M 4, CHAPTER 9: STITCHERY INTO PAPER

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 The needle weaving and the stitches worked over the withdrawn threads also helped to give a lacy look.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.

M4, CHAPTER 8: APPLYING PAPER PULP TO A WOVEN FABRIC GRID

 

In this part of the work I experimented with embedding various types of grids into paper made from paper pulp or from silk fibres.

8.1 Using Paper Pulp

a) Various fabrics

I experimented with fabrics of different weights, ranging from cheesecloth (sample 1) to much heavier even weave linen (sample 2). Threads were withdrawn to make a grid, sometimes leaving the withdrawn threads dangling. These were wrapped in plastic cling film to protect them while the paper was being cast.

I found that the best technique was to lay down a border of paper pulp, then lightly press  the fabric into it and layer more paper pulp over the top. Because the paper is moderately coarse, it can support medium to heavy weight fabrics. Overall, the heavier weight fabric gave the better appearance as it seemed to complement the paper better.

b) Synthetic grids

I also tried embedding several types of synthetic materials which were already formed into grids, such as a plastic mesh (sample 3), Sinamay hat mesh (sample 4) and plastic foam trellis used for protecting fruit.

The Sinamay used in sample 4 was fairly fine and it seemed more suited to being fully embedded in the sheet of pulp. I  also embedded the plastic foam trellis as it was very thick and I could not get a good effect with only a border of paper pulp. However I thought it would be rather limiting to work over with stitching.

c) Wrapped frames

The next sample  shows a wooden frame with satin ribbon and two types of thread wrapped around it. This frame was dipped into the paper pulp and allowed to dry. I have misplaced the photo I took of this after dipping. However the embroidered item developed from it is shown in Chapter 9.

I also stretched a mesh onion bag around a wooden frame, worked into it with some green perle thread to give a rough rose shape, and then dipped this into the paper pulp. Again, I have misplaced the photo of the dipped item, but the embroidered sample is shown in Chapter 9. Both samples were cut from the wooden frames before stitching.

8.2 Using Silk Paper

In contrast to the work with the paper pulp, I found that, on the whole, fine to medium weight fabrics gave a better result with the silk paper, which is more delicate by nature. I found it necessary to lay down a layer or border of silk fibres, then the grid, followed by 2 more layers of silk fibres laid at different angles to effectively trap the meshes. Again, I protected the loose ends of any withdrawn threads with plastic cling wrap, if I wanted to leave them dangling while I made the paper. Sample 8 shows a fine cheesecloth fabric trapped into the silk page and and sample 9 shows a moderately fine linen (partly stitched).

On the other hand, the linen used  in the top part of sample 10 is heavier and looks a bit out of place. I tried to press a layer of fine hat veiling onto the bottom section of this sample . It didn’t adhere very well because I did not put more silk fibres over the top. I split sample 10 into 2 pieces for use in the next chapter. The section with the hat veiling had to be handled carefully and it really needed the added stitching to hold the veiling in place.

Sample 11, with a central panel of Sinamay hat mesh embedded into the silk page, also gave  a pleasing result because it was not too heavy.

In Sample 12 I tried to embed a shape cut out from lacy fabric. This was more successful than the hat veiling because I put some more silk fibres over the top. It may be worth more experimentation with this approach in future.

M4, CHAPTER 7: WRAPPED FRAMES TO MAKE GRIDS

 

In this chapter I created grids of my own, using  a variety of embroidery  threads, ribbons, crochet cotton, and decorative knitting yarns. Some were done on a fixed, flat wooden frame, where the finished piece had to be cut away from the frame (samples 1,2,5 & 6). Others were wound onto the outer section of an embroidery hoop, which could be pulled apart, allowing the threads to be slid off without cutting. I found it relatively easy to create interesting effects with these methods, largely influenced by the choice of threads. There are endless possibilities.

Samples 1 & 2: In these samples the threads were only wound in 1 direction around the frame, and then other threads were woven across them by hand to make a grid. With sample 1, I found that the thin threads I chose gave a nice lacy effect, but the grid tended to collapse because the threads were too fine to hold it firmly in place. Winding the red ribbon diagonally across the piece helped a little. In sample 2, I wove a lot of thicker ribbons, wools and crochet yarns across the base of  vertical red ribbons. This held the grid more firmly and gave a sturdier result.

Sample 3

In this sample I used two tones of stranded cotton (i.e. 2 greens, 2 pinks) and wove them around the embroidery hoop at right angles to each other. I then worked diagonally cross each section with pink and green perle 8 thread, wrapping the bars. I was able to slide the final piece off the hoop, leaving the loops intact. I was pleased with this result.

Sample 4

This sample was created by winding the two types of pink yarn horizontally and vertically, then adding some blue/green wool wound diagonally. The whole lot was then held together by zigzag machining in green, purple and pink across groups of threads in different directions. Again, it was possible to slide the finished piece off the embroidery hoop so that the loops were left intact.

Sample 5

In sample 5 I wove 2 different, reasonably thick yarns horizontally and vertically, making the passes fairly close together. I then anchored the horizontal threads with alternate blocks of blue and green zigzag machining. This gave quite a firm grid to work on.  The letter R was worked by hand in bright pink perle 8 thread by weaving it around the vertical strands. I drew the letter shape on tissue paper first and then stitched over it in a coarse running thread on the grid, pulling the paper away before starting to wind the pink thread around the bars. Again, I think this technique has future possibilities, but next time I would make the letter a bit bolder and the grid a little less firm by spacing out the vertical and horizontal strands.

Sample 6

For this sample the grid was constructed with vertical rows of a fine reddish rayon thread, and then horizontal rows of two green coloured stranded threads, followed by four rows of a green ribbon at the bottom. The grid was secured with patches of zigzag machine stitching in both directions.

I then worked a roughly circular pattern in paler pink over the top, by making long stitches secured by winding the thread under and over strands of the grid. The idea of this was to give an impression of a rose shape. I thought the effect created by the thread and colour variation in the horizontal strips of the grid created a lot of interest though the colour choice could be improved, and also the rose design worked over the top had possibilities for further development.

M4, CHAPTER 6: DRAWN THREAD WORK STITCHERY

This chapter explores the use of hand and machine stitchery to embellish grids made by withdrawing threads from different types of fabrics. I mainly used my dyed fabrics for this, exploring effects that could be achieved with fine and coarse weaves. I also used a few pieces of coloured hessian to get started.

Hand Stitched Samples

I tried the plastic bottle method described in the course notes as a support for the fabric . I found it was fine for times when I wanted to thread bands of wools, ribbons or embroidery threads through areas of withdrawn threads. However it was less satisfactory when I wanted to do needle weaving on a larger scale or to work more complex patterns. I found I got better results with an embroidery hoop which held the fabric tighter (e.g. samples 4 & 5).

Sample 1: I started by refreshing my self with the basic principles of withdrawn thread work by doing a very small sampler using traditional methods  to get “in the groove”. This helped me to plan my later samples and stitches more easily. I then branched out, using bolder colours,  thicker threads, ribbons and  knitting yarns.

  Sample 2: This  shows a range   of effects achieved using darning, threading  and stitching. Stitches such as  herringbone (rows 3 & 8) and raised chain band (rows 2 & 5 from top) gave some interesting effects with the different yarns.

Sample 3: Here I explored various binding and needle weaving techniques. The “flower” section  (middle right ), where the pearl thread was woven around the bars in a circular fashion, was particularly pleasing. Other effects explored included diagonal stitching on the bars and crossovers and some basic needle weaving.

Sample 4: This shows some patterns and effects achieved by needle weaving on bands of withdrawn threads. It was essential to have the fabric quite taut for satisfactory results. In rows 2, 3 & 4(from top) tapered shapes and patterns were created by  gradually moving blocks of coloured stitches across the threads. Some of these patterns are traditionally worked on canvas. Personally, I think that is preferable, as the stiff grid of the canvas would keep the bands in shape more readily. The fabric used here was a bit floppy. Various needle weaving approaches were also explored including weaving a block (row 2, second from right, pale pink), working single bars ( row 2, right and row 4), randomly joining adjacent bars ( row 3 centre and right).

Sample 5: Some interesting lacy effects were achieved by withdrawing blocks of threads in different directions from a loosely woven dyed curtain fabric, and then pulling, needle weaving and twisting stranded cotton around the remaining threads.

Machine Stitched Samples

Sample 1: In the first  sample I machined over the rows of weave where the threads had been withdrawn. I realised later that I had misinterpreted the instructions and I should have machined on the 2-way weave that was left between the bands of withdrawn threads. Nevertheless, although I found I had to machine several rows to  get a significant band of stitches, I rather liked some of the effects I achieved by combining different thread colours, using a thicker thread in the bobbin and weaving some clumps of the withdrawn threads back into the mesh I had created.

Sample 2: I also machined over the rows where threads had been withdrawn in this sample, but used narrower bands of withdrawn threads and only 1 row if stitching on each. The overall effect was achieved by alternating the two colours in an irregular fashion and tying the withdrawn threads in small tassels on the sides. Again, I quite liked the result.

Sample 3: Here I experimented with loops, folds and tucks. Because I chose not to continue the loopy rows the full length of the fabric, I had to find a way to deal with the bulges of remaining fabric. I did this by folding it over and machining it down, like a tuck. I added a few green loops by hand to each row of pink loops to improve the colour contrast.

Sample 4: This shows the different effects that can be achieved with a loosely woven fabric (cheesecloth in this case). I withdrew quite narrow bands of threads and then used a combination of machining and hand threading to embellish the fabric. I also tried some free machining in green (with a soluble support layer underneath) to fill the middle hole, then threaded some pink wool through the mesh I had created – trying to give a hint of a rose shape.

Sample 5: I wanted to experiment with needle weaving by machine, machining long strands of threads and then branching across thread columns from time to time to make an interesting network. I decided to do this with a simple shape (a pentagon in this case) where not all the thread columns were the same length, to see if this added extra interest. The edge of the shape was finished with a machined buttonhole stitch to neaten the edges and add definition. I was quite pleased with the end result and think this approach could be developed further.

Sample 6

In this sample I experimented further with different shapes, trying to find a way of working a stylised rose shape on the fabric. My original intention was for this  to be  a machined piece, but I ended up adding a lot of hand stitching to get a reasonable outcome.

In the centre and bottom shapes I withdrew threads to make a fine grid and then machined them both ways. I found however that they looked quite messy and lacked definition, so then I wove pearl threads into the grids, improving them considerably.

For the shapes on each side, I withdrew wider bands of threads  and then machined groups of threads together in strands (needle weaving by machine). Again, I thought  this did not give a strong enough effect, so I worked herringbone  stitch across the columns of machined threads in pearl 8. However this tended to drown out the machined cords.

Finally, I tried machining around each shape to finish off the piece, but then decided to add a row of running stitch to give a more interesting, defined effect. Overall I think this sample has future possibilities, but I spent a lot of time on the machining for little gain, and might have been better to focus on the hand stitching.

 

Sample 7: I used a loosely woven curtain scrim for this sample. I withdrew threads in bands of different widths and then worked into each band. I generally machined down the long strands of threads to secure them in bands (needle weaving) and also machined across the remaining horizontal bands of intact threads to give some stability. I then manipulated the machined bands in various ways with hand stitching to create some lacy effects. 

For example, in the top row I overlapped the cords and secured them with a few stitches. In the bottom row I left some threads without machining and worked purple rows of raised chain band across them. I also wove a thick variegated knitting yarn through a few rows to add colour and texture.

Overall I was pleased with this sample and think I could expand on this approach in future parts of the module.

 References

Moyra McNeill, “Drawn Thread Embroidery”, BT Batsford, London, 2005

Moyra McNeill,  “Pulled Thread Embroidery”, Dover Publications Inc, 1971.

Effie Mitrofanis, “Needleweaving and Embroidery: Embellished Treasures”,  Sally Milner Publishing, 2005.

M4 CHAPTER 5: DRAWN THREAD WORK

1. Colouring Fabric

I applied pink and green dyes to a range of woven fabrics that I thought might be suitable for withdrawing threads. I chose some fabrics that were finely woven and others that were much coarser, so that I could experiment with different effects. The dye was applied in  patches or bands with a flat paint brush about 3-4 cm wide. The wet fabric was left overnight under plastic film to maximise uptake of the dye. A lighter result was obtained when there was a moderate amount of synthetic fibre in the fabric. I experimented with a few different greens and a bright pink. The yellow-green/pink combination  gave the more vibrant result. The other green was more dull and muted, but this could also be useful, depending on the design of the embroidery piece and the effect required.

2. First Exercise – Grid Patterns

In this exercise I investigated the effects that could be obtained by withdrawing threads in various combinations from the different types of fabric. The more tightly woven fabrics tended to give a more formal look, whereas the impression was more random with the loosely woven scrim, especially if large bands of thread were withdrawn. The look also changed depending on whether withdrawing overlapping threads in two directions results in large or small holes and also whether there were variations in the distance between the rows of withdrawn threads or a regular pattern.

3. Second Exercise – Displacing Weave Threads

This  photo shows some effects that were obtained when the threads were displaced from their original position but not completely withdrawn. This gave the surface a more complex effect as the original bands of colour were broken up. However there needs to be a reasonable amount of contrast between the two colours to have strong impact. In these samples this was not so effective, especially Sample 1 where single threads were withdrawn across the surface and the impact was quite subtle. In  Sample 2 I tried to withdraw the threads to give an arrowhead pattern which was more interesting (yellow green arrows on the pink background).

A better result can be seen in Sample 7 below where clumps of threads had a stronger impact.

Looping Threads

 

This photo shows the interesting textured effects that can be obtained by drawing the threads into the body of the fabric rather than the sides and leaving them as loops on the surface. Sample 3 shows single loops in rows across the fabric and Sample 4 on the right shows loops clustered together, which I rather liked. The size of the loops can also be varied to add to the effect.

Reweaving Withdrawn Threads

This shows three samples produced by reweaving the withdrawn threads back into the fabric. I was quite pleased with all of these.

In Sample 5, bands of threads of different thickness were woven back into the horizontal grid and the ends tied to secure them. The position of the knots was varied to add to the design and make it look less formal.

In Sample 6, I withdrew threads in both directions then rewove them in  different patterns. This piece opened up some interesting possibilities  for combining different weaving techniques to obtain the overall result. On each side I wove the threads back in a random manner and left the ends dangling  to give a roughly darned effect. In the centre I used three different techniques. The “honeycomb” effect was achieved by circular weaving across  pairs of thread bars, the “cable” effect in the middle was obtained by wrapping the two vertical bars in two different directions, and the fine bars were wrapped anticlockwise from bottom to top then clockwise from top to bottom, to give the plaited effect.

Sample 7 shows some effects that can be obtained with dyed cheese cloth by combining threads pulled partway across the fabric in both directions to displace the colour, and other clumps of threads being fully with drawn and then rewoven.  Some of these clumps were deliberately pulled a bit tighter to give a wavy surface, and ends left hanging to add to the texture. The impact of the intermingling of the two colours was also more apparent than in Sample 1. Overall I liked the finished result.

M4 CHAPTER 4: PAPER MAKING

This chapter starts with basic paper making and then describes some experiments  to explore various techniques for adding interest to the paper surface.

The basic technique followed that described in the course notes. In addition I used the following reference book as a source of ideas and additional instructions: “Paper Making” by Marion Elliot, Henry Holt & Co, Inc, 1994.

I made a series of wire frames by removing canvas from cheap frames bought at a $2 shop and then stapling wire over the top. These worked OK for the purposes of these trials. If I was going to do a lot of paper making I would probably explore some other purpose-built options for the frames.

1. First Attempts

This photo shows some of my early efforts. After making each pulp I added some coloured ink or dye to tint the paper. This was taken up differentially by the various types of paper used for the pulp. The inks tended to give more delicate colours. It took about 3 attempts to start to produce reasonable paper. My first paper (pale green) was very thin and tore easily, probably because I had the pulp too thin and watery. However it could be interesting to use for some applications. The second lot (pale pink) was much thicker and stiffer because I deliberately made the pulp thicker and lumpier. I got some nice colour effects by using torn up brown paper as part of the pulp.  The stiffness of this paper will limit its usefulness for later work. The third attempt (mauve) gave the best overall result as the paper was of medium thickness and moderately flexible.

2. Embedding

This photo shows some papers with added items embedded into them This was done by casting the pulp onto the frame, then sprinkling the items over and pressing them into the surface. Some of the things I tried were (1) Slithers of paper and ribbon (2)Threads and petals (3) Strands of wool tops  (4) Strands of silk tops. Note that the wool and silk tops these were white but took up the ink more strongly. As I really liked the texture gained by using the wool or silk strands, I decided to try making some silk paper as well (see section 7).

3. Fringing and Laminating

The two examples here show the interesting surface effects that can be obtained by (5) burying longer threads in the pulp and then pulling them out completely or partially when the paper is dry  (6) burying some scraps of a lacy fabric into the pulp, then partly scraping away the paper when it is dry. These both have possibilities for future work,for example by using the threads to deliberately write letters or words or using the lace scraps to make various shapes.

4. Letters

This shows some ways of combining shapes or letters with paper making. (7) Negative shape - the letter shape can be removed by placing a wire cut out under the pulp and then lifting it up while the pulp is damp (8). This works best of the letter is a continuous line and does not have holes like the letter R. The pulp spread on the removed cut out can be dried in situ to give a positive letter shape.  The word Rose has been spelled out by casting pulp onto pieces of wire cut into the shapes of the letters (9). This gave the clearest results and was the easiest to do.

5. Embossing

I experimented with a few ways of making an imprint in the surface of the paper.  Unfortunately none of the results photographed particularly well, but I think they give the idea. The trick seemed to be to use an object which was heavy enough to make a  strong indentation in the paper but not so heavy that it went all the way through and tore. Example 10 shows the effect of pressing the letter R cut from some fairly heavy plastic sheet into the cast pulp. I thought this was reasonably successful.  I also tried getting some lacy patterns imprinted onto the paper  by pressing  small pieces of guipure lace or a lacy fabric onto the wet surface and removing the shapes when the paper was almost dry (11, 12). These were also reasonably successful, but the lace needs to be of a medium to heavy weight to make a good imprint.  I also tried a couple of times to incorporate a watermark into the paper by attaching a wire shape to the surface of the frame and then casting the pulp over the top so that some of the paper was thinner than the rest. None of these attempts was very satisfactory, even though I tried to thin down the paper pulp for a second attempt(13). There is definitely an art to getting good results with this technique.

6. Experiments with Two Colours

Although the colours I ended up with here were not exactly as intended (the brown was meant to be pinker), they are adequate for illustrating the point that some interesting effects can be achieved by combining different coloured pulps in the one sheet of paper. The first sheet (14) shows the two colours applied in random blocks. The others (15 & 16) show two stylised attempts at lettering made by placing the coloured pulps in different shapes. I found that the easiest way to apply the different colours was with a slotted spoon or soup ladle.

7. Silk Paper

I tried making silk paper as well, because I really like its streaky textured appearance. It is delicate yet strong at the same time. I based my method on the one described in the book “Handmade Silk Paper” by Kath Russon, Search Press, 1999. However instead of using wallpaper paste to adhere the fibres, I used  Jo Sogna’s Textile Medium diluted about 50/50 with water, which was recommended to me by a friend. I also did not dye the silk tops before use, but rather, I dissolved some Brusho ink powder in the aqueous textile medium. The silk fibres took up the ink very rapidly and strongly, as shown in the photo below. I am keen to find some uses for silk paper in my work.

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.