My new toy: a 50-year-old Singer Sewing machine. I found it on a shelf of a vac-n-sew. (Best name for a Vac-n-Sew is Belmont, New Hampshire’s Vacman and Bobbin.) The vac ‘n’ sew that held this treasure is in Tempe, AZ. Two years ago, when The Cookin’ Man was left back in D.C. selling our house and I was in a small, dark apartment thinking it would be for just a month or so, I found a cheap vacuum. It turned out to be a good, cheap vacuum that lasted for two years. Last week it was overwhelmed by cat hair, so I went back to the vac ‘n’ sew. Found another good, cheap vacuum cleaner and there, on the shelf, was the sewing machine, reconditioned and ready to sew. The price was unbeatable. I’ve been looking for a 401 Singer sewing machine under a $200 for a year with no luck. This workhorse is tested and not all that easy to find!
The Singer 401A was produced around 1960. It’s an all-metal machine, not a bit of plastic on it, and a workhorse capable of years of studio work. The foot pedal has two bumps on it. The one on the right is solid, the one on the left runs the machine. You put the ball of your foot on both and then rock your foot to the left to make it run. Google helped me find SewClassic, who specializes in old Singers and SewUSA , who has free threading diagrams and bobbin winding instructions.
It might be important to add I don’t know how to sew. Like all heavy equipment in my studio, I gave the machine a name: Betsy—years ago Betsy McCall was a paper doll line for McCall’s magazine. Each month there was a story and a new set of outfits for Betsy. (That link will take you to printable downloads for the paperdolls, 1960-version. The same year the machine was made.)
What’s a sewing machine doing in a paper studio? Working. I want to put it to work creating raw art. I love the idea of sewing on paper, it’s another attachment method. But I think it may be the solution to the “free sheet v. book” dilemma. When I’m working on raw-art part of raw-art journaling, I like to work on flat, individual sheets. I also like to work on different kinds of paper–crackly, translucent cooking parchment for alcohol markers, Strathmore’s super-smooth, blendable surface for ink and alcohol markers, Arches Wove Text for almost everything else. On the other hand, I also like to keep the work together by date.
My idea is to sew signatures of different papers together, give them a sturdy paper cover and use them as my instant journals. The one that always is in the bag. Another signature can stay in the studio for wetter, messier work. When I have enough signatures made, I bind them all together and voilá! a raw-art journal with different papers and projects, all in one place.
I’ll report back when I learn how to thread and wind bobbins and sew on Betsy, my 50-year-old, all-metal collaborator.