Pleated fan, simple and obvious ,however the cotton organdie holds such a sharp crease , the motif 
folding heavy linen with the transparent fabric creates a meandering rhythmic form
This form actually was inspired by a fortune cookie. I saw in the shape the curved marks from the lichen drawings, the fennel seeds in my tea, I enjoyed the process of folding and curving the fabric. I find the transition from flat disc to curved 3D form fascination, a germination.
Layers
Organdie and transparent layers with a like tension inserted which stitches to encourage the layers apart.very effective shadows, this piece works better standing so that the light can pass through it.
Layering the dots from the first piece, I would have preferred to use invisible thread, this is a very light and airy piece – or perhaps soft and bubbling like a crisp cool stream tumbling down a rocky valley. The combination of fabrics works well, the composition is suitably un uniform, it has flexibility to be flat or more 3D
Rolling
Stretch fabric stretched forms a roll. Folded and stitched like rock styrations. Heavy – I guess this is suitable. I could experiment with lighter fabrics to compare, it is very representational but does not say much to me. Lacking narrative when in fact those buckled layers have immense history.
cut and rolled, this is incredibly delicate, like a spider leg hair under a microscope, I may be a bit fascinated by this fabric. The sample is simple in essence but quite lovely. I often have expectations that a sample needs to be complex, however it’s what is left out sometimes that makes ab effective piece.
Tolling- varying sizes of ripstop nylon- like foaming water
Crumple
organdie folded and cut, crumpled to crinkle , lichen like. 
This makes a fantastic crinkle noise when crumpled. Laminated plastic and mesh (ironed)
cut and distorted
Cut and restitched
Both rock like, textural cliff face
knots work to create texture and shadows, adjust effects by experimenting with fabric and tightness of knot.
Macrame with ripped cotton makes nice hole shapes
knotted farmers binding twine- often tangled in hedgerows individual strands joined to wire circle – a complete circle would be nice- I need to find more discarded string- this is a dilemma as I would rather not find string littering the countryside.
I enjoyed looking at the work of Rowan Mersh and appreciate his intuitive use of materials, also his seeming simple and muted colour palette which gives the beautiful intricate textures your complete focus, his works are complex structural surfaces with a sense of harmony, I’d love to invert then close up.
This little fan element – which hearkens to the ginkgo frottage were perfect to experiment with the scale, in terms of material the organdie is perfect as a sculptural material as it holds a sharp crease. The half size sample is a success but terribly fiddley to make, the twice size not quite as sharp , so less charming.
I chose a simple curved mark to make multiples. This unit uses tension created by creasing and stretching a stiff cotton interfacing circle. I created several successful iterations.