I did a few samples using paper made from paper pulp, then quickly moved on to silk paper as this is my preferred medium. I also experimented with edge treatments on both types of paper.
9.1 Paper made with Paper Pulp
A light fabric was stuck to the back of the the handmade paper before it was stitched, using spray adhesive . Sample 1 shows hand and machine stitching worked into Sinamay hat mesh embedded into the paper. The letters A & J have been worked into the central area in an irregular manner and the zig-zag stitching around the edge was chosen to echo the shapes of the letters.
Sample 2 was more pleasing. The lime green hand stitching on the edges of the central panel was intended to echo and extend the lines of “writing” in the centre. The loopy machined border was intended to suggest flowers encircling the lettering.
9.2 Silk Paper
The fabric embedded into sample 4 was of a heavier weight than the ones used in sample 3. Hence I tried to achieve a finer, more delicate look with sample 3 and used heavier stitching in sample 4. In sample 3, fine running stitch was worked into the paper to represent small blocks of text like those seen in a newspaper or magazine. The needle weaving and the stitches worked over the withdrawn threads also helped to give a lacy look.
Thicker thread was used for the running stitch in sample 4 and the stitching on the silk paper was continued into the fabric to try to unify the overall appearance. The running stitch and the zig-zag shape of the bands of needle weaving was intended to suggest the letter A.
Sample 5 had stitches worked over the hat veiling attached to the silk paper. I started by extending the criss-cross pattern of the veiling by machining a diamond pattern over the silk paper. I then worked rows of fly stitch over the veiling and used a loose type of back stitch, with beads incorporated, to draw up the paper into loose folds. Overall the final result was quite interesting, even though it started with veiling that had not stuck to the silk paper very well.
I decided to incorporate more writing into sample 6. I used a piece of raised stitching of the word ‘rose’ as a template. This was laid under the silk paper and the top side was rubbed with a lime green oil pastel so that the word was revealed. The template was moved around randomly to apply the words. The surface of the paper was then painted with Modge Podge gloss medium to prevent the pastel from rubbing off. I then stitched each letter with running stitch and added some large letters by machine. The centre panel was embedded Sinamay hat fabric. I wound some pink crochet yarn around various parts of the grid to give an irregular pattern suggestive of a rose.
Sample 20 was painted with diluted acrylic gloss medium before stitching, because it was starting to fray. I probably could have just added more textile medium. The embedded lacy areas were embellished with Smyrna crosses in various shades of pink, to echo the lacy network underneath. The background was machined in a meandering pattern in 2 shades of green. This was reminiscent of doodling on paper.
9.3 Created Grids
I liked the effects I obtained with these samples.
Sample 7 resulted from the wound threads and ribbon described in the previous chapter. Whilst the dried paper mesh looked good, I found that lumps tended to flake off, which made it impossible to use. So I painted the paper mesh with acrylic gloss medium to try to stabilise it. This worked well, so I then added the large purple fly stitches over the top. I felt that there was enough embellishment at this point, so didn’t add any other stitching as I think the piece would have become too busy with more.
This sample started with paper adhered to a stitched design on a mesh bag. Again I found that the paper tended to fall off so I painted the item with acrylic medium to stabilise it. I then glued a piece of pink fabric to the back to add depth where there were holes in the paper. Finally I added a swirl of pink backstitching, following the lines of the green thread embedded into the paper, and the word “rose” vertically on the right hand side.
9.4 Stitched Edges – Handmade Paper
I discovered very quickly that stitching around the edges of the handmade paper was fraught with difficulties unless I stabilized the edge with a fabric border. I did not want to use a full fabric backing as there are many situations where you do not want the back covered up. For example, samples 9 & 10 were reasonably successful because there was a firm border around the edge. In sample 9 the flat fabric yarn was machined to the front of the card and in sample 10, fabric was folded over the edge and machined in place. However, the attempts to machine a woollen cord border (samples 11 & 12) resulted in crumbling edges and tearing of the paper , although I used a cording foot on the machine. In Sample 12, I tried using a tearaway backing, but encountered problems when I tried to remove it at the end.
After some experimentation with hand stitching, I found that I got the best results if I poked the holes in the paper first, either by machining a row with an unthreaded sewing machine set at the longest stitch length, or pressing a sharp pin or needle vertically into the card . Sample 13 shows a green blanket stitch worked into pre-made holes, supplemented by a red machine stitched row. Sample 14 shows experiments with incorporating beads into the stitches. However the edges still tended to crumble if the paper was not strong or I got too close to the edge. Sample 21 was a little more successful. Here I painted the paper with dilute acrylic gloss medium and poked holes with a needle before adding the stitches.
9.5 Stitched Edges – Silk Paper
As silk paper is less prone to tearing and crumbling, it is easier to apply edges either by hand or sewing machine. However the attractive wispy nature of the natural edges tends to be lost if this is done.
Samples 15 & 16 show various hand worked borders. In sample 15, clockwise from the top, the stitches are sheaf stitch, a rolled edge, Pekingese stitch and herringbone worked over a folded edge. The folded edge gave a result that was a bit more solid and could be useful if this effect was desired for a particular piece. In sample 16 blanket stitch was worked loosely in 2 colours to give a less formal effect.
Samples 17 to 19 show machined borders on silk paper. The edges tended to crinkle and catch if the stitching got too close to the edge. Sample 17 shows a border worked about 1cm in, which was fine. The paper could be cut back after the stitching if desired. Samples 18 show another decorative border – again there was a lot of puckering and catching if I got too close to the edge, so I cut off the excess afterwards. I also tried applying Vlisofix to the back of the paper and painting it with additional medium, but neither really helped. In contrast, sample 19 was much easier to work because a ribbon was folded over the edge and acted as a stabiliser. The ribbon was held in place with a decorative machine stitch and then a row of running stitch added by hand inside the ribbon. The ribbon gives a much more formal look to the finished sample.
