Chapter 8

Stitching into paper continued

This sample was the distressed crochet insertion lace and paper pulp. Rows of hand stitched marks were added in different colour threads to represent text. I like the texture of this sample

4.8.8  size  10cm x 18cm

DSCN0816

4.8.9

DSCN0817

 

Really wasn’t sure what I was thinking of with the stitching on this sample. It is strong as the starch soaked into the string.

 

4.8.10 size 19cm x 12cm

 

DSCN0820

 

The woven folded paper grid with paper pulp was not a favourite either, but after stitching I really like it.

4.8.11 size  22cm x 22cm

 

DSCN0821

Rows of black free motion machine stitching were added to represent text. Hints of letters and words from the paper grid make it interesting.

4.8.12 closer look

DSCN0821 - Copy

 

The final sample was a crochet grid with paper pulp where I tried to interpret one of the small sample cards from chapter 1. Black thread, machine stitched.

 

4.8.13   sample card

 

_DSC2149 (2)

4.8.14   size paper grid sample 9cm x 9cm

DSCN0827 - Copy

4.8.15  Closer look

DSCN0827

Chapter 8

Stitching into paper

I decided to fuse a piece of vilene to the back of this crochet grid and paper pulp sample. Later I could then paint the back, blending the stitches and the vilene to make an interesting textured back without looking obviously like the reverse of the work. It would also act as support for the work. You can just see the vilene through the holes in the paper. I added some hand stitching to highlight the grid.

4.8.1 size  11cm x 11cm

DSCN0731

 

This was the distorted waste canvas grid and paper stitched into in a similar way with a vilene backing.

4.8.2 10cm x 10cm

 

DSCN0730

 

I tried stitching into a paper grid without the backing. This was black yarn inspired by a printed digital circuit and a stamp.

4.8.3 size 10cm x 10cm

DSCN0727

 

The bad knitting was stitched into with cotton yarn, and snippets of paper text were added. The influence for this was from chapter 1 and the airmail envelope in my collection of media related items. It is not easy to see the original bad knitting any more.

4.8.4

_DSC2155 (2)

4.8.5  size 8cm x 8cm

DSCN0725

 

This example of withdrawn thread work with the paper frame had bits of paper text, tea bag and tea dyed fabric woven into it and then zigzag machine stitched. This echoes the woven text sample from chapter 1.

4.8.6

DSCN0621

4.8.7  size 12cm x 12cm

DSCN0732

 

The stitched paper is easier to stitch into by hand. I wouldn’t add the starch to the pulp, but paint a coat of thick starch like custard onto the paper after it has dried. This doesn’t alter the look of the paper in any way but helps strengthen and bind the fibres of the paper and the fabric grids together for stitching.  Might try adding layers of starch  to see the visual effect, and adding colours and texture to the starch for interesting finishes to the paper.

Chapter 7

Applying paper pulp to a woven fabric grid

I took some of the grids produced in chapter 3 and made up a batch of paper pulp.  Carefully putting the piece of distressed crochet lace on to the paper making screen I scooped up some pulp  and patted in down on to it. I wanted the lace grid to be more visable so I removed some of the pulp when I was happy with the way it looked I turned it out to dry.

4. 7. 1  Size  10cm x 18cm

 

DSCN0715

 

The next grid sample was the stitched paper I used this without the screen as it did not need the support, again scooping pulp up and patting it onto the paper grid.

4.7.2   Size  22cm x 22cm

 

DSCN0798

 

The next sample was made in the same way using a net bag grid. The pulp was dropped on randomly so it was not very stable when it was dry.  If I did this again the pulp patches  should connect to each other more, or form a frame, can’t imagine stitching into this.

4.7.3  Size 12cm x 20cm

 

DSCN0718

 

The fillet crochet grids were a little more stable and these would be good to stitch into. Although a painted coat of starch would help and stop the little tufts of paper on the top of the needle as it is pulled up through the paper grid. Or the fine paper dust that accumulates when stitching it on the machine.

4.7.4  size 11cm x 11cm

 

copy 1

 

4.7.5  size  9cm x 9cm

 

copy3

 

For method 2 I used the screen making a frame of pulp before placing the waste canvas grid onto it and adding more pulp to enclose the edges. I like this sample although the photo is not great.

4.7.6   Size 10cmx 10cm

 

DSCN0714

 

The next sample was made in the same way with the centre left open to weave into.

4.7.7   Size 12cm x 12cm

 

copy 2

 

Pulp was added to the bad knitting sample.

4.7.8   Size 8cm x 8cm

 

DSCN0716

 

This craft vilene sample, was dipped into the pulp and then bits were revealed after. All these are basic samples, if I used this sample idea again I think I would paint the vilene and wrap some bits of the cut out areas with thread before dipping in in the pulp. But I could still work on this sample as it is.

4.7.9  Size 10cm x 10cm

 

DSCN0717

I made a grid by wrapping string around an old frame before dipping it into the pulp. This was then cut off the frame when dry and the edges frayed. I like this and can see it stitched and woven into.

4.7.10  Size inner frame 25cm x 15cm

 

DSCN0794

4.7.11  Size 19cm x 12cm

 

DSCN0796

 

A closer look at the back.

4.7.12

DSCN0797

This has been an interesting exercise and given me ideas of what I want to stitch into in the next chapter. Lots of thoughts on how and if to add colour. Do I keep to the media theme of buff envelopes and files, and just  keep it textural rather than colourful. But I do love the handmade red paper. Thoughts thoughts thoughts.

4.7.13

DSCN0719

 

My Artist Study

Claudia Lee

Claudia Lee is an artist working with handmade paper. Her studio liberty paper is in Tennessee  USA is a working and teaching facility. She has published many books on her subject including “The complete book of handmade paper”. She is known for her enthusiastic ability to share her vast knowledge and runs workshops for all levels including children.

claudia lee

Claudia began her career in hand weaving and dying so when she was introduced to paper making 20 years ago it was natural for her to merge these skills in her paper making art.

Picture

She works with a variety of paper making materials such as flax, linen thread, bamboo and other plant materials to produce different types of paper. Many are tough leathery papers that can be stitched into and sculpted.

 

 

           As a skilled paper maker she can design papers for specific projects, she is best known for her light sculptures  and stitches books.

 

 

Picture

 

 

 

Picture

 

 

Picture

 

Weaving paper is also a method she regularly uses.

As well as adding text and stitching all related to work in this module.  I love the natural colours in her work and it is an inspiration to add to skills learnt in this module.

Artist Study 1

Cas Holmes

Cas Holmes is a mixed media textile artist.  After a fine arts degree and extensive travel and  work within the community she now produces her own unique pieces of work.

After the Rain

These often include scraps of fabric found recycled and layered with text and paint, torn paper and images. They are collaged, layered and stitched into, often creating opaque layers.

textileSimple images of animals, birds and flora are used to tell stories of time. Her works bridge a gap between art quilts and art using textiles as a medium. They often look warm and faded which add to their charm.  She has written several books which documents her processes. Her work is charming and inspirational.

work by Cas Holmes

Her work using recycled fabrics, text and handmade papers, used in her handmade books and earlier textile work relate to the work in this module.

Artist Study 2

Lois Walpole

Lois Walpole is a successful  basket maker who produces woven sculptures and basketry from found and sustainable  materials. She studied at St Martins school of art and gained a doctorate researching willow and contemporary product manufacture.

Much of her work is now based on sustainable practices using materials that are recycled, upcycled or grown. Having reached a conclusion that large scale basketry is not sustainable or ethical. Often using poorly paid workforces, as well as transportation and fumigation costs all make a product environmentally uneconomical.

This is reflected in her work using recycled items such as newspapers, and plastic bottles in her modern works.

 

2012 Bag. Juice cartons, tube, wire. 32 x 32 x 10cm

Now she lectures and tutors basketry internationally and has written several books on techniques she uses. She has designed for many companies and was involved in ‘rapid eye baskets’.

This sample of her work below illustrates work in this module with glimpses of woven text, and stitched edging.

2012 Handy Numbers. Telephone directory, plastic sleeves, camera cord, computer keys. 15 x 15 x 6cm

I like how she effortlessly  merges natural and manmade materials together which is not an easy thing to do.

 

2011 Plastic tube, gladioli leaves, found plastic and string. 100 x 86cm

Chapter 6

Drawn thread work stitchery

Some of the different ideas I worked on for this chapter.

A withdrawn thread sample with black and white diagonal stitching.

4.6.1 12cm x 12cmDSCN0640

 

This sample was done by a needle weaving technique on a very open withdrawn thread sample. A variegated  thread was used and the edges were reworked weaving withdrawn threads  back  in.

4.6.2 11cm x11cm

DSCN0807

 

This was a dyed withdrawn sample photo 4.5.4 from chapter 5.  It was machine stitched in black to draw in the withdrawn thread grid then stripes of recycled pink stained folded tea bags and paper text were woven into it . Then it was stitched again to stabilize it

4.6.3  15cm x 11cm

DSCN0830

I like this sample so a closer look.

6.4.4

DSCN0830 - Copy

 

This sample on  a dyed fabric had a more traditional style. Stitched on a bands of withdrawn threads.

4.6.5 13cm x 11cm

DSCN0811

 

This was withdrawn and stitched at the same time on a much finer fabric. You can see where the withdrawn threads have been carefully stitched back in at the end of the open work to produce an interesting  grid.

4.6.6  15cm x12cm
_DSC2186

 

This sample was stamped with text first.

4.6.7   15cm x 14cm

_DSC2182

It was then worked by pulling threads out and reweaving and stitching. I am not sure the idea worked how I imagined, but I liked the finished result

4.6.8

DSCN0639

4.6.9  A closer look.

DSCN0639 (2)

This was stitched on an open band folded in half and the loops stitched on alternative sides.

4.6.10 Finished size 15cm x 7cm

DSCN0819

 

This sample was tacked onto some dyed fabric from a previous module. I had intended it to be just for support while it was being worked, and it would be removed later. However I ended up using it to sink threads into.

4.6.11  20cm x 12cm

DSCN0645

4.6.12   A closer look.

DSCN0643

 

This was soft open fabric painted and with threads withdrawn. Various threads raffia and fabric were woven into it, before it was machine stitched.

4.6.13 12cm x 12cm

DSCN0809

The sample above before and after it was machine stitched

4.6.14  and 4.6.15

DSCN0810           DSCN0828 - Copy

 

I did not like this sample so it was abandoned , but now I have returned to it,  it has potential .

4.6.15 12cm x 8cm

DSCN0808

I have really enjoyed exploring the ideas of different ways of withdrawing threads to create textures in this chapter. This a small sample of work that I can work on more in the future.

I went on to create this piece using sections of withdrawn thread fabric under the embroidery and reweaveing threads back in.

DSCN0454

tangle tree

tangle tree 2

Previous Older Entries

Follow

Get every new post delivered to your Inbox.