After having some very helpful input from Sian and Jen I decided to do some basic screen printing to decrease the amount of transparency in the lower panel, at least in order to hide the structure of the light that I'm using to illuminate this piece.
Jen suggested that I take some of the diamond shapes from the metal supports into the panel to give continuity to the piece. I also trialled some loose sea holly patterns as mentioned in the previous post, inspired by this sketch.
In the above image you can see my rudimentary screen and stencils 1, needless to say they produced a very loose effect, but I didn't want to go to the expense of buying a screen if the idea didn't work.
2 shows screen printing on lens tissue on the left and the negative shapes printed off onto mulberry paper on the right, at the end of the session.
3 shows screen printing on velum on the left and a last print off on the right on mulberry paper.
4 shows screen printing on nylon sheer for both samples.
Having had a taster of laminating in this module as well as reacquainting myself with the Committed to Cloth publication Paper and Metal Leaf Lamination, I decided to make a sample panel out of combining the diamond pattern on sheer and the sea holly pattern on the lens tissue, the idea being that this would make a good backing for my original rhythm sample.
The 2 layers have been laminated together with Bodaweb and then randomly stitched. However when I put it together with the sample in PAP 4 it looked to messy.
But it did work better on its own.
However, the light is still visible and as Sian rightly observed the frame still has too much of an office waste paper bin feel about it.
Getting stuck usually sends me off to my sketchbook and this is what I came up with working from my sea holly images.
And finally a photoshop composite to see if there was another way to make the laminate piece.
Then after all this experimenting I had one of those eurika moments and using my paper pulp sample as a starting point I decided to stick with all white and create a lace like structure for the panels that would sit behind the metal frame, so the texture would show through and link it to the body of piece.
The fame would be painted white and perhaps wrapped and paper pulped.
The possible start of a more detailed plan of this idea.
However, the next day I had time to experiment further with the frame and my screen printing samples and to my surprise I came up with this version.
In this version the velum would be mounted over the metal frame, keeping the paper pulp inserts in the mesh to break up the diamond pattern and the paper pulp sample would be mounted on the inside of the panel for shade purposes only.