Fabric folds, quilting and embroidery...

I have begun to investigate the combination of fabric manipulation through folding and pleating with embroidery and quilting. In addition to consulting specialist books on the history of costume during the eighteenth and nineteenth centuries, I have also found museum webpages to be very important sources.

Searching for references...

Hand stitching … Erica Wilson’s Embroidery Book

(Faber and Faber, London, 1973) also shows the value of searching through older texts for photographic images of historic fibre works. While many of the images in this publication are in reproduced in black and white they still provide valuable information about stitch and pattern placement.

Searching for references...

Hand sewing techniques… A recent excursion through second-hand booksellers produced a copy of Erica Wilson’s Embroidery Book (Faber and Faber, London, 1973). One of the best features of this publication is the clear line illustrations associated with the sewing stitch instructions. The section on couching stitches was a particular favourite, showing the range of couching techniques that can be employed, from Bokhara couching to couching wheels and brick pattern couching.

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.