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Posts Tagged ‘printed fabric’

The thing I most enjoy about being on Instagram is connecting with other artists. I’ve ended up on the periphery of the print community via a customer who bought an upcycled pendant a couple of years ago, and was recently contacted by one of the lino print artists I follow asking if I would be up for an Art Swap. Definitely!

As this guy is a printer, I decided to go for the print theme in my swap items. First was this screen print on calico using a paper mask which I did at a workshop way back in November 2013 with Dionne Swift.

Then back even further to February 2012 to some experiments I did with ironing Angelina fibres onto rubber stamps. This was one of my favourites and the last one I have left of the batch. It sort of fits with the printing theme.

I chose some purple cotton and gold silk for the background and started by edging the motif in a goldwork thread. I’m not sure of the name of this type of thread, which is gold wound round a soft core. I think it’s either Jap or passing, but would welcome a positive identification!

Then I used a running stitch round the edges of the purple block to connect the layers of fabric.

Lastly, as it’s a big part of my practise, I stitched some found objects to the centre.

The third piece was a bookmark made from offcuts from a piece I printed using the same quatrefoil stamp as in the Angelina experiment at a Print to Stitch workshop with Jan Dowson in February 2019.

I cut the six whole quatrefoils off for my Medieval tiles piece. and made the offcuts into a couple of book marks. One I gave as a gift last Christmas and the second just needed a Bondaweb backing and a blanket stitch edging to be completed.

I used an eyelet setter and a perfectly matching eyelet for the tassel.

Which was made from a slightly darker green stranded cotton than the blanket stitch.

They arrived safely last week, to the absolute delight of the recipient. It’s always lovely having glowing feedback from another artist, but somehow when that artist is someone who doesn’t work in the medium of needle and thread, there seems to be much more of a wow factor. Perhaps those of us who stitch have become accustomed to the wonderful textures and effects we can get from textiles and are less blown away by them. It was good for my ego, anyway!

Very much looking forward to the prints I’m getting in return which should hopefully arrive this week.

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With the outlining done on the medieval tiles piece it was time to make a decision about how to fill the space surrounding them. Seeding was a bit of an obvious go to and something I used in the last print to stitch piece, but I wanted something different. I toyed with seeding in a more distinctive stitch, like a tete de boeuf, fly stitch or detached chain stitch, but they all looked too heavy, so I fell back on an idea I had a while ago of a kantha spiral based on the centre of the motif. Typically, I chose one to start off where the motif wasn’t in the middle of the ’tile’ so I couldn’t quite see whether it was going to work as I hoped – mainly, I think, because the initial rows of single stitches were quite overpowering – until I got to the outside rows.

Stitching in circles and skipping the printed areas has pulled it up into a bit of a dome! I think there will definitely have to be something couched along the motif to try and flatten it. I think I like it. I might need to play with the couched lines before I can be certain one way or another.

I’ve finished the little needlelace sampler. Goodness knows why I thought it would be a good idea to work in wedge shapes and have to decrease as well as working the stitch. It’s not a huge problem with the Single and Corded Brussels, but created some interesting effects with the Double Corded Brussels (DCB) and the Ceylon Stitch.

I really like what happens to the lace as the stitch spacings get smaller on the DCB. The early rows have a lovely open trellis effect with the cord taking centre stage, whereas in the later ones it is much less obvious, becoming a pattern of double stitches and holes. It’s useful to see how different spacings can give you different effects.

The Ceylon Stitch loops were tiny from the start and as the spacing got smaller, I had to decrease in the middle of the pattern as that was where it was the mostly tightly packed.

It is such a lovely looking but incredibly unforgiving stitch that you can see every single place where it isn’t absolutely perfect. It also took forever and so I am not redoing it – it can stand as an useful object lesson!

I intend to carry on stitching some more needlelace but the next sampler is going to be based on rectangles. However, I might work another sample of the Ceylon stitch in a rectangle just to prove I can do it perfectly when I don’t have to keep decreasing!

I’ve not made much jewellery for a while as I’ve been trying to list a backlog of vintage jewellery on Etsy, but when an odd earring I was cleaning came to pieces, leaving me with a rather nice silver mount, I was inspired! I set it with a lovely and very unusual piece of beachcombed Victorian pottery and added a 16″ silver chain to make a unique pendant.

It’s available here in the Beachcombing section of my Etsy shop.

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Podcasts at the ready, I got stuck into some of the more tedious stitching this week. All the motifs on the medieval tiles piece are outlined and I’m very happy with the alternating light and dark outlines.

The intersections are interesting too.

As is the back, where you can really see the subtle variegation in the threads.

I’ve still not completely settled on what to do for the background of the tiles but I’m inclining towards adding something to the inside of the motifs. Not sure if that is prevarication or not!

I had a couple of offcuts from when I printed the main piece.

I made one into a bookmark for a Christmas present and am turning the second one into another bookmark. This time I whipped the back stitch outline of the motifs and am pleased with the raised effect. It looks almost like I’ve edged them with a very fine cord.

I decided to add the more straightforward highlights to Baby Leaf-Tailed Dragon’s wings while I was still dithering about the circles on his neck.

Emboldened by that success, I started the circles. Not sure the first one is fit to be seen, but the second and third are reasonably presentable.

I’m definitely ready to finish these projects and get on with something different, especially as I unearthed some rusted embroidered fragments the other day that I’d done ages ago with the plan of making an art quilt and posted some on Instagram. They got such a good response I’m tempted to get the quilt underway again…

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Happy New Year to you all and I really hope it is that; a year where we find and experience happiness alongside and in spite of what is going on around us. As friends are increasingly saying, “Be positive but stay negative!”

I wonder how many unexpected projects start with something like, “I went into a cupboard/a drawer/a box/the loft looking for X and instead I found…” It’s something I suspect I’ve typed more than a few times and here we are again. Just before New Year I went into a cupboard looking for some padded envelopes and I found eight kits for making upcycled jewellery kilt pin brooches like the one below which were left over from a workshop I taught back in 2019.

They were just popped into paper bags but it occurred to me that I could box them up nicely and put them in my Etsy shop. Kits seem to be quite popular at the moment and perhaps they would appeal to people who would enjoy the challenge of seeing what unique design they could make out of their kit rather than making the item on the front of the box.

I had some cardboard two piece boxes that I was given a little while ago (Thanks Ruth – I knew they would come in useful!!) that just needed making up and then I carefully cut the label off the paper bag and stuck it onto the front. The boxes are lovely quality and already they were looking really professional.

The original packs were designed for avid stitchers, but because these might be bought by or for someone who doesn’t have the vast amounts of stash that most of us do, I added an embroidery and a beading needle and a fat plait of assorted threads to the pack and reworked the instructions into a neat little booklet. This one is based on purples and reds (there are some lovely dusky purple seed beads hiding under the Magpie Pack) and is available here in my Etsy shop with free UK P&P.

This one is themed around autumnal russets and golds and is available here.

Yes, I did say there were eight kits and I’ve only listed two, but making up the boxes is taking a lot longer than I thought. As they are such good quality they have a triple fold plus tabs for each side and are taking me at least half an hour to make!

Over Christmas I’ve got into bad habits of browsing or playing sudoku on my tablet in the evenings so I’m trying to get at least half an hour away from the screen sewing before I go to bed. The last time I worked on my medieval tiles printed piece was in early November when I was playing embroidery chicken with the thread.

I’ve managed to find some roughly similar colour and weight perle thread to the lot that finally ran out on me and so I’ve picked this up as my before bed project. I’ve taken out the tacking stitches and am putting a second row of split stitch round the ’tiles’ to give the lines more weight (top left). There might be a third row yet but I’m seeing how it progresses.

I’ve also started back stitching round the motifs.

A nice straightforward project before bed but I just need to know when to stop. “I’ll finish when I get to the end of this piece of thread/the next piece of thread/the end of this motif,” took me until the other side of 1am last night…

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After a bit of thinking I decided to stitch the medieval tiles piece not as a whole cloth as I had with the paisleys, but to separate each print into a tile shaped block. When I came to draw out the ‘mortar’ lines I was quite pleased that the ’tiles’ weren’t exactly in line with each other. It made it feel a bit more hand crafted in a way.

Then I started on the stitching which is going to be rows of split stitch to give a little bit of texture and hide definite stitch beginnings and endings.

I had a couple of good sized offcuts when I trimmed the printed piece down last week. Actually, rereading that has made me laugh. To me, a good sized offcut is anything larger than a credit card – I think most people would put my offcuts in the bin! Anyway, I didn’t. I decided to turn them into bookmarks for stocking fillers.

I edged the main motif in back stitch and then added seed stitches in a fine thread almost the same colour as the background.

Then I ironed on some interfacing which I dyed with silk paints and blanket stitched all round the edge.

Debbie pointed out that if you turn your head and look at the motifs from the side, they look like reindeer heads. Yup, they do and I can’t unsee it now!

A lovely accident for me is how on the back, the reverse of the back stitch pushes through the interfacing in ghostly lines like parch marks or earth works.

The other scraps I’ve been stitching are really tiny ones, about the size of postage stamps, to make a boro piece for an upcycled bib necklace. The inspiration was the gold coloured ring at the top – no idea what that might once have been.

I forgot to take a photo of it in my hand, but again, it’s small, just not quite as tiny as the recent lockets. Sashiko thread would have been too big, so it’s stitched in cream silk.

I chose a piece of shibori fabric for the back and gathered up and laced both pieces over circles of vilene to give them some body.

Next they need to be stitched together and stuck into the gold ring before I start on some boro fabric beads for the rest of the bib. Not done anything like that before so it’ll be interesting to see how it turns out!

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Last February we had a fantastic Print to Stitch workshop at the Guild with Jan Dowson. One of the pieces I created was based on the paisley stamps she had made for us.

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Seeing my starting point now, after a year of covering it with stitch, it seems so bare!!

I started with some Pekinese stitch around some of the paisleys.

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Then seeding around the paisleys in a variegated stranded cotton. Doing that amount of seeding is pretty mind-numbing so I mixed it up with more decoration on the paisleys – split stitch on the right.

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It was a great project to take out and about, even making it to London with me last summer when the temperatures were through the roof and I was trying to keep cool in the Chinese galleries at the V&A.

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More seeding in seed stitch and french knots with chain stitch accents and woven and back-stitched spiders’ web stitches in the middles.

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Getting there… finished all the internal stitching on the paisleys and now just seeding at this point because I’m still not sure what stitch I want to outline the other paisleys. Something as bold as the Pekinese stitch but different.

IMG_20191116_091718It wasn’t until I began to explore Palestrina Stitch over Christmas prior to teaching it in a workshop that the penny dropped.

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Palestrina in a heavy perle was just right to balance the Pekinese.

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And the completed piece!

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No idea what I’m going to do with it, but that’s not the point. I love the colours, shapes and stitches and it’s been a pleasure to work. That’s all you need, sometimes, isn’t it?

 

 

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Apologies – March has been mad. Between trying to shake illness and most of my workshops and courses all coming at once, things have been crazy. So, to catch up!

The found objects plastic rings piece I blogged about back in February, came together like a dream. I wanted to use it as a sample piece for a Found Objects Workshop I taught at Hull Embroiderers’ Guild at the end of March. (There is a lovely post about the workshop on their Facebook page.) It was a lot of fun trying out different ways of attaching the rings, including lazy daisy stitch, sheaf stitch and chain stitch.

I finished it as a quiltlet, with a border of strip patchwork, which makes it nice and robust to handle.

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Love the indigo dyed back.

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I also taught a Beaded Oglala Stitch workshop with Brigg Allsorts (a local stitching group) the same week, so after having made a sampler of variants of the stitch…

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…I started another found objects piece I could use with both workshops as it combined Beaded Oglala with found objects. It worked surprisingly well as a method of attaching the vintage key and I’m very pleased with the effect.

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I had a fabulous time teaching the workshop with the ladies in Hull and they produced some lovely work.

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We also had a fantastic workshop ourselves at Scunthorpe Embroiderers’ Guild in February, doing Print to Stitch with Jan Dowson.

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Jan had made us some great kits with paisley shaped printing blocks in them as a main focus…

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…but I had a couple of my own stamps that I wanted to use as well. Medieval tile first.

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Then the paisley. We used acrylic paints and instead of rollering it onto the block, I dabbed random areas of paint to get a mottled effect.

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Jan had also put some pieces of compressed foam into the kits. You can cut them with scissors into any shape and then drop them into water to get a sponge printing block, which is how I got  the over-printed tear drop shapes inside the paisleys.

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Lastly I had a shell stamp from home to play with.

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I love the look of the paint on the stamps…

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…and on the palettes.

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Once we had our printed fabric…

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…time to stitch. The border of the paisleys was a perfect place for Pekinese Stitch. Rayon back stitch for a bit of shine, interlaced with all six strands of a variegated stranded cotton thread.

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I will try harder on here, honestly! It’s all Susan from Stitchery Stories‘ fault – she recommended I got myself onto Instagram and I have been properly sucked in. It is so much quicker when you are busy – or lazy!!

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