Lettering Design

Ref 4.2.1
Thank you Sian for your close up from my image in Chapter 1 and allowing it in as my first design for this chapter.
An evening walk in the hills of Glenbuchat inspired the word I      would use for my lettering designs, calligraphy. Ref 4.2.2     

Before getting into my designs I forgot to put an image into Chapter 1 of the Arbroath Declaration. I went to Arbroath to research Mike's relatives and saw this on display in Arbroath Abbey. It is an impressive document not only for the historic significance and lettering but the wonderful seals at the bottom .  I have some sealing wax somewhere and feel in later chapters...once I find it, that it may appear in  some format!                                                             Ref  4.2.3    

Ref 4.2.4.a

DRAWING METHODS See left  some additional drawing utensils  Ref 4.2.4 to the conventional ones shown in Chapter 1.
Using positive and negative version of the word calligraphy both diagrams 4.2.4a and b show from top line  A. a glass nib, B. a quill pen, cut from a feather, C. a cotton bud,  for D , E, and G. edge of card , F. cut edges of card. On the left my father's blotter. While the quill, my first attempt at cutting a 'nib', gave a spluttery start I rather liked the randomness but will have to perfect the nib making if I am to write an old fashioned manuscript! 
                                                                    Ref 4.2.4b                            Ref 4.2.4c

       

      

Ref 4.2.5 Method F was used on the inside of an envelope which gave a feeling of  a material background, dipping of the card was restricted to allow a difference intensity of ink.

Ref 4.2.6 a                  Ref 4.2.6b   Ref 4.2.6c                                                                                   Ref 4.2.7

For image  4.2.6a the card E method was used on an inked surface with bleach used as the dipping agent .  In 4.2.6b PVA  was used as the writing agent  with ink and bleached then dragged across, the PVA was hard to control but I rather liked the pools that formed - later in the chapter I tried again with this method. Image 4.2.6c was made by writing with a candle on paper that was placed on top of a tapestry canvas. Black ink was then dragged across the writing.

Image 4.2.7 shows the reverse of 4.2.6b and c. which gave a soft antique look.
With plenty of ink left and a desire to use up all the bleach I had poured into a container a sudden rush of inspiration and the desire to use a short word resulted in:

 Ref 4.2.8a                                                                                                                                               Ref 4.2.8b. 

  The idea of 'mail' as an easier word came to mind. Choosing a sheet of watercolour board 3 SWB, I had previously used A4 printing paper, and a foam brush it was nice to have a larger scale.  It did take a moment to get a rounded feel but the 'm' in 4.2.8b was a very pleasing result. The straight black lines caused by a bleach dribble I had not seen!
                     

Ref 4.2.9  Ref 4.2.10

The next tests were introducing colour; in 4.2.9  PVA writing dragged with ink and rubbed with a red oil crayon inspired a title that was stencilled which in turn led to
4.2.10  continuous writing and then filling in the spaces with other letters.


BLOCKS OF WRITING For this exercise I used six different weights of paper 80 gram A4, 120 gram sketch pad, 160 gram paper, 100 gram paper, Watercolour board 3SWB and tracing paper.    

Ref 4.2.11a

Ref 4.2.11b

 Reverting to my shorter word for experimentation I investigated a rotas or sator image.  These images are palindromes which read the same in either direction .  While the original meaning of the five letter word is much disputed these squares, carved in stone, have been found in many historical sites. 
A pleasing event happened with my four letter sample, in each instance the word was meaningful...not always in English but Almi means 'blessed ' in Swedish and Imla means 'spelling' in Turkish!  Using basic A4 paper I was delighted to find that I had covered my desk with 3SWB  paper and a faint image appeared! It encouraged me to look again at one of my PVA samples and do a muted stone colour to emphasis the transparency rather than colour the writing

Ref 4.2.12a

Ref 4.2.12b and c

Choosing  160 gram paper this experiment quickly moved into a disaster area but was pleased to have a feeling that I could destroy something and had the good fortune to take a photo! Writing  with thick felt tip pen I sprayed the image with water and encouraged it to run by lifting the paper. Then I used the ink blotter and it smudged to went a step further and covered it with 120 gram paper, rather intrigued by negative spaces

Ref 4.2.13

While this piece had been made during the bleach and ink stage I had been very cautious after completing the first phase of marking the paper with ink card marks.  Encouraged to drag with ink and then bleach I had let the original marks to dry before diffusing with more ink and bleach and the hesitance was rather obvious.  As it eventually dried I liked the lettering but feel the background leaves something to be desired. However in changing direction I seem to have chinese writing!

Ref 4.2.14  Ref 4.2.15

With cardboard as writing implement the writing continued trying a series of colours but these were the favoured ones

Doodles

It seemed like a good time to doodle and play with size, colour, thickness and shaping. Images 4.2.16a , b and c produced some unexpected images and started a much more clustered range of images to follow

Ref 4.2.16a

Ref 4.2.16b

Ref 4.2.16c

Ref 4.2.16d

                                 
 Before going onto next section took a chance to play with some more  images.  The top line is a copy of a type face- unnamed- in the' abc of lettering book' by Carl Holmes, The second line is my take on the idea with my take on a boxed negative for line 3.  The wobbly lines would be more corrrect if straight but just had to have a go and move along! The idea of stitching lines or stitched tucks came into my head - I knew it was time to really get a move on!  I would like to explore the sticks and strings, highlighted on the British Library section highlighted in Chapter 1 but feel it would be something to experiment with over a longer period of time - watch this space for two letter or maybe three letter designs appearing in later chapters.
Pattern Making

Using my pen and a range of different letraset scripts  the two images show how a change in size of script can bring interesting results. The letraset produced its own texture to the page as it was old and already had a crackled appearance.  Not wanting to detract from that I restricted an original idea of using the negative letters to fill the gaps to a minimum..

Ref 4.2.17a

Ref 4.2.17b

Ref 4.2.17b(i) 

Ref 4.2.17b(ii)

Using the  gimp programme on my computer even more contrasts appeared.  I had to stop as the range was limitless.  The two chosen used the distort and seamless programme.

 But before going onto next section had time to play with some more  images.  

Ref 4.2.18a

Rubs

Ref 4.2.18b

My initial foray into using PVA to provide a surface rub had been initially disappointing but it made me consider two other methods, a) using a Tulip Pearl fabric paint pen for drawing on T shirts b) mounting string on cardboard.
The pen, which was old and hadn't been used before, produced a rather erratic line which did not harden well and was too soft a surface to be used on a printing plate but I rather liked the effect left on the paper seen in 4.2.18a.  The results of the string are shown below:
Ref 4.2.19a                                                                   Ref 4.2.19b                                                            Ref 4.2.19c

 For a final rub I used tracing paper with oil pastels and pencil on the string  and PVA writing. The staggered effect shows up well when held by window but seems to have become flat in this scan.                              Ref 4.2.20

The next task was to play with computer images. After several attempts to writing with computer pen I decided to try a new programme-Scribbler programme - thank you Ros for introducing me to this several months ago!  I have still not  been able to find out how to elongate a word so will keep looking but in the meantime: 
Computer images

 

Ref 4.2.21

The Scribbler programme, www.zefrank.com a drawing brush which has connections, strokes and radius which vary in intensity. Going for a relatively easy stroke I then worked by printing onto overhead plastic sheets to allow me to easily work images back wards and forwards.

Ref 4.2.22a

Ref 4.2.22c

Ref 4.2.22b

After the folding in 4.2.22c tried a bit of weaving produced these final images.  Sadly I had not appreciated that the ink and the lines of the plastic edges would show up so much in the printing.

                 Ref 4.2.23a                                                                                                                          Ref 4.2.23B

Media Research

Using the collection of mail that greeted me after a weeks holiday seemed to be a rather uninspiring collection of stamps - so much now is prepaid black and white stamping. On closer inspection some inspiration popped up in colours that where within the body of the envelope, e.g. green lettering encouraging us to recycle, orange bar codes which process franking machines.  Including the cardboard box and tissue paper that had contained a 'fashion item' I also saved the bubble wrap and plastic bag that contained a brochure as I felt these could be used  for colouring and printing later in the module.  The link here:http://www.winifrednicholson.com/liberation-colour is a wonderful example of how words can be used as a colour chart.

There was a plus side to the initial disappointment it made me consider the wider concept of media that is now at our fingertips, through a computer keyboard, memory sticks or on our TV screens. 

The internet offers a mindboggling combination of sites that burst with images and text and the individual has access to a host of programmes, not least blog spots!  I have found a few sites which I will keep an eye on while doing the module:

www.readies.org/typebound/

visual-poetry.tumblr.com/page/3

Books that I owned got included in the recording process along with a couple of old Letraset sheets, which my father had used, it seemed a good opportunity to use them in the process of the module. 

Also included, a theme board - something  I make  each year in place of  New Year's Resolutions! These boards are very much grab the words that fit you mood and stick with favourite photos, each year a host of fonts appear!  While away in March a conference of the Baskerville Society in Birmingham was held where I was staying, amongst the  oldest font, 1757, have a feeling this could appear somewhere in the module - the name itself leads to images!http://en.wikipedia.org/wiki/Baskerville and the British Library is another website to watch. ww.bl.uk/learning/artimages/sacredbook/word/sticks/strings

Writing implements and a letter opener were included to remind me of equipment used as much as the finished article.  The feather would be cut to form a nib and an address stamp could inspire me to cut stamps of letters in reverse! The boxed inks and the glass pen, seen to the left of the box, were purchased in Venice at Rivoaltus on the Rialto Bridge, a mecca for handmade leather bound books and beautiful pens, even the box is a work of art. A tiny shop but what a wonderful place. The other nibs and charcoal pencil were items found in my father's paint box. 

The serendipity of being in the 'right place at the right time' or seeing something that hits a chord is always a memorable moment and researching themes for this course keeps one open to such moments - one occured for me last August at a Red and White setter meet at a remote spot in the Cabrach. I found a publication of a local magazine,The Knock News and read an article about,  'Men o' Letters'. Filed away until I started Module 4 I contacted Steve Carroll, and he has kindly given me an image of his work to show here.  His website www.stevecarroll.co.uk.  His ability to capture the character of the 'sitter' from their name is inspiring, you will find more of them on his, 'My Type of People' page.

While visiting Oxford in March I visited the Bodleian Library exhibition, 'Love and Devotion -from Persian and Beyond'. I was particularly inspire by illustration that included text, not only for information but as part of the design on each page. 

With all of these images plus the work of Cas Holmes and Lois Walpole and the Distant Stitch Gallery for Module 4 it should be an exciting new journey ahead!

Loosely lettering Introduction

The header for Module 4 is produced by adhering newspaper headlines on canvas which are then layered with a variety of coloured acrylic paints.  The handle point of the paintbrush is then used to do continuous writing across the canvas while the paint is still wet. 

Module 3 Administration

My  Storage and Health and Safety notice is revised as I progress through the course: 

STORAGE AND HEALTH AND SAFETY ISSUES DISTANT STITCH Module 1, 2 and 3 ( new additions in red for Module 3)

As the course is taking place in my home the following three criteria have influenced the following decisions regarding storage and health and safety issues:

• My own convenience and safety
• The convenience and safety of my family, and friends who may visit
• The well being of the environment in which I live – a remote rural location where we have a private water supply and septic tank.  I endeavour to recycle paper, fabrics  and am know for collecting ‘thrums’- waste threads in Scotland - from not only my own work but our monthly sewing groupies inevitable come armed with bags of their thrums for me. In trying to maintain a low carbon footprint car use is considered carefully and as craft suppliers are a sixty mile drive away I do use the internet! But again I try to look to my collection first before pressing the order button!

 STORAGE

I maintain two work areas:

• a wet area within the garage, where there is easy access to water
• a dry area in an upstairs study where there is access to a computer/printer and sewing machine, threads, fabric, books and sketch pads/pencils. My ironing area is in another part of the house

As an excuse for my hoarding tendencies I need to have a variety of storage options.

 Wet Area

With grateful thanks to Mike who not only allowed me a space within ‘his domain’ the garage, but also built the bench and shelves and cut various boards and acrylic panes I have:

• a bench,  150 x 70 x 70cms
• stool
• two shelves

A series of three plastic containers for paints/printing inks, fabric medium and stamp/mould making and adhesive materials allows easy, visible access.

Rollers are hung on wall, brushes are kept in containers and cutting tools are kept in original boxes.

A plastic sheet is used to cover work surface- particularly useful when Mike is having a wood working day or when I have a printing/painting day

Apron and shirt are hung for easy access

 Dry Area

With great appreciation again to Mike for making me three mobile tables and a bookshelf I am able to expand and contract the area I take up relatively easily. 

Storage is in colour blocks as we use the area for living and like to keep it ‘attractive’:

• A series of glass cookie jars hold my threads, for sewing; separate Kilner jars hold more varied weight threads; old glass sweetie jars hold fabrics.
• A 4 ring binder sketch book to log my progress for upload onto blog with A5 rough note pads at my side for thoughts and ideas
• A4  plastic display folders hold Distant Stitch module chapter notes and templates made and not included in sketch/log book
• A3 plastic display folders hold papers and fabrics that have been printed for project

Ease of access on working samples

To ensure that materials for the project I am working on are easily accessible I have made and covered two cardboard trays:

·         one for threads being used on project

·         one for fabric that could be useful in the project

and specifically for Module 2 were lots of pieces of paper were used a plastic envelope for papers

·         a story board, serves as a billboard for each chapter. Key pieces are kept on it for reference and inspiration

As I have progressed through Module 3 I have identified a need for flat storage of A3/2 pinboards on which I lay ideas flat and incorporate fabrics, threads and other items to 'play on' working through ideas as I go along....this is now work in progress for Mike!

HEALTH AND SAFETY

The key concerns that have arisen when undertaking Module One include:

 Ensuring that I work in a space that is:

·         light, well aired

·         cables for any equipment are well concealed reducing any hazard when moving around the work area

·         all items to be used on the specific part of the project are close to hand

·         and, take regular breaks to help stop fatigue.
 Dyes and colourings: 

My main colouring agents have been:

·         acrylic and water colour paints, pencils and

·         inks.  Concerns on using an old set of inkjet printer refills made me research the product and Appendix A gives the advice that I followed.  As the containers had sharp ‘injection needles’ empty refills were disposed of at the local Doctors Surgery where they have a ‘sharps disposal’ facility.  Any other waste was disposed of away from the water system. 

·         Dylon fabric dye has been used.  The warning that it is an irritant are heeded and gloves are warn when working with the dye.  The fact that it can be an irritant to eyes, might cause an allergic reaction and one should not breathe in the dust  makes one vigilant while and after using the dye.  As the hints include the fact that the dye may run after several washes I only use this dye on items that will not be washed thereby ensuring no contaminated water gets into the water system.  When mixing this dye I only make sufficient quantity for immediate thereby reducing storage issues or waste disposal. In instances where too much has been made and I have insufficient material to dye contacted Dylon who have informed me that it can be disposed of in our land drains.

·         Bleach is toxic and should be used with great care.  It can not only damage clothes but make an impact on the environment.  When used to lift colour from dyed fabric I placed a small amount on a china plate to ensure no waste remained.  It is advised that your wear gloves when using bleach and work in a well ventilated space.  While I do have a face mask I was able to open doors so did not use it in this instance. As I need to replace my stocks I have looked into more user friendly items.
Adhesives:

·         Glue sticks, sellotape, double sided tapes and PVA  is easy to use and apart from ensuring it does not stick on work surfaces.  However, I have found that is best not to use PVA on typed paper and place in sketch book as it diffuses and turns some images green!!!

·         When working with papers I have used a spray temporary adhesive.  This is a highly flammable substance in a pressurised container and should be kept away from heat/flames or electrical equipment that are in operation.  It should be used in a well ventilated space and in short bursts without extended spraying.

Cutting implements:

·         Scissors – the work has alerted me to the fact that my scissors are not particularly sharp!!  I have found a person who will sharpen them so hopefully not only will my cutting be easier but also more accurate. 

·         Knives - The main concern centred on my craft knife which was used on flat, stable surfaces with a cutting board underneath the item.  The protective cover was replace as soon as any cutting had been completed

·         Olfa Rotary cutter should be kept with black click cover on when not in uses to ensure that it does not have sharp edge protruding.  When using to cut into fabrics or papers it should be only used on stable surface and one should push away from the body.

·         Seam ripper – While seemingly innocuous this little implement is sharp and when used for cutting channels one is exerting pressure and the cutting edge can slip off line so one should be sure that they are treated with respect.
Sewing implements:

·         Sewing implements and accessories, again simple things like pins and needles are stock and trade in sewing but in the wrong position they can cause discomfort and wounds.  To minimise risk of needles and pins dropping into carpets or chairs I always have a pin/needle cushion to hand and tend to ‘count them out and count them back’ i.e. I use glass topped pins and only have the needles I need to hand.

·         When working with beads maintain them in a lipped container with velvet to help position them and avoided spillage on the floor.

·         Selected the relevant sewing needle for the task to ensure that you do not strain fabric or your hand to pull it through the fabric 

·         Sewing machine – to ensure smooth running of machine, particularly when using frequently or running thick thread, it is important to ensure that spool area is cleared of dust.  When sewing various layers or thickness of fabric loosing tension and using a slow speed seems to be good practice.  Ensure that needles are not blunt.

·         When different thickness of threads/cords are being used it is important to consider the use of different machine feet, e.g. cord or braid foot to ensure  easier and safer sewing takes place. The use of drinking straws on the thread, placed either side of the machine foot, also maintains more accurate positioning of the thread through to the needle. 

Hot Tools:

·         Domestic irons, this is in a separate area and as well as using non stick baking parchment I have invested in an ironing sheet to protect my ironing board.

·         Test iron a small sample of fabric if you are not sure of its fibre content

·         Soldering irons, this is kept and worked with in the garage where a work surface and stand are available and I am close to a source of water.

 As I progress through the course I will add notes to this report that identify concerns and actions taken.
COSTS

Module 3	Supplier	Cost	Amount used	Total module 3
Item
A4 Sketchbook	W H Smith	5.99		5.99
Beads	various	13.45	half	6.77
Embroidery Techniques	Search Press			12.99
Sub total stock for module		19.44		25.75
From previous purchases
Glue sticks			third	1.00
Double sided tape			third	1.83
Cartridge paper			half	2.00
Printing paper			quarter	1.25
Silky threads			half	5.80
Total Module 3              £ 37.63 TIME   26 weeks   average time per week 7.46 78 days average time per day 2.49 Authentication REFERENCES AND WEBSITES References Books and websites Machine Embroidery stitch techniques - Valerie Campbell-Harding, Pamela Watts. Batsford Celtic Art – the methods of Construction, George Bain, Constable London three –dimensional Embroidery, Janet Edmonds, Batsford Evolutions – a stitcher’s evolutionary workbook, Fibrefusion Colorworks, Debbie Menz, Interweave Celtic and Chinese Knots for Beaded Jewellery, Suzie Millodot, Search Press Decorative Patterns of the Ancient World, Flinders Petrie, Studio Editions Embroidery Techniques Using Space Dyed threads, Via Laurie, Search Press Mary Corbet’s website Needle ‘n thread.com http://inaminuteago.com/stitchdict/stitch/ Artist websites as indicated on blog At the end of each module I change the blog header here is the one used for Module 3 Stitch mark Module Three Distant Stitch. Spiralling into colour 'Spinning their own cocoon did they but know it'. Robert Frost, The Cocoon