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.