Module 5 Tactile textures Chapter 1 Texture in Landscape

Having done a topic web around the subject of ‘Texture in Landscape’ I chose to explore a local beach on the north Wales coast: Old Colwyn.
Colwyn Bay has recently seen interesting developments and improvements to the promenade and beach, with sand having been dredged in from sand banks out at sea, the building of a new water sports centre and plans to renovate and develop its Victorian pier.  I chose Old Colwyn part of the beach yet unaffected by the changes, which has a lot more variation on the sands with pebbles, rock pools, ripples in the sand and old groynes, rusted railings and interesting steps to access the beach.
I have also researched on the Internet and in books other beaches around the British coastline, but chose to stay local.
In this chapter:

1. Colour photographs showing the landscape
2. Close up photographs in colour then manipulated on the computer showing

• rock pools
• animal tracks
• vehicle tracks
• ripples in the sand
• weathered groynes
• pebbles
• access steps

1.  Colour photographs showing the landscape
I took a number of pictures but limited the views for the blog
Insert west view of the beach

 Insert east view of the beach

 Insert north view out to sea with its wind farm

2.  Close up photographs in colour then manipulated on the computer
Using the Text package, Drawing package and Paint.NET I enjoyed trying out different manipulations.  There was usually at least six variations as I converted to black/white or grayscale, cropped and got closer versions of the texture, elongated the picture, inverted or rotated some, set mosaic and poster art examples.  I printed copies of these but because text saved images cannot be easily moved to the blog and scans can be unclear, I have selected just one picture alongside the original to high light a technique using Paint.NET package.  Unfortunately I cannot find how to crop using this package so sadly examples shown here are not cropped.  The last example I particularly like as the picture is in sepia and feel this may be useful inspiration for further monochrome work.
Sample 1 View of a rock pool in original colour, then converted to gray scale and flipped horizontally.  The tonal variation in grey scale seemed more effective than black and white in this.  Originally using text I printed off six different images
Insert rock pool and manipulated image

 

Sample 2 View of dog foot prints in the sand in original colour, converted to black & white.  I thought the tonal contrast was interesting almost pickiing out individual grains of sand!  In text version I printed off six different images the tonal contrast was more effective
There were also boot prints alongside ( No bare footprints because of the weather!) – not shown here
Insert Dog prints and black/white image

 

Sample 3 View of vehicle tracks in the sand, converted to black & white, cropped, in mosaic style.  Really like the textured pattern.  The mosaic effect is almost like individual stitches or weave of a fabric. In text I printed off twelve different images, unfortunately the mosaic facility is not available on Paint.NET
Insert Vehicle track

Sample 4 and 5 Views of ripples in the sand, the sun giving interesting long shadows.  Sample 4 shows two pictures next to each other (not here but hopefully get the idea), the second flipped vertically, and Sample 5, a close up original photo converted to black & white with ink effect. In text versions I printed off six different images. 
Insert two illustrations ripples and two manipulated images.  Couldn't get the next two to go alongside one another

 

Sample 6 Views of the well weathered groynes, full of different texture of the barnacles, wood grain, bolts, seaweeds and sand trapped from the wind, wet and dry areas. The altered image was converted to black & white, pencil effect and polarised effect.  In text I printed off eight different images including highlighting grain in wood instead of the barnacles.
Insert two groyne photos and barnacle image

 

 

Sample 7 Also of the groynes, went on to use Drawing package, converted to black & white and rotated (not shown here). Have a printed text copy.
   
                                                          

Sample 8 Shows just one of many pictures taken of the pebbles.  I also collected six small pebbles with their varying sizes, worn to different degrees, sharp edged to smooth rounded examples, showing different texture, patterns and colours.  Mixed in with them were shells, small grains of sand, worn glass, bits of seaweed, and sadly some rubbish. I think it would be interesting to crack open some pebbles to see the pattern, colour and texture changes. I printed off three different images, using Drawing package and here is Paint.NET image where I used black & white, inverted , rotated through 90 degrees and used ink effect   

Insert Pebbles photo and rotated example

Sample 9 shows a view of the steps providing access to the beach.  It was not until I got to this point that I used Paint.NET.  It was so much better for manipulating the photographs and it was also possible to save jpeg images of the changed illustrations.  I particularly liked this technique and the sepia images.
I took a close up photo of 2 or 3 steps then rotated them, inverted and changed to sepia.  It is interesting not only seeing the change in the steps but also the background, beyond the steps.
Insert general view of the steps (looking east wards) and manipulated image of close up photo of the steps

 

To date I like most of the images chosen, each have their different textures and are reflecting different aspects of the beach landscape, they are set in different locations on the beach.  I would like to work further with sepia images but still using black and white in some of the future work, unless recommended otherwise.  I am not especially drawn to working with rust but fabrics and threads with brown and natural tones.

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.