For example sample p2-3 d (6-June-2015). That upper piece could actually sit behind the lower piece with a 1 cm overlap. For some applications it would be a good idea – no risk of gapeing or draughts. There is little bulkiness. The difference would be structural rather than visual. Useful but trivial in the absence of a particular purpose.
So I’m looking for joins which take advantage of the overlap.
Sample p2-20
One way is to see the lower material through the overlap. Here I have the offcut of cork from sample p2-15 (18-June-2015), overlapped by insect screening.

Sample p2-20 Materials

Sample p2-20 Stitched

Sample p2-20
If I were to develop the sample in this way an invisible join of some type might work. Perhaps a glue could be used, although this could leave a gloss or film.
The reverse of the sample suggests possibilities in using varying depths of materials.Sample p2-21
Seeing the lower material through the overlap worked well, but of course I don’t want to be restricted to see-through materials. Piercing the upper material at the overlap greatly broadens material choices.
Wanting clean holes and given I only have circular punches, I selected a paper embossed with circles and some metal with traces of a mesh used when heating it.

Sample p2-21 Materials
The mechanical join was intended to be invisible so I chose to glue. I consulted with fellow student Claire, and used Aleene’s super thick tacky.

Sample p2-21
The end result is very pleasing. The materials compliment each other in colour and motif. The transition from one material to the other brings additional complexity and interest, achieving an integrated whole.
The actual join structure is effective, providing a strong bond without impinging on the visual result. The photograph was taken at an angle to reduce reflections and gives a reasonable impression, but seen in person there is a varying shine in the metal and the soft sheen of the paper which is particularly attractive.
Sample p2-22
This sample stretches the idea of overlap to include partial integration of one material into another.
The materials used are a craft paper which is actually woven of something like rafia, lightly glued to a non-woven synthetic base, together with some orange foam.

Sample p2-22 Materials

Sample p2-22

Sample p2-22 Reverse before and after taping
Sample p2-23
Multiple independent joins are another method which highlights an overlap in a join. I was also interested in trying to take advantage of the properties of one material to influence the second material through the join.
In sample p1-75 (21-April-2015) synthetic organza distorted and shrank under the heat-gun. What would be the impact if it was first joined to another material? I needed a pliable second material that would not put undue strain or restraint on the organza, and chose to experiment with crepe paper.

Sample p2-23 Before heat treatment

Sample p2-23 After heat treatment

Sample p2-23 Reverse after heat treatment

Sample p2-23 Backlit
Sample p2-24
For the final sample in this exercise I deliberately chose materials I thought wouldn’t work together. My earlier samples were all pleasant, some in my eyes beautiful, and I want to be a risk-taker. I also went larger again in scale.

Sample p2-24 Materials
The materials chosen are a coarse hessian from a garden supply store (very rustic and natural) and a foil shelf liner (highly polished). When I got them out I was surprised to see an affinity in the grid of the two materials.

Sample p2-24 Plan
The foil used was around 60cm wide. The join technique is in thought process an extension of the circles of sample p2-21, but actually pushing the lower material through to make the join. A small section of the hessian pushed through would be held in place by a knot (larger than the hole), or additional material caught inside the “puff” of hessian.

Sample p2-24
The materials were too different to make the combination aesthetically appealing. Possibly roughly painting the hessian with a white or grey, or adding some trails of glitter or some foil applique would act as support to the existing small link of the grids. Both sides are too self-contained for the join to make sense.
The sample did last long enough to be the subject of a sketch in charcoal on kraft paper to wind up the exercise.
T1-MMT-P2-p1-e4 Overlapping edges
Textiles 1 – Mixed Media for Textiles
Part 2: Joining and wrapping
Project 1: Joining
Exercise 4: Overlapping edges