2023
09/02/23 Bench day productivity!
I only had two days available to give to Bench Days at Urban Studio North. It means being very organised, having an order of work and being single minded! Almost all goals achieved.
Home with a good pile of fabric well loaded with Print Paste. Each piece needed soaking and rinsing at least five times then a wash to remove excess dye and paste. Three days later the fabric was ready to be auditioned with those I already had! See below.
I am now paper piecing the commission fabrics, bottom right image and doing the very last stitching to Stitch Club lengths.
Home with a good pile of fabric well loaded with Print Paste. Each piece needed soaking and rinsing at least five times then a wash to remove excess dye and paste. Three days later the fabric was ready to be auditioned with those I already had! See below.
I am now paper piecing the commission fabrics, bottom right image and doing the very last stitching to Stitch Club lengths.
31/01/23 Creating commission fabrics
Unusually for me I am working in very muted colours. It's a learning experience and I'm not going to use the breakdown technique, but empty screen print a base colour with Thermofax pattern added with dyes and acrylic paint.
To these I am adding plain dupion silk in allied shades.
To these I am adding plain dupion silk in allied shades.
31/01/23 Printing bench days at urban studio north
So lucky to have two Bench Days at USN with Leah Higgins. These are non tuition days, with access to bench and materials. Perfect to create cloth you know you need and using skills you are already practiced in. In two days you need to arrive with a plan and prepared materials. I had created a masking tape screen at home to speed up the process.
I had two main projects:
I had two main projects:
- A commission for a quilted throw for the foot of the bed
- Blue printed fabrics to team with the Indigo dyed fabrics from the autumn.
22/01/23 last year's stitch camp completed
While working on this years piece, I came across the second strip I created last year, unstitched. I decided to complete this before stitching the new one. I really enjoyed having the fabric in hand and thinking all the time about what colour, what stitch, add a bead or what! This one, too, is backed with the Tree Cotton strip I bought from The African Fabric shop and Maggie Relph.
18/01/23 GWEN HEADLEY'S STITCH CAMP pt.2
I turned the piece over to cut it so I was not influenced by the marks on the fabric. Then the big choice, whick squares to put together!
The squares are running stitched together and then the edges encased in herringbone stitch. I bought a length of undyed Tree strip cotton (from the Kapok family) on which to mount the srip and give weight and body to support the stitching.
The squares are running stitched together and then the edges encased in herringbone stitch. I bought a length of undyed Tree strip cotton (from the Kapok family) on which to mount the srip and give weight and body to support the stitching.
16/01/23 gwen headley's stitch camp
Day 1 - I have enjoyed an anarchic hour of adding marks to fabric, being as free as I can and using odd things to create marks. I've worked in Blue, turquoise, yellow and white, which are not my usual, go to, colours. Quite pleased with the results and went on to do same of Day 2 activities as I shall be tied up for much of the day. Now I need to audition then into strips and stitch them together.
15/01/23 catchup.....
December disappeared in a blaze of action on the social front and New Year brought Covid!!
Now recovered I am busy planning my artistic actions for the next year.
* My work remains in the Selling Gallery of Northampton Museum and Art Gallery until next month.
* I am about to kickstart the year with a week of "Stitch Camp" on line with Gwen Hedley, experimental marks and stitches.
*I am taking part in Travelling Books with 'Aspects of Stitch'. The first book I have have is themed Museums.
* I have two days at Urban Studio North, bench days, no tuition use of facilities - brilliant opportunity to create fabrics to work with this year.
* Art2Stitch have a challenge, work relating to an image for exhibition later in the year.
* I will consider the CQ Journal Quilts this year on the theme of Words.
* I have two wall pieces that I need to complete.
All in all I'm not likely to be scratching around for things to do!!
Now recovered I am busy planning my artistic actions for the next year.
* My work remains in the Selling Gallery of Northampton Museum and Art Gallery until next month.
* I am about to kickstart the year with a week of "Stitch Camp" on line with Gwen Hedley, experimental marks and stitches.
*I am taking part in Travelling Books with 'Aspects of Stitch'. The first book I have have is themed Museums.
* I have two days at Urban Studio North, bench days, no tuition use of facilities - brilliant opportunity to create fabrics to work with this year.
* Art2Stitch have a challenge, work relating to an image for exhibition later in the year.
* I will consider the CQ Journal Quilts this year on the theme of Words.
* I have two wall pieces that I need to complete.
All in all I'm not likely to be scratching around for things to do!!
2022
17/11/22 exhibiting at northampton museum and art gallery's selling gallery
Delighted to have been accepted as a selling artist at the Northampton Gallery. Work is now hanging. Pictures to follow.
07/11/22 exploring india at dusk
Back in 2018 we visited India for an experience of a lifetime. My creative mojo took a dive over Covid but, now that outside creative interactions are back and gallery visits possible, I'm creating again!
I'm still finishing Rust, Decay piece, cogitating over larger lettering but well stuck in to Dusk in India.
This piece uses a hand dyed cotton, which I screen printed with temple outlines and an Indian text printing block.
I'm still finishing Rust, Decay piece, cogitating over larger lettering but well stuck in to Dusk in India.
This piece uses a hand dyed cotton, which I screen printed with temple outlines and an Indian text printing block.
Once printed I have been exploring using the dome silhouette as applique elements in the piece. I have used hand dyed cottons and various silks for these. I have handstitched the printed silhouettes and applied oil stick as outlined domes.
I am now hand stitching rough stars over the background.
I am now hand stitching rough stars over the background.
30/10/22 Art2stitch at big textile show
The group have had a stand at the show this weekend looking to encourage additional members and showcase the way the group works and the textiles members produce.
An excellent opportunity to talk about textiles to an audience who appreciate the activities, designs and outcomes. Such a cross section of interests represented, and I have so enjoyed the many textile focused conversations had over these two days.
An excellent opportunity to talk about textiles to an audience who appreciate the activities, designs and outcomes. Such a cross section of interests represented, and I have so enjoyed the many textile focused conversations had over these two days.
Decay / Neglect wall hanging takes shape
29/11/22
Progress has been rather slow! Good weather, trips away and some dressmaking have got in the way. The stitched strips have been mounted on felt and I have been printing a small amount of text onto the piece. I am now exploring adding some much larger text and quilting with a random triangular machine stitch.
Progress has been rather slow! Good weather, trips away and some dressmaking have got in the way. The stitched strips have been mounted on felt and I have been printing a small amount of text onto the piece. I am now exploring adding some much larger text and quilting with a random triangular machine stitch.
Breakdown printed fabrics for neglect/decay themed work
My original fabrics created at Urban Studios North last summer were added to on my recent Bench Days. This collection of themed fabrics now form the basis of new work.
I am going to use a vertical strip construction and experiment with adding some text.
I am going to use a vertical strip construction and experiment with adding some text.
30/07/22 bench days (cont.)
Breakdown printing fabrics took up the majority of my time. Preparing the screen with masking tape to form a design, painting the screen with thickened dye and drying it thoroughly. Then the fun begins! You have no way of knowing how the dried dye will react, quickly, or slowly and which areas of dye will breakdown first. Such a serendipitous process!
I also painted a screen with dye straight from the bottle to form a grid and dried that thoroughly and created blue grids, and blue rectangles.
The results were interesting. The dye families were vibrant but will work well for some landscape appliques.
I also painted a screen with dye straight from the bottle to form a grid and dried that thoroughly and created blue grids, and blue rectangles.
The results were interesting. The dye families were vibrant but will work well for some landscape appliques.
21/07/22 bench days at urban studio north
Fabulous opportunity to have uninterrupted time in a fully resourced studio, I've had two days in Leah Higgins' studio dyeing and printing fabric. So good to have space, the right kit and an expert occasionally available to ask silly questions that you ought to know the answer to already!!!
16/07/22 Updating progress
I feel that I have been a bit of a rock hopper. Finding it difficult to stick to one thing. I also find myself drawn to the outdoors when the weather is good, so leaving my machine alone upstairs!
I have assembled, stitched and dyed natural fabrics to take part in an experiment with Art 2 Stitch. Details of this can be found on the Art2Stitch website.: link follows: https://www.art2stitch.com/sharing-what-we-do.html
I have assembled, stitched and dyed natural fabrics to take part in an experiment with Art 2 Stitch. Details of this can be found on the Art2Stitch website.: link follows: https://www.art2stitch.com/sharing-what-we-do.html
4/07/22 Edinburgh
Three fabulous days in Edinburgh with old friends. Great fun and some images that I may want to use in futute work. The Parliament building is fascinating and at the other extreme, the old town.
29/06/22 & 12/07/22 78 Derngate - meet the artist
It's been really interesting to spend time at the gallery on "Meet the Artist" days. A chance to chat to visitors about the work, textile art and the inspiration for my pieces. I enjoyed that contact and learned some different views about the purchase-ability of textile pieces.
04/06/22 re-THINKING AN OLDER PIECE OF WORK - part 2
I have decided to be radical. I am quilting interlocking circles and finally I will paint the surface to enhance the texture and unite the piece. Painting the surface was more difficult than I expected. Reducing the amount of printing ink on the brush and using a very old, rough brush helped. A thin brushed layer works best I think.
30/05/22 re-thinking an older piece of work
At least a couple of years ago I started making a piece on a pieced background of different white or cream fabrics. On this background I used oil stick paints to create circle motifs in a pale blue. weirdly I then added a foundation pieces triangular element between two panels described above.
Looking at it now I wonder what on earth can have been going through my mind!
No way would I now want a piece like this. So...... what to do with it. I am loathed to bin work, I'd rather re-purpose it!
I hung it on the wall and and looked at it over several days.
Looking at it now I wonder what on earth can have been going through my mind!
No way would I now want a piece like this. So...... what to do with it. I am loathed to bin work, I'd rather re-purpose it!
I hung it on the wall and and looked at it over several days.
28/04/22 Exhibition pieces
The following images show the day that we hung the show. After a few changes necessitated by changes made at 78 Derngate we did manage to hang 90% of the pieces.
They give an impression of the layout and the two distinct bodies of work we have hung.
(below are the Rennie Macintosh house related pieces.) More images to follow.
They give an impression of the layout and the two distinct bodies of work we have hung.
(below are the Rennie Macintosh house related pieces.) More images to follow.
24/03/22 aspects of stitch with jane stock
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Jane Stock who is a member of the Visualise art group spoke at our meeting yesterday evening about Indigo dueing and using indigo dyed fabrics. Her experimental notebooks were really fascinating, both with the variety of shades of blue achieved and the Sachiko type stitching that she employed. A very enjoyable evening.
Jane also led a short handstitch workshop using small leftover pieces of indigo cloth, some of our own fabrics and beads. Here are my two attempts!. |
19/03/22 card making
With so many samples created in working out the 'Strandline' piece, I wanted to find a constructive way to use them. As I like to create cards of my own for occasions, it seemed a good idea to try out a few small pieces.
Mounting them on a variety of card colours allowed me to explore the impact they made.
Mounting them on a variety of card colours allowed me to explore the impact they made.
I plan to create a few more for my next exhibition as sales. I'm also making Inspiration packs of fabrics and threads which will be for sale too.
20/01/22 Stitch camp with gwen hedley
I always find it hard to start on new pieces of work when the creative muscle is cold. I was delighted to find a five day programme offered by https://www.textileartist.org/gwen-hedley-stitching-distress-and-repair/
Gwen provided a short video and spoken introduction to the day's task and we were then free to work at our own pace on our own interpretation of her ideas. Working on a course linen I applied fabric paints and printing inks to create abstract pattern on the fabric using two colours and black or white. I decided to work in Red, Yellow and Black.
Gwen provided a short video and spoken introduction to the day's task and we were then free to work at our own pace on our own interpretation of her ideas. Working on a course linen I applied fabric paints and printing inks to create abstract pattern on the fabric using two colours and black or white. I decided to work in Red, Yellow and Black.
Day two, we were asked to cut these into squares or rectangles which we would then re-join in linear form. These sections were then stitched together by overlapping the edges with tiny hand stitches
16/01/22 commission completed
I spent much of early December completing a commission for a Poppy themed piece of work. It is now in it's new home. I have been given permission to post a small section of the work here.
I enjoyed the challenge but deadlines are really not my think!
2021
13/11/21 bedhead - trialing screen print addidtions
As the overall effect of this piece is horizontal I am looking for some vertical elements to break up the surface. Vertical runs have sampled machine couching threads in lines and zig-zag and I have tried screen printing a radio wave image across the horizontal lines too. Below are some images.
I like the radio waves, but the colour is too strong, will use a slightly paler shade of magenta.
I like the radio waves, but the colour is too strong, will use a slightly paler shade of magenta.
1/11/21 returning to the bedhead
The only downside to all our recent travelling is that my fabric work has been neglected!
I am now working again and almost completed the main strip construction. To be ready for the next phase I am now experimenting with how I will quilt the surface.
Should the quilting stitches be parallel to the strips or at right angles? Should the quilting sink into the overall pattern or stand out? My previous post on this topic shows quilting running in the same direction as the strips.
The following images show some of the experiments that I've worked on and the conclusions I have reached.
I am now working again and almost completed the main strip construction. To be ready for the next phase I am now experimenting with how I will quilt the surface.
Should the quilting stitches be parallel to the strips or at right angles? Should the quilting sink into the overall pattern or stand out? My previous post on this topic shows quilting running in the same direction as the strips.
The following images show some of the experiments that I've worked on and the conclusions I have reached.
My preference is for quilting at right angles to the strips, in grey which sinks into the piece but with periodic deep pink short zig-zag elements scattered across the quilt. I shall have to be very careful with the vertical quilting to keep it at right angles to the quilt top.
31/10/21 "aspects of stitch"
It was so good to return to real meetings of this monthly embroidery and textiles group in person. So much has happened since the last session twenty months ago, we enjoyed catching up and hearing from three members in detail of what they spent lockdown doing creatively. However the star attraction was the return of the Travelling books to their originator. Over the lockdown we had continued to create a piece of work for the appropriate book each month but without receiving the book. Each of us then had a couple of days recently to mount our pieces in the books with a descriptor.
It was really lovely to see all the work and to discuss pieces which really caught our eye. A couple of images from these to follow.
Let us hope that we all behave with sense and thought for others so that groups like ours can continue to meet and enjoy the company and artistic stimulation!
It was really lovely to see all the work and to discuss pieces which really caught our eye. A couple of images from these to follow.
Let us hope that we all behave with sense and thought for others so that groups like ours can continue to meet and enjoy the company and artistic stimulation!
28/10/21 Travelling around our family
It has not helped my stitching, but we have enjoyed being able to visit family in France for the first time since they moved over a year ago. September in Burgundy was wonderful. Warm, sunny and with loads to explore. We walked, swam, enjoyed local food, wine and a great catch up. A few photos follow.
We then drove up to western Scotland to have a week of walking and time with my sister and my other nephew. The weather was not kind, we had a lot of rain, but only to be expected. Since living in Scotland in the early '70's we have tried to return most years, we love the scenery, walking, seafood and the Stornaway black pudding!
Finally we have been on a nostalgic visit to the Yorkshire coast where J grew up, enjoying coastal walks in sunshine and rain!
Now, recovered from these lovely times, I'm ready to pick up my needle again and enjoy the creative process.
We then drove up to western Scotland to have a week of walking and time with my sister and my other nephew. The weather was not kind, we had a lot of rain, but only to be expected. Since living in Scotland in the early '70's we have tried to return most years, we love the scenery, walking, seafood and the Stornaway black pudding!
Finally we have been on a nostalgic visit to the Yorkshire coast where J grew up, enjoying coastal walks in sunshine and rain!
Now, recovered from these lovely times, I'm ready to pick up my needle again and enjoy the creative process.
29/8/21 composition and construction - bedhead
I am now ready to begin the construction phase with my Breakdown printed fabrics. My priority is to create a bedhead for the newly decorated bedroom, this means working in the grey, pink and white colour palette.
These are not my usual colours. I have however found some fabrics among my collection and have purchased a couple of fabrics where I had tonal holes.
I want an abstract end product, a simple construction to allow the fabrics not the construction to shine. I also want a flat finish, no puffy wadding effect. I am trialling a felt base again. To keep the top flat on the felt I am going to use a stitch and flit construction (see Image 1) I am now buying felt, as my pieces are too small.
A trial piece was made this weekend and from that I am now cutting from my printed cottons.
These are not my usual colours. I have however found some fabrics among my collection and have purchased a couple of fabrics where I had tonal holes.
I want an abstract end product, a simple construction to allow the fabrics not the construction to shine. I also want a flat finish, no puffy wadding effect. I am trialling a felt base again. To keep the top flat on the felt I am going to use a stitch and flit construction (see Image 1) I am now buying felt, as my pieces are too small.
A trial piece was made this weekend and from that I am now cutting from my printed cottons.
24/8/21 breakdown printing 2
The other technique I really liked was "Masking Tape" resists. Really simple to set up, strips of masking tape are positioned on the front of the screen to form a grid or pattern. Thickened dye is painted over the screen and put to dry. Once the dye has thoroughly dried, the tape is removed, the screen has a well created on the front side and printing begins.
Leah's book "Breakdown Your Palette" gives really good visual prompts and very clear instructions, invaluable when I forget what I did! It's available on her website. (www.leahhiggins.co.uk)
I went on the course with two particular projects in mind, and ended up with a third as well!
The main focus was on my Rust Belt project in the Margins series where I used embedded objects and a grid screen. See Image 1
Sinking Venice was theme two in a blue colour scheme See Image 2
By was of serendipitous adventure I worked in pinks and greys which I wanted for a piece to hang behind the bed in our newly decorated bedroom. See Image 3
Leah's book "Breakdown Your Palette" gives really good visual prompts and very clear instructions, invaluable when I forget what I did! It's available on her website. (www.leahhiggins.co.uk)
I went on the course with two particular projects in mind, and ended up with a third as well!
The main focus was on my Rust Belt project in the Margins series where I used embedded objects and a grid screen. See Image 1
Sinking Venice was theme two in a blue colour scheme See Image 2
By was of serendipitous adventure I worked in pinks and greys which I wanted for a piece to hang behind the bed in our newly decorated bedroom. See Image 3
21/8/21 Breakdown Printing
I have not worked so hard since I retired! My stamina let me down towards the end! I knew before I started that I wanted to learn printing with embedded objects as a priority. Leah is an excellent teacher with very clear information and a great deal of patience!
Fascination trying to select objects with the ability to make a strong mark that would be heavy enough to displace the dye! This method requires that the dye is painted on the outside of the screen and your objects are pushed into the dye and left to thoroughly dry before screen printing with print paste on to the fabric.
Photos below are of my first attempt!
Fascination trying to select objects with the ability to make a strong mark that would be heavy enough to displace the dye! This method requires that the dye is painted on the outside of the screen and your objects are pushed into the dye and left to thoroughly dry before screen printing with print paste on to the fabric.
Photos below are of my first attempt!
20/8/21 Salford & breakdown printing
I seem to have waited a very long time to enjoy a five day course with Leah Higgins at Urban Studios North. I rented a furnished flat on Salford Quays. Interesting modern architecture and water make a good combination. I feel that some of these images may spark a new piece of work in the autumn. The real purpose of the visit was to learn the intricacies of Breakdown Printing on fabric.
10/8/21 North York Moors and a celebration
Glorious moorland and a comfortable Inn at Levisham, gave us a great weekend of celebrations for the fiftieth anniversary of our wedding among old friends. Some interesting images collected.
03/8/21 festival of quilts - competition pieces
I am afraid that there were few competition quilts that really caught my eye this year. Maybe my eye was a bit jaded following lockdown and the lighting was not kind to them.
I've singled out three to highlight. Each very different.
Brigitte Debenham's tightly drafted, bold and colourful piece titled "A Question of Change" drew me in and I am still looking at the subtle changes introduced across the piece.
Janet Cudby's shimmering, golden offering was in some ways a simple piece but the choice of fabrics and the crossed inserts kept me interested.
Heidi Koenig's 3D piece in Fine Art Quilt Masters really caught my eye and piqued my curiosity. The lighting did not do it any favours. Quite against its concept and presence as an art work, I was interested in how it was constructed. The achilles heel of textile art is that many of us trying to create meaningful compositions still enjoy the minutiae of how to achieve the effects!
I've singled out three to highlight. Each very different.
Brigitte Debenham's tightly drafted, bold and colourful piece titled "A Question of Change" drew me in and I am still looking at the subtle changes introduced across the piece.
Janet Cudby's shimmering, golden offering was in some ways a simple piece but the choice of fabrics and the crossed inserts kept me interested.
Heidi Koenig's 3D piece in Fine Art Quilt Masters really caught my eye and piqued my curiosity. The lighting did not do it any favours. Quite against its concept and presence as an art work, I was interested in how it was constructed. The achilles heel of textile art is that many of us trying to create meaningful compositions still enjoy the minutiae of how to achieve the effects!
02/8/21 festival of quilts - Graduate showcase
I am always very interested to see the exhibits of students singled out for the Graduate Showcase at Festival. It's a glimpse of the thinking of the young and talented in its raw form.
This year I was particularly struck by Ruby Bannister's work. The combination of printed, laminated and laser cut fabrics was really eye opening. Aspects of this could be incorporated into my own practice in a low tech way. I am full of admiration for the vision of young designers.
This year I was particularly struck by Ruby Bannister's work. The combination of printed, laminated and laser cut fabrics was really eye opening. Aspects of this could be incorporated into my own practice in a low tech way. I am full of admiration for the vision of young designers.
31/7/21 Festival of quilts - sabi westoby
I bought my ticket early more in hope than expectation and spent the summer unsure about whether I would feel safe enough to go.
I need not have worried. You had to be double jabbed for have a negative test, there was more space and fewer people. I so enjoyed meeting friends and seeing exhibits.
The exhibit that stood out for me was Sabi Westoby's "Uprooted" gallery highlighting the plight of refugees and migrants fleeing to Europe. Her work catalogued the 34,361 souls who perished trying to reach europe or being denied the right to stay once they had arrived. The hardest part to bear was that such a tiny proportion died with us knowing their name.
It's a stark and poignant exhibit that deserves a wider audience and for us to question our humanity and our response to those who only want what we take for granted or to flee persecution.
I need not have worried. You had to be double jabbed for have a negative test, there was more space and fewer people. I so enjoyed meeting friends and seeing exhibits.
The exhibit that stood out for me was Sabi Westoby's "Uprooted" gallery highlighting the plight of refugees and migrants fleeing to Europe. Her work catalogued the 34,361 souls who perished trying to reach europe or being denied the right to stay once they had arrived. The hardest part to bear was that such a tiny proportion died with us knowing their name.
It's a stark and poignant exhibit that deserves a wider audience and for us to question our humanity and our response to those who only want what we take for granted or to flee persecution.
25/7/21 finding my mojo
It's been a hard couple of months. I have found my creative juices had dried up and my usual sources of inspitation have left me cold. Profoundly depressing when the act of creating in textiles is what makes me tick.
I have fallen back on making clothes so the sewing machine has not been idle!
Printed, stretch denim bequeathed to me kept winking at me. I wanted a bohemian effect. So.. no facings or hems, machine washed to distress the raw edges and beads , buttons and a brooch added! I love it, quirky as it is!
I have fallen back on making clothes so the sewing machine has not been idle!
Printed, stretch denim bequeathed to me kept winking at me. I wanted a bohemian effect. So.. no facings or hems, machine washed to distress the raw edges and beads , buttons and a brooch added! I love it, quirky as it is!
16/6/21 Breakdown Printing
All set for the long awaited treat of working with Leah Higgins for five days when she was forced to cancel due to a covid ping. So sorry for her and disappointed myself.
Have re-booked for August. Fingers crossed!
Have re-booked for August. Fingers crossed!
1/6/21 Coastal images
After many months of being in Lockdown we have finally been away from home for a week on the Suffolk coast. Self catering meant that we could still keep our distance but enjoy being outdoors and walking in very different conditions from home.
I found the Blyth river anchorage a very fruitful location for abstract images that may lead to further pieces of work or as the basis for colour schemes for hand dyed fabrics. Here are a few of the iamages I really like.
I found the Blyth river anchorage a very fruitful location for abstract images that may lead to further pieces of work or as the basis for colour schemes for hand dyed fabrics. Here are a few of the iamages I really like.
16/5/21 Paper Pieced quilt complete
Through Lockdown I have been using up fabric from my stash. With paper piecing It is a gentle activity for the garden, in front of the fire or watching TV. It seems to grow really quickly and surprisingly the large quilt is now finished. Photographs are not my best this time but convey the essence of the piece. It is in a colourway that is highlu unusual for me, pink and brown!
Surprisingly, I have enjoyed this old craft and it provided a change of tempo from designing and creating work from ideas and images with anything possible!
Surprisingly, I have enjoyed this old craft and it provided a change of tempo from designing and creating work from ideas and images with anything possible!
11/4/21 April Journal quilt
This month's Journal quilt is loosely based on an Indian Toran.(door curtain) The background is snow dyed then machine quilted. The flags are cut from silk and appliqued into the background. Simple stitches with beads, shisha are then stitched in place and cross cultural beads ,from various African countries, are then stitched in place.
05/4/21 using the course to create a card for my sister
Being separated from family during the epidemic has been really hard, especially at those times when we would have been together. As I had enjoyed Tansy's course so much I thought I would using the fabrics I had left over to create a small piece. I tried to create a garden feel.
Here are a couple of details from the piece.
Here are a couple of details from the piece.
03/4/21 day 12 Third piece, surface decoration
Interestingly this has been the hardest to work on. Not sure that the compositions "said" anything to me and I struggled to decide how to augment the initial applique. I added some lines and ovals using Neocolour crayons, these then suggested some stitch patterns. However, I am at a full stop now and am leaving the piece on the wall while I work on other things in the hope that inspiration may strike as I walk by! This is where I have left it!
02/4/21 Day 11 piece two - applique & embroidery
Having worked on one piece, I felt fairly confident in making choices for the second. It reminded me of a garden so my choices of embellishments were those reminiscent of flowers and shrubs. It came together quickly and was uplifting to work on.
01/4/21 day10 anchoring and embellishing
Really enjoyed just "letting my hair down" and giving full reign to what the piece felt it needed. As I had no preconceived idea of what I would create through theis process, it seemed easy. Very liberating. As a first attempt I am fairly pleased with the outcome. I also realised that I really enjoy free machine stitch.
31/3/21 day 9 composing 3 trial pieces
Now for the really challenging bit! What do I do with all these painted, printed fabrics? For my first attempt I went back to the collages of Day 2. I tried to reproduce the torn paper pieces by small cut sections of fabric. Big mistake. It was so bitty, it had no focal point and even screwing up my eyes I could detect no link with the collage!
I've still got it, but its metaphorically in the bin.
Trial 2 was better thought out and based on the weekend 10" arrangements of the painted pieces. The cut fabric was larger and I was looking at balance and focal point as I auditioned pieces. The foundation for all of this was a light weight calico and a sheet of Bondaweb. The pieces placed and then ironed in place. Some additional scrapa were added, each with a little piece of Bondaweb to hold them in place.
Discounting the first trial I had 3 by the end of the day.
I've still got it, but its metaphorically in the bin.
Trial 2 was better thought out and based on the weekend 10" arrangements of the painted pieces. The cut fabric was larger and I was looking at balance and focal point as I auditioned pieces. The foundation for all of this was a light weight calico and a sheet of Bondaweb. The pieces placed and then ironed in place. Some additional scrapa were added, each with a little piece of Bondaweb to hold them in place.
Discounting the first trial I had 3 by the end of the day.
29/3/21 day 8 further additions
Spent the day looking at different images that could be printed directly onto fabric. Not using pre-packaged fabric o paper sold for the purpose, but putting the painted fabric through the printer. Tansy Hargan puts the painted fabric through on its own, I used a little 505 spray to hold mine onto paper.. I wanted some text and a couple of images that fitted the theme. However, after three successful passes through the machine, the fourth got stuck!
It proved very awkward to remove both paper and cloth.
It proved very awkward to remove both paper and cloth.
27 & 28/3/21 days 6 & 7 composition and additions
The weekend was a chance to review what we had done and to audition the painted fabrics as possible compositions. This was fascinating and really forced me to be critical of the balance of my colours and in places add a few small pieces of colour pops. Using a picture mount I photographed each composition so that I was able to see how I felt about it and try yet another option!
I overstepped the instructions on Sunday and started to use some of my stock of Thermofax screens to add words to areas of my painted sheets. Trying to only transfer elements of the writing not the entire text.
26/03/21 day 5 Marking the painted surfaces
When the cloth dries the colours sometimes reduce in depth. Looking critically at my painted cloth I recognised the need for some additional texture and some "popping" colour.
I have really valued my Inktense blocks, as watercolour direct from the block, and have used them in the morning, with stencils, to add detail and pattern to break up larger areas. I wanted to create the impression of grasses and twigs.
Once these were dry I used the blocks dry and Neocolour wax crayons to make small changes to the pieces.
Very enjoyable activity and I re-learned a good technique from fellow students, take B&W images to get an idea if balance.
I have really valued my Inktense blocks, as watercolour direct from the block, and have used them in the morning, with stencils, to add detail and pattern to break up larger areas. I wanted to create the impression of grasses and twigs.
Once these were dry I used the blocks dry and Neocolour wax crayons to make small changes to the pieces.
Very enjoyable activity and I re-learned a good technique from fellow students, take B&W images to get an idea if balance.
25/03/21 Days 3 & 4 Deconstructing clothes and painting
The initial practical process was to unpick some natural fibres clothes no longer wanted. I only had a couple but spent a number of hours taking them apart, seam by seam, to create their constituent parts, minus the interfacing.
To be honest, I found it tedious because I was mentally ready to move on with the design elements but I made me appreciate the fine margins in commercially constructed clothes.
The following day we were encouraged to select colours and to paint the fabric to create the colour palette we would then be working with. I decided to use a mixture of screen printing inks, Inktense Blocks and a little acrylic paint.
So many decisions to make......
I started with a group of greens, yellow based, and then blue based, going on to yellows and some browns. It was a delightfully messy process and finding somewhere to dry them all in my small workroom led to some very Heath Robison contraptions! By the end of the day I was quite please with my collection of fabrics.
24/03/21 Day 2 and collage
Day 2 concentrated on taking our initial drawings into collage and colour. Painting paper for use was a new idea for me, but effective as you could create papers in the 'right' colours. We were encouraged to mark the papers to increase their texture.
Once dry, these could be torn up and, in small squares, stuck down to give an impression of the drawings from the day before.
New to me, and initially too loose for my liking, I enjoyed trying to tease out the shape and pattern.
Once dry, these could be torn up and, in small squares, stuck down to give an impression of the drawings from the day before.
New to me, and initially too loose for my liking, I enjoyed trying to tease out the shape and pattern.
23/03/21 "from sketchbook to the wall" online course with Tansy Hargan
I have followed Palimpestparade (Tansy Hargan) on Instagram for quite a while. I have been fascinated by the end products and interested to know a bit more about the methodology that took her to this place.
I was lucky to sign up to her online two week programme which started yesterday! We are a truly international collection of students from a good many backgrounds.
Readers will know that drawing is not my strong point, but I really enjoyed looking in a slightly different way.
Below are a couple of images from yesterday.
I was lucky to sign up to her online two week programme which started yesterday! We are a truly international collection of students from a good many backgrounds.
Readers will know that drawing is not my strong point, but I really enjoyed looking in a slightly different way.
Below are a couple of images from yesterday.
15/03/21 February journal quilt
While walking through the very narrow streets of Old Delhi we caught glimpses of ancient doorways, and heavy, carved, studded doors. Each different. My eye was caught by the this garish one (left) which shone out from the alley. No doubt pained over and over until the carving was less and less visible. I have created a nine patch block (right) based on the colours of the door with Kantha stitching and machine quilting. Finally I have attempted the create the studs using a mixture of hand painted buttons and Ghanaian recycled beads |
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10/03/21 January Journal quilt
This has been a very experimental first attempt. I have experimented with using Inktense Blocks, dry on fabric and like a paint. I love the vibrant colours that are possible and the wide range of variants within one colour range. I found that they work well with stencils and I was able to create a background that resembled the highly decorative walls in historic buildings. I have used this as my background for an applique version of the temple, burial chambers
If I have time at the end of the year I shall try to repeat this idea with a clearer plan for the placement of elements of the design.
I'm delighted to now feel confident in using the Inktense blocks again.
21/02/21 Journal quilts - new project for this year
This year there are some constraints to work with. 12 pieces with limit on size or no less than 6" and no more than 12" in any direction and the 12 pieces must go together to create one large piece at the end.
I have decided to go back to our amazing visit to India in 2018 as the source of my ideas.
It has been difficult to sustain work on some of my larger pieces this year so I am hoping that the small size will encourage me to get the pieces completed. I have the added incentive that groups of completed pieces must be published on the CQ Facebook page periodically.
January's piece has been based on the Hindu temples which line the river in Bateshwar.
I have decided to go back to our amazing visit to India in 2018 as the source of my ideas.
It has been difficult to sustain work on some of my larger pieces this year so I am hoping that the small size will encourage me to get the pieces completed. I have the added incentive that groups of completed pieces must be published on the CQ Facebook page periodically.
January's piece has been based on the Hindu temples which line the river in Bateshwar.
23/01/21 Layout design
As with the two previous pieces in this series I have used EQ7 to design the layout, print it and produce a cutting pattern for each piece. It helps with accuracy of piecing when the joins do not follow a set pattern.
23/01/21 printing fabric from images
I have again taken one of the Rust Belt images and worked in Photoshop with it to posterise the images before getting it commercially printed.
Below isa copy of the image and the printed fabric.
Below isa copy of the image and the printed fabric.
18/01/21 rust belt materials collection
As with many textile artists I have an extensive collection of fabrics from which to make selections when starting a new piece of work. As with the previous two Margins pieces I have used Photoshop to change the appearance of an image to ready it for being commercially printed onto fabric for this piece.
Below is my initial fabric collection and the manipulated factory printed cloth.
Below is my initial fabric collection and the manipulated factory printed cloth.
16/01/21 on the margins - no 3 rust belt
Growing up in the Somerset countryside and then Bath I had little experience of heavy industry, mining and factories. Aware of their existence but without direct experience.
At fourteen we had a travelling holiday up to Scotland and back, right the way through England. The sheer scale of the power stations, pit heads, steel works caught my imagination and I was fascinated. A little ashamed to admit now that the fascination was a purely visual one!
Later, living in Consett with an unobstructed view of the blast furnaces and working at Billingham and Seaham in communities shaped by heavy industry my interest was more practical and lay with the young people whose homes were here.
I was still in awe of the size and complexity of the sites and the seeming mess of pipes when we moved to Corby and its steel works. In the Queen's Jubilee year 1977, the plant was open for organised tours for families of employees. Now I got to see the reality of the casting and rolling and my esteem for the staff was raised, seeing the inferno of an atmosphere.
Finally as older adults we travelling across America on a couple of occassions and the decay of old industrial sights, just left to decay, has stayed with me.
It has now percolated to the top of my mind as soon as started work on aspects of the Marginal.
The following images have fed my mind and influenced my choices of fabric since October.
At fourteen we had a travelling holiday up to Scotland and back, right the way through England. The sheer scale of the power stations, pit heads, steel works caught my imagination and I was fascinated. A little ashamed to admit now that the fascination was a purely visual one!
Later, living in Consett with an unobstructed view of the blast furnaces and working at Billingham and Seaham in communities shaped by heavy industry my interest was more practical and lay with the young people whose homes were here.
I was still in awe of the size and complexity of the sites and the seeming mess of pipes when we moved to Corby and its steel works. In the Queen's Jubilee year 1977, the plant was open for organised tours for families of employees. Now I got to see the reality of the casting and rolling and my esteem for the staff was raised, seeing the inferno of an atmosphere.
Finally as older adults we travelling across America on a couple of occassions and the decay of old industrial sights, just left to decay, has stayed with me.
It has now percolated to the top of my mind as soon as started work on aspects of the Marginal.
The following images have fed my mind and influenced my choices of fabric since October.
14/01/21 finishing second At the Margins piece
The On the Margins - Neglected piece is now complete. The most fiddly job was to position and machine stitch each of the applique leaves onto the quilt surface.
18/12/20 Christmas
This year has been weird and difficult and has stretched our ability to keep upbeat and busy. With events and gatherings cancelled we have been left to draw upon our own resources.
Being in contact over Christmas, remotely in our case, has been oh so vital. Rather than buy cards I have used my time to select, edit and print my own cards from images taken this year.
Having a phone camera with me everyday when I have been out walking means I have a great library cataloging the changing seasons on a somewhat repetitive series of walking routes!
I have enjoyed the process of selection and printing and mostly, composing messages to further the imporant relationships I have missed so much this year.
Here are a selection of my card images.
Being in contact over Christmas, remotely in our case, has been oh so vital. Rather than buy cards I have used my time to select, edit and print my own cards from images taken this year.
Having a phone camera with me everyday when I have been out walking means I have a great library cataloging the changing seasons on a somewhat repetitive series of walking routes!
I have enjoyed the process of selection and printing and mostly, composing messages to further the imporant relationships I have missed so much this year.
Here are a selection of my card images.
8/11/20 changes at 78 derngate
Having lost our exhibition the summer because of the Covid 19 lockdown we now have a three month show in spring 2022!
8/11/20 fabulous fabric find!
Maggie Relph's African Fabric Shop has turned up trumps again and I have purchased a length created by Beta from Ghana in reds and turquoise with black, totally abstract. Carefully cut I'm hoping to combine with some of my hand dyed pieces to create a riot of colour!
It seems the sort of project that will suit my rather muted state of mind, not seeing folk, although I am walking good distances every day so far!
It seems the sort of project that will suit my rather muted state of mind, not seeing folk, although I am walking good distances every day so far!
5/11/20 back in lockdown again!
, I realise that I am fortunate with my circumstances and that I need to look at the positives! Mostly time to devote to my textiles and a determination to get out and walk every day!
I'm starting a Lockdown playlist.......
Starting with
"Always look on the bright side of life" Monty Python soundtrack
Ian Drury and the Blockheads "Reasons to be cheerful"
Beethoven - Symphony 9 third movement "Ode to Joy" for its beauty
Saint Saens Organ Concerto Finale just spectacular!
Boogie Woogie Stomp - Albert Ammons ,
Try them out and I bet you will be smiling!
I'm starting a Lockdown playlist.......
Starting with
"Always look on the bright side of life" Monty Python soundtrack
Ian Drury and the Blockheads "Reasons to be cheerful"
Beethoven - Symphony 9 third movement "Ode to Joy" for its beauty
Saint Saens Organ Concerto Finale just spectacular!
Boogie Woogie Stomp - Albert Ammons ,
Try them out and I bet you will be smiling!
4/11/20 colour a new book by Leah Higgins
As you know I am passionate about colour, it is often the starting point for a piece of work and I rarely work in pale or neutral colours, I like the bling of colour!
Alot of what I have learned about colour when creating fabrics has come from Leah Higgins. She has now published her second book. Cant wait to actually handle it and dive into it!
Meanwhile, here is a link to Lear's details about the book:
https://www.leahhiggins.co.uk/colour-your-palette-book
31/10/20 A chance to unwind and enjoy a change of scene
After six months of being tied to home we have spent time away! Such a treat to be somewhere else, to see somewhere different, enjoy a rural peace and tranquility. Time to expand ones mind and take in new things.
A week in Argyle, its rugged coast and timeless settlements, seafood in abundance and bracing air. Somewhere to stretch our legs, and explore.
A week in Argyle, its rugged coast and timeless settlements, seafood in abundance and bracing air. Somewhere to stretch our legs, and explore.
A second trip took us up to Yorkshire to Warfdale. I love the tight valleys, steep hills, running water and solid stone settlements. Glorious food for Yorkshire appetites and walks to light up the imagination.
Given the lockdown imposed today, feeling very privileged to have had these mind widening trips to feed off now that we are tied once again to home.
Given the lockdown imposed today, feeling very privileged to have had these mind widening trips to feed off now that we are tied once again to home.
25/9/20 rural decay developments 2
I am looking at the surface decoration that I may add to this piece. One of the signs of neglect and decay in an outdoor environment is the development of the structures becoming over grown with ivy. I am going to experiment with creating ivy leaves and have strands of it wander up the piece. I have used knitting wool to create the stems and have laminated two layers of fabric with Vliesofix Bondaweb to create leaves, layers giving some sense of movement to the leaves.
23/9/20 rural decay developments
I have now completed the quilting of the whole piece. Slightly monotonous to do the stitching, I found my shoulder hunching and rising round my neck as we tried to fathom out how we could keep the pattern flowing It wasn't as easy to complete as I had thought, I needed a plan of attack for this stitching! It meant leaving the quilt in the machine between each session. Below, whole quilt and a detail.
Rural Decay - Quilted
Rural Decay - detail
14/8/20 At the Margins - rural decay
My second foray into the marginal has concentrated on elements of rural decay, what you see on a walk that has been left behind, not cared for, allowed to disintegrate and eventually return to nature. I'm working to the same dimensions as Strand Line and using a grid pattern for construction. The size enables me to work at the wall to audition and arrange materials.
While I was piecing all the sections I was also looking at how I wanted to quilt the whole piece. Using two small samples I have experimented with different forms of stitch. I was interested in the different effects I achieved.
Too many different patterns in the one piece just made it look very busy and dull the message. I very much liked the narrow quilted lines used on the ivy clad building (far right)and the irregular triangle stitching on the pink sample above. Decision made I have then been quilting every day for about a week and I'm about three quarters of the way through.
My next investigations will be in creating surface decoration to fit this theme.
My next investigations will be in creating surface decoration to fit this theme.
14/9/20 back to the strand line
At the Margins - Strand Line has been blocked out. Laying it on towels on a carpeted floor so that it can be dampened and pulled and stretch into a squared cornered piece. With the felt supporting the work, this job was physically far harder than if I had used wadding.
While I waited for the piece to dry out ( with a dehumidifier) I have looked at how to finish the edges of the piece to exhibition standard.
A facing would be too heavy, creating too many layers at the edge of the piece for it to be flat. With a binding it would be difficult to choose a suitable fabric because of the many different fabrics in the piece.
A comment by a friend in response to a different issues suggested using net on the edges. I had gunmetal grey organza so I have tried this edging out.
While I waited for the piece to dry out ( with a dehumidifier) I have looked at how to finish the edges of the piece to exhibition standard.
A facing would be too heavy, creating too many layers at the edge of the piece for it to be flat. With a binding it would be difficult to choose a suitable fabric because of the many different fabrics in the piece.
A comment by a friend in response to a different issues suggested using net on the edges. I had gunmetal grey organza so I have tried this edging out.
24/8/20 A3 quilt joins Contemporary Quilt suitcase collection
The theme of the new Contemporary Quilt Suitcase collection is "On the Road".
My submission is a piece made as a reminder of the long drive south to the Lot, in south west France, along the roads lined with trees to keep the traffic out of the sun. So much more important when in open carts and coaches or marching with the troops.
The pieces in the collection go"on the road" for groups to hire and see a collection of 50 - 60 A3 quilts
22/8/20 Fabric collection and selection
I have had two lengths of cotton fabric commercially printed for At The Margins 2 through Contrado. The quality is excellent, it stitches well and very stable.
In addition I have collected together fabrics from my stash which will marry well with these images. Some of these will only be used is very small amounts but add just the right splash of colour.
20/7/20 New work - at the margins 2
I am very much engaged in looking at the way in which we neglect buildings and the states of decay and ruin they can be found in scattered across the countryside. Once loved, needed, tended and used these structures now are afflicted by lack of care, damage, damp, over grown, rusted, the hosts to growing things they were not intended to be home to.
Forming the second in this "Marginal" series I will be constructing the piece on a grid again, but not the same one. I have been experimenting with commercially printed calico using my manipulated images. A really exciting development. The following images are the starting point for my ideas and design development.
Forming the second in this "Marginal" series I will be constructing the piece on a grid again, but not the same one. I have been experimenting with commercially printed calico using my manipulated images. A really exciting development. The following images are the starting point for my ideas and design development.
14/7/20 Final processes of making a wall hanging quilt
The effect of all the man handling that goes into quilting a large area and hand stitching on the surface is to stretch the edges and take the piece off the square. I now need to "Block out" the piece, pinned to a board or in my case the floor covered with a towel, sprayed finely with clean water and then stretched to give a square finish. Then left to dry naturally with just a facing or binding to complete the work.
In the mean time I will begin to plan out "On the Margins 2", inspired by the buildings that are left to decay gently with the rust, breakages, overgrown nature that marks them as no longer in use.
In the mean time I will begin to plan out "On the Margins 2", inspired by the buildings that are left to decay gently with the rust, breakages, overgrown nature that marks them as no longer in use.
13/7/20 adding stitch and detritus to the STRAND line
It has been fun looking at different ways of adding embellishment to suggest the detritus that ends up on the strand line. Turquoise and orange seem to predominate along with the black of the seaweed. Stitching tiny threads here has been fiddly and difficult. The felt wadding has created a a firmer more stable laminate which doesn't like being scrunched in the hand. Here are just a few examples of what I have been working on.
While I work away at the hand stitched embellishments I have also been working on At the Margins 2 in the background, exploring the next aspect of the Marginal. I have even experimented with having two sets of half meters of fabric commercially printed for the next piece.
While I work away at the hand stitched embellishments I have also been working on At the Margins 2 in the background, exploring the next aspect of the Marginal. I have even experimented with having two sets of half meters of fabric commercially printed for the next piece.
29/6/20 Quilting
The Felt won! A batik back panel and a sandwich with 505 spray and plastic tags to hold it all together. I was able to get a much smoother initial sandwich.
When you look at the shore line where there is at least some sand the patterns the tide weaves in the grains are fluid and interesting. I am going to use those fluid lines, in sections for the main quilting along with the orange perle threads to create a virtual strand line.
The disadvantage of using felt on a piece this size is that it more dimensionally stable than wadding and less easy to manipulate under the needle!!!
It was therefore important for my sanity to only quilt for short periods while my concentration levels were high. I have actually enjoyed the process as each section has required decisions about shape and density of stitch.
When you look at the shore line where there is at least some sand the patterns the tide weaves in the grains are fluid and interesting. I am going to use those fluid lines, in sections for the main quilting along with the orange perle threads to create a virtual strand line.
The disadvantage of using felt on a piece this size is that it more dimensionally stable than wadding and less easy to manipulate under the needle!!!
It was therefore important for my sanity to only quilt for short periods while my concentration levels were high. I have actually enjoyed the process as each section has required decisions about shape and density of stitch.
What this has shown me is that I need to make more of a "thing" about the "Strand Line", adding hand stitch and some items to give the feel of the detritus usually found there.
While I do that hand stitched embellishment I will be working on the design phase of "On the Margins No 2" which will feature aspects of dereliction and decay in the countryside. Watch this space for more!
While I do that hand stitched embellishment I will be working on the design phase of "On the Margins No 2" which will feature aspects of dereliction and decay in the countryside. Watch this space for more!
27/6/20 Trialing wadding and felt for quilting
It is difficult to make the right choice of material to be sandwiched between the top and a backing fabric as the materials available produce different effects even when stitched with the same pattern.
As this piece evokes a watery world I want a flowing pattern of stitches and close quilting to give a flat effect. I have tried two possible types of middle layer, an 80/20 cotton/polyester wadding and a wool felt.
There is a clear difference in loft from the start. For the sample I have used 505 spray to hold the layers.
The top row are stitched on wadding and below are the felt samples.
As this piece evokes a watery world I want a flowing pattern of stitches and close quilting to give a flat effect. I have tried two possible types of middle layer, an 80/20 cotton/polyester wadding and a wool felt.
There is a clear difference in loft from the start. For the sample I have used 505 spray to hold the layers.
The top row are stitched on wadding and below are the felt samples.
I am very taken with the cotton perle lines, stitched from the back with the heavy thread on the bobbin. The wavy stitched lines and infill suggest the movement of water.
If I can source some more wool felt I'm very tempted to quilt on this.
If I can source some more wool felt I'm very tempted to quilt on this.
26/6/20 Putting the segments together
With the weather as hot as it has been recently, I have happily fled indoors to the studio to escape the sun and the heat.
The four small elements of this design have been stitched together. I have learned that the pre-treated fabric sheets for inkjet printing are not as dimensionaly stable as the others I have used. They have stretched a little and I have to have has to a little unpicking and re-stitching to get the pieces to fit.
Next I need to dye a backing cloth and plan how I will quilt the whole piece.
The four small elements of this design have been stitched together. I have learned that the pre-treated fabric sheets for inkjet printing are not as dimensionaly stable as the others I have used. They have stretched a little and I have to have has to a little unpicking and re-stitching to get the pieces to fit.
Next I need to dye a backing cloth and plan how I will quilt the whole piece.
25/6/20 Constructing right side segments
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The elements of these two sections went together really well. The initial planning made construction really simple. The following images show these units completed. |
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24/6/20 Auditioning fabrics for each section
Now the exciting bit! Deciding which fabric to go in each position and constructing the stitched elements! I have been through a number of versions, trying out a piece and then rearranging. It's the beauty of working on the wall that I can move pieces about, spend time looking and making a further change. It's also been helpful to take photos as the pieces are added and changed, these images enable one to return to a previous version at any time.
These are the top right hand corner of the piece with fabrics moved, edited and new added. I am going with version 3 on the right. I plan to construct this section now to get a good feel for how the segments will slot together.
These are the top right hand corner of the piece with fabrics moved, edited and new added. I am going with version 3 on the right. I plan to construct this section now to get a good feel for how the segments will slot together.
23/6/20 Working on a grid
I have decided that the very abstract nature of this piece will be best served by an irregular grid structure of rectangles. This will allow me to make up small units of rectangles, and marry them to other units to create the whole. It will be made up of the following sized pieces: 3" x 4", 3" x 8", 6.5" x 4" and 6.5 x 8"
I am auditioning the placement of fabrics within the overall grid on the wall so that I can see the effect created and be able to glimpse it as I pass and make small changes to alter the balance. The colours in the diagram are purely to provide an easy way to see where I have got to at a glance.
I am auditioning the placement of fabrics within the overall grid on the wall so that I can see the effect created and be able to glimpse it as I pass and make small changes to alter the balance. The colours in the diagram are purely to provide an easy way to see where I have got to at a glance.
18/6/20 at the margins - altered images
The use of Photoshop, even an old version, has allowed me to manipulate images for this work. As the first such attempt for use on fabric I am conscious that with further practice I could make yet further amendments to distort images even more. If I find this piece working well I shall explore getting lengths of fabric commercially printed for the next in this series. The following images show some of the process on one image.
16/6/20 at the margins - design ideas
I want the completed piece to feel abstract even through one may be able to discern some likenesses in parts of the piece. Following my usual practice I worked hard to collect and audition fabrics, and to learn how to effectively render an image to make it fit this theme. I have made excellent use of my inkjet printer and pre-treated fabric to print off images to be cut and pieced into final piece. When assembling a wide collection of fabric with many colours I have used the cut, slice and reconstitute method to create small sections of finished fabric.
14/6/20 at the margins - fabrics
My fabrics are a mixture of pieces from my stash, a couple of recent purchases, hand dyed cottons and inkjet printed images from my own photographs. The process of distorting and manipulating my images has been interesting and I have learned a great deal and enjoyed trying out all the different effects it is possible to create. I always enjoy putting fabric collections together, now comes the harder bit coming up with a design!
12/6/20 At the margins........
The first stirrings of new ideas have been crawling around by head this week. We should be on the Suffolk coast but are clearly at home. This has prompted me to look out my images of this area and other coastal locations from many years of image collection. I am not interested in the sweeping landscapes but the incidental finds, the detail of a beach, some stones I brought home, the hulk of an old neglected boat and the huge marshes of sea and land intermingled. It suggested that what interested me were the margins of the land and what washes up there!
Not that I want to create a pictorial piece but more through practice and trial and error create fabric sections which reflect this in a loose way. These images have provided my palette. Now to explore the stash of fabric I already have and explore the possibility of printing imagery on to fabric.
Not that I want to create a pictorial piece but more through practice and trial and error create fabric sections which reflect this in a loose way. These images have provided my palette. Now to explore the stash of fabric I already have and explore the possibility of printing imagery on to fabric.
12/6/20 remembering.......
Today marks the 100th anniversary of my mother's birth! Have been thinking of her today and remembering her considerable influence on my life.
11/6/20 Downtime - thinking
My absence is down to uncertainty over next steps, a loss of momentum and, what I am thinking of as Lockdown Malaise!
I haven't been entirely idle, but I have fallen back on traditional piecing for small quilts, probably for Linus. There is a comfort in old remembered ways, of quiet, contemplative stitching and the certainty of the next step! Choosing the colour scheme and fabrics has never been a problem, in fact its a joy. All these pieces have been made with fabric from my stash!
Paper pieced triangles which are then oversewn together and then simply quilted.
I haven't been entirely idle, but I have fallen back on traditional piecing for small quilts, probably for Linus. There is a comfort in old remembered ways, of quiet, contemplative stitching and the certainty of the next step! Choosing the colour scheme and fabrics has never been a problem, in fact its a joy. All these pieces have been made with fabric from my stash!
Paper pieced triangles which are then oversewn together and then simply quilted.
13/5/20 Screen print complete
This morning I have screen printed the finished quilted piece.
I am now planning the hand stitched embellishments that I will add now.
I am now planning the hand stitched embellishments that I will add now.
10/5/20 preparing to quilt
These fabric rectangles are temporarily held in place with 505 spray. They will not remain so during quilting without a protective layer. I have successfully used nylon chiffon scarves to place over the whole piece and quilt through it.
I'm going to use this technique here.
I'm going to use this technique here.
09/5/20 working full size
The pieced background cloth needs to be large enough to wrap around the canvas so the fabric covers the sides as well. The backing fabric can be any colour as it will be completely hidden. I am using Hobbs 80/20 wadding which is soft and thin. I have marked out the size of the canvas plus seven centimetres and need to cover all this area with my fabric pieces.
I cut each fabric into strips and then differing sizes of square and rectangle so that I should have sufficient.
I have used 505 spray to hold the applied fabrics in place until covered and ready to machine. The hardest part is balancing the different fabrics over the full size. Especially the red with is dominant.
I cut each fabric into strips and then differing sizes of square and rectangle so that I should have sufficient.
I have used 505 spray to hold the applied fabrics in place until covered and ready to machine. The hardest part is balancing the different fabrics over the full size. Especially the red with is dominant.
07/5/20 screen print addition
I have been experimenting with adding a screen print to the quilted surface. I have a flower image on Thermofax which is an approximation of a poppy so looks appropriate. My client is happy with these elements so I am now ready to prepare a background and get started.
03/5/20 Beginning to collect ideas
I have been working in a sketchbook to try and refine my thoughts. Copies of those sketch book pages below to share some of my practice and progress. I like to try out my early ideas in reality with the same fabrics if I can so I have a real idea how each material will react.
My client has indicated a preference for sample 3.
My client has indicated a preference for sample 3.
I am going to work direct onto wadding with the fabrics applied with 505 spray to hold them in place. Once I'm happy with the layout I will cover the whole area with a nylon scarf so that the small fabric shapes are kept in place. I shall need to tack the layers together before I can stitch through all the layers with parallel stitching lines. I'm going to make another two small samples to experiment with using a twin needle to quilt and with whether the addition of a three dimensional poppy would add to detract to the piece and whether I can use a line drawing Thermofax screen to add a bit of shape.
30/4/20 a new commission
I have been commissioned to make a textile, framed hanging. The brief is that it should be abstract and be based on a field with poppies in flower. I have size parameters to work with and have sourced a canvas to mount the work on inside a frame.
I am now working on samples of possible ideas, while liaising with the evental owner, I'll post progress as I go.
I have other projects still on the go but will try and post in blocks of each piece at a time.
I am now working on samples of possible ideas, while liaising with the evental owner, I'll post progress as I go.
I have other projects still on the go but will try and post in blocks of each piece at a time.
stitching on the borders
Having printed all the fabric needed for the borders I have stitched them in place. As they stand, they are too wide. They need to be the same width as the sections of the blocks or very narrow I think. Here is the front as is. I have dyed an American Calico back for the quilt, shown on the right with the top. |
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Printing the border fabric
The fabric was pinned out onto a drop cloth and pad, flat and well attached so that the fabric would not move when the screen is lifted. I'm using a screen from Christine Chester called Splatter 3. I have used a printing ink from Colouricious in yellow ochre. Close up shows the completed print.
all stitched up!
I have had to be a little creative when joining all the squares together - a couple were under size - I dont have sufficient fabric to make more squares, so..... I have added four small strips of fabric and it is almost inpossible to tell where the glitches were.
Now I have to set the work bench up to screen print some of the gray fabric. Contemplating having two sides plain gray and two printed gray in keeping with the quilt design.
border trial
I have found a grey printed fabric in the stash which won't do if I use the right side but with the WS facing should work. With it on the design wall, I feel it is too flat in comparison with the quilt top. I'm considering over printing it with a yellow ochre.
making blocks and considering borders
The fabrics are lovely to work with, they are dyed old sheeting, and linens so are really soft and have taken the dye really well. I have enough fabric to construct twenty five blocks, but will have to be creative over borders if I want one.
At twenty blocks, I felt that it would be more effective if I turned this into a square design of five by five.
I also feel that a border will be needed so need to look at what I have in stock that would work with this colour palette.
At twenty blocks, I felt that it would be more effective if I turned this into a square design of five by five.
I also feel that a border will be needed so need to look at what I have in stock that would work with this colour palette.
selecting a basic pattern and trial blocks
I found it very easy to come to a conclusion about what geometric shapes I wanted to work with. I did not want to work with templates or papers, I wanted to free cut. Akin to the traditional Attic Window pattern, but I'm not that precise! I then cut and stitched two blocks, using a 2.5" wide strip |
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a geometric project using my hand dyed fabrics.
At our last 'all Threaded Together' meeting I prepared and dyed a collection of old, worn fabrics which had a really soft handle. I wanted to work with sunshine yellow, gray and purple. Not a standard combo!
In addition I added a few fabrics from my existing collection to complete the pack.
I want to create a simple structure to let the fabrics shine.
15/4/20 Resolution?
I have taken the five new blocks from a couple of days ago, chopped them up and created an extra ninth block. It has now been incorporated into the middle row and I have joined all three rows together.
Below are two possible orientations, a vertical and a horizontal. Which works best?
After that I need to consider how to complete the edges. Border? Facing? Other possibilities? Finally how will I quilt the whole piece? The work is on the wall, inspiration will strike at some point, and I do have a new piece of work to start.
Below are two possible orientations, a vertical and a horizontal. Which works best?
After that I need to consider how to complete the edges. Border? Facing? Other possibilities? Finally how will I quilt the whole piece? The work is on the wall, inspiration will strike at some point, and I do have a new piece of work to start.
13/4/20 further reflection
Looking at the work I know that I am still unhappy with the middle square.
In desperation I have constructed and over printed 5 further blocks so that I can create the central block more in sympathy and keeping with the work. If I'm honest I was being a bit lazy in not taking this option at the start, it's actually cost me more effort!!!
12/4/20 re-think after feedback
I am so grateful for viewers who comment on what is being stitched. It gave me pause for thought. It was suggested that the totally different central square was out of place and detracted from the design. (No 4 below) I have therefore been leaving it on the design wall and looking at it every time I came anywhere near.
It is out of place and because it is already printed I don't think any additional printing can save it!
I have tried another idea. Would welcome comment.
It is out of place and because it is already printed I don't think any additional printing can save it!
I have tried another idea. Would welcome comment.
Over printing might help, but suspect I will have to go back and create some more squares from what fabric I have left and then cut and construct again for this central square.
09/4/20 Composition ideas
I have been playing with different arrangements of the blocks. My limitation is that I have only manufactured enough for eight blocks.
The main four ideas are shown below.
The main four ideas are shown below.
Idea 1 - feels clumsy, what would I do with the bottom corners? Fill them in or make a feature of the shape? Feelas unresolved.
Idea 2 - Rather too like the shape of a kimono to be used for this very abstract piece I think.
Idea 3 - A nine block square resolves the issue of the edges but what goes in the central square? Here I have taken a sample, fully stitched for 'Boston Harbour' and would apply it to the surface once quilted.
Idea - 4 The same nine block construction but this time with a plain square of one of the screen printed elements of the original dyed and printed fabric from Leah Higgins' 2019 Summer School.
Decisions: To use Idea 4.
To be decided - How to finishes the edges. Adding fabric or facing as is?
Idea 2 - Rather too like the shape of a kimono to be used for this very abstract piece I think.
Idea 3 - A nine block square resolves the issue of the edges but what goes in the central square? Here I have taken a sample, fully stitched for 'Boston Harbour' and would apply it to the surface once quilted.
Idea - 4 The same nine block construction but this time with a plain square of one of the screen printed elements of the original dyed and printed fabric from Leah Higgins' 2019 Summer School.
Decisions: To use Idea 4.
To be decided - How to finishes the edges. Adding fabric or facing as is?
6/4/20 basic block decided
Having experimented with ways of combining these units I now have a basic pattern. Now all I have to do is select a combination of colours to make up each segment. I have enough pieces for eight segments.
The eight stitched segments are below right.
Next task is to stitch them together so I can decide how to take the next steps. Watch this space!!
5/4/20 social isolation means more time for textile projects
I have been looking at ways of using the remainder of the fabrics from Summer School now that Cityscape 1 has been completed.
I started by cutting a square of each colour from the set and applying two strips of contrasting plain and printed fabrics. It created a rather too regular pattern and there was not enough interest on the fabric. Using the same thermofax screen as in Cityscapes 1, I applied turquoise and blue ink. This created a great deal more interest and texture to each square. Now what? The scale was still too big.
I cut each of the squares in half so that each rectangle had an element of the applied strips on it.
I started by cutting a square of each colour from the set and applying two strips of contrasting plain and printed fabrics. It created a rather too regular pattern and there was not enough interest on the fabric. Using the same thermofax screen as in Cityscapes 1, I applied turquoise and blue ink. This created a great deal more interest and texture to each square. Now what? The scale was still too big.
I cut each of the squares in half so that each rectangle had an element of the applied strips on it.
Now I had the basic building blocks, I could play with how to combine them. Thelast image below is the one I am most pleased with, I will make a trial block.
corvid-19 EXHIBITION closure
Understandably we will not be presenting the Changes exhibition at 78 Derngate this year. Sad, but fully supportive of all measures to try and control infection levels.
I recognise that I am one of the luckier ones in having a dedicated work room at home and its full of materials of every kind to keep me entertained over the coming months.
I intend to complete the evolution of a couple of the Derngate pieces and will then chart my adventures in fabric, thread, dye and paint while social isolating.
Best wishes to everyone, stay at home and stay safe.
I recognise that I am one of the luckier ones in having a dedicated work room at home and its full of materials of every kind to keep me entertained over the coming months.
I intend to complete the evolution of a couple of the Derngate pieces and will then chart my adventures in fabric, thread, dye and paint while social isolating.
Best wishes to everyone, stay at home and stay safe.
response to 78 derngate interior.
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I'm always looking at differing ways of interpreting the inspiration I get. I am currently not able to stitch by hand on the usual grand scale, adding surface decoration with decorative hand stitch. I am therefore experimenting with applique both Derngate related pieces and the development of the Highrise series. Taking my inspiration from the wallpaper in the hall I am working with triangles. Here are some work in progress images. |
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be creative /Workbox have published two articles about exhibitions my work is featured in!
The current exhibition in Milton Keynes Museum Gallery features my article about the group and it's work including my composition "No More Oily Rags".
Our 78 Derngate exhibition with "all Threaded Together" is featured in the second article below with my first iteration of "Autumn".
Our 78 Derngate exhibition with "all Threaded Together" is featured in the second article below with my first iteration of "Autumn".
highrise
The first piece in this projected series reflects the experience of being dwarfed by the scale of the glass walls that surround one. While the photographs I used to start the process were of Boston, USA they are a proxy for any city centre from Shanghai to Adelaide, London to Dubai.
This is very much an abstract view, evolving at present.
I want to use hand dyed fabrics which coordinate together so all the fabrics work together. This initial piece will make use of the fabrics dyed and printed with Leah Higgins at CQ Summer School last year.
This is very much an abstract view, evolving at present.
I want to use hand dyed fabrics which coordinate together so all the fabrics work together. This initial piece will make use of the fabrics dyed and printed with Leah Higgins at CQ Summer School last year.
The fabrics had Bondaweb applied to the reverse and were then cut into narrow strips of about 8cm long which I then mixed up to give me a fairly random pile from which to select each "brick"
small rectangle experiment becomes a series of works inspired by cityscapes.
With the benefit of the trial piece I can now see how these rectangular "bricks", when combined reflect the views one gets when down at street level among high rise buildings.
Details of the first composition to follow shortly.
Details of the first composition to follow shortly.
experimenting with small rectangles
09/02/20 Armed with the experience of making this sample through to the quilting I now have a clearer idea of how I will approach the final piece.
- The height of the segments was the same throughout and this regularity spoiled the effect. The next itteration will vary the height randomly.
- The width of segments was largely too big. I will reduce the average width and bin the nearly square ones.
- Adding the surface printing worked well and I'll repeat that.
- I like the Zig-Zag randomness of the quilting stitches and will repeat but I need to source more thread as the sample was stitched with a spool from the thread box!
07/02/20 I have completed a trial piece, using 'bricks' cut the same height each time. Once they had been applied to a light background fabric I used an old Thermofax screen, which looks like windows in a skyscraper, to add a textured element across the whole piece.
As the 'bricks' are only attached with bondaweb I needed to develop a quilting pattern which would seal as many cut edges as possible without looking contrived. I have lighted on a random Zig-Zag pattern, going in all different directions over the piece as a whole. I used a Hobbs 80/20 wadding as it was what I had instock.
As the 'bricks' are only attached with bondaweb I needed to develop a quilting pattern which would seal as many cut edges as possible without looking contrived. I have lighted on a random Zig-Zag pattern, going in all different directions over the piece as a whole. I used a Hobbs 80/20 wadding as it was what I had instock.
Back in September I created a collection of dyed and printed fabrics under the tuition of Leah Higgins. At last, I am beginning to experiment with how I can work with them all together. I have also found a fabulous, commercial printed fabric which blends in with my hand dyed ones.
When cut into small rectangles and mixed in with others it is very effective |
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2020 a new year
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I have been silent for an over long Festive break! Sometimes one needs a few weeks away from the workroom to appreciate going back and to take a more detached view of ones work. I have also been struggling with a dodgy right thumb! Not a good thing when you get so much pleasure from handling the fabric and working with it on your lap. I have, therefore been experimenting with techniques that avoid using scissors and hand stitch. Quite a challenge for me.
I suspect that I overdid the hand stitch in the run up to the holidays with a couple of pieces I was trying to complete. On the right are a couple of extracts from these pieces as they will be on show at 78 Derngate from April 25th with the "all Threaded Together" exhibition titles "Changes" More details to follow. |
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Commission completed
The commission to design and create a set of hand stitched cushions to match the client's color scheme is now finished and the pieces are in their new home.
Visualise exhibition 14/15th december
Northamptonshire based "Visualise" Art textile group were exhibiting in Welford this weekend. This fourteen strong group aim to exhibit at least twice a year. This is a tall order when creating textile works can take such a long time. This show was comprised of small framed pieces on themes chosen by each member. Their work is varied and on this occasion they also displayed some of their sketchbooks which were little works of art on their own!
Work by Lyn Spencer; Jane Stock and Alyssa Robinson was particularly to my liking. I have included images, taken with permission, but some were behind glass which has caused some reflections I was unable to manipulate out!
Work by Lyn Spencer; Jane Stock and Alyssa Robinson was particularly to my liking. I have included images, taken with permission, but some were behind glass which has caused some reflections I was unable to manipulate out!
decay progress report 2
I have been working to sample ideas for this piece. I find it so much easier to propose design ideas when I work direct to fabric. The images below, from my sketch book give you an idea of where my thoughts are headed. I have got carried away with this piece and it is now too large for the challenge element of our future exhibition so I will have to set to again with another idea!!!
art 2 stitch -kantha waistcoat.
I have had a great deal of fun constructing a double sided Kantha Waistcoat. I used a base of flannel sheeting and added scrap piecing in burgundy on one side and yellow on the other. Every section was stitch in place with a cotton perle running stitch. My middle finger was full of holes by the end!! It is definitely a statement piece when I wear it!
The coat is displayed as part of Art2Stitch's exhibition at Milton Keynes Museum Gallery.
The coat is displayed as part of Art2Stitch's exhibition at Milton Keynes Museum Gallery.
DEcay - progress report
With autumn as the inspiration for this piece I have been looking at composition possibilities. There is a strong vertical nature to trees and woods so I want to incorporate that element into this work. My practice is to sample, sample, sample rather than spend a lot of time drawing. Fabric behaves in different ways and can be manipulated unlike a flat page. Here are the first attempts.
Variation in width seems to be really important. An element of curvature add interest and if the horrizontal strip were narrower I think it might add further interest.
van Gogh experience - york
Visiting York recently it was suggested that we go to the Van Gogh Immersive Experience in St Mary's Church, Castlegate. I had no idea what to expect! Instead of pews there were deckchairs in the nave, images of his paintings were progested on all the walls. You got to see, close up, the brushstrokes and depth of paint and with atmospheric music the images morphed into each other. Really fascinating where the artist had painted the same person over time. I was fascinated. My descriptions do not do the show justice.
A sense of place and time
Art2Stitch have been preparing their exhibition based on a sense of place. It is a show in two halves, Post WW2 architecture within fifty miles of our homes and A Sense of Place, in its widest meaning.
I have two pieces showing in the Architecture section: "No More Oily Rags" an abstraction based on the roofline of Silverstone racetrack mounted on a collage of racing images and "Working Late?" inspired by tall blocks of offices peopled late into the evening. (shown on Museum website) http://www.miltonkeynesmuseum.org.uk/a-sense-of-place-and-time-a-new-temporary-textile-exhibition-23rd-nov-2019-to-26th-april-2020/
Under a Sense of Place I'm showing three pieces: 'Memories of Petra' , 'Rajasthan Remembered' and 'Abandoned'
The Museum charges for entry but will be FREE on Tuesdays for the Exhibition only. Historical cafe open and of course the Bletchley Park Museum is just down the road.
I have two pieces showing in the Architecture section: "No More Oily Rags" an abstraction based on the roofline of Silverstone racetrack mounted on a collage of racing images and "Working Late?" inspired by tall blocks of offices peopled late into the evening. (shown on Museum website) http://www.miltonkeynesmuseum.org.uk/a-sense-of-place-and-time-a-new-temporary-textile-exhibition-23rd-nov-2019-to-26th-april-2020/
Under a Sense of Place I'm showing three pieces: 'Memories of Petra' , 'Rajasthan Remembered' and 'Abandoned'
The Museum charges for entry but will be FREE on Tuesdays for the Exhibition only. Historical cafe open and of course the Bletchley Park Museum is just down the road.
Dyed fabrics
After twenty four hours soaking in the dyes The fabrics were rinsed, washed and ironed.
In addition to these I now need to add fabrics from my collection to augment these.
I've been a fabric hoarder for more years than I care to count. Amongst these are a number that will fit really well with this palette. Shown here with the newly dyed ones as well.
Now I'm ready for the design phase. For me this is a practical sample making exercise rather than a pencil and paper one!
'Changes' - 2020 exhibition
I am concentrating my research and investigation on Autumn as my proxy for Change and Decay.
For me the overriding image that comes to mind is the subtle changes of colour that morph over time and provide a stunning array of colour and tone.
My preferred mode of work is abstraction and I'm starting with dyeing a collection of fabrics in the autumnal range. From these I can design the piece. I am constrained by an agreed size. The stitched image must be 300 x 500mm but may be mounted in any way I choose.
My preferred mode of work is abstraction and I'm starting with dyeing a collection of fabrics in the autumnal range. From these I can design the piece. I am constrained by an agreed size. The stitched image must be 300 x 500mm but may be mounted in any way I choose.
dyeing the fabrics
I am using american calico as my base fabric as I have silks in stock in the right colour range. I am using the 'dirty dyeing' technique that Leah Higgins taught at CQ Summer School this year.
In preparation I stitched cloth in cylinders to fit the plastic pipe section I have. This will produce a textured fabric. The poles are not submerged so I can get different colour gradations. I also tray dyed and polybag dyed some additional fabrics.
In preparation I stitched cloth in cylinders to fit the plastic pipe section I have. This will produce a textured fabric. The poles are not submerged so I can get different colour gradations. I also tray dyed and polybag dyed some additional fabrics.
78 Derngate exhibition
Busy now working on ideas for our exhibition at 78 Derngate, Northampton, in the summer 2020. A house designed entirely by Rennie Mackintosh for a local manufacturer and reinstated in the last ten years. Our show is titled Changes.
In addition to works on the above theme we have decided to produce at least one piece of work which is inspired by an aspect of the house.
There are a number of recurring themes in the decor. The square and the triangle which I have decided to concentrate my thoughts on. The anomaly in the house is the newel post for the bottom of the staircase. Unlike all other design elements which are strictly geometric, this is sinuous and fluid. I want to contrast this with the geometrics.
In addition to works on the above theme we have decided to produce at least one piece of work which is inspired by an aspect of the house.
There are a number of recurring themes in the decor. The square and the triangle which I have decided to concentrate my thoughts on. The anomaly in the house is the newel post for the bottom of the staircase. Unlike all other design elements which are strictly geometric, this is sinuous and fluid. I want to contrast this with the geometrics.
sept 27th to 29th colour, colour, colour - cq summer school
I am delighted that having organised the CQ summer school for this year the event was very successful. I was fortunate to take up a last minute cancellation and so enjoyed a brilliant few days with Leah Higgins looking at colour families.
Her explanation and practical experiments were mind opening and I now have a methodology for producing a range of fabrics which all tone together.
Here are some images from the course.
Her explanation and practical experiments were mind opening and I now have a methodology for producing a range of fabrics which all tone together.
Here are some images from the course.
These are the fabrics that I managed to produce under Leah's expert guidance. I'm looking forward to coming up with a design to use these.
Sept 19th Making a quilt for new addition to wider family.
Far too complicated to try and explain the family relationship, except to say I have made a quilt for all those for whom I am a Great Aunt, Cousin etc.
At the same time I am trying to only use those printed, commercial fabrics I already have in my very large stash. The Blue fabric box was overflowing and the new addition was male; decision taken!
I also wanted to make the quilt top by hand as the new Mum appreciated handmade artefacts and it meant that I could take the work with me when visiting friends and on holiday.
I decided to use triangles and Paper Piecing.
At the same time I am trying to only use those printed, commercial fabrics I already have in my very large stash. The Blue fabric box was overflowing and the new addition was male; decision taken!
I also wanted to make the quilt top by hand as the new Mum appreciated handmade artefacts and it meant that I could take the work with me when visiting friends and on holiday.
I decided to use triangles and Paper Piecing.
Cutting out 0.5cm larger than the template, stitching the excess to the paper and then looking at how the sections might look together.
Place two shapes RS together and oversew the edges together taking tiny stitches just through the fold of fabric, not the paper, then press open.
Half triangles were added at the ends of rows to square them up. and the papers removed once all the pieces have been joined together.
Sept 15th SAQA'S Europe 3 call for entries
This call for work was seeking art works which reflected the the breadth and history of the the European continent.
One of the aspects of Europe that has shaped its borders and the urban environment has been to constantly changing borders as land was fought over and conquered over time.
My travels in inland Spain had shown me that despite a change of ruler, religion and customs people make use of the buildings that they inherit. Cordoba's Mosque / church demonstrates this very clearly.
In smaller communities, especially those which cling to the hillsides in Andalucia the very shape and style of the houses is determined by the geography, here the Moorish plan remains and has been adopted by the following communities centuries later.
I have chosen to use the town of Casares as the source for my abstraction. High in the hills above the sea in Andalucia.
I love the higledypigildy way in which the house are grouped and that they are fitted into each other to share walls.
One of the aspects of Europe that has shaped its borders and the urban environment has been to constantly changing borders as land was fought over and conquered over time.
My travels in inland Spain had shown me that despite a change of ruler, religion and customs people make use of the buildings that they inherit. Cordoba's Mosque / church demonstrates this very clearly.
In smaller communities, especially those which cling to the hillsides in Andalucia the very shape and style of the houses is determined by the geography, here the Moorish plan remains and has been adopted by the following communities centuries later.
I have chosen to use the town of Casares as the source for my abstraction. High in the hills above the sea in Andalucia.
I love the higledypigildy way in which the house are grouped and that they are fitted into each other to share walls.
I started by collecting together the fabrics that I had in my studio, especially those off white/cream ones whti a bit of a texture. I also wanted to use some deep burnt orange/orange silks for contrast.
There followed what felt like weeks of sampling, trying to get the right shapes and the best textural fabrics. Sometimes looking good until closely quilted but too heavy in the end! I liked the idea of carrying the orange 'roof' fabric colour in quilting out to the quilt edge.
I worked at different quilting patterns to try to get somewhere near the rough textured walls of the town. This random free stitched zig-zag seems to achieved what I was looking for. The image above has been darkened to highlight the tone on tone stitching.
Los Pueblos Blancos
Why the silence?
The spring became the summer, working hard on a piece for submission to SAQA's Europe 3 exhibition. That meant that I couldn't Blog its progress at the time. However, the piece was not accepted for the show, along with just under fifty percent of the total submissions. I can now discuss this work and other pieces that I have been playing with over the summer.
Joanna Kinnersly-taylor
I was very lucky to have the opportunity to hear Joanna talk about her artist's practice. She is a printed textile artist and designer much of whose work is specifically designed for one off public and private spaces.
The medium she uses is Screen printing, with design ideas developed and refined by means of photographic techniques.
She speaks with intensity and quiet passion about her process and her love of natural fibres. The majority of her work is with heavy duty linen and natural wool. The multiple layering of the images she develops creates rich, complex, abstract imagery.
The following photographs taken of samples she shared with us provide a good insight into her work. I really loved her repeated use of writing (below) and on the far right studies of windows.
The medium she uses is Screen printing, with design ideas developed and refined by means of photographic techniques.
She speaks with intensity and quiet passion about her process and her love of natural fibres. The majority of her work is with heavy duty linen and natural wool. The multiple layering of the images she develops creates rich, complex, abstract imagery.
The following photographs taken of samples she shared with us provide a good insight into her work. I really loved her repeated use of writing (below) and on the far right studies of windows.
English paper piecing
A couple of years ago when I faced weeks and weeks of medical appointment and convalescence I thought I would try an experiment. I found what amounts to a pixelated image of a flower and decided to try and make it into an English Pieced quilt.
It had the advantage of being easily transportable, to be sewn by hand and would keep my hands busy!
Once I was well again I found it hard to pick up and keep going with the piece as it reminded me too much of a time I'd be happy to forget. So away it went in a cupboard and I thought that was it.
However I have been doing a lot of accompanying someone to multiple appointments this spring, and in need to something to do with my hands and small and transportable. I have now finally twenty four month later completed the top!
However I have been doing a lot of accompanying someone to multiple appointments this spring, and in need to something to do with my hands and small and transportable. I have now finally twenty four month later completed the top!
Hanny Newton - embroiderer
I was wowed last night by a talk from Hanny Newton, a stunning young textile artist specialising in hand embroidery, especially Goldwork. A woman with passion for her art, a thinker and an artist questing for different and inventive ways to engage others in her art.
Hanny’s willingness, early in her career, to take risks has meant that she has already provided exciting experiences for ‘Jo Public’ to engage in handstich through her activities linked to exhibitions at The British Museum.
Her own practice, taking Goldwork in different directions, was stunning. The contrast of her gold threads on slubby grey cloth was oh so effective.
www.hannyembroidery.com showcases her work.
Hanny’s willingness, early in her career, to take risks has meant that she has already provided exciting experiences for ‘Jo Public’ to engage in handstich through her activities linked to exhibitions at The British Museum.
Her own practice, taking Goldwork in different directions, was stunning. The contrast of her gold threads on slubby grey cloth was oh so effective.
www.hannyembroidery.com showcases her work.
scan N cut
I have treated myself to a little aid to applique and stenciling! The Brother CM900 ScanNCut machine allows me to draw, trace or download an image and have it accurately cut out repeatedly! It will also cut patchwork shapes with a seam allowance. A bit of magic!
To make even better use of the ScanNCut I have been experimenting with an Ipad App "Trace Table". With this App I can load in my own photographs taken in India and turn them into outline drawings, the App then stabilises the image at the size I want so that I can place a sheet of paper over the top and trace it off. Brilliant.
With my inspiration available like this I can experiment with different ways of working.
With my inspiration available like this I can experiment with different ways of working.
The colours of delhi
I am now ready to work on my ideas for a textile composition to reflect the overwhelming colours experienced on my first days in India and the markets of old Delhi.
My colour palette, made up of silk fabrics bought there and augmented from my stash, is riotous and bright, in your face and full of ebullient joy.
Over the coming weeks I will share the ideas and embellishments as I stitch them.
My colour palette, made up of silk fabrics bought there and augmented from my stash, is riotous and bright, in your face and full of ebullient joy.
Over the coming weeks I will share the ideas and embellishments as I stitch them.
teaching oil stick paint workshop
I enjoyed teaching for Textend textiles group yesterday. I was introducing the use of Oil Stick paints on fabrics. A short workshop I concentrated on three techniques for adding motifs with oil stick.
This method of adding colour and pattern to fabric is not well known or appreciated. Providing actual examples of the products use in a completed textile artefact is a good way to begin to raise the possibilities that these stick offer.
I then demonstrated the use of Oil Stick paint with stencils. Using Freezer paper as the stencil, allows the stencil to be temporarily bonded to the fabric and therefore to remain in place while the colour is added. I also advertised the Trace Table App for the iPad as a brilliant light box with content.
I showed participants how to make a simple 'Dobber' from a 'J' cloth. (with thanks to T Allen for the method) as a means of applying the Oil Stick to the fabric. We looked at adding colour in the window cut in the stencil and using the positive image as a mask and applying colour to the background. I discussed using the same method for lettering.
This method of adding colour and pattern to fabric is not well known or appreciated. Providing actual examples of the products use in a completed textile artefact is a good way to begin to raise the possibilities that these stick offer.
I then demonstrated the use of Oil Stick paint with stencils. Using Freezer paper as the stencil, allows the stencil to be temporarily bonded to the fabric and therefore to remain in place while the colour is added. I also advertised the Trace Table App for the iPad as a brilliant light box with content.
I showed participants how to make a simple 'Dobber' from a 'J' cloth. (with thanks to T Allen for the method) as a means of applying the Oil Stick to the fabric. We looked at adding colour in the window cut in the stencil and using the positive image as a mask and applying colour to the background. I discussed using the same method for lettering.
12/01/19 January journal quilt
I have experimented with overlaying the applique shapes with organza and stitching a dome shape through it. I like the multidimensional feel of doing this. By stitching this by free machine quilting it's possible to draw more complicated shapes and if using a pure cotton thread the excess organza can be cut away with a craft soldering iron.
I have then faced the edges to provide a clean edge to the piece.
I have then faced the edges to provide a clean edge to the piece.
07/01/19 Contemporary quilt journal quilts 2019
This year the JQ size is A4 portrait. There is a different criteria for each set of four months and the initial January to April is to select a construction technique. My choice is Applique.
These mini quilts are an excellent way of auditioning ideas for larger pieces of work. I am therefore concentrating on India so that I can try out ideas before starting a larger piece of work. It is also important as my applique skills are in need of development!
The January piece will use hand cut applique shapes and bondaweb to apply to the background. I have used a very rudimentary block alphabet set to add some words to the background.
Here is day one progress.
These mini quilts are an excellent way of auditioning ideas for larger pieces of work. I am therefore concentrating on India so that I can try out ideas before starting a larger piece of work. It is also important as my applique skills are in need of development!
The January piece will use hand cut applique shapes and bondaweb to apply to the background. I have used a very rudimentary block alphabet set to add some words to the background.
Here is day one progress.
SAQA
I've joined SAQA. An amazing virtual community of Textile Artists around the world, promoting Art Quilts through very well regarded exhibitions and providing an online forum for artists to share their preoccupations. The majority of members are American but communities in Europe and the Middle East, Asia and Australia are now growing.
I'm starting 2019 with an additional focus to my work, a chance to develop my practice and submit work for international exhibitions through SAQA.
Between now and April '19 I shall be preparing design ideas, sampling and creating a piece for "Made in Europe 3"
This theme allows me to continue to explore a sense of place over time. There is an opportunity to submit up to three pieces so I am busy defining for myself the aspects of place which showcase the immense variety in European culture and landscape.
I shall share these developing notions during January.
I'm starting 2019 with an additional focus to my work, a chance to develop my practice and submit work for international exhibitions through SAQA.
Between now and April '19 I shall be preparing design ideas, sampling and creating a piece for "Made in Europe 3"
This theme allows me to continue to explore a sense of place over time. There is an opportunity to submit up to three pieces so I am busy defining for myself the aspects of place which showcase the immense variety in European culture and landscape.
I shall share these developing notions during January.
Colour does it again!
I just love the colour of the Northamptonshire ironstone. The church in Rothwell is fabulous against the bright blue of the sky on a sunny winter morning! Just a joy to be out an about when the weather is like this and at this time of the year you have to grab every opportunity to enjoy being outdoors.
(Just snaps taken on the phone as this is just serendipity!)
(Just snaps taken on the phone as this is just serendipity!)
Abstract pattern form architectural sources
By a strange coincidence I have found two design sources combining. I am preparing work for an exhibition where the theme is "Post WW2 Architecture close to home".
My design source has been building facades. Especially close up snap shots of wall and window pattern, shape and colour.
The key buildings have become those fronting the Thames opposite Tate Modern. Especially the lower building to the right of the image with coloured panels.
My design source has been building facades. Especially close up snap shots of wall and window pattern, shape and colour.
The key buildings have become those fronting the Thames opposite Tate Modern. Especially the lower building to the right of the image with coloured panels.
The element which surprised me relates to the Anni Albers Exhibition. Looking at her work again I am struck be the similarity between elements of her weaving cartoons and these building facades. I have been playing with these as a possible additional design source.
Annie albers @ tate modern
I have so enjoyed today! The Annie Albers exhibition at Tate Modern exceeded my expectations. I had expected to be intrigued by the weaving and its complexity but had not appreciated the extent to which the design ideas and cartoons would speak to me of the pieced textiles I so enjoy designing and creating.
It's not often that I lose myself in contemplation of intricate work such as that on show today. The Curator had set up a fascinating journey for us to follow.
The following images are ones I hope will shape some of my own work in the coming weeks and months.
The weather wasn't sure quite what to do and following a cloudburst the sun came out and provided this amazing view across the river!
Amazing Autumn
My journey on Monday morning was rather slower than usual. With the blue sky and bright, low sunshine I could not ignore the amazing colours in the trees along my route. It was uplifting and had me smiling to enjoy the sharp air and warm sun and snap away to take some lovely images of the change of seasons.
I love the combination of sky blue and orange gold. These two colours set each other off with a real spark!
I love the combination of sky blue and orange gold. These two colours set each other off with a real spark!
Kola Nut and indigo
I have so enjoyed working of a piece by hand. Holding it close, holding it regularly, the handle and drape of the piece changes and softens with the working on it.
I like the impact of Eleganza Perle threads on the cotton fabrics and enjoy the contrast between the square pieces and the curved stitching. Historically, hand stitched quilts were also hand tied, adding knots at joins between the square. I have tried this and like the impact of the little blue knots.
I like the impact of Eleganza Perle threads on the cotton fabrics and enjoy the contrast between the square pieces and the curved stitching. Historically, hand stitched quilts were also hand tied, adding knots at joins between the square. I have tried this and like the impact of the little blue knots.
Using the grid pattern again
I am realising that when using a wide range of different fabrics which fit a theme or colour theme the simpler the layout the more the fabrics shine out.
I have been amassing a collection of autumn leaf themed fabrics for a while, and in keeping with the weather and the seasons I have now put those fabrics together to for a simple top.
I have been amassing a collection of autumn leaf themed fabrics for a while, and in keeping with the weather and the seasons I have now put those fabrics together to for a simple top.
The PLEASURES of quilting with perle thread
With the Kola Nut and Indigo fabrics I have working with it seemed right to complete the piece with hand stitching and to make a feature of this. Using the Wonderfil Eleganza threads I have worked a simple circle and half circle motif of this quilt.
The simple, slow, repetitive stitch is very relaxing, and because it's simple one can chat and listen to the radio at the same time.
The simple, slow, repetitive stitch is very relaxing, and because it's simple one can chat and listen to the radio at the same time.
simple sewing in a good cause
I know that I have a huge stash of fabric, accumulated over the years and added to regularly. Clearing up a bit, I realised that the fabrics I choose to work on as I develop my practice through abstraction are not the commercial printed cottons of traditional quilting. I do however, have a lot of them.
Some pre cut strips of fabric were leftover and they gave me an idea. Cut my own 2.5" strips from my stash and make a few small quilts for Project Linus.
It's such a good cause and there are certainly a lot of candidates in need of the hug of a quilt.
Simplifying the process by choosing to back these little quilts with fleece fabric meant that I could do away with wadding and backing. By stitching the strips to the fleece as go along, Stitch and Flip, they are quick and easy to achieve.
Some pre cut strips of fabric were leftover and they gave me an idea. Cut my own 2.5" strips from my stash and make a few small quilts for Project Linus.
It's such a good cause and there are certainly a lot of candidates in need of the hug of a quilt.
Simplifying the process by choosing to back these little quilts with fleece fabric meant that I could do away with wadding and backing. By stitching the strips to the fleece as go along, Stitch and Flip, they are quick and easy to achieve.
Joining the strips Pressing seams open Joining strips RS together on the fleece.
Pressing strips onto the fleece Stitching the next line in place Finished Quilt
05/09/18 - The pleasures of simple piecing
It's very easy to forget the simple pleasure of just making. I am allowing myself some simple time off, to just create a simple piece for the love of stitching.
I was lucky to have some lovely kola nut and indigo fabrics from The African Fabric Shop, a beautiful piece of Jo Lovelock hand dyed fabric plus the usual bits from the stash!
I have downloaded a simple irregular grid to the finished size I want so that the process of working out the sizes of each element has been done for me, good old EQ7!
Looking at how this grid would need to be assembled I have made up small units which can then be fitted together.
I have some Jo Lovelock hand dyed threads too and plan to use them to add some hand stitching once I have quilted the panel.
19 / 08 /18 - Festival of QUILTS 2018
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I have long been fascinated by the accuracy and minute piecing that so many Japanese quilters achieve. It was therefore really interesting to get up close to a collection of amazing pieces created by The impact created by this quilt was huge. It shone off the wall and created such a strong abstract image to marvel over. Close up what struck me was the really small size of each of the pieced elements and the relative weight of the fabric used. It looked like it was constructed from a fairly coarse linen.
The sheer scale of her ambition and dedication was apparent in the amazing collection of stitched line studies that comprised Nancy Crow's exhibit. Her book opens your eyes to the degree of single minded focus that enabled this collection to be completed. On close inspection it is the quilting which brings these pieces to life, and yet this stitching has not been done by the artist herself, but at her direction by another. Beth Schillig. Interesting, absorbing but slightly cold array of art which did not engage my soul only my curiosity! |
