all Threaded Together are pleased to showcase aspects of our art textiles on a thematic basis every three months.
January 2021 - Appliqué
During January, February and March we will be showcasing our work which features Appliqué
Philippa
" I am working on my Stumpwork module now. This is part of the Diploma in Technical Hand Embroidery at the Royal School of Needlework. My stumpwork involves the figures of my husband and my nephew as they walk across Westminster Bridge(Image 1). I have adapted the photograph I took to make a more balanced image and also simplified some of the background (Image 2) - which is, of course, appliqué .The appliqué is still work in progress but coming together. The pink felt, on both figures, is just there as templates to help me place different pieces in the right place."(Image 3)
" I am working on my Stumpwork module now. This is part of the Diploma in Technical Hand Embroidery at the Royal School of Needlework. My stumpwork involves the figures of my husband and my nephew as they walk across Westminster Bridge(Image 1). I have adapted the photograph I took to make a more balanced image and also simplified some of the background (Image 2) - which is, of course, appliqué .The appliqué is still work in progress but coming together. The pink felt, on both figures, is just there as templates to help me place different pieces in the right place."(Image 3)
Sue
Two more cushions that I made when I was learning Appliqué; the same pattern with the design offering practice in corners and curves. The first (1) is hand with big Appliqué stitch quilting and the second (2) employs reverse where Appliqué two fabrics are layered with the top one cut away to reveal the underlying one and the edges turned in and invisibly hemmed.
Now in my work, I am more likely to use machine with the Appliqué applied pieces being bias strips, fabric photos or shapes cut out of commercial fabrics.
Bias strips using a blind hemming stitch on a Christmas Tree Skirt (3)
Fabric photos on a memory quilt, one appliqued with straight stitch (4a) and the other reverse again, Appliqué though the top layer is Lutradur burnt away with a heat gun to reveal the parts of the underlying picture (4b)
Appliqued flowers and leaves cut from a commercial fabric, stitched with free motion straight stitch, using a trapunto type technique where padding has been inserted behind the flower shapes producing a raised surface on the quilt (5)
Two more cushions that I made when I was learning Appliqué; the same pattern with the design offering practice in corners and curves. The first (1) is hand with big Appliqué stitch quilting and the second (2) employs reverse where Appliqué two fabrics are layered with the top one cut away to reveal the underlying one and the edges turned in and invisibly hemmed.
Now in my work, I am more likely to use machine with the Appliqué applied pieces being bias strips, fabric photos or shapes cut out of commercial fabrics.
Bias strips using a blind hemming stitch on a Christmas Tree Skirt (3)
Fabric photos on a memory quilt, one appliqued with straight stitch (4a) and the other reverse again, Appliqué though the top layer is Lutradur burnt away with a heat gun to reveal the parts of the underlying picture (4b)
Appliqued flowers and leaves cut from a commercial fabric, stitched with free motion straight stitch, using a trapunto type technique where padding has been inserted behind the flower shapes producing a raised surface on the quilt (5)
Tracy
Appliqué is a constant in my textile work. I use it to create texture and pattern or to introduce 3D elements into the composition.
The applique Appliqué techniques I exploit include the following:
Machine sewing cords, yarns, string and fabric or lace scraps to calico, then covering them in tissue paper and colouring with paint to dye. (See Image 1)
Photocopying images onto fabric, or cutting shapes from fabrics, and fusing them to a backing cloth, then embellishing with machine or hand stitch (See Images 2/3/4)
Applying 3D elements, such as the dyed silk cocoons, seen in Image 1, or the fabric leaves with machine stitch details, see in Image 4.
Image 5 shows tubes of linen with a black and white image photocopied onto them, then applied to a textured background using random hand stitches.
Appliqué is a constant in my textile work. I use it to create texture and pattern or to introduce 3D elements into the composition.
The applique Appliqué techniques I exploit include the following:
Machine sewing cords, yarns, string and fabric or lace scraps to calico, then covering them in tissue paper and colouring with paint to dye. (See Image 1)
Photocopying images onto fabric, or cutting shapes from fabrics, and fusing them to a backing cloth, then embellishing with machine or hand stitch (See Images 2/3/4)
Applying 3D elements, such as the dyed silk cocoons, seen in Image 1, or the fabric leaves with machine stitch details, see in Image 4.
Image 5 shows tubes of linen with a black and white image photocopied onto them, then applied to a textured background using random hand stitches.
Chris
Appliqué is a great technique and can be used in such a variety of ways. I particularly enjoy those illustrated in the examples here - from left to right: Wonky bias strips appliquéd 'up and under'; bonded mosaic 'chips' echo quilted; shadow appliqué using organza overlaid on cotton fabric.
Appliqué is a great technique and can be used in such a variety of ways. I particularly enjoy those illustrated in the examples here - from left to right: Wonky bias strips appliquéd 'up and under'; bonded mosaic 'chips' echo quilted; shadow appliqué using organza overlaid on cotton fabric.
Sarah
Appliqué is a useful and adaptable technique, allowing pre cut shapes to be stitched to the background fabric in an artistic, geometric or abstract manner. It can be simple or highly complex. Once applied to the background it can be embellished with stitch, beading etc.
I enjoy using Appliqué in my work but sparingly. The following images show different examples of of the technique in my work.
Appliqué is a useful and adaptable technique, allowing pre cut shapes to be stitched to the background fabric in an artistic, geometric or abstract manner. It can be simple or highly complex. Once applied to the background it can be embellished with stitch, beading etc.
I enjoy using Appliqué in my work but sparingly. The following images show different examples of of the technique in my work.
October 2020 - Manipulation
Sue
Manipulation
A variation on Cathedral Window and Secret Garden patchwork, I made these two cushions based on the same focus fabric. Started in a workshop some years ago and not attempted again.
More recently for a challenge to depict a poem, I used ‘Ulysses’ by Tennyson. I manipulated and stitched down fabric, dyed with potassium permanganate, into folds to depict the edge of the rocky world beyond which Ulysses would travel.
Manipulation
A variation on Cathedral Window and Secret Garden patchwork, I made these two cushions based on the same focus fabric. Started in a workshop some years ago and not attempted again.
More recently for a challenge to depict a poem, I used ‘Ulysses’ by Tennyson. I manipulated and stitched down fabric, dyed with potassium permanganate, into folds to depict the edge of the rocky world beyond which Ulysses would travel.
Gill
Manipulation
I haven’t done cathedral window for many years, so it was lovely to do it again. I had forgotten how much fabric is needed for the background, so perhaps it is a technique best suited for small projects.
Manipulation
I haven’t done cathedral window for many years, so it was lovely to do it again. I had forgotten how much fabric is needed for the background, so perhaps it is a technique best suited for small projects.
Sarah
I have only rarely used manipulative techniques in my work. The two types I have worked with thus far are tucking and distressing scrim.
A. In 'The Fire and the Ice' I experimented with irregular tucks which were partially stitched in place with hand stitch and decorative embroidery stitches, I was attempting to create an approximation to the face of a glacier. I used light weight silk and lawn to keep a light feel. I the same piece I covered areas of the back cloth with scrim which when manipulated with fingers and a needle could produce a series of holes, exposing the layer beneath.
B. In 'It's Very Grey' both tucks and holes in scrim help to create the street surface during heavy rain.
C. In 'Birch Tree' the lesions on the trunks of Silver Birch trees were suggested by slashing and turning under the edges to expose the under layer.
I have only rarely used manipulative techniques in my work. The two types I have worked with thus far are tucking and distressing scrim.
A. In 'The Fire and the Ice' I experimented with irregular tucks which were partially stitched in place with hand stitch and decorative embroidery stitches, I was attempting to create an approximation to the face of a glacier. I used light weight silk and lawn to keep a light feel. I the same piece I covered areas of the back cloth with scrim which when manipulated with fingers and a needle could produce a series of holes, exposing the layer beneath.
B. In 'It's Very Grey' both tucks and holes in scrim help to create the street surface during heavy rain.
C. In 'Birch Tree' the lesions on the trunks of Silver Birch trees were suggested by slashing and turning under the edges to expose the under layer.
Diana
Manipulating fabric can take many forms. Smocking is used to gather fabric in different ways. In flower smocking all the sections are usually pulled to give flowers with four petals. Here I left some folded to give a less regular finish. Lattice smocking is worked from the back of the fabric, the orange sample. I then used the same techniques for the red cushion fronts
Manipulating fabric can take many forms. Smocking is used to gather fabric in different ways. In flower smocking all the sections are usually pulled to give flowers with four petals. Here I left some folded to give a less regular finish. Lattice smocking is worked from the back of the fabric, the orange sample. I then used the same techniques for the red cushion fronts
Chris
As part of my research work on Cleeve Abbey for the C&G Diploma, I tried out various methods of manipulating fabric. Revisiting these samples is a reminder of what fun it was and inspires me to do more!
As part of my research work on Cleeve Abbey for the C&G Diploma, I tried out various methods of manipulating fabric. Revisiting these samples is a reminder of what fun it was and inspires me to do more!
June
This is a piece I made in 2004 in a Jennie Rayment workshop at Bramble Patch. It’s called ‘Tucked up circles’
This is a piece I made in 2004 in a Jennie Rayment workshop at Bramble Patch. It’s called ‘Tucked up circles’
Philippa
"I bought Colette Wolf's book 'The Art of Manipulating Fabric'. I decided to make a small wallhanging to practice machine embroidery. I made eight 4.5 inch squares with a variety of machine embroidery designs and a manipulated fabric pattern in the middle, following the instructions in Colette's book. I did particularly enjoy the manipulated fabric square but it was extremely time consuming for the end result. I am pleased I had a go but am unlikely to repeat!"
"I bought Colette Wolf's book 'The Art of Manipulating Fabric'. I decided to make a small wallhanging to practice machine embroidery. I made eight 4.5 inch squares with a variety of machine embroidery designs and a manipulated fabric pattern in the middle, following the instructions in Colette's book. I did particularly enjoy the manipulated fabric square but it was extremely time consuming for the end result. I am pleased I had a go but am unlikely to repeat!"
July 2020 - Colouring fabric. Part 2 (printing, marbling, oil paint stick .......)
June
Here a few images of block prints I’ve done in the past. The Crocus image was subsequently used in the piece I made for the ERTF Exhibition ‘Collections Re-Crafted’ which was held in Saffron Walden.
The other images I have used on sketchbook covers - in one case these have been embellished with machine stitch.
Here a few images of block prints I’ve done in the past. The Crocus image was subsequently used in the piece I made for the ERTF Exhibition ‘Collections Re-Crafted’ which was held in Saffron Walden.
The other images I have used on sketchbook covers - in one case these have been embellished with machine stitch.
Chris
I enjoy experimenting with surface design techniques, and often use several different processes to build interest and depth in my work.
I enjoy experimenting with surface design techniques, and often use several different processes to build interest and depth in my work.
Sarah
Surface decoration is very much part of the way I work. It is a fantastic way of stamping ones original ideas of commercial fabrics and enhancing those we have coloured ourselves. The following are examples of methods I use regularly in my work.
Surface decoration is very much part of the way I work. It is a fantastic way of stamping ones original ideas of commercial fabrics and enhancing those we have coloured ourselves. The following are examples of methods I use regularly in my work.
APRIL 2020 - Colouring fabric. Part 1 (dyeing, painting, monoprinting, rusting ....)
Gill
As you can see, I found a rusty old spanner, it’s amazing what textile people get excited about ! I also had a rusty square left over from the scaffolders.
I made a solution of half vinegar and half water, added the items and fabric and ignored them for a couple of days. I’m thrilled with the results but not sure what to do next.
Hopefully inspiration will strike!
Chris always prefers to dye her own fabrics for her creative projects. Two techniques she favours for creating a palette of fabrics she knows will work together are a value gradation method and a colour exchange method.
In the gradation method, several pieces of fabric are dyed in a single container to create a set of fabrics the same colour but different values. The fabrics are stacked in the container one by one 5-10 minutes apart. As the time goes by, the dye becomes spent so the fabrics that go in later in the cycle will be lighter than those that went in at the beginning.
In the gradation method, several pieces of fabric are dyed in a single container to create a set of fabrics the same colour but different values. The fabrics are stacked in the container one by one 5-10 minutes apart. As the time goes by, the dye becomes spent so the fabrics that go in later in the cycle will be lighter than those that went in at the beginning.
In the colour exchange method, 6 containers are used with 2 complementary dye colours. Different ratios of dye solution are mixed in each container, then fabric is added to produce a set of harmonious coloured fabrics. In the example here, the pure colours were the red and green fabrics at the top and bottom, the four fabrics in between resulted from the varying ratios of those colours.
Sarah prefers, where possible, to dye her own fabrics for major projects. She uses three techniques for achieving the colouring of fabric lengths and pieces:
- Plastic bag dyeing - Here the dye is made up in small quantities and the prepared fabric place in a plastic bag. The dye is then added to the bag. The more the bag is agitated in the next thirty minutes the flatter the resulting colour. More than one colour h=can be added and if left minimally agitated will give a mixture of the dyes and patterning from the way the fabric is folded.
- Tray Dyeing - Here the fabric is arranged in a shallow tray, in plough lines, swirls, scrunched etc. The dyes are dripped in to different areas of the tray and no agitation takes place, the natural combining of colours is the desired result.
Pole Dyeing - Here the fabric is stitched tightly around a pole and scrunched down the pole at tightly as possible. This will create a wavy effect across the fabric. The pole is then soaked in a bucket of dye for at least four hours.
Diana likes the marbling effect obtained by using shaving foam. Spread a layer of foam about 1cm thick on a waterproof surface. Drop on fabric dyes or paints and swirl them about with a cocktail stick. Put the fabric on top and it picks up the colour. Another piece of fabric will pick up the colour but it will be paler. Scrape any excess foam from the fabric and leave to dry.
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JANUARY 2020 - Free Machine Embroidery
Tracy uses machine embroidery freely in her work often in really small scale.
Sue uses Free Machine stitch widely in her work. Machine embroidery and quilting are the techniques employed in my art textiles that I enjoy most. I try To make the stitch relevant to the subject.
Diana uses granite stitch, a free machine embroidery technique that can be used to show relief, to bring parts of an image to the fore. Tiny overlapping circles are stitched in the area to be compressed. The orange sample is stitched on velvet, using granite stitch with a slightly darker thread to flatten the pile. The grey piece was photographed while in progress. There were two layers of wadding between the backing and surface fabrics so the stencilled trilobites stood out when the background was covered with granite stitch.
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Sarah uses free machine embroidery widely in her work, enjoying the freedom to more the work in any direction under the needle and create interesting textures.
October - Text
Sue:
I have used text in several personal quilts. ( Left to right above)
‘Remembrance’ was made in memory of my grandfather, killed in WW1. The detail shows a PC written a month before he died and his handwriting.
For a challenge to depict a poem, I chose ‘Ulysses’ by Tennyson. I printed text onto small ‘bricks’ to applique onto the wall.”
“Part of a memory quilt of my childhood in Africa with fabric photos of my parents’ handwriting.”
I have used text in several personal quilts. ( Left to right above)
‘Remembrance’ was made in memory of my grandfather, killed in WW1. The detail shows a PC written a month before he died and his handwriting.
For a challenge to depict a poem, I chose ‘Ulysses’ by Tennyson. I printed text onto small ‘bricks’ to applique onto the wall.”
“Part of a memory quilt of my childhood in Africa with fabric photos of my parents’ handwriting.”
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Chris
I love using words to tell a story or evoke a feeling so using text is a recurrent theme in my work. In these two examples, handwriting has been printed as the background for further layers to be added through more printing, piecing and stitch. |
Philippa
The text is part of a family history quilt. It is a fabric copy of a postcard sent from my Grandpa to my Grandma in March 1919. He was in Folkestone about to sail for France to continue his service as a mechanic in the Airforce.
Sarah
I really like to use Text in my work if it is appropriate. It is interesting to print text in different sizes and cut it us to appear in small areas as well as using free machine stitching to write in longhand.
I really like to use Text in my work if it is appropriate. It is interesting to print text in different sizes and cut it us to appear in small areas as well as using free machine stitching to write in longhand.
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I have also tried using machine infilled large lettering to make an impact. I enjoy this stitching but not always appropriate .The final piece is no longer in my possession but here is one of the trials. I have also used applique. Here as a pun on a Knot Garden for a challenge. |
July - Handstitch
Tracy
* Detail of folk inspired flowers and leaves on a Harris tweed background, worked in satin and stem stitches.
* An example of straight stitch, bullion knots and applied beads from various cotton, linen and wool threads on linen base. The design is from a detail of a pen and ink mark making exercise.
* A sample worked in half and full ribbed/whipped wheel and filled and unfilled spider web stitches. Contrast in depth is achieved by the used of padding in one ribbed wheel and working over a wooden bead on the far right. Two vintage beads, or shankless have been applied and the whole effect is enhanced by the use of hand dyed variegated linen thread on a linen background.
* Detail of folk inspired flowers and leaves on a Harris tweed background, worked in satin and stem stitches.
* An example of straight stitch, bullion knots and applied beads from various cotton, linen and wool threads on linen base. The design is from a detail of a pen and ink mark making exercise.
* A sample worked in half and full ribbed/whipped wheel and filled and unfilled spider web stitches. Contrast in depth is achieved by the used of padding in one ribbed wheel and working over a wooden bead on the far right. Two vintage beads, or shankless have been applied and the whole effect is enhanced by the use of hand dyed variegated linen thread on a linen background.
Diana
These images show some of my more traditional hand stitching.
When I was growing up the only embroidery I did used stitches such as stem stitch, lazy daisy and satin stitch on tray or table cloths pre-printed with floral designs. The owl was the first time I tried to embroider a picture with no pattern, done for my mother about forty year ago! The red kite was done for a travelling book three years ago and the kingfisher last month for a project with Aspects of Stitch. For all these I started with a photo, plain fabric and a box of threads.
The red image uses traditional blackwork techniques but I changed the colour. Hardanger embroidery is traditionally white stitching on white fabric but I used a variegated yellow/green/orange thread. The flowers are an attempt at crewel work.
These images show some of my more traditional hand stitching.
When I was growing up the only embroidery I did used stitches such as stem stitch, lazy daisy and satin stitch on tray or table cloths pre-printed with floral designs. The owl was the first time I tried to embroider a picture with no pattern, done for my mother about forty year ago! The red kite was done for a travelling book three years ago and the kingfisher last month for a project with Aspects of Stitch. For all these I started with a photo, plain fabric and a box of threads.
The red image uses traditional blackwork techniques but I changed the colour. Hardanger embroidery is traditionally white stitching on white fabric but I used a variegated yellow/green/orange thread. The flowers are an attempt at crewel work.
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Philippa
I have been working on hand stitch assignments from the Royal School of Needlework on the Diploma course. The following images are of the Blackwork element. A portrait of my father.
I have been working on hand stitch assignments from the Royal School of Needlework on the Diploma course. The following images are of the Blackwork element. A portrait of my father.
Sarah
I have incorporated surface design in the form of Hand Stitch in many of my creations. I love the change to the surface these stitched create. These are a selection of the ways in which I embellish my work.
I have incorporated surface design in the form of Hand Stitch in many of my creations. I love the change to the surface these stitched create. These are a selection of the ways in which I embellish my work.
April - "Metals"
Tracy
Detail of a needlework case. Red kid leather, hand dyed silks and threads, couched goldwork threads and metallic ribbons. Metal beads from recycled tomato paste tube. The design was inspired by the patterns of Maori tribal tattoos and colours of the feathered headdresses of Amazon tribes.
Diana
Ironing metallic sweet wrappers gives a range of
effects depending which side you iron, how hot the iron is and the
thickness of the foil. This one, from a large Cadburys bag, gives the
effect of molten lava and can be coloured before incorporating into a
textile pieces with fabric or felt.
Goldwork and other metallic additions to fabric as samples.
Ironing metallic sweet wrappers gives a range of
effects depending which side you iron, how hot the iron is and the
thickness of the foil. This one, from a large Cadburys bag, gives the
effect of molten lava and can be coloured before incorporating into a
textile pieces with fabric or felt.
Goldwork and other metallic additions to fabric as samples.
Philippa -
Still 'work in progress' - my Etui Wren from a fabulous course with Jenny Adin- Christie.
Sally
Painted and stitched pieces influenced by rusted metals. Made with fabrics, trims, acrylic felt, sequins, metal wire and nails
Painted and stitched pieces influenced by rusted metals. Made with fabrics, trims, acrylic felt, sequins, metal wire and nails
Sarah
Over several years I have experimented with metals in my art work. It's a lovely contrast with the soft and pliable fabric.
I've used: Copper gauze; metallic sweet wrappers; chain; washers and cogs.
Over several years I have experimented with metals in my art work. It's a lovely contrast with the soft and pliable fabric.
I've used: Copper gauze; metallic sweet wrappers; chain; washers and cogs.
