Textile art brooches

It seems odd to be thinking about Christmas in the middle of the summer, but I’m currently in the middle of creating unique upcycled jewellery for various Christmas markets I’m booked into.

First, another felted spiral brooch. I have no idea where the initial felted dreadlock came from for this – it’s an interesting mix of colours that I wouldn’t have thought of putting together.

Once rolled up and stitched I liked it even more.

Finished with a beaded edging that echoes the colours of the felt.

Then with the boro and sashiko work I’ve been doing recently I had the idea of doing a tiny piece with fragments of indigo dyed fabric and a single strand of silk to go into a vintage silver tone brooch. The needle gives an idea of scale – the whole oval is the size of the pad of my thumb.

Finished and mounted in the brooch.

It’s available here in my Etsy shop.

Lastly, another locket insert on silk carrier rods. This originally had a trellis behind it but it was too fussy and the trellis looked like it was hanging in midair, so I carefully unpicked it and am going for just the rose bush.

Still not completely happy with it but it’s getting there. I’m definitely going to try and do more with the boro though.

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Boro and sashiko

The follow on course from the kantha and boro was boro and sashiko and as well as showing various pieces I’ve stitched over the years, I created a new sample piece for this, illustrating how a piece of boro could start to become sashiko.

First, arranging scraps of kimono fabric and indigo dyed cottons onto a cotton base layer. before tacking them down. The partly stitched piece in the middle is a scrap of unfinished sashiko from a very long time ago (2011 to be exact…).

Simple running stitch becomes a rectangular spiral.

The partial sashiko becomes rice stitch and I try my hand at keeping free hand cross stitch regular.

Putting fabric marks in helped with the cross stitch, but I ended up aligning each row of stitches to the previous row and that worked better.

The even rows became boxes.

And a tiny scrap needed some bamboo leaves.

It’s still not quite finished, but it was a pleasure to sew in that rhythmic, mindful way and I do prefer this type of boro/sashiko to stitching the beautiful but almost ‘paint-by’numbers’ of the intricate sashiko designs you get in kits.

And incidentally, our Fabric Fair was a huge success. Considering this was a relatively niche market in small town North Lincolnshire on a Sunday morning, we had a great turn out with locals and people coming from much further afield. There were some great traders with a wide selection of items and it was really positive to see so many people with a love of textiles gathered together.

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Indigo Diamond and other finishes

Our branch of the Embroiderers’ Guild is having an exhibition at the end of June and a week last Saturday was the deadline for handing in completed pieces of work from the last couple of years to the organisers. We had very helpfully been given a list of all the meetings and workshops to jog our memories so I went down the list, annotating each one as to whether I hadn’t been at the meeting, hadn’t finished it or if it was finished, where it was. There seemed to be two main outcomes – didn’t finish, or made into a card and sent to somebody! The only finished pieces I could lay my hands on for the last two years were my faux driftwood piece…

…the Chris Gray amulet…

…and the Brazilian embroidery rose I’d made up into a card but not sent because I couldn’t bear to part with it!

So it ended up a busy week, so busy that I forgot to photograph both the nuno felting which I turned from this:

…into a simple seascape and a piece of the paper stitching we did with Alice Fox recently which I mounted as a card.

The kantha fish…

…was the first to be finished by stitching him onto a piece of indigo dyed fabric with rows of running stitch that merged into the kantha and then mounting over a 7 x 5 inch canvas.

I also finished a selection of little stitched fragments for my Alice Fox book.

But the really big finish was my English paper piecing. I get bored easily with the piecing process and when we did the workshop, I chose small equilateral triangles – probably not the best shape in the circumstances! At the end of the day I had a pile of triangles in shades of browns and indigo and absolutely no idea what to do with them.

Seeing the workshop on the list I wondered if it was even possible to finish the project, but I had what promised to be a lengthy committee meeting that week and repeatedly stitching together triangles looked like the perfect way of passing the time. It was: by the end of the meeting I had all the finished triangles stitched together and an idea very firmly in my head.

Without using half triangles the shapes you can make with equilateral triangles are rather limited, so I created a diamond which I planned to stitch onto this gorgeous piece of hand dyed indigo with some quilt wadding in between and a plain piece of indigo dyed cotton for the backing.

My trusty Frister and Rossmann coped easily with quilting through all the various layers along the lines of the triangles.

Then I joined a number of strips of woodland themed fabric in three different brown colourways to get enough and had a go at a tutorial I found online (where else?!) for adding a binding with mitred corners as you go. It worked!!

 

I tidied the ends up, wrote (no time to embroider) a label…

…added a hanging sleeve and couched some glittery thread around the edge of the diamond to hide the line where I had machined it down. In hindsight and with more time I would have appliqued it invisibly to the top.

From a handful of triangles…

…to a mini quilt…

…in about three days. I still can’t believe it!

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Book-making workshop

Our last Embroiderers’ Guild meeting was a full day workshop led by one of our members to make a gorgeous book bound with what I know as French Link Stitch with the aim of using the front to showcase a piece of embroidery. I’ve used this stitch several times to make fabric books but it was my first time using this binding on paper and I love how it turned out.

 

Having only discovered at the last minute that I could actually make it to the workshop, I had to make do with the contents of a bag of fabric scraps that I had hastily grabbed on my way out of the door to find something to use for a cover. About the suitable only piece was this oddment of indigo dyed cloth that was annoyingly only big enough to fully cover one of the boards.

However, what was left would be big enough if it was joined… So I decided to do just that, using some natural coloured silk thread and boro/kantha type stitching right across the two pieces I wanted to join.

I really like the way it turned out, especially the way the join is almost invisible below the layers of stitching.

Then came the question of what to put on the front. I toyed with weaving scraps of indigo dyed cloth, but they disappeared against the indigo cover. Then I tried some beading on another piece of indigo dyed cloth, this one with a vibrant sunburst in the middle.

I like the sunburst and I like the beading but… next to the cover, somehow it’s not quite right. The indigo of the sunburst is a different colour and texture and if I did apply the beaded piece to the front then I would lose the marbled pattern behind.

In fact I like my boro mend so much that instead of making it the back, I’m tempted to make it the front and not add any extra embroidery at all.

Any thoughts?

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Screen printing – waterways

Last weekend at our branch of the Embroiderers’ Guild, we had a whole day screen-printing workshop with Dionne Swift, working on images with the theme of ‘Waterways’. I chose a ten year old photograph of one of my favourite places,  Snape Maltings in Suffolk, to work from.

Apologies for a photo of a photo, taken in failing light and light drizzle but it does give some idea of the silvery blue East Coast light that I love, with the reed beds of the River Alde in the foreground and the Maltings, turned into a world renowned concert hall by the composer Benjamin Britten, behind.

Dionne’s method involved painting the Procion dyes directly onto the screen, letting it dry and then using Manutex (a seaweed based gel medium) squeegeed across the screen to transfer the print to calico. There was enough oomph in the dyes to give one dark and one fainter impression.

It’s not a bad simple representation of the Maltings but I just can’t get my head around the bright tropical colours. Even the paler impression looks garish against the subtle tones of the source photo.

It was fun to try something new, but not everything suits everyone and this definitely isn’t for me. I had more fun with the second masking method we tried in the afternoon. For this we cut or tore paper to make masks which we laid between the calico and the screen. Then I used a mix of Manutex and procion dyes to create a print with the paper mask.

I’d been doing some art at school based on Japanese ukiyo-e prints, particularly those showing water in various forms and this wave picture by Hokusai was my inspiration…

…for this:

I was so delighted with the result of the first pull I went for a second but one of the spiral pieces (top right) moved.

Then I just went delving in my bag and printed on other bits of cotton I had! This one I washed out when I got home to take out the stiffness from the Manutex. The dye has faded to a wonderful indigo.

And finally the very last of the ink on the piece of cheesecloth I was using to mop up with. I cut part of the design out to do some experimental stitching and you can see the difference in the washed and unwashed fabric.

With the whole Japanese inspiration and the indigo colour of the ink, I couldn’t resist some sashiko inspired stitching on a section of the print in a cream silk thread.

And french knots for the foam.

Closer to the comfort zone. A good day, all in all, and Dionne was an excellent tutor. Looking forward to our next day to play.

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Cushion Commission

And that’s not easy to say after a couple of drinks! In the summer I finished this:

a cushion cover featuring a panel of fused fabric embroidery on blue silk dupion background.

My son, who is just starting his second year at university in London was very disappointed that it was going to our Embroiderers’ Guild exhibition to be sold and to my amazement, asked me if I’d make him a cushion cover featuring my embroidery for his new flat ( a very expensive bedsit).

Together we designed three long panels of crazy patchwork in shades of blue and white which will go on a white silk dupion background and I’ve started stitching.

I normally highlight blue with yellow/gold, but as James has gone for mostly white furniture (it was the cheapest finish at IKEA and he knows how to make his pennies go as far as possible!) I’m going to use white and silver as accents.

 

Lots of silk as usual, both fabric and thread.

Japanese cotton yukata fabric and a vintage print.

Hand dyed shibori indigo, batik and embroidered silk.

Scraps of silk and cotton: plain and printed; commercial and hand dyes.

 

These are a great size to put in my travel sewing kit and work on while I’m out and about. I’d almost forgotten all the things I love about crazy patchwork: working with fragments of gorgeous fabrics, having mini canvases to stitch into and enhance and sections small enough for me to not get bored before the next idea strikes.

I’m so touched that my son actually wants some of my work on display in his bedsit. Oh and the fused fabric cushion didn’t sell, by the way, so I surprised him with it just before he went back for the new term. He was delighted.

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Odds and ends

Our February Embroiderers’ Guild meeting was an in-house workshop on sashiko. It’s been a while since I did any sashiko stitching, I was looking forward to it and I wasn’t disappointed. There was plenty of support in the form of loads of sashiko patterns and templates to copy/adapt and crib sheets showing how to stitch the designs corectly.

We started with a 4.5″ square and then had free rein on the design to use in the middle. I wanted a design I hadn’t stitched before but as I hadn’t brought a ruler or compass with me, I needed something I could draw or construct freehand. This fan shape was one element of a larger pattern based on diamonds but I could see it sitting  nicely inside my square.

It was easy to draw out and the straightforward lines also meant that I actually finished in the time allowed!

I was pleased not only with the design but that I also managed to use some indigo dyed fabric of my own without having to buy any more, which was an added bonus! Many thanks to our chair, Penny, for organising it.

I’ve also been knitting, both for myself, using up some lovely hand dyed wool I bought ages ago and teaching my youngest. She’s doing really well although the stitches are so tight on the needles that they squeak! So as a result I haven’t done much more than start the next block for the rusting fragments quilt. This one is eyelets and french knots.

A mix of hand dyed variegated cotton from Caron and Stef Francis single strand silk. Just doodling around the rusty patches.

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