M4, CHAPTER 3: GRIDS

 

Definition of a grid : A grating of crossed bars; a network of horizontal and vertical lines designed to give fixed points of reference (from Macquarie Dictionary). However this definition is a bit narrow as many grids are not restricted to horizontal and vertical lines. In their book “Grids to Stitch”, Jan Beaney and Jean Littlejohn extend the definition to include asymmetrical arrangements of crossing lines and organic structures (Double Trouble Enterprises, 2006).

Examples of Grids for Stitching

Sheets 1 & 2 show examples of grids I have collected. “Grids 1” shows a collection of different types of fabrics, illustrating  the diverse range of of textiles which can be used as the base for withdrawn thread and other embroidery.

Key: A Coarsely woven canvas; B Curtain scrim with mixture of fine and coarse weaves; C Fine double stranded canvas; D Section of  a place mat woven from plant fibre (probably sisal); E dress fabric; F even weave linen used for Hardanger embroidery; G synthetic net with metallic thread; K 24 count linen; I synthetic lacy fabric; J hessian; K cheesecloth.

The second sheet, “Grids 2” shows examples of non-traditional grids made from a broad range of materials which could also be considered for experimental work.

Key: L sequin waste; M coarsely woven sinamay hat fabric; N plastic coated fly wire mesh; O polyester mesh used for a laundry bag; P foam mesh used to transport delicate pieces of fruit; Q synthetic mesh from an onion bag; R plastic gutter guard; S synthetic moulding mesh.

Constructed Grids

I have tried two techniques for constructing my own grids. The first involved taking a piece of felt and cutting out squares. I think this could be embellished by machine and hand in later work.

The second method was based on a method suggested by Jan Beaney and Jean Littlejohn in “Grids to Stitch”, page 2 (Double Trouble Enterprises, 2006) where a grid is constructed by machining over a framework of ribbons, threads etc. A plastic film is used to stabilise the framework while it is stitched. Instead of the sticky film Aquabond that they suggested, I used a heavy water soluble film called Romeo, suggested by one of my Australian on-line suppliers (Punch with Judy). This film was dampened slightly to make it a bit sticky, and then strands of variegated green/gold ribbon were laid down in a grid pattern. A second layer of Romeo slightly damp was placed on top to hold the ribbons in place. The “sandwich” was then attached to a rectangular wooden frame using double sided tape, ready for stitching.

The grid was  stitched on the machine along each vertical and horizontal bar, to hold it together.  Then a circular mesh was worked by machine in each of the holes to form the decorative pattern in pink and red. Care was taken to make sure all the stitching overlapped so it would not fall apart when the film was removed.

The film was dissolved by pinning the stitched sandwich to a flat piece of  plastic foam  and then running luke warm water over it. I  found it necessary to immerse the foam in a tray of water for about an hour to remove the final remnants of the film. The stitched ribbon grid  was left pinned to the foam until it dried to maintain its shape. The final piece is shown below. Considering it was my first attempt at anything like this, I was quite pleased with the finished item, which reminded me of roses growing on a trellis. I intend to try some more experiments later in the module.

M4, Chapter 2: Lettering Designs

I used the word “rose” to experiment with different drawing tools, media and lettering styles.

1. DRAWING METHODS

1.1 Using Commercial Inks

I used some commercial inks (mainly “Brusho” and india ink) and experimented with a variety of paper backgrounds – envelopes, brown paper, tissue paper, pages torn from a phone book. In some cases I did an ink wash over the paper and then wrote the words in a different colour over the top using a variety of tools and lettering styles.

The numbered items show words written using the following:

1) Large letters made with a plastic credit card with the edge chopped off with pinking shears.  2)  A stick on a tinted page of the telephone book. 3)  A coarse brush on tinted tissue paper. 4) Edge of a piece of cardboard pressed onto an envelope. 5) Tile grouter dipped in ink used to make background pattern and writing over the top. 6) Flat end of chopstick pressed onto tinted tissue paper. 7) Pointed end of satay stick used to write on  tinted page of the telephone book. 8) Feather used to write on brown paper.

1.2 With a black calligraphy pen

I then experimented with a black calligraphy pen as shown below, sometimes adding a colour as well. Torn envelopes were washed with green ink before starting to write.  I extended this to experiment with effects that could be achieved with blocks of writing.

 

1) Same word in different font styles. 2)  Word in columns with the starting letter highlighted in pink as a feature.  3) Different sizes and spacing of letters, with one large pink letter as a highlight over the top.  4) Small words written in blocks in different directions to give a chequerboard effect. 5) Red words written in regular lines with a satay stick dipped in ink, but some lines were upside down, so that the rhythm of the lettering was more important than the actual word. Then a large version of the word rose was written over the top in green – actually made up by writing the word several times in small letters.

1.3 Bleach, overlapping letters & doodling

This photo shows a range of effects that were created as follows:

1) Paper washed with pink ink and then words written randomly with a cotton bud dipped in bleach. 2) Paper washed with green ink, then small words overwritten using a stick dipped in pink ink and larger words written with a cotton bud dipped in bleach ( this unexpectedly produced a rather nice blue colour). 3) Words written as mirror images and overlapping two different colours, using a coarse brush. 4) Letters written in purplish pink with a brush, then extra outline added in a paler tinted paint. Then green hatching added to selected areas of the letters with a finer brush. By this time the word rose seemed far less definite because the viewer's perception was affected by the added embellishment. 5) Words written in crayon using different sizes of lettering and starting diagonally from each corner. Where they joined,  the word was written in a large stylised manner in the centre diamond (hard to recognise as the word rose) and then flowers and leaves were added in the spaces. 6) Paper folded in a fan shape at various angles and the words written across the folds in red or green, to give a rather distorted effect to the writing.

1.4 Rubbings and collage

In this section a glue gun was used to pipe the word rose onto the paper and designs developed from there.

1) This shows the effect of rubbing crayon over the glue letters to give them colour, and adding further emphasis with outlines. The contrasting background was achieved by roughly colouring in with a water soluble crayon and then roughly painting it with water. 2) This shows how a glue template was prepared for nos. 3 & 4 by piping hot glue onto the shaped letters and allowing it to cool. 3) The template shown in no. 2 was placed under the paper and the top surface rubbed with a crayon to bring up the letters. The words were placed in alternating rows of one or two words to form a pattern. 4) This shows a composite collage made by folding the paper in different ways and writing the word rose with either green or red ink, then unfolding to give a grid made by the letters (i.e. the word has been broken up). Then a rubbing similar  to number 3 was cut into small squares and these letters were placed in some of the grid spaces, alternating with other small squares of creamy yellow paper. If you look hard you can make out all the letters of the word rose.

2. PATTERN MAKING USING THE COMPUTER

As with the exercises using inks shown above, it is possible to make an infinite variety of lettering patterns using the computer. One can select programmed fonts or draw freehand. Colours, font size and orientation of letters can be varied, as well as overlaying words on top of each other. The central image in this page shows words overlaid on a freehand drawing. Another feature  of the computer generated images is the ability to generate very regular, attractive patterns such as those on the top right and bottom left by repeating words or letters and then varying colour, font size etc.

 

3. LETTERING ON FABRIC

I popped this in as an extra as it is relevant to this section. I recently took part in a challenge with one of my Australian embroidery groups on the theme ‘What’s in a name?’ This arose from the fact that the group calls itself tba (to be advised) because some years ago the members could not agree on a name. My piece was based on the Shakespearian quote from Romeo & Juliet “A rose by another name ….”

I chose a piece of pale green linen for the background, and then decided to add some references to tba in the background to add colour and interest, as well as adding another link to the challenge theme. However I did not want to take away from the principal design by overdoing it. I decided to make a template of the letters “tba”  in string, cover this with mauve paint and stamp it on the fabric in an irregular manner. In the end I used the “wrong” side of the fabric as there was too much paint on the other side and outlined some of the letters with machine stitching. I then decided I needed some colour contrast so placed the string template under the fabric and rubbed over the top with deep pink pastel to give the final multi-coloured background  for the design.

 

The final piece is shown below – it has an appliqued rose, the quote worked in stem stitch, and a cross stitch border over the tba background. This piece was part of our group’s display at a recent exhibition. (Sian you can take this as a compliment that I am looking for ways to make more complex surfaces now, and also using paint, pastel rubbings etc!)