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.