Further thoughts

After a holiday break more issues for consideration appeared: Sian had highlighted scale and thread structure and I had a huge note on my desk that said 'surface integration' to which I had added 'integrity of shell'!! 
My immediate action was to review the surface structure and think of how it could be improved...after a few hours, many cups of tea, a period of pulling things apart, machining different ideas of radiating threads  a thought arrived saying 'how will the shell covers work?'.   Scale was indeed the first issue to be resolved the shell needed to be large and strong enough to attach the inner pages and would my book need to stand  up alone or was it OK for it to lie down? 
Back to the drawing board and here is what followed:

Ref 4.11-2.1

Ref 4.11-2.2

I reduced the scale of the original fan shape by 70% and added in the horizontal lines that were as much a part of the shell as the radiating lines.  For stability of the cover to the inside pages I would need to ensure that the oblong shape at the top of the shell was firm and large enough!

Ref 4.11-2.3a and b

Considering how exactly the surface would be made and how large,  I wanted an incorporation of fabric, paper pulp and thread.  4.8.4 appealed as a role model but it would need more strength in its structure.  Here is a first stage of fabric and thread,

I decided to distress the finish before adding the paper pulp and the fabric to set in the shell. While they dried - it was taking two days for each side, even with a wood burning stove going full bore- thoughts turned to the hinge!

 The key was a hinge that was strong enough but that blended with the 'fabric' of the shells. Would I have to use stitches on the folds to stabilise the piece?  I did not want to adversely effect the movement of the 'accordion' or impinge on the word flags making them difficult to read.  I was considering using a combination of hand made paper and opaque or tracing paper for the flags. A rough sample of an accordion fold was made, a piece of fabric bonded to pelmet vilene in an earlier module came to hand so had a practice. Image 4 below shows it folded, image 6 shows the inside view with folds machined stitch on the edges.

                                     Ref 4.11-2.4

                                                                       Ref 4.11-2.5

Two razor shells that had been in my treasure box could be used, the theory being that they would cover cardboard 'stays' that attached to the accordion folds.  See ref 4.11-2.6. The bonus of this book began to appear that it would look interesting when open and also flat - was I hedging my bets by not making it compulsory for it to stand up! 

Ref 4.11-2.6

Oh dear after two days of nurturing and turning the first shell set had moved!!! Would this be useable? Onto the next piece and would decided if it was back to the drawing board once I saw how that one worked.  At least the waiting meant I could get up to date with my admin report.

Below more views before  making colour co ordinated accordion  and doing some fine tuning!

   Ref 4.11-2.7

Ref 4.11-2.8

Resolved Samples - revisited

The review of all the Modules done to date was a stimulating exercise helping to focus my mind on the prospect of three resolved samples! Certain aspects that needed more work had stayed in my mind and helped form my choice of three patterns; curves, scrolls and paisley. While using pin boards to collect reference points for each Module the method encouraged a wide and diverse storyboard and I felt the need for more specific thoughts of design ideas. Working boards/sheets became an important tool, before powering ahead with sewing samples and hoping for the best.  Drawing is not my best point, so the cut and paste montage of key pictures and words took the panic out of the exercise.  It will also give me practice of a composite sheet required for Chapter 11
Resolved sample 1 Curves

when doing the Fibonnacci sequence in Module 2 Sian encouraged considering  'cut in curves', rather than the straight lines used to produce the egg, shown on right:

Using a yellow felt with a red textured overlay a mixture of fabrics were chosen  and interwoven to give a variety of  sheen/dull, textured/flat character. A variety of stitches were applied to hold the pieces in place and give movement to the piece.  Dyed squash seeds were used to balance the design. 

 An oval shape made from felt framed the final piece.  Sian encouraged me to revisit the framing.  The frame seemed to overwhelm the piece, after a play decided to turn piece upside down and just put a background of the topsurface behind it - a white board seemed to be too much of a contrast.

Resolved sample 2 Scrolls

The scrolls on the door of Lichfield Cathedral and corrugated cardboard scrolls that encouraged Gimp play on the computer are the basis for this sample:
A hand dyed lightweight silk was bonded to felt, with the heat giving a slightly textured look to the silk. Remnants of machined stitched hand made papers from Module 1's resolved sample were bonded on top and the scrolling began with hand made and machine stitched cords.  A variety of hand counching and other embroidery stitches, scroll, bullion knots were used to embellish the design.  Spiral wire, hand beaten wire coils and beads were added. Work in progress

The final sample was cord edged and mounted on felt.  Encouraged by Sian to add some of my thicker cords this is the result.  As I did not want to hide previous detail decided to spiral out and present a third dimension.

Resolved sample 3 Paisley
The association of wings and stitches in Module 2, and the paisley image in earlier chapters of this module gave this shape priority for further development.
Chiffon was bonded to hand dyed muslin for the background - it was a disadvantage when taking photos as the  chiffon had a shimmer that distorted the colours, but ideas of cutting this back once the sample had been stitched were considered a possible solution if the final sample was still dominated by the shimmer. 

 The final sample was mounted in a cardboard frame covered with hand dyed felt.  Some of the chiffon was cut back, however, feel the flimpsy cut shape at bottom right edge should be tucked behind the frame  - it looks rather weak and doesn't add to the piece! It was becoming an exercise at knowing where to stop and the phrase, less is more, kept coming to mind!

  With Sian's comments on the framing having resonance with my own concerns this piece was also revisited.  The results show a less formal piece.  The piece on the right seems to be gaining my vote.  It uses a lighter weight of cotton than in sample and seems to hold the eye for longer.



The lessons learnt in revisiting will be ones I won't forget.  Making the frames had been awkward not least making an oval shape, but found a wonderful tip on how to draw an eclipse with two pins, a piece of thread and a pencil.  In making the oblong frame I thought I was home and dry, the card was pre cut, but decided to dye the felt as the colour was not 'right'.  No need to let you guess, the felt shrunk and had to keep trimming the frame...something should have told my brain to rethink at that point!!