Stitch samples

Continuing on the theme of line, but relaxing the rules slightly to include 'flat stuff' I've been playing with couching.  I very rarely work with black fabric, but the colours on this piece needed it.

As I stitched I became aware that I was taking inspiration from my old life as a plant biochemist.  A world I left many years ago.  Looking back through my archived pieces I was struck by how often my subconscious 'design- guru' takes ideas from that part of my experience.

The couched sample could quite easily be an abstract representation of membrane structures inside plant cells.  The painted lines that I initially roller-printed on to the fabric probably enhances that idea.

A piece I did some time ago, using string, a lot of gold paint and some beads, has the same inspiration, although I'm not sure I realised it at the time.


My tutor's parting advice when I finished my West Dean course was to make work in sets, or series, so I'm going to tackle a set of small embroideries.  Microscope-slide sized pieces on a theme of cell membranes.  Quantum Biology is the in thing at the moment - perhaps a little textile art is what it needs!

Daily Practice Update

Day 10 in my self-imposed 3D line challenge and it's going well so I thought I'd share a few with you.

This could be my favourite so far, buttonhole stitch on florists wire, coiled round a knitting needle.

Developing the knitted idea from last week, this time over art straws.

Kebab sticks wrapped in a variety of perle and gold threads.

Daily Practice

Something of a cross-roads has been reached.  I've completed all the courses needed for my Visual Arts Diploma and I've come to the end of all the modules I want to do with the Open University.

Where now?


'Finding your own style' seems to be the recommended next step.  However one of the points in my tutor's report was that she found my work "refreshingly original", so maybe I'm part way along the style-finding route already.

Having been nominated for the Art Challenge on Twitter, I found I quite liked the discipline of having to post some work everyday, so I'm going to try a sort of 'daily practice' idea. 
Around this time last year I was working on a theme of 3D lines which I very much enjoyed so I'm resurrecting and extending that.

Today is Day 3, and these are what I've done so far.  We'll see how long I manage to keep it up!

It's Finished

In the end it turned out more Echinacea than Helenium and the satin stitch gave way to straight stitch, but it was always going to be 'interpretation' rather than 'representation' and I rather like it!
The background colouring is done with fabric paints, the flowers are sketched in with a fine-nibbed fabric pen and the stranded threads are from a selection of autumn colours that I found in my stash.
You can tell I'm pleased with it because I've mounted it tidily in my samples book. Pieces I'm not happy with tend to end up stuck in a drawer somewhere.

Stitch Sample #2

Detached Buttonhole Stitch

My new favourite stitch.  Your first row is worked as normal for buttonhole.  Subsequent rows are worked into the 'bars' of previous rows so that the stitches don't connect with the fabric at all - hence detached.  Tension can be a little difficult at first but a rhythm soon develops and the stitches settle down.  My initial row is rather more widely spaced than I would normally like, but on a sample piece bigger stitches can sometimes be called for.

Same stitch worked around a calico core to give a three dimensional piece with added picots.  This is tiny (less than 4cm tall) because I made it to fit into a very small display bottle. 

Stitch Sample



Single Thread Couching

You use just one strand of a six stranded embroidery thread.  Bring your thread up at the beginning of the line you want to work, take it down, and then back up at the end of the section and couch back to where you started.  As you can see I've used four colours, so I worked the sample in four sections.
Simple enough if the line is straight, but to work curves you have to guess how much thread to leave on the top of the fabric when you take your needle down at the end of a section.  Too little and the stitch becomes tight as you run out of 'slack' before you get back along the curve to your starting point.  Too much and your thread becomes too loose as you move back along it.
I learnt this stitch from James Hunting back in April and I've used it a lot since.



Sunny Sunday



Grevillia



Globularia



Soldanella



Sitting in my garden, soaking up the sun and recovering from another week at West Dean.

This time it was a really intense, full week course of Creative Development.  A Textile Workshop with two tutors, one a tapestry weaver and one an experimental embroiderer. The idea was to integrate aspects of the work of both tutors.  I've never tried any sort of weaving before so the learning curve was steep.

We had four days of uninterupted studio time - incredibly concentrated work, but hugely enjoyable.  An opportunity to experiment and debate.  I came away with two 'works in progress' which I'm keen to continue with as they are both looking at ways of adding my hand stitching to an assemblage of warps and wefts. 

Experimental Hand Embroidery

James Hunting's stunning embroidery.

Three days have rarely flown by so quickly as they did this week, on a hand embroidery course tutored by the immensely talented James Hunting.  Regular visitors to this blog will know my own work is small and detailed, but James takes delicate to a whole new level.  His stunningly beautiful flowers are worked in single strands of embroidery threads, either stranded cottons or silks.
His teaching covered all the basics of linear stitches, blanket stitches and couching, through a few modified stitches to french knots and raised stitching.  We worked mostly on linen and organdie.  James proved to be a very patient mentor. 
The embroidery I have chosen to show is unusual in that it is beaded and doesn't feature the piecing together of different linens which usually forms part of his larger work.