Records of work

Costing and times of Design and work related to making a music bag (Chapter 11)

Started design work 8th October 2014

Completed music bag 3rd December 2014

Costing of Design and work related to making a music bag (Chapter 11)

Item	Supplier	Cost of item	Amount used	Estimated cost	Comments
Colour toner	Amazon	11.52	most	11.52
Guitar pieces	Perry Jones, Penmaenmawr	7.00	most	5.00
Linen scrim	Calico Kate	8.00	1m	8.00
Decovil	Empress Mills	6.99	Half m	6.99
Guitar strap	Music Maker, Colwyn Bay	6.99	0	6.99
Plectrum	Music Maker, Colwyn Bay	0.70	1	0.70
Strap, Linen scrim					see above
Green/Red dyes	Matthew & Son Colwyn Bay	8.00	25%	2.00	Made in Chapter 4
Fresh salt, soda	Morrisons	3.00	300gms	1.00
Scissors	own	0		0	for paper and fabric
Fresh hand made paper	recycled old music scores	0	4 sheets	0	Sheets 36cm x 24cm
Cat litter tray	Stermatt Colwyn Bay	1.99	1	1.99	keep to reuse
Garden wire	Stermatt Colwyn Bay	4.00	75%	3.00
Plastic letters	recycled sheet	0	300cm2	0	cut outs for embossing
Threads: Sulky Gutermann	Variegated red 300m roll	6.99	150m	3.50
	Variegated green 300m roll	6.99	150m	3.50
Gesso	Art Van Go	10.75	Fifth	2.14	Bought some time ago
Quink & India ink	own	0	small	0	Bought some time ago
Scotchgard	Matthew & Son Colwyn Bay	6.95	50%	3.50
Brush	own	0	1	0
Sponge brush	own	1.00	1	1.00
Hand made paper		0	4	0	previously made Ch4
Silver grey beading wire	Abakhan	1.95	2m	0.40
Travelling iron	own	6.00	1	0	old item
Kitchen pan	own	0	1	0	old item
Containers & jugs	own	0	6	0	old item
Prittstik	Stermatt Colwyn Bay	2.99	43g	2.99
Metal mesh	Stermatt Colwyn Bay	1.59	1	1.59	can reuse
			TOTAL	£60.82

 

STORAGE OF WORK, MATERIALS,
TOOLS AND EQUIPMENT
Complete the list below to show where you store these items
Where do you store the following items:

ITEM	MY STORAGE PLACE	IDEAL CONDITIONS
Design work in progress	In bag, box, workroom as required	Away from sun, liquids, dust, children, pets
Completed embroidery	In acid free tissue in cupboard	Wrap in acid free tissue paper
Completed design work	In notebook	Keep flat, and as above
Papers for design work	In box	Same as above
Inks and paints for design work	In cupboard in workroom as required	Upright, lids secure: cool, dark conditions
Other items like glue, bleach, sprays	In cupboard in workroom as required	As above, secure from children and pets
Embroidery work in progress	In bag or easy to hand, as required	Accessible to continuous work, away from usual hazards
Fabrics	Dry, away from sun, in accessible bag or flat in drawer	Dry, away from sun. Flat or rolled in colour or fibre order. Acid free tissue paper
Threads	In bags sorted by colour or sewing box (Working bags can result in some tangling, sorted occasionally to keep in order)	Dry, away from sun, untangled and in colour and/or type order
Beads, metal threads etc.	As supplied by manufacturer or retailer	In acid free tissue, not plastic bags
Dyes, paints etc.	In cupboard, in workroom, as required Clearly labelled	Lids secure, cool temp. Enclosed container
Sewing machine	As required in workroom	Normal room temp. and humidity. Keep up-right. In working position for easy use
Other electrical equipment	As required in workroom	Dry place with flex lightly wound. Stored away only when cold.

HEALTH AND SAFETY RULES
List of items and working processes that have been used in this Module, requiring special care and attention to protect myself, my environment and own work.

All materials and equipment should be kept out of reach of children

Using bleach:  

1. Don’t work in a confined space so that you do not breathe in the fumes.
2. Use gloves to protect hands. 
3. Store with lid secure

Cutting paper, metal grids:

1. Keep sharp scissors out of reach of children
2. Hold carefully using its handle
3. Keep blades covered using shield supplied when not in use

Making paper

1. Keep pan handle out of reach of children and all containers sealed when not in use
2. Ensure all containers and baths kept on a flat surface to prevent spillage
3. Keep hand blender upright, ensure hands well away from blades, switching off at the wall when not in use
4. Ensure flex is not a hazard to knock items over
5. Ensure hands dry when switching on and off at plug
6. Use plastic cover to protect surfaces from spillage when making the paper and drying paper
7. Take care with wire frames when they have rough edges

Drawn thread work

1. Keep sharp scissors out of reach of children
2. Keep needles sewn into fabric when not in use, or appropriate containers

Use of sewing machine

1. Keep machine in good order
2. Ensure flex does not cause a trip hazard
3. Ensure have seating to ensure good posture when using the machine
4. Switch off when changing needles
5. Store threads in lidded container

Use of soldering iron when decorating hand made papers

1. Ensure heated end of soldering iron is in a heat proof container (eg upturned flower pot sitting in drainage hole)
2. Take care, lift using insulated handle and ensure only grip insulated part
3. Ensure flex does not cause a trip hazard or can knock over items when iron in use
4. Ensure hands dry when switching on and off at plug
5. Use in a well ventilated room and when necessary use mask
6. Use a glass underneath the work to protect surfaces.  Make sure the edges are sealed with masking tape to protect from cuts.

Using inks and dyes

1. Use plastic cover to protect surfaces from spillage when in use
2. Ensure nibs are kept in an upright container and nib down so no possibility to be scratched
3. Use in a well ventilated room and when necessary use mask
4. Keep dyes, salt and soda solutions in well sealed containers in a cool place
5. Use gloves to protect hands

Making book type structures

1. Use cutting implements safely
2. Cutting card or paper with a scalpel use cutting board and metal ruler with hand guard
3. Keep sharp pointed items covered when not in use
4. When punching holes into paper or card ensure there is a wooden block below to prevent damage to surfaces

Making bags using wire

1. Ensure that the ends are cut neatly to prevent scratching
2. Ensure the ends are finished off to prevent catching or scratching
3. Apply precautions as recorded above dependent on technique in use

Waterproofing a bag

1. When using a spray use in a well ventilated space, if possible outside, with the breeze and not pointed towards anyone.
2. Hang the item if possible so not to spray hands (otherwise use gloves)

EVALUATION OF ASSESSMENT PIECE

The completed embroidered assessment piece for Module 4 is a music bag based on the design topic ‘Loosely lettering’

It was accompanied by a presentation sheet made of hand made paper in the form of sheet music

How do you feel about the resulting conclusion

Very pleased with the bag which is robust, decorative and waterproof.  I am happy with the overall effect, colours complement one another, there is a subtle colour scheme and fabrics and threads worked well together both in appearance and construction.  Happy using the guitar bits to good decorative effect.

Feel the frame and paper made for the presentation sheet were an appropriate size and Pritstick could be use to stick items to the pages.

Is it fit for purpose?- Give reasons

Yes.  It is robust, a good size, waterproof and easily carries music scores, books or other paper based resources of a musical nature.

The handle is strong, the straps and fasteners close the bag by trapping the flap.

If you were asked to make it again, what changes would you make to the way you designed it and the way you made it.

Made paper designs to scale, but could have also provided more robust samples eg in vilene, with more weight.  Make pattern that can be reused.

I feel that sometimes the design evolves with adapted features and ideas as the item is constructed e.g the circular design, straps and fasteners came later in the process.

Possibly stress the handle, as the shiny wood contrasts with the rest, unless wish to be reminded that it is the bridge of a guitar

Possibly reinforce seams with additional fabric strips or overlain with more stitch, although the machined seam with hand stitching provides a firm seam, no gaps.   Certainly the back panel edge should be edged with stitch as it currently sticks out too much from the back.

I feel that some guitar strings and wires could be more safe by ensuring the ends are enclosed or sewn into the fabric.  The frames of the presentation sheets have one rough corner per sheet, so could use a finer metal frame, somehow fold in the ends or use frames without joins. 

AUTHENTICITY OF WORK

Filed a sheet wit Module notes which confirms that the work for Module 4 is all Linda Beagan’s unaided work

Signed by member of the Embroiderers’ Guild: Valerie Cockcroft.

 

 

 

‘DISTANT STITCH’ Certificate Module 4
‘Distant Stitch’ Certificate Module Four ©2013 Siân Martin Page 59

Chapter 12 Four artists

Here are six pages which are self explanatory. They are scans of word processed information.
Insert Pages 1 to 6

 

 

 

 

 

Chapter 11 Presentation Sheets

Decided to present the design, components and construction of the music bag on presentation sheets made from three handmade papers joined together as a zigzag booklet or music score that could rest on a music stand or was free standing.  It is 36 cm by 24 cm and fits in the bag.
Made three frames using garden wire, wrapping threads horizontally and vertically as in Chapter 7.  This shows the first one.

Made fresh paper pulp using old music scores and a cat litter tray for the larger frames
Had to add spoonfuls of pulp to reinforce the paper, as there were too many holes in the originals, then left to dry.
Selected 6 pages of information making up
ONE title page showing the completed music bag

ONE design page

TWO component pages

 and
TWO construction pages

finishing back at the beginning.
Retained the metal frames so the pages could be free standing and helpful for attaching tied threads, four on each length
Selected photographs, samples and items were attached to the paper using Prittstick.
The next picture shows the presentation sheets free standing

The last picture shows the presentation sheet slipped into the music bag.

Chapter 11 Revisions and completed music bag

I feel I have now completed the music bag with some revisions and editions from the last two chapters.
Insert back,side and front photos

 

Insert open bag with some contents

Insert photo of carrying the bag

Revisions:
Front panel and flap: On the previous version there were hand stitched symbolic lines for the guitar in blanket stitch.  This has been replaced to incorporate the loosely lettering aspects of the module.  Previously hand made paper samples 2d, 2f, 6a and 7a were torn up and laid across the bag, on the flap and front – almost like wood, to give an elongated feel to the design.  Layers of stitches were machined and hand stitched over this following the design from Chapter 8, Sample 3 using pale green threads and long withdrawn linen threads (from another piece of fabric). ‘Hen wlad fy nhadau’ has also been woven through the work in linen threads.  There is a subtle outline to the guitar shape, purposely not to the scale of a guitar which would not fit the bag.
Insert front panel showing guitar shape with stitching and original design

 

 

 
Sound box design: Previous to this stitching, hand stitched groups of threads from the fringe through the hand made papers, completing the withdrawn threads from the sound box effect.  (see photo of guitar shape above)
Insert Hardanger stitching from sound box on flap

 
Guitar strings: Whilst doing this work withdrew the woven guitar strings, replacing them later using machine stitched variable red thread zigzag couching (stopped the flap from curling up, better for a bag like this, although the curled effect may be suitable on a piece of work requiring a 3-D effect and more movement in it).
Ironing fabric to Decovil: Before completing further work, (metal strings still not attached)  ironed the linen fabric to the Decovil using a damp cloth, wool setting (2) on the iron and was pleasantly surprised that the hand made paper did not disintegrate under the damp cloth.  Cut away the Decovil from the semi-circular withdrawn thread work before ironing on this final section.  The fabric and work were stretched and smoothed down.  I feel it looked appropriate for a bag and was not too upset about loosing some of its texture.
Insert me ironing

Back panel needed attaching to the ironed surface.  Thought through some ideas for stitching but chose a simple practical stitch – five wavy lines around the outer edge of the panel, mimicking music score lines free machine embroidered in variegated green thread which enhanced and did not detract from the design already on the leathery panel.
Side panels, Gussets: The design on the side panels gussets is machined 5-line score in green thread, green treble clef and red wording ‘Cerddoriaeth’ (‘Music’) woven through the machine stitching.  The border was free machined with spiral line.

Straps were made using linen scrim fabric, to replicate the guitar strap.  A double width of fabric (approx 12 cms wide and 60 cms long) was folded in half machine stitched to make a seam, turned inside out the zigzag machine stitched along the edge to reinforce the edges.  Initially I thought of using a triangular design where the straps were attached to the front of the bag.  Then, withdrew threads and rewove them in to form a triangular subtle pattern along its length on one side (See Design on Sampler 2 Chapter 2).  The strap was then cut in half to form the two straps needed.

Incorporating bits from a guitar: In order to incorporate more of the guitar bits: used the metal lengths from either side of the guitar head on the back panel.  The guitar pegs slot under the hooks.  Decided to replace all the pegs using metal beading thread under each hook the lowest attached to the end of the strap.  When closed the strap protects any catching as brush against the bag.  In a conventional musical bag there is usually a rod which holds the bag closed behind the handle – Sorry but I just like the idea of using the pegs, each one clips under the lowest hook.  The other end of the strap is attached to the front of the bag using wire and thread just above a motif replicating the design at the bottom of the metal strips.  I cut out the shape from the ‘brick’ made in the last chapter, on Decovil, had stitching using over stitch around the edge.  It has a metallic effect complementing the back panel.  The strap is firm when the bag is closed, the length was adjusted as both ends were completed.
Insert back metal strip and front metal effect ends to the straps

 

 

Further decoration: Both back and front decorative ends of the straps were further embellished with dangles using ivory type rods and the nuts from the guitar head.  On the back further beads were added rolled up music and text of the Welsh National anthem.  Further evidence to the loosely lettering.  Glad that there was some red print as well as black and cream.  Copyright is covered as the book is more than 70 years old, but also manipulating the paper photocopies alters the print.  Linen scrim threads were used to attach the embellishments.
Seams and edges.  All seams were zigzag machine stitched using the variegated green thread used throughout.  To give a simple decorative finish to this, used Sample 7 design from the Edges book, using a thicker variegated green to pink thread.  On the edge of the flap used blanket stitch overlaid with raised chain stitch into which was woven a guitar string.
The handle was made from the bridge of the guitar.  Using the hole in the bridge could not use a needle and thread, because the raised part of the bridge prevented the needle from going through the holes, however it was fairly easy to thread through metal beading threads.  Initially this chain effect gave too much, stretching too much, so in order to narrow the gap between the handle and bag flap added a bit of guitar string to reinforce it.  I left the handle as it is, so although the front of the bridge is shiny and well finished the back shows the scores when it was torn from the guitar.
Insert handle

Lining: No further lining was added in the making.  I felt the dyed patterned Decovil was practical and suited the design.  Some stitching showed.  If I’d minded this or to give a more professional finish a further lining could be added, however I was happy with the results as they were.
Water-proofing: Finally the bag was sprayed outside with Scotchgard.  I’d already discovered with samples that this spray did not interfere with the fabrics, threads, inks or dyes, and the water from a running tap just ran right off the surface with no penetration of water or staining.  Brilliant effect.
Presentation sheet:  In the pipeline- three slightly larger than A4 panels made of hand made paper, as zigzag booklet to fit in the bag on to which will be added some pictures of the music bag, Proposal, Design, Components and Construction, using both sides of the panels and could also fit on a music stand.
Comments and what I would do differently.
I had great fun making the music bag and enjoyed problem solving the different stages.
Module 4 is entitled ‘Loosely lettering’ and I incorporated examples from various aspects: Welsh words and music; used lettering designs as patterns and previously completed samples (see inside the sound box); hand and machine stitching using different stitches; hand-made paper and extra large pieces with embedding and embossing; withdrawn threads in both sound boxes including Hardanger style on the flap with needle weaving and pulled threads woven back into on the strap; considered suitable edges and how to provide practical and decorative types; and to complete the music theme incorporated many bits from a dismantled guitar.
I tried to incorporate my selected colour scheme of white, red and green on the silvery grey linen scrim.  I loved working with this material, easy to remove threads and stitch in to.
I feel I made a bag that is practical and water-proof and could be used to carry music scores and booklets.  The handle supported quite a heavy weight (sorry didn’t weigh it when I tried it out with music encyclopaedia, guitar book and book of scores).
A traditional bag should incorporate a rod on the the end of the straps, so another time would include this.
The edges could be neater or possibly more decorative.
Possibly add a further lining
Hope the completed music bag fulfills the proposal.

Chapter 11 continued

Needed to consider a few aspects before going ahead to make my music bag:

• If the bag is only made of linen scrim will it have enough weight to it – planning to iron the fabric on to Decovil a product from Empress Mills which is useful for making bags; it has some weight to it, easily folds and can be stitched into.  There is a Bondaweb type surface on one side to which the linen can be ironed ( Will test this on spare material before going ahead)  If there is a problem could machine stitch the surfaces together
• How to make it waterproof – Decovil seems to be waterproof which will protect items held in the bag, but to protect the outer layer will spray with a fabric waterproof (Will test with Scotchgard spray on smaller samples before going ahead)
• The bag has a musical theme, Welsh theme using white, red and green, and want to attach bits from a dismantled guitar – planning to use some words that are musical and welsh (Cerddorol – Musical); incorporate some colours by dyeing the linen scrim with musical motifs and incorporating stitch using these colours; to incorporate the guitar bits, planning to give a design with a hint of guitar in it, so made some changes to the original plans in order to incorporate guitar strings, the bridge off the guitar as a handle, up-cycled guitar strap for the straps on the bag

So some work has been carried out so far
Cut the Decovil and linen scrim in one piece using a template.
Dyed the linen scrim on the Decovil – two surfaces dyed at one time.
Insert photo of me painting on the dye

A change to the design was made to incorporate a circular motif in the centre of the front panel, with a semicircular motif on the flap, which when the bag is closed overlaps half of the front circular motif.  This depicts the sound box on a guitar. Both areas have removed threads.  Machine stitched the main front panel using a wing needle, highlighting the strings of the guitar in red (six) going across.  Added a lining under the withdrawn threads using one of the samples from Chapter 6. On the semicircle used hand stitching using withdrawn threads of some dyed linen scrim and three lines of machine stitching for three strings.  To the red lines wove in actual guitar strings and some beading wire.  Need to make the ends of the wires safe – some already are others need help.  Rows of machine and hand stitching go around the edge of the circles.  Would really like to cut away the Decovil from under the flap motif so can see through it.
Insert photo showing circle and semicircle templates on bag

Insert photo of sample used as a lining

Insert completed work

Hand stitched in blanket stitch some lines to represent the outline of a guitar
Back panel is a new enlarged version of a previous sample, using the same techniques, with the word ‘Cerddorol’ embossed on the paper surface and larger soldering ironed notes around the edge. (It was not so easy to burn these so have just left an impression).  Gives a leathery effect, a colour blending in with the linen scrim.  There seemed to be some bubbling under the inked layer, possibly because the gesso was not completely dry when the ink was painted on, or using different inks from the original.
Insert photo

I also made a sample – turned out to be brick shaped - on which I’ll be testing the waterproofing spray.  Liked this!
Insert brick!

If all works well, plan to iron the scrim on to the Decovil, then add all the other bits, including the leathery back surface.  Adding it before ironing may cause problems in getting the two surfaces to attach.  Machine and hand stitching should work through the linen scrim and Decovil to add the items below and the gussets
I’m now thinking about how to add a handle and straps.
The handle has holes in it so using threads and some of the bits from the guitar head attach it to the top of the flap.
The guitar strap I have is not suitable, very Welsh but the black background I feel is too harsh, otherwise I would have converted it into two straps attached to the front panel – so I’m thinking of making one out of linen scrim.  They need to be attached to a rod which sits behind the handle when the bag is closed, something like this:
Insert photos of bag front and back

Should the straps be simple, double layer of scrim or decorated?  For time I feel maybe the straps should stay plain. However the attachments could have some decoration - like the triangular design on the original, perhaps with some of the pearl screws from the guitar head attached to them, like large hanging beads.

Meanwhile recently decorated a Travelling Book using withdrawn threads and Hardanger style stitching in blue and orange, which took only a short while to make!

Chapter 11 Make a special structure related to ‘media’

Proposal
To make a music bag 40cm wide x 30 cm long x 8cm deep using an embroidered panel.
The proposal is to make the panel from one piece, front, back and flap with 3 designs, using several methods from this module.
Within the bag will be a presentation sheet made of 3 panels, as a zigzag as found with music scores on a music stand
Design
As a guide took images of different types of bag, mostly music bags from the Internet
Insert Scan of Page 8 in notebook

Decided to use a traditional design of a music bag
Insert Scan of Page 10 in notebook

Here are a few samples of ideas, a variation on a theme
Insert Scan of Pages 9 & 11

The presentation sheet will be made from 3 enlarged zigzag paper panels using metal frames dipped in paper pulp
Insert Sample 5, Chapter 10 (bottom left)

Components
Main surface of the bag
Using a pattern to cut out the linen scrim, adding decoration on the front, back and flap based on enlarged versions of previously made samples.  1cm along each edge will be added to accommodate the seams 
Insert Scan of Page 13 in notebook

Using Sample 10, Chapter 6 for the flap
Using Sample 9, Chapter 8 for the back
Using Sample 8, Chapter 8 for the front
Insert the three samples in sequence

The surface of the bag will be made from grey linen scrim, freshly made paper and hand and machine stitched decoration.  The backgrounds will match in colour unlike the samples.
The base will be left clear of decoration, the 2 side panels also left plain but may be decorated with withdrawn thread patterns.
Side panels
The side panels will be separate strips 30cm x 8 cm x2, also in linen scrim.
Lining
Lining will be made of Decovil, cut from the same patterns above. This has a bondaweb type surface on one side to which the linen scrim, when complete, will be attached.
Insert photo of linen scrim and Decovil fabric

Straps, Handle & Treble Clef fixture 
2 straps made of Decovil, approx 5 cm wide and length to fit (approx 15cms) on to which is attached a metal or wooden strip, to go around handle when the bag is closed.  Couched on to the fabric could be lengths of wire, to look like music score. (Alternatively the straps could be made of plaited or twisted cord)
Handle of thick plaited or twisted cord in red, white and green.  Measurements approximately 15 cms long attached to the bag with metal rings.
Insert Scan of notes

Insert Photo of guitar pieces Ch4 photo 8

Treble clef motif to be added to the edge of the front flap using the techniques shown in Chapter 7.  Because of the nature of the shape and to give the surface added weight the metal frame will be retained
Insert scan of treble clef

Insert sample to show technique

The following is a full scale paper mock up of the bag showing the location of the Treble clef (and scale), excluding straps and handle, which will act as the pattern.
Insert photo

Presentation sheet
3 panels (slightly less than A3 size to fit inside the music bag) either with the metal frame retained or cut away.  Samples and drawing will be attached to the paper.

Construction
Using pattern cut the back, base, front and flap as one piece in linen scrim
Cut a second piece in Decovil fabric
Cut 2 panels; linen lengths and Decovil lengths
Main bag linen scrim to be dyed, fresh paper pulp added and stitched into, following the patterns as indicated above.  (The main fabric will have a silvery grey background rather than those shown in the samples).  The back will be made up as the original sample, with larger lettering, adding gesso and inks, musical notes burnt into the surface using a soldering iron.
The straps, handle and treble clefs will be made and attached to the main surface of the bag, using machine or hand stitching whichever seems most appropriate
The lining will be attached to the linen scrim and panels using machine stitching.
All seams will be attached using hand stitching with some decoration
The presentation sheet will be made of 3 pieces of paper made using 3 metal frames, 2 threads wrapped around to form a grid and fresh paper pulp following the techniques in Chapter 10.  The sheets will form a large zigzag book, portrait rather than landscape, so it can stand unaided or sit on a music stand. Samples and papers will be attached probably using thread.  It is important the sheets will fit in the bag.
This is a smaller scale sample of the sheet without its frame.