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The base will be left clear of decoration, the 2 side panels also left plain but may be decorated with withdrawn thread patterns.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.

 

 

 

Chapter 10 Book-type and Case-type structures

Working towards finished items with elements linked to music I chose two structures made out of recycled paper with stitch to hold them together:
Book-type related to music scores
Case-type related to bags or other structures for holding music
Initially I jotted down some ideas
Insert Scan 1

Book-type related to music scores
Considering sheet music, Samples 1 to 6, 10, 13 and 15 show book-type structures in miniature.
Normally they are about A4 in size, with some variation either way.  The samples are approximately 10 cm x 10 cm.
Sample 1 shows a simple folded page, with no stitching
Sample 2 shows two folded pages, a line of equal size and spaced running stitches to hold the sheets together.  The sample has 5 stitches, but could have just two like stapling the papers together.
Insert Scan 2

Samples 3 shows four individual sheets, spirally bound using overlaying stitch 3-ply withdrawn threads from previous work.  To maintain order to the stitching a line was drawn along the top page and holes pierced 1/4 ins apart using a darning needle.  The pages were kept together using large paper clips.
Sample 4 represents a music score book made up with 3 pamphlets (a series of double folds) held together using a blanket stitch in red embroidery cotton.  A line was drawn along one edge, holes pierced along equal intervals using a darning needle, and pages held together with large paper clips.
These are more substantial and stable structures.
Sample 5 and 6 return to individual sheets of paper neither of which are stitched.  Both are folded into 3 - Sample 5 is folded as a zigzag, Sample 6 right third below the left third.  Music scores are often found like this when laid on music stands.  The zigzag arrangement could be extended by either gluing pages back to back or joining using stitching
Insert Scan 3

Sample 10 uses a commercial patterned recycled paper within a different green sheet for the cover of the book.  There are different widths of paper and seams. Papers were folded and inserted both sides of the central fold using a strong attachment of machined running stitch; the right down the centre of papers inserted one in the other, the left one with a seam not central to the sheets.  An intriguing design but possibly not one with which to go further.
Insert Scan 5

 
Sample 13 is a more complex book form which almost looks like a case without sides.  Here actual recycled scores have been torn up folded in half into 3 pamphlets within a book cover (continuous folded sheet).  There is a spine and flap with strap to fasten the book closed.  This is also a continuous length.  Zigzag machine stitching was used to strengthen the edges and especially along the folded lengths of both sides of the spine.  The strap was attached using machined zigzag stitch with decorative panels in running stitch.  Each pamphlet was attached to the spine with a different colour using white, red and green threads (Welsh national flag).  The parallel lines of stitching on the spine were then tied with small lengths of thread.  To ensure pamphlets and cover stayed lined up used large paper clips.  With a larger sample would use bulldog clips or similar.
Insert Scans 7 and 8

Sample 15 is a book made from a card envelope with flap to seal.  It contains the pages from Chapter 9 – Edges
The cover was coloured by scrapping acrylic paint (turquoise, red, yellow and silver) across the card with a plastic card, adding another layer of torn sheets of music scores with a welsh theme.  The front had a title in large lettering using black ink.  The back had an additional layer, rolling the card over a painted tiled grid (see technique from Summer school 2013).  I did try to write ‘Edges’ in glue to leave to dry as in Chapter 2, considering a wash with card using black ink, but the glue ran whilst the cover was drying.  Maybe I could have added one of the made papers with fabric and pulled threads.
To ensure the papers inside the book freely opened decided to have a type of spiral binding.  Held cover and pages together with large paper clips, holes with even spaces were punched along the spine edge, then green wire threaded through the holes three times along the length.  It was important I cut sufficient wire to complete the spirals. To ensure enough give as well as going through the hole wrapped the thread around a finger.
The book contains 6 pages, each page has 4 samples and each sample is an overlapping flap.  The borders of the pages were cut with different pinking shear patterned scissors. 
Insert 3 or 4 scans of the completed book.

 

This book design could be developed further.
Case-type related to bags or other structures for holding music
Some further sample designs in miniature (10cm x 10cm) are of folders, bags or cases for translation into life style bags for holding music, e.g. 50cm x 40cm x 5cm. 
See Samples 7 to 9, 11 and 12 and 16.  Case-type structures could also be made by providing sides to samples 13 and 15.  However further designs will probably arise when considering my final project.
Samples 7 and 8 have slight variations on one another.  They are wallet-like where Sample 7 has a longer top fold and machine stitched running stitch seams.  Sample 8 has a shorter top fold and zigzag machine stitched seams and edges.  Both have secure seams and edges and are made from one sheet of recycled paper.
Sample 9 is a variation on the theme, using a longer length of recycled paper, machine stitched using one of the set patterns on the machine.
All could be used to insert a few music scores (portrait or landscape), but for more bulky contents would require folded side inserts.  
Insert Scan 4

 
Samples 11 and 12 are variations on the wallet design. 
Sample 11 is made from a continuous length of canvas and has hand stitched seams; blanket stitch using green cotton embroidery thread.  This time the top fold is at a slant fastened with a large safety pin.
Sample 12 is similar to Sample 8 but shows a panel attached to the front using hand stitched running stitches.  Along the base is a folded section for increased space in the wallet.
Insert scan 6

Sample 16 (last above) is made from a continuous piece of brown paper overlaid with painted scrim with grid pattern.  It is then rolled up with straps along both sides.  It was a sort of accident and is currently only held together with needles!  I like the colours and texture.

The final project will be a development of a bag or case-type structure in which to hold music.

Chapter 9 Stitched edges

In this chapter I was looking to decorate the edges of papers using home-made paper with or without fabrics embedded, which could be used for a book or box cover or panels to attach to surfaces.
Initially I selected some suitable papers.  They either had an interesting colour or edge or had fabrics embedded to provide a suitable effect alongside the music theme.  Later readjusted my selection to incorporate further fabric or decorative threads in order to strengthen the edge for  machine or hand stitching.
Insert initial selection some partly stitched

I wanted a record of ideas so tended to only stitch along one edge, hoping to form a book or series where the edges showed.  This book is yet to be developed, samples are shown in lots of 4 or 5:
Samples 1 to 4: embedded fabrics with an edge
Samples 5 to 8: hand stitched only
Samples 9 to 12: more hand stitched
Samples 13 to 16: machine and hand stitched
Samples 17 to 20: different effects
Samples from Chapter 8 with edges
Samples 1 to 4: embedded fabrics with an edge
These show a series of papers all except the hessian requiring two layers to trap the fabric in place, using paper made in Chapter 7.  Either two sheets were used or one sheet with partial sheets on the reverse.
From left to right: trapped black fabric net; hessian; pieces of white net curtain; heavier lace from hem of a curtain.
Insert Samples 1 to 4

Sample 1 not only provides a contrasting edge all around the paper, which was cut to give different effects, but also a interesting texture to the paper.       Sample 2 gives a raggedy finish, the texture an haphazard effect of music score.  A similar piece was used in Sample 8 where the fabric folded over the edge supported the stitching.                                                                                                                                                                                                                     Samples 3 and 4 give a decorative edge, where No 4 proved difficult to attach requiring extra pulp on both sides.  These would possibly be better where a floral theme is required.
Samples 5 to 8: hand stitched only
These show series of papers made in Chapter 4 except Sample 7 made in Chapter 7.
From left to right: Paper sample 7e with net representing a musical score along its edge; Paper sample 4b with interesting grid, imprint of rug canvas; Sample from Chapter 7 using a cotton net with grid effects in the pattern; Paper sample 2e with embedded scrim.  Tried to increase the complexity of the stitches.
Insert Samples 5 to 8

In Sample 5 used a cut piece of net showing 5 rows to depict music score, the simple diagonal hand stitching used 6-ply red embroidery cotton picking out the red paper blodges in the paper.  The grid provided lines for stitching, it reinforced the paper, but could have arranged the stitches differently to look like music.                                                                                                                                                                                                                                             Sample 6 has stitching incorporating the rough paper edge using running stitch to help with overlapping threads.                                                                                                                                                                                                                                                  In Sample 7 the fabric helped reinforce stitching which was alternating 5 blanket stitches with longer stitch indicating musical score; a simple but effective edge.  Sample 8 was selected so the loose edge of scrim could overlap the edge to give support to the stitching, a row of fly stitch in red interwoven with green 6-ply cotton embroidery thread to give the effect and flow of lettering.  Quite a neat design to go all around a piece of paper.
Samples 9 to 12: more hand stitched
These show a series of papers made in Chapter 4 except sample 9 using paper made in Chapter 7.  One sheet of paper made each page.
From left to right: embedded linen scrim with grid and stitching across intersections; Paper 9g; paper made from cardboard; Paper 7b.
Insert Samples 9 to 12

Sample 9 has an edge of blanket stitch using withdrawn threads from previously dyed cotton samples. The linen scrim supports the stitching and direction of stitch reinforces the fringed edge.  A simple but effective edge.                                                                                                                                                 Sample 10 has a rough edge to the paper which was maintained.  Used red running stitches to form a frame to interweave other threads, to depict lettering.  The flow is effective.                                                                                                                                                                                                                                        Sample 11 is couched plastic netting forming a solid line along the edge of the strong paper, held in place with long blanket stitches, which compares with Sample 12, a couched machine stitched cord using alternating 5 blanket stitches close together and a long stitch like music score.  The cord is made of strips of fabric and threads twisted and zigzag machine stitched together using colours to match those in the paper.  I decided to leave the ends of the threads loose to provide a rough tassel hanging from the paper.  Like this one.
Samples 13 to 16: machine and hand stitched   
These show a series of papers made in Chapter 4.
From left to right: embedded strips of lace using two layers of paper; embossed net paper; embedded threads using two layers of paper; fringed paper using two layers of paper
Insert Samples 13 to 16

With most of these samples machine stitching was used to give lines of pattern, reinforced or not with strips of fabric
Sample 13 has a series of patterns on the machine possibly interpreted as the rhythm in music, complimenting the edge of the paper.  The paper was reinforced for the stitching using the embedded lace, which allowed the paper to retain its ragged edge.                                                                                                  Sample 14 initially started with only hole punched spaces through which stitch could be woven (see first illustration in this chapter).  The effect was poor and paper flimsy, so decided to machine stitch 5 score lines along the edge reinforced with green cotton and threaded with red 6-ply embroidery thread using the holes to make notes.                                                                                                                                                                                                                   Samples 15 and 16 are developments of Sample 14.  Sample 15 has a ribbon with parallel lines zigzag machine stitched on to the paper overlapping the edge on to which notes were added using chain and long stitches – neater effect.  The embedded threads provide an interesting texture alongside scraps of music.  In Sample 16 I liked the idea of using the fringed paper and could be developed further in a final project.  The cotton used to strengthen the edge is possibly heavy but was useful surface for machine running stitch with more haphazard lines and hand stitching music with withdrawn thread from previous fabrics using french knots and long stitches  A subtle effect with a variety of pastel colours.
Samples 17 to 20: different effects
These show a series of papers made in Chapter 4, the last one made in Chapter 7
From left to right: Paper 9b, Paper 9g, Paper 6d, sample from Chapter 7
Insert Samples 17 to 20

With these samples used different hand stitched techniques and materials to add to the edges
Sample 17 was made using rug canvas embedded into a mixed paper pulp of recycled paper and leeks.  Used fine metal wire following the grid structure to guide the direction of the metal threads, forming a cross stitch; one line slanting right, one line slanting left (did not use the loose guitar strings but could).  The wire proved flexible enough for this size of stitch.  It wasn’t until afterwards that I realised I used the rug side of the grid, maybe next time use the other side which has a textured surface and would hide the rug canvas especially the dark blue threads.                                                                                                               Sample 18 used an embossed ‘Cerddol’ paper in reddish brown and thought it may be interesting to add copper coloured round sequins of various designs along the edge.  Would be a useful technique along with copper effect pieces (see also Chapter 8, Sample ?).                                                                                   Samples 19 and 20 both have more layered edges using several stitches and beads.  Sample 19 uses paper embedded with hessian folded over the edge to reinforce the paper to take the stitching.  The hessian gives a feeling of movement in music.  Along the edge started with an overlapping stitch using 6-ply thread, then using hollow ribbon planned to have raised chain band but a happy mistake it turned out more like a close blanket or fly stitch.  Attached series of 3 beads using long blanket stitch between pairs of ribbon stitches.  Not really of a musical significance, the fine red thread I feel shows up too much, but a rather nice effect.  Sample 20 has withdrawn threads within the linen scrim and added differently spaced and coloured raised chain bands.  The edge has a line of blanket stitch using torn strip of scrim overlaid with raised chain band matching the green line on the paper and spiral effect of beads (grouped in 4s) and the thread used is better hidden.  Definitely needed the linen scrim to support the paper layer.  Would like to use this edge again.  ‘Stitch magic’ by Jan Beaney and Jean Littlejohn inspired the last two.  They drew attention to using an edge or border that complements the centre of the work. 
Samples from Chapter 8 with edges
Here are three examples found in Chapter 8 showing as a reminder other ways of using and decorating edges
Insert samples from Chapter 8

In conclusion there are many ways of decorating edges, some of the above and other may be used in the final project.  It will be an interesting exercise to select those that are most appropriate when planning and designing for this.  The edge pattern will go around all edges rather than just one, unless only one edge is required.

Chapter 8 Stitching into paper

In this chapter different types of hand or machine stitching are applied to paper made with embedded fabric grids from Chapter 7 (with 1 or 2 from Chapter 4).
The inspiration for each sample aims to echo the research theme of lettering patterns, Wales and music, including script and letter designs from Chapter 2.  Much of the paper has bits of music in it to add to the effect.
An appropriate background fabric is also selected on to which the paper is attached, which helps prevent weakening of the paper from needle perforations.
There are 11 samples with brief explanations of sources and fabric used.  More detailed notes are provided in my notebook.                                                       Each sample uses a piece of paper approximately 15cm x 12cm with a background fabric slightly larger, except sample 10 - 11cm x 9cm on fabric 27cm x 13cm.
Sample 1
Use paper fabric sample 1(5),script sample 42k and fabrics: pink dyed fine linen background overlaid with pink chiffon.
The stitches reflect the shapes and colours of 42k, in pink and white rather than dark ink and white, capturing the texture and shading, with an interesting effect on the reverse.
Insert sample 42k, front and reverse of finished piece

Sample 2
Use paper fabric sample 3(6),script sample 42z and fabrics: natural cotton background overlaid with pink chiffon.
The stitches reflect the shapes and colours of 42z, machine stitches and trapped threads the direction of the wash, the hand stitches colour and shapes from the lettering originally from rubbings of PVA wording.  This is an abstract piece which reflects the original design.
Insert sample 42z, front of finished piece

Sample 3
Use paper fabric sample 1(4),script sample 42f and background fabric; red polyester.
The paper fabric sample using hexagonal net reflects the shape of the design.
The stitches reflect the shapes and colours of 42f, hand stitching the direction of the script, the different shades of red the changing tone and strength of lettering.  This reflects the original design, the waves of pattern, diagonally, horizontally and vertically.  Don’t think I’d do this any differently.  It is time consuming and it is important to get the spacing of the lines correct.  The reverse of the piece shows where running stitch occurs to helped in weaving of threads.  The finished piece of paper is soft possibly due to the amount of stitching running through it
Insert sample 42f, front and reverse of finished piece

Sample 4
Use paper fabric sample 1(2),script sample from page 38, Chapter 2  and background fabric; linen canvas to counter the rug canvas in the paper
The paper fabric sample using rug canvas helps in placing spikes of long stitch within holes.
The stitches reflect the shapes of the script sample, colour of thread in red and green for the Wales theme, hand stitching predominates, three shades of green for the lettering, red spikes around the edge and between letters to fill in spaces.  I started with green beading wire to give strength to the spikey nature of the script, but it did not show up very well.  Would consider using wire for lettering in other work, perhaps varying the thickness of wire.  However at least the wire kept the fabric and paper structure other wires might distort.
Insert sample page 38 (2nd line), front and reverse of finished piece

Sample 5
Use paper fabric sample 3(5),script sample 42q and background fabric; bought dyed nylon felt.
The paper fabric sample using embedded scrim provided a flattish surface with some texture for copying the shape of the lettering.
Wanted to produce a leathery or metallic effect on this sample.  The stitches reflect the shapes in 42q, hand stitching using satin stitch in the direction of the script.  It didn’t matter what colour thread was used as long as it gave some texture.  To obtain the finish, coated it with gesso, used walnut ink to stain the dry gesso, adding some burnt sienna acrylic paint to cover any remaining white gesso, once the ink was dry.  ( see techniques in Lynda Monk and Carol McPhee’s book ‘Stitching the textured surface’ pp26-30).  Copper Treasure gold was rubbed over the lettering, then, as this did not look effective enough continued over the whole of the piece.  It was then left overnight to set.  This reflects the original lettering design.  Trial and error is needed to get different effects, but quite pleased with this first attempt. This technique could be used on music bag planned for final project.
Insert sample 42q, front of piece with stitch only and finished piece (which doesn’t show the shine of the original)

Sample 6
Use paper fabric sample from Chapter 4, script sample 42d and background fabric; green Lutradur.
The paper fabric sample made in Chapter 4 using wide net reflects the shape of the design.  The net came away from the paper so was able to lay it at an angle to help with direction shown by lettering and to give the impression of gaps in the text design.
The machine stitches reflect the shape of 42d, machine stitching using overlaid zigzag in the direction of the script, showing some variation in size and shape of the lettering using red thread to complement the green background.  This reflects the original design and a relatively simple and quick technique.
Insert sample 42d, front of finished piece

Sample 7
Use paper fabric sample 2(1); pulled thread on linen scrim with paper borders, wanting to develop the idea of showing a small motif of music, treble clef and some words and background fabric; natural cotton to match paper.
The paper fabric sample allowed me to use hand stitching to form notes around the pulled thread rows with bundles of withdrawn threads from earlier work, before attaching the paper to the background fabric.  Then once the paper was attached to the fabric allowed for a symbol to be drawn then free machine stitched as well as hand stitching words from part of the song with paper alongside.
This seems a relatively simple way of making a motif that can be appliqued to a larger piece of work.
Insert sample

Sample 8
Use paper fabric sample 1(6), script sample from a photo and card of a hymn book with illuminated manuscript (Granada cathedral)  and background fabric; green linen canvas
The paper fabric sample was selected because of the ridged effect along withdrawn thread rows.
Wanted a music style piece, machine stitched lines of score between the ridges, then in order to produce an older music score hand stitched square blocks for the music.  In order to highlight the ridges rubbed gently over with Treasure Gold, giving a basic illuminated effect.
This does not look abstract, but I like the overall effect, with fringing.  I can imagine also using the hand stitching on a withdrawn thread grid.  The illustration below does not show the highlighted effect of the writing, but it does catch the light  
Insert sample from book Gwyl Goffa Cymru, ‘Dydd Gwyl Dewi Saint’ (1915), scan of card and front of finished piece

Sample 9
Use paper fabric sample from Chapter 4 and background fabric; green Lutradur.
The paper fabric sample made in Chapter 4 has ‘Cerddol’ embossed on to the surface.  
Wanted to produce a leathery or metallic effect on this sample, as in Sample 5, with reference to the same book.  To obtain the finish, coated it with gesso, used Quink ink to stain the dry gesso.  Once the ink was dry, rubbed Treasure Gold over the whole surface to set overnight.  Both ‘Cerddol’ and texture of paper was highlighted.  Decided to remove excess green Lutradur using a soldering iron (H & S: ensured well ventilated room, glass and equipment safely used ).  Piece was completed making an edge of burnt music score.
Was very pleased with the pewter or leathery metallic effect and hope to use it in the music bag, proposed final piece.
Insert sample

Sample 10
Use paper fabric sample 7(1),script sample 42w and fabrics: browny-grey linen background.
The stitches reflect the shapes and colours of 42w, in black, green and red.  The oval paper was made into a crotchet with close zigzag machine stitching.
I chose not to work on the paper other than attaching it to the fabric.  This could be used as a motif on a book cover or bag, appliqued or worked directly on to the background fabric.  The running stitches helped align the script or marks.  Could rearrange the lettering or stitch into the paper, or colour the musical note either with ink, acrylic paint or Treasure Gold.
Insert sample 42w, front of finished piece

Sample 11
Use a new paper sample where pulled thread linen scrim grid was set within a paper border and fabrics: green polyester background.
This evolved.  I wanted to use the grid for a Hardanger style stitch (see also Sample 3, Chapter 6), needle weaving using a pale red twisted thread.  The stitching needs to be done before attaching to a background fabric.  It did not reflect any particular lettering design.  Working on the linen I found the fabric had warped and it occurred to me I could use this effect by providing a stuffed background using wadding and apiece of dark green velvet, then attaching it to the polyester background fabric using machine stitching using a set programme on the machine.
Love the 3-D effect, which could be used on a card or box lid.  A happy mistake! 
Insert 2 sample photos

It is amazing the many options that can arise using the techniques in this chapter.
How versatile stitch, paper and fabric can be, worked together.  Some will be used in my final piece.
I feel it would also be useful to use the following which is a grid made from an oblong wire frame, wrapped with threads and removing some of those threads on the reverse to add fringing.