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Posts Tagged ‘Printing’

I was very excited to receive my half of the art swap last week and as well as these fabulous prints…

…Nick also sent me some tie-dyed fabric and tote bags that he experimented with during lockdown. I love the prints but the tie-dye blew me away! These tote bags are beautifully patterned and the dye distribution is so even.

The fabric turned out to be three big pieces which are just stunning. In fact, so stunning that I don’t think there is any way I can bring myself to cut into them! The first two are on muslin, which is quite sheer and difficult to photograph.

This one is on something firmer like cotton sheeting. The detail is incredible!

If you’re on Instagram, this talented gentleman is @nick_knox_777 and well worth following.

I’ve been playing with an idea sparked off by a partly finished Victorian patchwork quilt I saw in an exhibition about fifteen years ago. It was an English paper pieced quilt and the papers were still in place. Although the antique silks and velvets of the patchwork front were gorgeous, I was much more interested in trying to read the fragments of unwanted cards and letters which had been cut up to make the papers. Those hidden snippets were tantalising.

As usual, I’m working very small, so I decided to use one text for all my papers – Viola’s speech (“I left no ring with her: what means this lady?”) from Twelfth Night, which is about her hidden identity.

I also chose to keep the text in the right order, again because everything was so small and once the fabric was stitched round the papers, much more of the text, already fragmentary, would be lost.

I used some ordinary light weight cotton muslin for the fabric – after all, in this piece the fabric is very much secondary to the papers! Now it’s all stitched together the text is reduced to the odd word or partial word.

Perfectly hidden, unless you know what it’s supposed to be.

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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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It seems that a lot of the last couple of weeks has been about creating cards. As well as the Fathers’ Day card I showed in the last post, I was also asked to make a first birthday card…

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…and a birthday card and anniversary card. For the birthday card I decided to revisit one of the experiments I did with some Angelina fibres, rubber stamps and an iron back in February 2012 and still have hanging about! I just added some simple gold herringbone and straight stitches. The Angelina is so blingy that I think less is definitely more.

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The anniversary card is one of the dozens of prints I took from Chris Gray’s huge wooden printing block collection when she led a workshop for our Embroiderers’ Guild back in 2016.

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I used just three threads in shades of green and purple to fill in the design with chain stitch, satin stitch, fishbone stitch, detached chain stitch and of course, french knots.

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Having had all these to put together, as well as one for my own dad, is partly why the pulled thread I had planned for the Kew memory Journal hasn’t progressed very far. The weather also hasn’t helped as I’m stitching in cream on cream…

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… and good daylight is a must. It just hasn’t been nice enough to sit outside and stitch very often.

Once I’m in the swing of counting I find pulled thread work has a very pleasing rhythm but unfortunately it seems that I’ve just got settled when at least one member of the family needs something – usually feeding!

I wanted a heavily raised stitch to echo the raked gravel of the Japanese Zen garden where Chihuly’s Niijima Floats were exhibited and I think the Diagonal Raised Band I chose does that very successfully.

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The picture has been transferred onto silk with transfer medium and will be stitched into the top corner.

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Now all I need is some decent light and a family who can feed themselves…!

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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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Etc. first. I’ve finally completed all the seed stitch background for an embroidered print I started with Chris Gray in July 2016 and last blogged about eighteen months ago, where it looked like this:

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It currently looks like this:

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Not sure whether to seed stitch the inner circle as well…

I don’t think I’ve shown this piece of upcycling before. One of my mixed lots of junk/vintage jewellery contained a gorgeous brass spinning fob, to which I decided to add some embroidery based on knot gardens.

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It’s now got as far as this:

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French knot hedges and eyelet stitch flowers in variegated silk.

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Near enough to get on and finish now!

Brooches next. I loved the closed fly stitch falling leaves design I stitched for my friend Debbie’s necklace catch a few months ago and decided to do it again on two odd vintage stud earrings which were the same shape and size, but different colours. The initial plan was to make a pair of earrings by covering them with embroidered fabric.

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I stitched one and covered it and started on the second.

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But the second wasn’t close enough in design  – the leaves were further spaced out. Added to that, the gathered fabric and more crucially, the covered pelmet vilene backs, really made them too bulky to be successful as earrings.

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So the posts came off, were replaced with brooch backs and Plan B went into action.  I worked a beaded edging in pearlescent green and metallic copper beads to frame the design and am very pleased with the result which can be found here.

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The second one is still in production! Most of this stitching was done over the Easter weekend at my parents’ in Suffolk which had to include some beachcombing. I was only allowed a short spell under the pier at Southwold, but still managed to find three nice nuggets of sea glass, a piece of carnelian, a big chunk of tile which has weathered to a lovely faux Medieval feel…

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…and some small pieces of driftwood, including one which had a gently shaped front and a flat back perfect for turning into a brooch. I auditioned a fair few piece of broken jewellery to put with it, but when I found this single broken vintage clip on earring of a swallow, it was a perfect match. The plate of the clip was still attached and I used it to mount the swallow onto the driftwood so it stands slightly away from the base, which I like.

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I’ve called it One Swallow (in hope of some more to make a summer!) and put it into my Etsy shop here.

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This week it was bitterly cold but bright – perfect for sanding the drawers of my ’60s teak chest of drawers outside.

Starting point: tired, faded, stained.

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Simply sanded as close as I could get to the handles. The handles are amazing. Most furniture has at least one loose handle. Not this one. Every single handle is rock solid, glued, screwed or whatever, but it’s a good job I love the original handles because they were NOT coming off…

20171208_104022_HDR.jpgThen laborious sanding down by hand to get to this:

20171208_105617_HDR.jpgThree more to go before the Danish Oil could work its magic. And what magic! I was prepared for it this time but it still blew me away.

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20171208_144549_HDR.jpgThree coats of Danish Oil and a thorough polishing with beeswax later, it was transformed from this: 20171126_105438_HDRTo this:

20171210_104643_HDR.jpgIt’s now in my bedroom filled with Christmas presents and fabric. I absolutely love it! :o)

I’ve also had a bit of a metalwork session. I loved the effect of the printed silk carrier rod behind the rescued gold tone bib, so I hunted out some of the brass I impressed when I did my silversmithing course several years ago…

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…and started to play.  This is going to be a pendant.

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And this, a brooch.

DSCN7587.JPGI love cutting fiddly shapes with the piercing saw, letting it and the texture of the metal dictate where it goes and making these pieces has been a joy. I have an oval pendant on the way too. More photos to come.

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Last year at Embroiderers’ Guild we had an amazing full day workshop with Chris Gray which started off with printing from her mind-blowing collection of printing blocks. I only had a handful of bits of fabric and loved the printing so much that I ended up printing on everything I could find in my bags, including three silk carrier rods I’d ironed flat.

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I love silk carrier rods, but like so many things, they disappear into drawers and boxes knowing that the chance that I might find something to do with them is slim to none.

However… I’ve been upcycling jewellery again and after trialling a few ideas for how to enhance this rather naff goldtone geometric bib section,  I came across the printed carrier rods and that turquoise one was perfect.

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The nature of the carrier rod means that it doesn’t fray and I could simply stick it into the back of the triangle.

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Turquoise is a complete nightmare to match colourwise because of the proportions of green and blue, but the turquoise nugget beads were a perfect match and some gold tone chain finished it all off nicely. It is always such a pleasant surprise when things work out smoothly and I have listed it here.

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On a roll, I came across two odd earrings. This…

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…now equal this:

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I have been embroidering as well, but it’s unfortunately under wraps until December.

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As our meeting on the Saturday afternoon was to be followed by an all day workshop with Chris on the Sunday, at the end of the meeting we got a tantalising preview of all the goodies we were going to be using – piles of gorgeously dyed fabrics, threads, and beads, paints and box upon box of intricately carved wooden stamps all laid out ready. Talk about whetting the appetite!

The next day our task was to choose two pieces of the lusciously dyed fabrics that Chris had provided and print them up with one of Chris’ blocks to stitch into an amulet. If we had any of our own spare fabric, we could print that as well to take home.

Chris had told us a tale of a lady who never did any stitching on one of these workshops – she spent the whole day printing – and after experiencing the fantastic crisp images the blocks produce…

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…I completely understood where she was coming from.

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Everywhere I looked was another block I wanted to try.

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I’d come out of the house in a hurry (as usual) and grabbed a handful of scrap fabric to print on rather than the whole bag. Ultimately this was a good thing because had I grabbed the bag instead I don’t think they would have got me away from the blocks.  Even so, I printed on everything I had. When the calico was covered, I printed on silk dupion, which turned out pretty well in spite of its slubby surface…

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…printed and patterned fabrics,

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odd shaped scraps and oddments…

…and I even ended up printing on ironed out silk carrier rods, scrim and chiffon and emptying out my workbag in case there was anything else remotely usable hidden in its depths. The scrim and chiffon were a revelation. We were printing with emulsion paint – no fancy textile inks or paints  – using blocks with very fine detail and the results were amazing. First the scrim:

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Close up you can see how crisp the image is despite the crinkled nature of the weave.

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Then the chiffon. I didn’t expect much of a result with emulsion paint on such a fine fabric, but I was over the moon with how well the blocks printed on it.

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By this time pretty much everyone else was already stitching, it was nearly lunchtime and the blocks were being washed and packed away, so I resolved not to try and cadge any more fabric from anyone else and sat down to stitch the print I had chosen for my hand dyed fabric piece. Medieval tile pattern on turquoise of course and feather stitch around the edge to attach it to the black felt behind.

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I love the rust-coloured patches in this fabulous thread and once the block was feather stitched down, I went back and beaded it with matte iridescent delicas in similar tones.

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A rusty washer was perfect for the centre.

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I attached it with beaded blanket stitch, using some more of the same beads and another favourite thread, my bronzy metallic Madeira.

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Next step is to back stitch around the design in the Madeira thread.

Chris posted some more images of the lovely work done by everyone else here. And then if her generosity of knowledge and enthusiasm wasn’t enough, she presented us with this lovely amulet to be raffled at our AGM at the end of the month.

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Thanks Chris, it was brilliant!

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