References to handstitching

Handstitch perspectives, edited by Kettle and McKeating, also highlights important contemporary practices developed by prominent fibre artists.

References to handstitching

Handstitch perspectives

,edited by Alice Kettle and Jane McKeating, (Bloomsbury, London, 2012) is a wonderful collection of illustrated articles on topics related to hand sewing and embroidery. Many of these articles are based on scholarly historical research.

Records, ideas and visual composition…

I have always referred to a personal library of copyright free images, especially images from the eighteenth and nineteenth century. Some publishers, such as Dover, have actually produced a range of books and compact discs with copyright free images. These copyright free images can provide guidance when I have problems with line and shape components in compositions.

Records, ideas and visual composition…

I have always tried to keep visual records in the form of my own drawings as well as my own photographs. I have used these visual records to develop ideas and visual compositions. Some drawings and photographs are referred to time and time again, others are only referred to on an occasional basis. I frequently find that the process of juxtaposing images or sections of images together can result in new ideas and compositions.

Sources of inspiration...

This is a real treasure - "Silken threads. A history of embroidery in China,Korea,Japan,and Vietnam." by Young Yang Chung (Harry Abrams, New York, 2005). I found the images of the robes featured in this reference to be particularly valuable.

Sources of inspiration...

I love finding reference books on fibre arts. I hope that you enjoy these books, too! Here is a recent book that I included in my personal 'must-read'list- Susanne Kuchler and Graeme Were "Pacific pattern." (Thames and Hudson, London, 2005). This book features wonderful photographs, and provides a wealth of information about South Pacific fibre and fabric works. I found the sections on weaving patterns and fabric patterns to be particularly valuable.

Developing positives and negatives...

In addition to the use of families or shape, I frequently consider positive shapes and negative spaces when I develop fibre compositions.

Developing shapes...

I still use the concept of 'families of shape', or related shapes that fit together, as a means to develop shapes for fibre compostions.

Three dimensional fibre forms...

Janet Edmonds' book Beginners' guide to embroidered boxes (Search Press, Tunbridge Wells, 2002) provides guides to the creation of three dimensional vessels as well as books that could be stored in these containers. This provides pathways to presentation techniques for artists' books. Edmonds combines machine embroidery, hand embroidery, applique and quilting techniques.

Three dimensional fibre forms...

I have recently begun to expand my own professional of texts related to three dimensional fibre forms related to embroidery techniques. I was initially interested in three dimensional embroidered forms through an interest in stumpwork and fabric dollmaking, but interest in 'three dimensional embroidery' has expanded in recent years. Janet Edmonds has produced a number of texts - I really enjoyed her Three-dimensional embroidery. Methods of construction for the third dimension. (Batsford, London, 2005).

Preparation techniques...

Preparation…drawing, printing and collage...

I use a range of media and supports when I develop visual compositions for fibre works. Drawings developed through the use of aquarelles or watercolour pencils and felt pens on different types of paper are still incredibly useful, but I have also used monoprint techniques, and I produce collages based on the use of existing photographs and sketches, and even scraps of fabric.  

Preparation techniques...

Preparation... paper weaving...

I have often prepared visual compositions for fibre works by using paper weaving techniques. Paper weaving may seem to be a quite simple technique, but I find it useful as a means to develop colour combinations, and determine different line and shape combinations.

Sourcing and reviewing printed publications for fibre arts and crafts...

I recently discovered  Mary Rhodes’ Needlepoint. The art of canvas embroidery. (Octopus, London, 1974) in a garage sale. This publication provided valuable historical material as well as useful insights into needlework techniques and approaches to design methods that could easily be adapted to twenty-first century fibre art works.

Sourcing printed publications for fibre arts and crafts...

I frequently visit second hand, opportunity or charity shops in order to purchase vintage clothing, fabric or threads that could be recycled for use in fibre art works. Some of these outlets also stock really useful fibre art and craft publications. Given my love of calico as a base fabric for embroidery, I have found publications on candlewick embroidery techniques to be particularly useful. 

Fabric versatility...

In praise of calico…

 

Calico can also be a very versatile fabric. Different types of heavy calico can be strong enough to withstand constant overstitching and some types of lighter calico can be softly stretched and twisted in order to develop fabric sculptures.

Considering calico...

Fabric selection for machine embroidery…

I have used calico for machine embroidery for many years. In addition to the advantages of calico as a ground for fabric paints and printing inks, washed calico can provide a subtle and receptive surface for the application of commercial and natural dyes.

Stitch selection and threads…

I frequently use a hand sewn overcast or couching stitch or a buttonhole or blanket stitch in order to combine different threads together, thereby creating a particular visual effect through variations in tone, colour and texture. These stitches can also be very useful when I want to include tiny amounts of a special thread in a specific section of a fibre work. I have used overlays of buttonhole and zigzag stitches on my sewing machine in order to achieve this task as well. Interesting effects can be achieved when the top stitches are completed in fine threads over heavily textured or variegated threads.

Stitch selection and embroidery threads…

I really enjoy reading books dedicated to the creation of a range of sewing stitches. These dictionaries or encyclopedias of needlework are not only useful teaching guides, but they also provide historical and cultural information about the evolution of different stitches and their uses. I still have a copy of the Encyclopedia of needlework by Therese de Dillmont (DMC Library, Revised edition), a book that I first placed on my shelves when I was sixteen years old. The section on stitches for mending tasks was originally intended to be a very straightforward guide to stitches that could be used for practical household maintenance tasks, but I have often referred to this section for inspiration when I want to use running stitches for visual representation in pictorial works.

Finding subjects for fibre works...attention to detail...

I frequently developed visual representations by highlighting fine details, such as the textures on leafy grasses, ground cover plants and small bushes, tree bark, or the lines on sandy deposits, pebbles and rocks.

Finding subjects for fibre works...

An earlier phase in my working life was devoted to the development of representations of natural environments, especially seascapes. I created imagery through a combination of drawing and painting exercises in the natural environment as well as a studio environment. I also referred to my own site photographs as a means to develop compositions and highlight significant details within those compositions.

Preparing machine embroidery...thread combinations...

Preparing for machine embroidery…

Preparations for machine embroidery should also include the consideration of unlikely combinations of thread in order to represent particular surface textures, reflections, and shadows. I have sometimes combined commercially produced sewing machine threads with commercially produced embroidery threads as well as textured or metallic threads originally produced for knitting or crochet work. Machine embroidery can be sewn over a foundation of metallic crochet thread applied through the use of hand stitching, or specialty metallic machine threads can be sewn over hand embroidery in order to depict reflections and splashes of light.

Preparing machine embroidery...thread selection...

Preparing for machine embroidery…

Preparations for machine embroidery include the development of a tonal or colour palette of threads. In addition to the development of a collection of commercially prepared skeins or reels of embroidery threads, consideration should also be given to the use of home spun threads, as well as the use of commercially prepared skeins or reels of thread that have been modified through the use of colour stripping agents or bleaches, as well as ‘overdyeing’ through the use of natural dyes, commercial dye preparations, inks or even diluted paints. Twisting and spinning techniques can also be used to help create variegated threads.

Preparing machine embroidery...combining stitches...

Preparing for machine embroidery…

As previously noted, one of the most important strategic decisions during the preparatory period before the commencement of each machine embroidery project revolves around the combination of any hand embroidery stitches with machine embroidery stitches. The artist, designer or craftsperson must resolve issues associated with the development of textures, linear elements and shape, as well as tonal changes and the placement of blocks of colour. Should the hand stitches be created as a foundation stage, with machine embroidery to follow? Should the machine embroidery form the base of the work, with hand stitching to follow? Should several different phases of hand embroidery and machine embroidery follow each other, with layers of different hand and machine embroidery stitches incorporated over a period of time?

Preparing for machine embroidery...

Machine embroidery...drawings, photographs and beyond…

I have developed free machine embroidery in a variety of ways. I have used my own drawings and photographs as a springboard for the development of two dimensional pictorial compositions and three dimensional sculptural forms or design and craft forms. I have also used fabric printing, painting and dyeing techniques as a means to develop ideas about embroidery treatments. I am now beginning to examine the use of found objects as foundations pieces for new embroidery projects, rather than simply including them as final embellishments after the bulk of the embroidery has been completed.