Chapters 7 and 8: Stitching on embedded fabric grids

These two chapters required us to embed some of our fabric grids into paper and then to stitch into them.

 

Fig. 7.1

 

 Fig. 7.2

I began by taking two cheap metal bracelets and filling one with some needlewoven bars (Fig. 7.1) and the other with some random needlelace stitches (Fig. 7.2). I then embedded these into some paper pulp. The darker blue pulp was quite thick and the bracelet embedded well but by the time I did the paler blue sheet the pulp was almost exhausted and the paper, though beautifully delicate and aged in appearance actually proved to be too fragile to support the metal bracelet successfully.

 Fig. 7.3

The paper in Fig. 7.3 actually has cotton threads embedded within it, though this is not showing up at all clearly on this photograph.

 Fig. 7.4

One of the pieces of dyed linen grids is embedded in the paper in Fig. 7.4. I moved the pulp away from the centre of the sheet before leaving it to dry to ensure that the grid was visible and accessible for stitching.

 Fig. 7.5

Fig. 7.5 was more a case of laying paper pulp onto this piece of canvas grid. I like the way some of the threads in the canvas have distorted with being wet in the pulp - a more organic effect and again a rather aged appearance in the way the pulp has attached itself to the fabric.

 Fig. 7.6

Fig. 7.6 is another piece of the dyed linen fabric with bands of warp threads removed.

 Fig. 7.7

Fig. 7.7 is another piece of canvas grid laid on top of two colours of paper pulp.

So now to the stitching! I tried to link each piece to one of the lettering examples during an earlier chapter, some more successfully than others I think.

 

 Fig. 8.1

 My first example was one the metal bracelet shown above in Fig. 7.2 (7.1 having proved too fragile to stitch further into). Inspired by sample 3 of the lettering patterns made using my iPad app, I edged the bracelet (not visible through the pulp) with large buttonhole stitches topped with a chain stitch. This made sure that the bracelet was firmly held in place. I think this piece makes a good 'porthole' for looking through, which has distinct possibilities for a book with pages that allow you glimpses of later pages.

Fig. 8.2

 My second sample has a border of 3-stage zig-zag machine stitching used to echo Sample 9 of the print samples produced on my i-Pad. This sheet of paper has a fine vegetable net embedded inside the pulp though the sheet has still torn away from the stitching in some places. I rather like the fragility that this gives to the sample.

Fig. 8.3

 I decided to use the reverse of sample 3, where I had used a variegated thread on the spool, as it reminded me of fading ink. It is based on the sample of writing in two different directions, shown in the small box at the top of the page. The paper is quite thin and rather fragile for putting through the machine but again I like the aged appearance this gives the piece. (There's definitely a pattern developing here!)

Fig. 8.4

This piece of canvas with paper pulp added  (Fig. 7.5 above) was used to make loosely looped stitches through to mimic the beautiful cursive script letters shown at the top of the page.

Fig. 8.5

 The canvas piece from Fig. 7.7 above was turned over and cross stitches were placed randomly through the canvas and the surrounding paper. (Kisses on the bottom of a love letter perhaps?)

Fig. 8.6

The lettering sample I did using the edge of a piece of card dipped in ink inspired me to make this sample. There is no fabric involved in this piece at all but the holes I punched (different sizes) could be said to form a kind of grid (artistic licence!). I was not at all sure about this when I began but actually quite like the effect of the long straight stitches in the end.

Fig. 8.7

The Arabic lettering example reminded me of buttonhole stitches and french knots so I stitched these in 'word-length' groups on the piece of paper with cotton threads embedded into it.

Fig. 8.8

The random groups of straight, fly and running stitch in sample 8 were intended to mimic lines of writing.

Although I have stitched on paper before, the paper has always been purchased, never made by me, and I found this a rather different experience due to the varying thickness of the paper I had made. Some sheets were thin and fragile, others thick and difficult to pierce. As a result I feel some of these samples are definitely more successful than others but they have given me ideas for how I might incorporate some of the methods into my final piece.