Paper, Paint, Stitch and More ...

 Introduction

The difficulty for me in organizing this course has always been, not what I wanted to share with you, but how to edit what I wanted to share.  I have been exploring and experimenting with my two loves, paper, and stitch for a while now, trying to find what appeals most to me, where my creative bent lies.  I’m coming to think I have a dual personality in that regard.

I’m attracted to very precise stitching on paper, geometric and linear as well as a very random and almost raw or organic stitching. I find white on white or neutrals appealing and Zen-like while appreciating the shock value of vivid colour on white or black.  I can appreciate the beauty and soul in a limited, muted colour palette while finding joy in vibrant colours.  Manipulation of paper can add dimension as well as texture to a stitched piece giving complexity versus simplicity.  Adding metal opens up new areas to explore.  There are no boundaries.  I am only now beginning to narrow down some of the elements that strongly appeal to me.

What I am hoping to do in this class  is show you some of the paths I’ve travelled; expose you to techniques I’ve come across in my journey (and wherever possible provide you with references and video links to those techniques) and show you some of the work of the artists who’ve inspired me.

Not every technique will be of interest to every person and not every style will appeal.  I’m hoping that you will take what appeals and follow that path.  Every creative journey is unique and meanders in its own way.  It’s my hope that over the next six lessons you will discover some interesting paper/textile artists and add to your own repertoire of skills. The number of inspiration artists has grown since this class was first taught and my own personal tastes have changed somewhat over the intervening years.  I hope you enjoy the journey.

 

One of the first things to explore is stitching into a paper background. At this point, we are or still dealing with a single sheet of paper.  Speaking of paper, when you begin you want to have a relatively sturdy paper to work with.  I typically use a 140lb or 300 gsm watercolour paper.  I have worked with 90lb  or 190 gsm (or lesser weight paper) but you need to take some precautions  if and when using wet media to keep your paper from buckling when drying (tape it to a flat surface)  I’ve included a link to a guide to looking at paper weights – it can be very confusing to determine the weight and thickness of paper when you use the lb measurement.  The gsm is a much more reliable measurement for paper weight and sturdiness. 

What Is GSM Paper? Everything You Need to Know.

 

 

Paper Sizes

There are two main paper size systems used in the world – ANSI (American National Standard Institute) used in North America and ISO (International Organization for Standardization) used internationally.

In Canada, we are more familiar with ANSI which gives us Letter and Legal-size paper, while Europe uses A4 and A3 sizes.   The international system is based on an aspect ratio format which is equal to the square root of 2.  This is handy in measurement. The A system (most used) is based on the A0 which has an area of 1 square metre.  Each size category, when folded in half, will give you the next size category below it, unlike the ANSI system in which all levels have unique measurements.

 

 

Lesson 1   Stitch

You can look at stitching on paper from a couple of perspectives: hand stitching, machine stitching, and a combination of the two

Points to consider when Hand stitching

·         Paper is not forgiving – when you make a hole to stitch through, it’s permanent – there is no unpicking your work.  The only thing you can do it live with it or cover it up with more paper.

·         The thicker the paper, the harder it is to sew through but the more stable the surface

·         The more layers you have, the harder it is to sew through

·         The thicker the thread, the larger the needle eye, therefore the larger the hole required

·         When you have thick paper or a lot of layers of paper, it is hard to be spontaneous with your stitches because the holes for stitching usually need to be pre-punched for sewing

·         When pre-punching holes, do so on a soft surface – a layer of foam or several newspapers, corrugated cardboard, etc. (something that has a bit of give to it)

·         An awl or paper piercer or large needle will work as piercing tool

 

Tools for Stitching Paper: A Flashback to the Past  (the tools I mention are available on Amazon, ebay and etsy for outrageous prices)

Beginners Hand Stitching for Paper Crafts - YouTube

Simple Geometric Stitching on Cards - YouTube

Create Circle templates

 

Points to consider when machine stitching

·         Use a longer than normal stitch length – stitches that are too close together will simply perforate the paper making it easy to tear along the stitch line

·         Dedicate one needle to working on paper – paper will eventually dull the needle, and you won’t want to use it on fabric.  (Mark it with a bit of marker or nail polish so you can tell which one is for paper use)

·         Free motion embroidery is possible on paper – making an outline of an image or adding text on multiple layers or backed with thin muslin

·         Tension is not always the same for paper as for fabric so test on a scrap (standard procedure)

 

Fundamental tips for machine sewing into paper - YouTube

Free machine embroidery....on paper?! - YouTube     10 min  starts the actual construction of the collage to be stitched 

 

Designing Simple Patterns

There are many ways to begin designing your own simple patterns.  If you can draw (I’m challenged that way), you can simply sketch lightly on your substrate surface in pencil and then mark out your holes for stitching at regular intervals.  When your pattern is complete, you can erase any pencil marks that remain.

If you are like me, or you plan to recreate the item several times, you can make a template on  separate, lightweight piece of paper.  I frequently use dotted or lined grid paper for this purpose since I like working with geometric designs.   I also find that having a stitching template that has connecting lines drawn on it, is extremely helpful when I go to complete my design.  When you remove your template and you are faced with dozens if not hundreds of holes in a piece of paper it can be hard to remember where you had planned to stitch.  The first template on the left is the hole placement mentioned in the video Simple Geometric Stitching on Cards listed above.

L  template                                                                               R template

Sizes for Card Making

When starting to stitch on paper, card making is an easy size to work with. Cutting an 8 ½ x 11” piece of cardstock in half will give you a basic card size and then you can work your way down from there to calculate a small 1/8 “ mat and the size of your stitching base. You can adjust the sizes if you would like a larger ¼ “ spacing for your mat.

Single Mat Card                                                          Double Mat Card

5 ½ x 4 ¼ “  card                                                          5 ½ x 4 ¼ “  card

5 ¼ x 4 “     mat                                                            5 ¼ x 4 “      mat 1

5 x 3 ¾ “     stitching base                                            5 x 3 ¾ “      mat 2

                                                                                    4 ¾ x 3 ½ “  stitching base

Miniature Art

If you like working small, you might want to consider Artist Trading Cards.  (this would also lead into the Guild Inspiration Day activity)  The size requirement for an Artist Trading Card or ATC is 2.5” x 3.5”, the size of most common trading cards like Hockey, Baseball and Pokemon, etc.

 

Books – for Reference

A Look at Books video of books used for this class (listed below)

 

Mixed Media Master Class with Sherrill Kahn  (50+ Surface Design Techniques for Fabric and Paper)

Cut, Shape, Stitch: Working Creatively with Cutting Machines by Maggie Grey, Samantha Packer and Paula Watkins

Long Diaries, Tall Tales: Making Narrative Textiles by Maggie Grey

Paper, Metal, Stitch by Maggie Grey and Jane Wild

Surface Treatment Workshop: Explore 45 Mixed Media Techniques by Darlene Olivia McElroy and Sandra Duran Wilson

Stitched Textiles: Seascapes by Amanda Hislop

Textures from Nature in Textile Art by Marian Jazmik

Stitch, Cloth, Paper and Paint by Angie Hughes

Storytelling with Collage by Roxanne Evans Stout

Paper Quilting: Creative Designs using Paper and Thread  by Bridget Hoff

 

Designing a Stitch Template Using Grid Paper – video demo

Dot Grid Paper Maker

 

Artist Links

Donna Menses Cunha   instagram

Emily Barletta

Emily Barletta Instagram

Karen Ruane

Sevda Bad

Shawn Kardinal Instagram

Shawn Kardinal

Petra Heidrich

Izzy and Gina -- In Stitches podcast series

Kirsty Whitlock

Marine Pinsard

Anita Bonde Ericksen

Peggy Dembicer

Julia – Oh these lines

Sophie Reid     littlepaperwarriors

Jiggery Pokery

Borka Design

Alexandra Fraraccio

Rhian Swierat

Britt Fabello

Karen Barbe

Karin Lundstrom   

Cataline Escallon

Neha Sachan Instagram  

Paper, Paint, Stitch and More ...

 Welcome 

I just want to take a moment to welcome you to the CEG Zoom class, Paper, Paint, Stitch and More …

We will be meeting at 7pm on September 25, October 9, 23, November 13, 27, and December 11.  I will usually open the Zoom class a little early to get set up.  We have a recurring link so it will be the same one for each class.  I will send out the invitation/reminder for the class on the Monday before the class.  I usually send any handouts for the class on the day of the class, and I will post them on my blog so that you will have continued access during and after the class. 

As the name indicates, we will be exploring paper as a vehicle or medium for a variety of techniques and be inspired by a multitude of paper artists from around the world to stitch into this very versatile substrate in any number of amazing and creative ways.

In preparation, start gathering your supplies.

• Paper – different thicknesses and types (whatever you have on hand)

o   As I’ve said in the past, Sarnia has great $ stores – our Dollarama sells pads of 20 sheet 140 lb. (300 gsm) watercolour paper for $3.25  --- that is very sturdy paper and will hold up to a lot of abuse and thread/fibre tension.  You can add paint, watercolour and layers to it.  I use this for my bases a lot.

o   Tissue paper

o   Printer paper

• Paint – water colour and acrylic.  You don’t have to try both, but you should try at least one.  Ink is also an option if you have it.   You want to put colour on the paper in some form.
• Threads and fibres.  I use a lot of #10 and #20 crochet cottons and #12 perle cotton because I like the size of the threads.  They can be a bit of pain to thread into a needle though.
• Needles – ideally you want needles that don’t have a rounded eye.  You don’t want the eye of the needle to make the hole in your paper larger than it needs to be.  You are looking for a long eye rather than a round one (if that makes sense)
• Awl or paper piercer – these can be as simple as a push pin or can be purchased from craft stores.  Sometimes a large upholstery needle will be just the right size and quite a useful piercing tool.  My local $store now carries paper piercing tools.
• Piercing Mat – it can be a piece of foam, an old mouse pad, a piece of felt, wool press pad, cardboard, newspapers, etc.  You need something with a bit of give to put under your paper so that you can pierce through the paper without damaging your desk or tabletop.
• Grid paper – graph paper or dot grid paper can be very useful and saves you from needing to use a ruler to get a regular measurement (great for planning designs) If you have the Alabama Chanin (Geometry of Hand-sewing Book) there are wonderful hole stitch templates in the back)
• Ruler
• Adhesive – glue stick, double sided tape (whatever works for you)
• Cutting tools – scissors, exacto knife and cutting mat
• Heating tools (optional) – soldering iron or incense sticks – for burning holes and edges of paper

 

Kit:  I will be sending out your kit with some specialty papers for experimentation and ephemera for you to play with. The dark zip lock envelope in the kit contains cyanotype paper (do not open until you are ready to use the paper – It should not be exposed to daylight)

Circle Fold Book

 I came across this book as I was browsing Pinterest and it caught my eye.  I'm in the mood for folding and sculptural books and I'm always intrigued by circles, so I had to take a look.  

This isn't a difficult book.  The only drawback or difficulty for me was the need for double sided paper.  I don't have a lot of that kind of cardstock -- in the decorative sense, on hand. I was able to find a couple of sheets and that was all it took to make this small book.

I made my circles 3 1/2 inches because that was the size of my larges punch and I didn't want to get out my circle dies to cut larger circles or trace larger ones and cut by hand.

You need enough circles to go around in a complete circle when open.  The less you have the wider open the interior fold of the circle is (the lotus fold). The more circles you have, the more it looks like an Elizabethan ruff. The tutorial I watched said 12 - 15 I think, but I think you could have 8- 12 and still have a full book. I think the smaller the circle, the less you need.

Once cut, you first fold your circle in half.

Then find the center of the fold and fold the outer edges on that point, out to the perimeter.

Make sure these are good folds using your folder. Then open the folds, and reverse them to the center.

You will end up with a lotus fold inside a quarter circle. Once you have done this to all the circle, you will begin adhering the quarter circles together.

Check periodically to make sure that the interior folds have not been glued together.

Before adhering the last piece (or in my case, with an extra piece), trace out 2 pieces of chipboard for covers for your book.  You will also need some decorative paper to wrap the chipboard.  I used scraps left over from my circles.

Use standard techniques to wrap the covers.  I clipped the curves on my cardstock because it was so stiff and wouldn't be able to pleat or wrap neatly around the curved area.

I attached a ribbon to the back cover so that I would be able to keep the book closed when not on display.  The stiff cardstock make for quite a bouncy book.

When open, it's quite sculptural.

Here is a video of the entire procedure:

Circle Fold Book

Origami Accordion Book

 The origami accordion book starts with the 6" origami paper, pattern side down.

Flip paper back over so paper is pattern side down.

Take all four corners and fold them into the nearest intersection point.

 

 

 

 

 

 

From the straight sides, bring the center points into the center of your square.  This should allow the reversed folds to collapse leaving “photo” corners at each corner to hold your artwork or cardstock insert page.

 

Make six of these origami pages for your accordion book.

Cut 6 pieces of cardstock, 2 7/8” square, or use photos or artwork in these dimensions as display pieces for your origami pages.

Cut 5 cardstock squares, 2 1/8 “ and fold on diagonal.  These will be used as hinges to attach your pages together.  Makes sure you fold in both directions to ensure that your fold is flexible since your book is an accordion fold and needs to be able to work in both directions.

Note:  If your origami paper has a noticeable pattern, pay attention when you are inserting your artwork or photos, that your pattern is running in the same direction at all times.  You don’t want the pattern to be upside down  or sideways on the back of one piece when you put your book together.

When your folded pages are complete, they have a pocket in the folds, this is where the cardboard hinge will slide.  You will apply glue or double-sided tape about 1/8” from the fold line before sliding the triangle into the pocket of the origami page.  The diamond shape will prevent it from sliding too far into the pocket. Slide the next page onto the other side of the hinge and continue adding hinges and pages until you have completed your book.

You can add a chipboard cover if you wish but I just followed the directions from “Origami Card Craft” by Karen Elaine Thomas and added some additional cardstock decoration to my front cover and kept this a soft cover book.  I also added a ribbon closure to keep the book secured.

Here is a video of my process:

Origami Accordion Book

Origami Accordion Book - Hinge variation

 

 

3" square pages made with 6" origami paper

 

6" square pages made with 12" scrapbook paper