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.
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