Monthly Archives: January 2017

2.5, Additional Activity: Tom Phillips, A Humument

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Artist Tom Phillips

This is an additional activity about artist Tom Phillips and A Humument, his 50-year altered book  venture, which is an epic undertaking, and well worth looking at while working on 2.5 and doing things with recycled papers.

Way back in November 1966 Phillips was rooting around in a second-hand shop at Peckham Rye (where, as I’m sure everyone knows,  William Blake saw an Angel in a tree). Phillips was looking for a book – he told a friend  he would buy the first threepenny volume he found, and use it for a long-term art project, and that’s exactly what he did. But  at that stage he can have had no inkling of just how long the project would last, or how much it would influence his other work.

The book Phillips bought was A Human Document, penned by long forgotten author WH Mallock, and published in 1892 for the princely sum of three and six. Mallock appears to have been a somewhat curmudgeonly and humourless man, whose view on Life, the Universe and Everything was vastly different to Tom’s outlook.

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The fifth edition of the book – the one I have.

But despite that, his book provided limitless inspiration for the next 50 years.”Once I got my prize home I found that page after randomly opened page revealed that I had stumbled upon a treasure,” says Phillips on his website. “The book’s rechristening resulted from another chance discovery. By folding one page in half and turning it back to reveal half of the following page, the running title at the top abridged itself to A HUMUMENT, an earthy word with echoes of humanity and monument as well as a sense of something hewn; or exhumed to end up in the muniment rooms of the archived world. I like even the effortful sound of it, pronounced as I prefer, HEW-MEW-MENT.”

Tom Phillips began ‘reworking’ the book, starting with page 33. Initially he kept things simple, leaving some words unaltered, obliterating others with ink, and allowing the remainder to be visible beneath his hatched lines.But gradually his work became more complex. He even created a ‘hero’ who interacts with the characters in the novel. “Since the W in WH Mallock stands for William, its commonplace short form, Bill, would provide a good matey name for his humdrum alter ego,” Phillips explains. “When I chanced on ‘bill’ it appeared next to the word ‘together’ and thus the downmarket and blokeish name Bill Toge was born. It became a rule that Toge should appear wherever the words ‘together’ or ‘altogether’ occurred.”

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The first page – P33 – as it was originally created.

The resulting ‘treated’ book was published in 1973 by Tetrad Press, but it was a small print run,  and the artist continued to work on his pages, making changes, covering things up, revealing new words and thoughts, and generally revising and developing his ideas. He worked on his original copy of A Human Document without destroying  its pages,  but for later revisions he acquired other copies of Mallock’s book, and used just one side of a page, mounted on acid-free paper. He kept notes detailing alterations, along with dates, preliminary drawings and the gathering of sources, and employed a variety of artistic techniques, such as painting, collage and cut-outs. A few pages remained as he originally created them, but most were altered.

The first edition available for sale to the general public was finally  issued by Thames & Hudson in 1980. Five more updated, reworked editions followed, and the final page of the final edition (which came out last year) incorporates a photograph of the grave of William Hurrell Mallock, who died in Wincanton in 1923. “I failed to find the grave in 1990 but it was eventually discovered and photographed by Patrick Wildgust,” says Phillips. “Partly hidden by bushes it had itself become treated by wear and gathering moss. On the last days work on A Humument in 2016 I was thus able to incorporate that photograph into p367 and finish my strange labour.

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The updated version of P33 as it appears in my edition of the book – this image is taken from Tom Phillips’ website and shows part of the original design, viewed through a burnt hole in an extracted page. The quote about failing better is from playwright Samuel Beckett, written a long time after Mallock’s book first appeared.

Throughout his endeavours Phillips searched  first for suitable text, and that influenced his imagery. “I plundered, mined and undermined its text to make it yield the ghosts of other possible stories, scenes, poems, erotic incidents and surrealist catastrophes which seemed to lurk within its wall of words,” he explains in his original introduction. “As I worked on it, I replaced the text I’d stripped away with visual images of all kinds. I began to tell and depict, among other memories, dreams and reflections, the sad story of Bill Toge, one of love’s casualties.”

Phillips never worked on pages for A Humument in numerical order. He describes his creation as ‘a dispersed narrative with more than one possible order’, saying it is more like a pack of cards than a continuous tale. And there is never one narrator, or even a reliable narrator. He took parts of words to make other words, and revelled in the opportunity to create a nonsense vocabulary. However, he did set some rules, the most important of which was that Mallock’s words could not moved to suit his purpose – they had to remain in their printed positions on the pages.”Where they are joined to make some poetic sense or continuity of meaning, they are linked via the often meandering rivers in the typography,” he adds.

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This is  a screenprint of P168, known as Railings, taken from Tom Phillipos’ website, where some images from the book can be purchased.

At the outset he intended to keep outside material at bay. But gradually fragments from  A  Humument made their way into almost everything he did, so it became a two-way process, and he included motifs and collaged imagery from his other work.  It seems to have been a kind of symbiotic relationship, where the various works he was engaged with fed off and enriched each other, and the forgotten Victorian classic informed much of Phillips’ other work, including a decorated skull, fictitious globes, and an opera, Irma, telling the story of Mallock’s heroine.

The Humument is a strange book, obviously an artwork, but also part poem, and part story, drawing on philosophy, myths, history, art, architecture, literature, religion, popular culture, modern times, and all sorts of other things. Phillips is very erudite, and widely read, with a tremendous breadth of knowledge, and wide-ranging interests and skills.  He is a kind of Renaissance Man for our age – one of these people who does lots of things, and does them all extremely well. He’s a renowned musician, composer and writer, as well as a highly acclaimed artist working in many different mediums – painting portraits (Samuel Beckett and Iris Murdoch are among his subjects) and abstracts, and creating sculpture, mosaics, tapestries, and wire frame objects. His work can be found in every day places like the streets of Peckham, and in grand buildings like Westminster Cathedral and Westminster Abbey.

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Page 4, or ‘nine eleven’, is Phillips’ take on the attack on New York’s twin towers – not so much a tribute as a reflection. It incorporates a postcard of King Kong with the World Trade Centre and a version of Goya’s Saturn Devouring His Children. Other influences include  a section of the Inferno where Dante compares the giant Anteus with the tall, narrow towers of Florence. And, according to Phillips, the accompanying Roman numerals ‘make a twinning palindome’.

Born in 1937, in Clapham, Phillips showed an outstanding ability for art and music at a very young age. After studying at Oxford he attended Camberwell School of Art, where he was taught by Frank Auerbach . He himself taught for a time (apparently he was a big influence on musician Brian Eno who was one of his students), and as demand for his artwork increased, awards and accolades stacked up.

In 1983 he was awarded the Frances Williams Memorial Prize for his illustration and new translation of Dante’s Inferno. Additionally, he and Peter Greenaway won the Italia Prize  for their TV version of the Inferno. In 1984 Phillips was elected to the Royal Academy in 1984, chairing its Library and its Exhibition Committee from 1995 to 2007. He was a trustee for the National Portrait Gallery and the British Museum, and was awarded a Commander of the British Empire for services to the Arts in 2002.

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Page 363  is one of my favourite images from the book .

If you want to know more about Tom Phillips and A Humument, his website at http://www.tomphillips.co.uk/ is brilliant. I came across him about 18 months ago when a friend of a friend wrote a review on a book blog, and I was so intrigued I bought the book (the 5th edition). I picked up a second-hand copy fairly cheaply, but prices seem to have risen since then. I don’t like all the pages, but it is always interesting. You don’t have to view it as a conventional book (indeed, I’m not at all sure that you could – or should). I’m knocked out by the scale of the concept, and I loved reading the artist’s account of how he approached this project, and how he actually worked on it. Some parts are funny, others are sad, and bits are rather rude. There’s no plot as such, but there is a sort of story about Bill Toge, alongside the parts of Mallock’s novel that remain visible. And it’s packed with thoughts about life, art, the universe – you can have fun spotting the quotes that Phillips has strung together, making Mallock’s words pre-echo Beckett, Virgil, EM Forster and a host of others. And there are references to his own life, and to world events. Some pages are heavily worked with bright, bold colours or collaged materials, whereas others are paler and less ornamented, and the words of the original show through more clearly. And the style varies – you find a page with a beautifully detailed portrait, and next to that might be a cartoony sort of picture, or something that looks as if it belongs in a comic, or vibrant geometric shapes, or delicate pastel swirls, or lines and circles. In theory it’s the sort of thing I hate, but in actuality I loved it – it’s like being sucked into an alternative  world. It’s beguiling says Adam Smyth in a London Review of Books article. And he’s right. That’s exactly what it is. Beguiling. No need for all those other words I’ve written at all!

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Page 353 – first of all I though these were fluffy clouds, but when you look at the words they are obviously roses.

PS: Please don’t ask why I like Tom Phillips, but not Will Ashford, because I don’t know!

PPS: I really like a lot of his other work, and much of it also incorporates text – words and letters are obviously very important to him. Some of it can be seen on the website of the Flowers Gallery which handles his work.  And there is more at the ever excellent Tate website although, sadly, very little is on public display in the galleries, and you have to make an appointment to view.

Sources

Tom Phillips: http://www.tomphillips.co.uk/

Flowers Gallery: https://www.flowersgallery.com/artists/view/tom-phillips

Tate: http://www.tate.org.uk/art/artworks/phillips-benches-t01327

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2.5, Extra Activity: Will Ashford

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One of Will Ashford’s altered pages .

Recycled paper can be embellished by adding things like more layers of paper, colour, drawings, prints, and even stitching. You can cover the text on the base sheet and create soinething completely – but you can also create added interest by letting a word, phrase, or chunk of text show through paint, or leaving some of it exposed,  to emphasis a point, or compose a new message. It’s a technique that some artists use to great effect.

Will Ashford, for example, is a self-taught American artist who currently works with pages from old books. A dyslexic, he has always been fascinated by words. “I rescue, salvage, and recycle other people’s words,” he explains on his website.“Browsing through garage sales, street markets and used bookstores I search for interesting, preferably discarded, old books. When I find a good candidate I explore every page.  Like an archaeologist I hunt for the words that speak to me with new meaning. Intuitively, one word at a time, they turn into a kind of haiku or philosophical poetry that I can call my own.”

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Artist Will Ashford.

Somewhere along the way, he explains, images start to invent themselves. “Using graphite, and or India ink, to highlight or obscure my words; I create the image of that invention. Though I strive to make each document visually engaging, I find it is the words that I value most,” he adds. He also uses photocopies and a computer as he works on his words and images, and what finally appears may be nothing like the earlier versions.

His work features human figures, objects, and lots of swirls, circles and flowing lines. Much of it seems to be in black, and he obviously selects the exposed words very carefully, to fit his theme and express his thoughts. Do they relate to the theme of the original book,  I wonder, or does he convey a brand new thought?
willashford-thefaceishowtheworldorHe discusses his methods in an interview on the Create Mixed Media website (which was previously published in The Mixed Media Artist copyright 2013 by Seth Apter, and was republished courtesy of CreateMixedMedia.com and North Light Books, so I hope that don’t mind me using bits from it). Here he talks about one particular picture, The Face I Show the World: In a Portrait or The Likeness of a Man This image, he says, started with a page from Ralph Waldo Emerson’s essay on art, which he selected because the words ‘in a portrait’ appeared at the top of the page.”I had to find the rest of the words, and this took several tries over many days,” he adds. He was looking for words that might tell another story, and thought the silhouette was an obvious choice. “I removed all of the poem’s words that had been printed on the right side of the main text and at the same time carefully left behind all of the letter o’s as well as all of the dots and periods. From this I created a new visual poem that helped maintain the visual composition of the original page” he explains.

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To be honest, I’m not sure that my researches have left me any the wiser. I don’t think I understand his creative process, and the end results didn’t do a lot for me, although the umbrella in the rain illustration in the Distant Stitch Workbook is OK. If we’re talking about altered books I prefer Tom Phillips’ The Humument, and he deserves a post all of hos own.

One final comment on Will Ashford: he seems, over the years, to have worked his way through a number of different styles. Back in the 1979 when he was 31 he was a ‘concept artist’. At that time his best known work was a community project, where people helped him lay fertiliser on a Californian hillside to form a living portrait of Leonardo da Vinci’s iconic Mona Lisa. Everyone sat back and waited for the grass to grow and, lo and behold, there was Mona Lisa in shades of green, because the grass grew darker in the fertlised areas. Purists may say this is gardening, not art, but oddly enough I like it better than his altered books. It’s wacky, and I’ve always had a weakness for wacky, and gardening is a form of art, and I like the community aspect of this. And people spend hours cutting lawns into stripes (they still do it on the Lower Lawn at Tamworth Castle). So what’s wrong with a grass reproduction of the Mona Lisa?

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Stripes in the lawn: This is one of my ‘strips’ photos, and I can’t resist using it here, because it would look so much nicer with a picture in the grass – a Saxon Warrior perhaps, to go with the 3D Saxon Warrior made of flowers which stands up by the Castle.

Module 2, Chapter 5: Weaving

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Weaving This was fantastic, and turned out to be very addictive – I’ve loved this chapter, but I think I enjoyed this more than anything. I started off quite simply, weaving strips of paper cut from two sheets of paper left over from some monoprinting experiments I did earlier in the year, using a home-made gelatin printing plate and very bright, very thick acrylic paints. At the time I didn’t like the effect on these papers, but when I took another look at them I changed my mind, so I cut them up and wove them together. I was going to try adding some stitching, but I left it as it is, because the colours are bold and I don’t think stitching will add anything, and I like it as it is. The colours are actually far more vibrant than they look here – strong reds, oranges, pinks and purples.

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Then I wove strips from a magazine page, making a nice neat, square, and used blobs of glue to hold things together before stitching over the edges with the embroidery foot on the machine and a fancy zig-zag (it’s made up of little stitches, rather than one big one). I tried to vary the width and length of the stitches, because I wanted them to look looser and untidy as a contrast against the rigid lines of the weaving. I worked on the red side it is red, not pink as it looks here), but when I turned it over I liked the other side as well, so I’ve pictured both.

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Neat woven squares are fine as far as they go, but I wanted to go a bit further, so next up I tried weaving torn strips from an OS map and a shiny magazine page, leaving gaps, and trying to lay the strips at angles, rather then straight. A couple of pieces tore, but I left them, and carried on. I used blobs of glue to hold it together, and was going to glue it on to a sketchbook page just like that, but I wondered if I could get lacy effects in the holes between the strips if I machine stitched over it. I used a straight stitch with a normal foot, and left threads hanging.  To be honest it looks a bit messy, but I really like this. I was going to just stitch over the strips where the gaps were, but I found the whole thing needed anchoring by stitching along the continuous bits of paper first. It had a tendency for the raggedy edges of the paper to catch on the feedplate. On reflection I wonder if the embroidery foot might have been better, with the feed dogs down. I did think of ironing Bondaweb to the back, but I wanted the holes as holes. Is there something like soluble film that isn’t soluble but will disappear without getting wet? The holes would show up better if I’d photographed it on coloured paper, but you get the general affect.

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At this point I spotted a children’s knitting frame in a charity shop. It’s a pink plastic rectangle, about 9 inches in height and 6.5 inches wide, and didn’t have any instructions with it, but there are hooks at each end, and I think it works on the same principle as a knitting dolly, so you wind wool round the hooks on one edge, and keep lifting it over, to form stitches. But as I looked at it I had one of my ‘What If…’ moments so I bought it, and wound wool round the hooks at each end to form the warp thread, and used flat strips of paper for the weft. The wool I used wasn’t ideal for threading up a loom, because I couldn’t get a tight enough tension on it, so when I removed the finished weaving it was very loose. I machine stitched a grid all over it (with straight stitch) to hold its shape and keep everything together. Overall I’m quite pleased with the effect – I think it works quite well, and the red cotton looks OK with the thick red wool.

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Then I tried it again, with blue ‘paper string’ for my warp thread which, surprisingly, stayed nice and taut, with shredded pages from an old book for the weft. I hand stitched all round the edges with blue thread before I took it off my ‘loom’, and trimmed the side edges a bit, and it’s made a nice little mat – it could almost be a bot of woven fabric. I’m really pleased with this.

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This is here I got completely carried away, and use thin copper wire for the warp, and  narrow strips of newspaper and tissue paper for the weft, and I wove stripes, in the different papers, using my fingers and a comb to scrunch the rows up as I went along.I had to experiment a bit, because you need a thinnish, softishish paper – anything too thick or shiny tears when you try to scrunch it up, and it’s better to push each row up as you go along . And you need to cut the strips fairly narrow – too wide and they don’t scrunch up very successfully. The following photo shows the little ‘loom’ threaded up with wire:

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I built up bands of colour by having lots of strips of one colour. It was tricky to work, but it is just fabulous. I love, love, love it. It is very textured, and the text on the newspaper strips disappears into speckles and lines, until it looks (and feels) almost like tweed, with the copper wire glinting through it.

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The downside on this is the edges…. I have no idea what to do with them!  There are a lot of strips of paper, and the ends are are all bunched up and very thick… And when I took it off the frame the warp threads at the 2 edge sprang out sideways….  I’ve threaded them (very untidily) through the wires at back of work, bent the loops over, and left the paper edges as a kind of fringe. I’m scared of wrecking it if I try to stitch it (and it’s a bit thick and bulky to go through the machine) but it seems to be quite stable.This next photo shows what I’ve done with the wires on the back, and gives a close-up of the texture.

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On all the piece I wove on this frame I worked mainly with my fingers. I tried using a plastic drinks stirrer as a shuttle for each strip (because it looked like a needle, with a long thin hole at one end) but it was too flexible, and large wool needles (metal and plastic) didn’t have a big enough hole. I would love to have another go this, and see if I could improvise some kind of shuttle or needle for the weft, and a heddle bar for the warp – slits cut in a strip of balsa or stiff card might work. I need to think about those edges though!

Still in ‘What If…’ mode, I wove bits of newspaper and magazine pages through an orange bag and stitched the end result to an oddment of thick khadi paper. I loved working on this, although it was quite fiddly, because  the orange bag did not seem to be evenly made, and as I worked it pulled every which way! And the paper strips are easier to thread if they are cut straight – otherwise torn edges get caught up in the mesh and twist and then they tear. I like the final result, but I wish I’d torn the backing paper to an irregular shape, or burnt the edges  or something, and left bits of orange bag and paper hanging over the edges, to make it look more raggedy.

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I did wonder if threading strips of paper (or anything else) through mesh counts as weaving, but I love the effect, and I am recycling paper and creating a new surface. Anyway, I’ve also played around with black, plastic garden mesh, which distorts to a rhomboid when cut to a square. Again, rough edges of torn strips of paper catch and tear on the mesh. This one is a small, unfinished sample, where the strips were woven properly though alternate holes. I ironed light-weight Vilene to the back, as a stabiliser, and started stitching some of the set patterns on the sewing machine,  but it’s all a bit too busy.

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And finally, a woven heart-shaped basket! My grandmother used to make these when my brother and I were small – apparently when she was a child in Norway they used to make them, fill them with sweets and hang them on the Christmas tree. Pictures aren’t very good, but you can see both sides.

NB: I kept notes as I went along, so I’ve keyed them in for this post and used photos of my work, asI am keeping all the woven pieces in a box, partly because I don’t want them to get crushed in the Sketchbook, and partly because I want go back and add some embroidery on some of them.

Module 2, Chapter 5 (Mainly Stitched Shapes)

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Everything in this chapter seems to have got muddled up, and I’ve hopped backwards and forwards, and experimented, and I haven’t put activity numbers on anything, but I have been ticking things off my check list, and I think I’m covering everything. The A3 pages are still scanned in in two parts because I haven’t found a satisfactory way of dealing with them.

This page was really to practice stitching with the embroidery foot on and the feed dogs down, and I was pleased with it.

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More stitching, on layers of newspaper.

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Trying to stitching in interlocking circles. I’ve used lots of strips in neat, tidy arrangements, but I wanted to try something different, so I used long thin strips of tissue paper (left over from my elder daughter’s wedding), and sandwiched it between two layers of Bondaweb, with a newspaper backing. Then I used the embroidery foot to stich interlocking circle-like shapes to hold it all down, in various shades of purple thread (darkest first). Then I used silver metallic thread on top, which worked quite well and was surprisingly easy to use – I thought if would be tricky to use in the machine.Would love to try this with something like soluble film, but that would be no good, because you couldn’t get the paper wet.

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Next up, Layers of newspaper and tissue, stitched in straight lines, then cut between the rows of stitching with sharp scissors to create a chenille effect. These samples were bigger to start with, but I got a bit over-enthusiastic with the scissors! And they got flattened when I scanned them – the cut edges stand up beautifully when you rub a soft brush over them.

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The next page has lots of little squares of different papers stitched to newspaper, withe embroidery foot, using different tensions and techniques. As I went along I made some very hasty notes ob an old notepad, so I stuck them in the Sketchbook. I could have been a bit more organised in my approach.mainly-stitch-11mainly-stitch-12

Who remembers making rows of little dancing girls, all holding hands, from paper?

Or Snowflakes? I was trying to practice stitching spirals, on different kinds of paper, but I think they would have looked better with star-like straight lines through each point. On the plus side, I have managed to cover an A3 sheet of paper!!! It’s a sheet from a huge book on Norman Rockwell, which was destined for the recycling sacks in Oxfam because no-one wanted it.

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Next up… Hand stitching on paper. Loved this, and kept notes! Snowflakes led to experiments cutting holes in other shapes.  I cut a rectangle from the cover of a manuscript sheet music book, then folded it and cut shapes to make diamonds when it was unfolded. I was going to stitch it straight into the sketchbook but, as I’ve said before, an A3 sketchbook is very cumbersome to work with, so I cut a page out. As it was still unwieldy I cut it in half again, so I’m still working on a much smaller scale than I’d planned.

I used soft embroidery thread to stitch French knots, with a tapestry needle, because it had a big eye which was easy to thread, but it was like sewing with a poker and was really difficult to push or pull through the paper – making holes beforehand might have made it easier. And, should anyone wonder, although tapestry needles have blunt ends, they can inflict a surprising amount of damage to fingers and thumbs…

Then I used ordinary sewing thread to make a kind of star stitch over the diamond holes, with a nice, sharp, pointed needle which enabled me to make holes from the front as I went along, so it was easier to pull thread through from the back of the work. The back is a mess. Lots of knots, and the odd blob of glue to keep ends from unravelling – but no-one is going to see it. When I’d finished I had a brainstorm and trimmed off all the excess sketchbook page, which was silly, because it was supposed to be a vital part of my work.

Anyway, in the interests on experimentation I brushed watered-down white acrylic over it, but it didn’t make much impact, so I let the stitched paper dry, then used the paint straight from the tube, but the stitching is still black. However, I’m not sure if I like the effect, but I might add more paint. I think a similar design with a different colour background would be better.

I kept the cut-out diamonds, cut them all in half to make triangles, then used doubled purple sewing thread and French knots (again) to stich them to layers of a brown napkin made from recycled paper (I accidently took more than I needed when I had some coffee in a café!). I sewed them in a random pattern (which means there is no pattern), and used one French on each, so the edges curled up a little, and it looked quite textured, and I enjoyed doing this – the napkin was actually quite easy to sew, as it handled more like fabric, and was very soft. However, painting it may have been a mistake. Thick acrylic just went patchy and was difficult to paint on, while watered-down acrylic soaks into the paper napkins. And it stuck my little triangles down, but I’ve managed to prise some of them loose! ! On reflection, I wonder if a different type of paint would be better. Emulsion is probably too thick, but gesso might have worked.

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Stitched and glued shapes:

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And shapes/patterns with counterchange. This was SUCH fun when I worked out what I was doing.And I made notes (again!). I like the arched shapes cut from an OS map and a magazine page If you put it the other way round, with the small shapes at the top, you have a tree. This way they look like some of  the The Arches (the railway viaduct which is very much a feature of Tamworth), viewed diagonally as they cross the River Anker and surrounding land.

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This one was done with magazine pages, and I love it – I want some wallpaper with a design like this…

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The design above was created from newspaper and magazine pages.

The next page is samples, to see if this technique works with other shapes, like circles, and it does, but I think it’s best left simple. Would love to use this method to design patchwork, or embroidery.

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The two pictures for the next page are quite self-explanatory – because I was looking at ways of creating patterns with paper, rather than simply using strips or squares, I wanted to try using a bit from a photo I’d taken. I enjoyed the process and, on the whole I’m quite pleased with the result. I kept it really simple, but I’d like to develop this idea, and try something more complicated, and add stitching.

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The next few pieces are all made by using large jigsaw pieces as templates for my shapes – I had an idea of what I wanted to do, and bought a children’s puzzle from a charity shop. They’re fun shapes to work with, because you can actually use them to make a picture or, better still you can mess around with them – take some out to leave gaps, or use different papers, so when they’re joined they make no sense, or just replace one or two pieces. I stitched round them to attach them to backing paper, and they are a bit fiddly, but I like the effect. The first was a nightmare though – the picture on the paper I cut up was just too strong, and I couldn’t see what I was doing, so I gave up and glued the pieces into shape.

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I’ve cropped and enlarged the piece with the holes in, but they still don’t show very well.

mainly-stitch-38-2And now for an experiment:

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I enjoyed doing this soooo much. It’s not perfect, and there are things I would do differently next time around, and the stitching could be better, and I’m not sure if it needed more stitching, or less stitching, and a touch of a contrasting colour might have been good., and you can’t really see  that it’s done with paper. But it ended up looking and feeling like fabric, which is quite magical, and I love it the way it is. I’ve transformed flat smooth papers into a shimmering textured surface, with lovely, bright, vibrant colours – hot pink, copper and orange, and it gleams and glitters, and glistens but, sadly,  it doesn’t show up very well in photos or scans. However, I’ve downloaded a photograph of the finished piece as well, in the hopes that it might look slightly better than the scan.dscn9351