Chapter 7 Applying paper pulp to a woven fabric grid

In this chapter pulp is made as in Chapter 4. Two favourite pulps were chosen:

• Recycled old torn music scores
• Recycled old torn covers from music scores

The pulp is then embedded with different fabric grids including some selected from my fabric collection:

Linen scrim; rug canvas; netting from vegetable bags; curtain net or lace; natural cotton; fine copper mesh; hessian ribbon; foil mesh; sacking; plastic woven matting; fine scrim; loose threads

Others: where threads were withdrawn from the fabric; shapes cut from the fabric; or grids made using a couple of different threads or wires on different shaped garden wire frames

Four methods were used to embed the fabric grids, producing samples approximately 10cms x 15cms:

Method 1: Using fabric grid to scoop up pulp

Method 2: Using metal mesh as in Chapter 4 to lay narrow lengths of pulp around the edge of fabric grids

Method 3: Embedding a smaller grid on to the surface of a made piece of paper whilst still wet

Method 4: Using a made wire framed grid to scoop up pulp

Here is a photograph of most samples from Methods 1 to 3 while they are left to dry on newspaper

 

Method 1: Using fabric grid to scoop up pulp

8 samples were made using this method (see top row of above image)

• Select fabric grids, or prepare grid: withdraw threads, cut holes, and or distort
• Make paper pulp using old music scores and place in vat
• Hold fabric tightly and scoop up pulp, letting excess water drip off (a frame can be used to attach grid for a firmer structure, but not used in these samples)
• Lay all on kitchen (J) cloth.  Either allow to dry naturally as is, or before doing so press with kitchen cloth to remove excess moisture (done with all samples)

The fabric grids used in order were: Linen scrim with pulled thread grid; rug canvas; red vegetable net bag; hexagonal net curtain; fabric diamond grid; ?; natural cotton previously dyed with pulled threads; fine metal mesh (could not pull threads) so cut shapes with musical images.

 

Samples 1.1 and 1.2                                                                           Samples 1.3 and 1.4

All embedded successfully, although I recently noticed that over time the linen scrim (sample 1.1) came apart

Like the distorted effect caused by the weight of the pulp on lifting (sample 1.3), and those that had wider spaced grids which produced holes in areas (samples 1.2 and 1.4).  I was surprised that the copper mesh embedded. Perhaps the cut slits and small shapes gathered pulp around edges to hold paper in place (sample 1.8) with interesting textured effects where some paper curled upward.  Love the ridged effect where pulp fell through withdrawn dyed cotton (sample 1.7).  This latter example may be a useful technique when making the final project.

Samples 1.7 and 1.8 

Method 2: Using metal mesh as in Chapter 4 to lay narrow lengths of pulp around the edge of fabric grids

4 samples were made using this method (see middle row of the top image)

• Select fabric grids, or prepare grid: withdraw threads, cut holes, and or distort
• Make paper pulp using old music scores and place in vat (using some from Method 1)
• Place grids on kitchen cloths
• Scoop up some pulp using part of the metal mesh as in Chapter 4, and lay around edges of the grids, so some of the grid is left uncovered.
• Press with kitchen cloth to remove excess moisture (done with all samples) or just allow to dry naturally

With most, repeated the process using a mixture of this pulp and a green coloured pulp dyed re-moistened from chapter 4, and is why the images have green on them.  This pulp was put on the nearly dry samples, usually on the back of the paper.  I chose to vary the positioning of the green pulp sometimes only adding one piece or across corners.

The fabric grids used in order were: Linen scrim with pulled thread grid; two parallel strips of hessian and foil net ribbon; heavy white curtain lace; large grid of cotton curtain netting

Like the idea of a window of grid through which other material can be woven or the way get glimpses of layers below, and contrasting effect of the fabric and paper (Sample 2.1)  The least successful was the foil net ribbon, but using a second layer of the green pulp helped trap it (Sample 2.2)

Samples 2.2, 2.3 and 2.4

Method 3: Embedding a smaller grid on to the surface of a made piece of paper whilst still wet

7 samples were made using this method (4 shown on the bottom row of the top image)

• Select fabric grids, or prepare grid: withdraw threads, cut holes, and or distort (smaller samples than previously)
• Make paper pulp using old music scores and place in vat (using some from Method 1)
• Scoop up pulp using the metal mesh as in Chapter 4 placing sheet on kitchen cloth
• Place grids on top of the paper 
• Press with kitchen cloth to remove excess moisture

The fabric grids used in order were: Linen scrim with pulled thread grid and stitching over intersections; sacking with withdrawn thread grid; plastic woven matting with withdrawn threads; loose distorted hessian; neutral fine scrim with withdrawn threads; selection of loose threads

Samples 3.1 and 3.2                                                                          Samples 3.3 and 3.4

In most samples the paper and fabric were the same size. In sample 3.1 like the embedding and bleeding of colour from the dyed threads.  Sample 3.2 only partly embedded perhaps because of the weight of sacking.  The others embedded successfully.

Method 4: Using a made wire framed grid to scoop up pulp

4 samples were made using this method

• Several frames are made using garden wire (the shapes represented those found often on a musical score)
• Grids are made wrapping threads around the frames (at least 2 different threads or fine wire on each)
• Make paper pulp using old music score covers and place in vat (this is different recycled paper from previous methods – providing mottled effect)
• Scoop up pulp using the threaded wire frames placing on kitchen cloth
• Press with kitchen cloth to remove excess moisture or leave to dry naturally
• When dry, leave the paper attached to the frame or cut the paper away using paper scissors

I particularly liked this technique using different shapes and ways of wrapping with threads and wire.

Here are the frames with wrapped threads.  The circular ones were particularly difficult to wrap and found it useful tightening the grid using knotting at intersections and on the outer frame.  The red netting was kept in place by covering the frame with the netting then gathering with running stitch to tighten in place.  I used finer beading wire for the first 5 longer lengths wrapping the rest of the grid with a couple of different threads.  Threads used were either 6-ply embroidery cotton, perle and some silk thread.

The handle effect allows you to dip into the pulp and easily remove the frame from the vat.

Here are the papers drying:

When dry each of the papers were cut away from the frames

Sample 4.1 Oval - Front and back of paper

Like the textured effect on the front of this paper but also would consider using the back showing the different colours of the threads.

The grid was sufficient to collect a lot of pulp, but also got the occasional hole.

Can imagine using this as part of a bigger image, such as a musical note, with an extension in stitch or wire.

Sample 4.2 Circle - Front and back of paper

Sample 4.3 Rectangle - Front and back of paper

This grid has wire to form the 5 lines of a musical score, with a widely spaced grid and consequently more holes. It could also be manipulated to form a 3-D structure

Sample 4.4 Rectangle - Front and back of paper

This grid with more threads and narrower spaces has picked up more pulp.

I feel these last two samples would be useful additions on to a piece of work.  Could add notes or symbols in stitch or wire.

Some of these will be used in Chapter 8.