Combining machine embroidery and hand stitching...

Planning embroidery for fibre works that includes both machine embroidery and hand stitching requires considerable reflection. What elements or sections should I emphasise? How do I achieve particular changes or gradations? These questions often require considerable experimentation during the planning phase.

Machine embroidery...

Machine embroidery on any fabric, or even paper, is a favorite pursuit. Many fibre artists refer to the electric sewing machine as drawing or painting tool, capable of producing the most subtle of lines or forms, as well as the boldest of images. I have tried to combine freehand machine embroidery with hand stitched details.

Dyes and paints...

I frequently apply dyes and paints to cotton calico before I begin to use hand and machine embroidery in order to build images or textures. Soft paint or dye washes can help to emphasise the use of particular colours or tones. India Flint’s Second skin. Choosing and caring for textiles and clothing [Murdoch Books, Millers Point, 2011] provides information about a range of different ways to apply dyes and paints on recycled fabrics.

Bibliographic notes...

India Flint’s Second skin. Choosing and caring for textiles and clothing [Murdoch Books, Millers Point, 2011] provides valuable information about the cleaning and care of recycled vintage fabrics that can be incorporated into new fibre art works. This reference also outlines approaches for separating out new sections of old garments and then piecing these different sections together again in unusual ways.

Combining threads and textures...

Ideas for thread and texture combinations can be inspired by the approaches developed by other fibre artists. I concentrate on the use of stitching techniques on recycled vintage knit fabrics, but I am also greatly impressed by the expertise of freeform knitting and crochet or ‘scrumbling’ specialists. These fibre artists have frequently broken new ground with their use of different thread combinations in their scrumbling works. They are prepare to combine different thicknesses of matte, metallic and gloss threads, or vary textures from smooth to rough. One of the most useful books covering this field is Jenny Dowde’s Freeform knitting and crochet [Milner Craft Series, Sally Milner Publishing, Bowral, New South Wales, 2005].

Samplers...

It can be very daunting to begin a new fibre art work by using a series of different remnants of vintage knit fabrics, some of which can be quite small. I gain confidence by adopting an approach based on the concept of developing a sampler. I may not necessarily produce work that is suitable for a fully realised fibre art work, but I might produce a sample that has helped me to develop new ideas, fibre methods or compositional techniques. The tradition of making samplers was fostered to develop teaching activities so that younger women could master vital knowledge and skills. I find that a sampler can assist self-directed learning and the development of personal confidence. The Embroiders’Guild in Britain produced Making samplers [David & Charles, Newton Abbot, 1993] – a very useful introductory text for fibre artists who want to discover a range of different traditions associated with the creation of samplers.

Combining shapes...

Combining different sections of vintage knit fabric together in order to form a new fibre art work can be determined by the size and shape of the sections of knit fabric available for use. I often refer to quilting guides in order to develop new shape combinations, even if the combinations are irregular and resemble crazy quilting forms. Celia Eddy’s The quilter’s block bible [New Burlington/Quarto, London, 2010] has provided me with a wealth of different ideas about varied shape combinations.

Examining tone and colour combinations...

The use of recycled vintage knits in new fibre art works requires a considered approach to the use of colour and tone. Even if the found colours and tones featured on the vintage knit fabric are left intact, without the addition of new variations through the application of dyes, bleaches or even surface treatments using inks and paints, looking at reference works on colour is extremely useful. Ian Sidaway’s Colour mixing bible [New Burington, London, 2008] was designed for artists using paints, pencils, crayons and pastels, but it provides useful ideas for anyone seeking to develop harmonious, contrasting or unusual colour and tonal combinations.

Stitch combinations...

Couching stitches provide opportunities to combine contrasting colours and textures. The couching stitch can help the craftsperson to use small fragments of valuable threads. I like to combine hand stitches and machine stitches in order to complete sections of couching stitches. I can then place thin threads next to thick fibres.

Stitching options...

Initial hand stitching schemes do not have to include an array of complex stitch techniques. I love using the running stitch. It can be used to produce continuous line, broken line segments and modulated line. It can also be used to create sections of hatching and cross-hatching. Running stitches provide a powerful avenue for colour or tonal contrasts or harmonies, but running stitches can also underscore fabric seams and shapes.

Visual themes...

Vintage knits and visual themes…
I am particularly interested in exploring ideas and emotions linked to the formation of memories associated with the accumulation of household items that define gender roles within family environments. Knitted fabrics can be used to indicate the demarcation of family members’ spaces and activities, the overlapping of family members’ roles and the impact of changes and continuity in family life. Fibre art works can reflect the complexity of the different textures and colours that help to represent family relationships.

Using vintage knits and visual communication...

Ideas and emotions…
I frequently incorporate the use of vintage knits into my new fibre art works because I am interested in visual representations of ideas and emotions related to themes associated with the formation of gender identity and the development of family relationships.

Bibliographic notes...expanding textile techniques...

I love finding texts that help me to expand my repetoire of skills as well as my ideas about the development of line, shape and compositional techniques for textile works. Cas Holmes' The found object in textile art (Batsford, London, 2010) is an incredibly useful text for any fibre artist who seeks to create new works by reusing a wide range of existing fabrics and papers in new and unexpected ways.

Bibliographic notes...using knit fabrics...

I focus on the use of vintage knit fabrics for new soft fabrications, but I frequently find inspiration in texts related to the creation of knitted wearables. Pat Ashforth and Steve Plummer produced No pattern knits. Simple modular techniques for making wonderful garments and accessories for the Milner Craft Series (Sally Milner Publishing, Bowral, 2006). This text provides a valuable springboard for the development of ideas for a range of compositions based on different shape modules as well as ways of joining shapes.

Using vintage knit fabrics...

Using vintage knit fabrics in textile works can include the combination of different coloured knits in unexpected ways.

Using vintage knit fabrics...

One of the joys of using vintage knit fabrics for textile works is the opportunity to explore the possibilities of featuring memorable, vibrant colours or textures in new ways.

Using vintage knit fabrics...

The flexibility of knit fabric enables the creation of textile works that highlight the combination of separate sections that feature different lines of knitted stitches.

Using vintage knit fabrics...

The use of machine sewing to connect sections of recycled vintage knit fabrics can include the development of sections of straight stitches as well as areas that feature specialty embroidery stitches and couching techniques.

Fabric Manipulation...Using knitted fabrics...

The use of hand sewing techniques to connect sections of recycled vintage knit fabrics can become a special feature that permits the development undulating or divergent seam lines.

Fabric Manipulation...Using knitted fabrics...

The use of recycled vintage knits in fabric manipulation can include the development of sections or samplers that incorporate a range of pre-existing seams into new designs. Pre-existing seams and joins can be use to highlight lines and shapes in new designs that also feature newly created tucks, twists and seams.

Fabric Manipulation and Fabric Shapes...

I am currently working on a new set of fabric manipulations using recycled vintage knit fabrics. I have also developed fabric manipulations based on the use of newly created knit or crochet fabric lengths. The shape of the crochet or knit fabric destined for fabric manipulations is very important because it can help to determine the use of different types of fabric manipulation techniques. I often use long rectangles of fabric so that I experiment with different types of fabric twists and knots.

Fabric Manipulation and Support Structures...

I have used card or plastic sheets in order to create supports for manipulated fabric forms. I stretch the fabric over the cut card or plastic sheet shapes and then I use a needle and thread to stretch and secure the piece of fabric to the support structure. This ensures that the fabric can be stretched over the support structure in a sensitive manner. It also provides opportunities to add and manipulate extra padding between the underside of the piece of fabric and the support structure. Individual stretched fabric forms over support structures can then be sewn onto fabric backgrounds, or even attached to other fabric forms stretched onto separate support structures.

Fabric Manipulation and Quilting or Padding...

Folds and pleats can be supported through the use of quilting techniques and padding. Trapunto techniques can be used with flat machine or hand quilting.

Fabric Manipulation and drawing techniques...

In addition to the use of sewn lines created through the use of hand sewing and machine sewing, drawing media can be used to emphasise the use of fabric manipulation techniques.