It is the last day of February and have been working for 2 months making my patchwork wall coverings. When I started this blog I vowed to show the journey of the work that I design and make – to explain the problems and possibly the solutions……but this latest project has been keeping me awake and I am still not certain that I will get it sorted and onto the sitting room walls. I am suffering a severe case of Cold Feet!
3 variations of possible stripes seen on the quilt wall – left, the original choice: centre, just playing with ideas: right, the chosen 3 colour system – yes I know that they all look the same…………………………………………………………………………
After I had stitched a wall full of the original design I kept feeling that there was just too much going on – all those colours and stripes and collisions of patterns (all the things I normally love) just looked like porridge – multi coloured porridge – something had to go….What went was the yellow stripes – leaving me with Mauve, Blue and Green strips – this took quite a lot of grief and several days ( and nights) to decide to change things – somehow the well-honed critical faculty I use for all projects, professional as well as personal, has deserted me during lockdown. But once I had pulled apart the original piece and made another wall-full, things started to look possible. I made another design chart this time with repeating patterns built in – once a textile designer…….
the new highly coloured “working drawings” for the main sitting room walls
Things get back on track by mid January – the first panel is on the studio wall padded and quilted using the new walking-foot on my favourite old Bernina sewing machine.
By Februarythe work gets properly underway – a whole stitched wall – full – but still very uncertain about this entire idea.
I try these first panels around the room seeing how the whole thing will look – trying to imagine it without those brilliant pink walls is hard…and how will it look behind all our pictures – yikes – it really needs to accommodate paintings and other art works that cover every other wall of this house…I start to realise that what it needs is more GREEN.
Trying the panels on other sitting room walls – it needs more GREENto reflect the garden
back to photoshop to play with a version of favourite “Green Blue” or is it Blue Green” by Farrow and Ball which is used throughout the house
I decide that if all else fails the patchworks will look lovely in one of the bedrooms. But this still leaves us the problem of the damp disfigured walls and meanwhile the rest of room is being demolished …. did I mention we are cutting and making verdigris copper tiles for the fireplace?
Determined to make the most of the new year 2021 winter lockdown in the UK, I decided to cover my damp (although supposedly cured) and now ruined sitting room walls…….with patchwork!
sitting room new year 2020
same cosy corner new year 2021!
And with real fabric. the left-overs from my work organising quilt making in the UK for Kaffe Fassett‘s books of patchwork and quilting designs. Below are 2 of my favourite quilts from previous books that I have worked on and which I referenced for both colour and patten.
2 of my favourite quilts from Quilts in Ireland, by Kaffe Fassett and Liza Lucy
Patchwork is part of my professional textile practice and I have always used it for all types of furnishings, from wall papers for Heart Space Studios to my old but still glamorous dining room curtains.
Now I chose fabrics that reflected the colours in the rest of the house: basically turquoisey blues, buttery yellows, mauves and greens – I like colours to blend through the rooms. I had painted the hot pink walls for a New Year’s Day party 2 years ago….as you do!
I really loved the first fat version on my studio quilt wall above, but seeing it in situ was another thing. I wanted to cover the whole room and suddenly I felt totally overwhelmed by colour and pattern – the photoshopped version confirmed my misgivings…..it just hit me in the face and made me feel hot and sticky!!!!!
photoshopped version of sitting room walls!!!!!
The larger size of the fabric pieces, 21inches in length, made the patterns fight one another; in the smaller pieces used for quilts the patterns meld together as the eye sees so many at once AND there is only 1 quilt per room. Here there will be at least 6 large quilt sized pieces from floor to ceiling on all walls. Back to the studio.
And back to the oldest and simplest way of softening and unifying coloured fabrics – dip them in brewed tea. Above see the different shades to be had using: top = 1 bag, middle = 2 bags, lower = 2 bags boiled. It is a shame to kill the brilliant singing colours of the Kaffe Fassett Collective’s fabrics but hey ho! These wall coverings will take months to make and mount on the walls and then we have to live with them for ever…….I am not doing this again!
Back in my studio sorting out newer softer colours. Meanwhile the Kaffe Fassett Studios had kindly sent me lots more fabric strips based on my original sample….dipping a few of them in week tea I placed them on top of the quilt wall – wow this looks like a mad Japanese kimono design! Should I introduce stripes?
I am now 3 weeks into this sampling phase, I am still uncertain about the design on the wall. My Christmas star light reigns over chaos.
Time to get a grip! sort out the separately coloured triangles and tidy up
the whole 4 sets of coloured triangle patches, mauves, greens, yellows and blues, cut, pressed and ready to stitch.
I set them all out on the table ready to start work – tomorrow. Looking at the fabrics the next day they appeared to look so calm totally unlike the design on the wall. Maybe it is the Covid experience of the last 10 months but now I seem to want calm from my colours. I looked at the table and my eyes just glided over the strips of colours – back to the quilt wall again – to organise the diamonds into stripes.
Final Photoshop version of the striped diamond patchwork
Now my eyes tend to glide up and down rather than dotting about to see other diamond combinations. But that is as far as I can take this designing phase: there comes a time to every project when you just have to commit, and we are now into the first week of the new year. So I am simply sewing one single coloured strip at a time, and when I have finished them I can start to play with the design again – it should see me through until I get vaccinated.
The night before the private view I had a dream that a giant version of the work featured on the poster ( see above) was writhing around the gallery walls and flashing strobe lights, while all the other pieces of work in the exhibition were equally massive and glowing while moving to – for want of a better word – ‘disco’ music: I thought – oh no! my poor flat patchwork!
reassuringly static ‘ Entangle Tiles ‘ by Lynne Maclachlan
The featured work by Lynne Machlachan was on display with her other wonderful constructions in blends of strong colours they undulated around the walls and in the air. A panel of photographs showed them being worn, I hesitate to call them jewelry…
On reflection I feel that this work set an atmosphere for the exhibition; clear, strong, flat colour, immaculate attention to surface detail, and a definite sense of playfulness were qualities I enjoyed throughout the rooms. The only strobe effects were caused by overlapping patterns on a smaller scale in many exhibits.
strobe effect in metal in tiny scale by Andrew Lamb
Whether by intention of the makers or sympathetic lighting on the part of the curators, the play of light and shadow were fascinating. I constantly returned to view the works of 2 makers who collaborated to show small woven metal constructions, Jonathan Cleaver and David Poston,
views of the woven metal works from different angles with metal jewelry work by
Even when I viewed larger scale works that had became almost installations in the way they were exhibited, the same themes of flat brilliant colour and clean elegant construction were apparent – and the use of this singing yellow and metal together.
colour and pattern throughout the exhibition links very disparate materials and ideas
machine embroidered coat by Jacky Puzey echoes the metal sculpture beyond
The machine embroideries of Jacky Puzey echo both colour and form when seen against the metal sculptures. Her large dramatic panel of birds is a real master class in placing together disparate materials and media so that they flow easily one into the another.
machine embroidered parrots in thread and feathers. Jacky Puzey
detail of embroidery and fusion with feathers – harder than it looks here!
The degree of skill on view within the exhibition is made apparent in different ways, certainly to change or add new materials to your original practice makes you concentrate on the “joins” and here nearly every piece of work combined either 2 or more materials or the makers had transferred the techniques of one discipline to another…or they made juxtapositions of natural with man made found objects – never easy.
Ancient bronze thimbles carry coral and sea urchin spines, like tiny offerings to the goddess of stitch! And there were boxes made from a metal shield mount, still with tracings of old patterning mounted with diamonds.
One of the major themes of the exhibition is the transformation of one material to describe another and there were many examples including my own.
One of the advantages of Private Views is to meet up with other exhibitors, I often find that talking to people work who work totally differently to me are always stimulating. I was introduced to Valeria Nascimento and we spent some time together discussing our very different work. as we walked we both stopped and gazed at the work of Anna LorenzIt is intriguing; you just can’t guess the material ( well I am a maker and stimulated by materials) It looks like unglazed porcelain or paper porcelain, or unfired porcelain, or paper or felt or…. or….but it is news print; and it is perforated, but how? Valeria and I were looking behind it, inside its layers and I took this image of the gradated shadow it threw – so much a part of its complete and compelling mystery.
Arriving at Valeria’s work I realised that I had photographed it as soon as I walked into the gallery, drawn to the far wall of what looked like bleached shells and sea creatures.
porcelain ruffs and spirals
Her table of porcelain jewelry in stark blacks and whites really intrigued me, the fluffy neck pendants and the massive rings and brooches are not to my personal taste but their presence and implication of natural forms through simple and sympathetic use of her media, just made me want to hold them – and that’s why we go to exhibitions isn’t it – to extend our imaginations and ideas.
Sea creatures emerged as inspiration in the beaded work of Wanshu Li, translucent and iridescent tentacles of colour made up large rings and bracelets.
photographs of jewellery by Wanshu Li
and accompanying her work were high contrast photographs underlining the quality of deep sea beings… looking at this work made me see a fish in an adjacent vitrine.
strange fish emerges from the glass work by Kate Haywood
Every once in a while you see work that just makes you jealous and wishing that you could have made it – the work of Zoe Hillyard really stopped me in my tracks. First it was beautifully thought-through and formed, second it reminded of work that I had made previously, and third – I wished that I could have used it for an exhibition I co-curated some years ago – Mending at the Museum.
broken ans mended jar using fine fabric.
I had actually tried a similar exercise when I was working on ‘mending’ ceramics – but it did not look like this; here are elegant breaks, refined textiles wrapped and stitched to perfection and the soft colouring entirely at one with the materials – it is patch-worked!
I really appreciated this work, especially her dense stitching on the inside of the pieces, used to draw the fabric tight against the curves, she managed to make this as decorative as it was functional. Just so desirable and a perfect transference of materials and ideas – and she made the jars then smashed them herself!!
I cold go on and on about the ideas, images, thoughts and provocations elicited by this exhibition – but now show that finally, after months of work, the Patchwork Enamel was successfully transported and hung and here it is complete with shadows…
the first fabrics chosen for the quilt using the planting story board.
My latest commission is to design and make a patchwork quilt to be placed on a bed in a show garden for this year’s RHS Flower Show at Tatton Park. This is the idea of plants-woman and garden designer, Julie Dunn, And I think that her design is really intriguing – to make a garden for recuperation and healing, full of scented plants and herbs that aid relaxation plus a double bed in which to rest.
When Julie first contacted me, I responded by asking for her ideas for the atmosphere of the garden, particularly her chosen plants, so that I could give her some fabrics to consider.
original and amusing plants and atmosphere visuals for the garden
She had very definite ideas of the actual fabrics that she wanted – they were by Kaffe Fassett and they featured flowering plants, most notably Brassica – the classic fabric featuring flowers that looks like roses but are in fact cabbages.
1 co-ordinated fabrics surrounding the favoured Brassica fabric
I pulled together several colour “stories” to choose from. although they are similar they give very different overall tones – I wanted the quilt to reflect and augment the garden, not overwhelm it
2 grey version of Brassica with co-ordinates
The sheer scale and incongruity of the bed in the small ‘Back to Back” gardens in the show, means that it will dominate if we are not careful with the pattern and the colours
3 brighter, green and mauve colourways
The large enveloping quilt needs to give a feeling of comfort and protection as well as being light-weight and warm whilst the sleeper is wrapped up in it. I already knew what the backing fabric would be – Dream, one of my favourite Kaffe Fassett fabrics.
“Dream” fabric design – which colour to choose for the backing?
Julie and I spent a day in my studio, and with her visuals pinned to the quilt wall, we started to develop a design together. I wanted a very simple quilt design with large scale patches, as although a decent hand-stitcher I am not a happy machine stitcher, particularly with the precision needed for patchwork.
Working with the first of the colour-way choices shown above, I cut simple large scale heads from several shades of the Brassica fabric and simply made a chequer-board formation with them. This first attempt look too strongly coloured, but the simple square format was good as it showed the full ‘flower’ heads of the cabbages. But the simple deep pink strips looked too solid and they would dominate the entire quilt, we needed a more subtle variation. Cut into triangular sections, the square becomes a diamond
the next step of the design with the planing plans on quilt wall.
Julie was happier with this softer set of fabrics; strangely adding more patterns and colours often makes a design more subtle, the secret is to work within a tonal range – these red triangles dominate here – they may have to go eventually!
design development with more borders
I tried to balance the deep colour with a strong striped border but the dark blue stripes make the centre even more dominant. Julie wants the magenta red to stay as it is exactly the colour of a chosen Sanguisorba – I take her word for it.
re-arranging the strips of fabric to build up the medallion design
working on through the afternoon we slowly we start to feel that the colours, although strong, are softened over all and now enough of the quilt is decided for me to carry on developing the design from here.
the colour balance is better, the flashes of magenta ‘Maple Stream’ leaves help.
The actual quilt needs to very large, Julie’s vision of it is to cover the bed almost to the floor, this useful as I see the bed to be a type of extending couch- a day bed. Julie sees a four poster!
the mood board for the bed element
We turn our minds to the application forms and read them extensively and decide that I will illustrate the envisaged quilt on the envisaged bed in the envisaged garden…this I can do more easily than make the quilt, having illustrated all sorts of ‘envisaged’ designs for gardens, plants, embroideries, fabrics, enamels, clothes…..so I offered to illustrate the whole of the garden application.
my first rough idea of how the bed will look when dressed.
We discuss the problem of the English weather, even in July, we will need a canopy. I imagine that you would not use the bed when it was raining, but at a pinch could hide under a canopy at the head of it – if we use a day bed. But the vision of a real romantic bed with curtains is still the main aim. This is when as a designer, you have to really listen carefully to the client – and try to find a compromise; a drawing, even a scrappy one often makes your point, the metal sub-structure of the canopy will dominate the small garden.
the final illustration for the application.
Of course the one thing I felt I must do was to inform Kaffe Fassett of our plans. So at our next quilt design meeting I showed him the scribbled design drawing and the other garden plans and asked for his “blessing” for the project and could he sponsor it with his fabrics? His immediate reaction was to offer more suggestions about the design using lots of other fabrics I could use.
I am leaving the next stage of illustrating the garden for the application for another post – watch this space.
One wonderful wrapped ribbon beaded bead by Debbie Cripps
And so to Bath, to launch the Heart Space Studio book, ‘Little Ribbon Patchwork and Applique’ at the American Museum, with a workshop in the morning to show how to make ribbon beads. I made these originally as a way of using up all the small ends of Jaquard ribbons made by the American company Renaissance Ribbons left over from the other projects in the book – but also to show off the wonderful floating threads that form on the backs of the ribbons.
contents of a ribbon pack given to each student for the workshop
As the workshop was conducted for just the morning before the launch, we had only 3 hours to make beads, and knowing that choosing the ribbons and felts takes a long time, decision decisions….we had made packs of small pieces of ribbon and the felt strips – enough for 12 beads, added tiny glass beads for embellishing and some gold thread for wrapping and stitching, plus a small wooden skewer on which to assemble the beads. Each student was first asked to choose a package.
wrapping the scrap of Jaquard Ribbon wrong side outermost around the felt.
wrapping the felt to make the bead base
constructing the beads is easy peasy – if you can stitch neatly, I showed how to make 3 simple beads with variations.
three beads wrapped and stitched in gold thread and different ribbons
everyone quickly got wrapping and sewing and inventing different colours and patterns, fascinating to watch so many variations happen at the first ever class I have given in this technique.
colour co-ordinating beads with clothes
stitching the ribbons to the felted bead – a blur of activity!
just simple plain coloured thread cross stitch when repeated looks lovely..
embroidered bead by Naomi Clarke
when all the ribbon beads are strung together with glass beads onto an elastic cord the effect is simply lovely.
the finished necklace by Naomi Clarke
After this came the launch party, so we all made our way to the Gallery.
Earlier in the week, we had designed and re-packaged the basic Renaissance Ribbon packs that the gallery had in stock to sell with the books,
in the heart space studio making fresh sets of ribbon packs
we were really pleased with the effect….
our packs of ribbons displayed next to the new book in the gallery shop
lots of other people joined us for the launch…the heart Space tutors and friends all enjoyed a good time together
rare picture of me with my friends – I’m the one with the ribbon bead necklace
colourful Heart Space gals busy chatting together
All in all it was a good day, and lots of other guests have blogged it as well, most notably, Rosemary Murphy on one of her blogs for September 2015 http://storiesinwood.blogspot.co.uk/–
So that’s the Launch sorted, what next?
new ribbon version of front cover embroidery for Knitting and Stitching Show
new design for Cotton Patch stand F27, at Knitting & Stitching show at the Ally Pally, London
I have been invited to the Knitting and Stitching show in London by Nik Sewell the owner of The Cotton Patch to demonstrate how to make several simple projects from the book on their stand, F27. And to sell the books as well as lots of Renaissance Ribbons and Kaffe Fassett’s lovely shot cottons that are used throughout the book. So I am now busy developing new combinations as shown above.
We are launching the new book, Little Ribbon Patchwork and Applique, on Tuesday 15th September at the American Museum, near Bath. Things are a tad hectic here, even my old dog Boysie is getting in on the act posing in the Heart Space Studio window for the Ribbon book display….and all of us who are working hard on this part of the publicity keep laughing and saying to one another – “it’s a tough job…….”
Meanwhile other people have been posing in this window – all in my efforts to publicise the book
model Patricia Yaker Ekall looking resplendent in studio window
But to start at the beginning, the books have finally arrived in the building, boxes and boxes of them.
first box of books from printers
We have a small UK edition and are selling copies at various book and craft shops and galleries and of course at Heart Space Studios. The first opportunity to advertise came in the form of a photo-shoot for local press featuring the neighbouring businesses in Coldharbour Road, organised by Sue Fyfe-Williams. To make the best use of the fashion models on offer, we made masses of ribbon beads – I mean masses….
assembling the earring
our guardian angel bedecked with ribbon beads
and One Solitary Earring……
So when we saw our model Patricia, in a lovely tailored jacket by The House of Sheldon Hall, with her severe hair by SK109 – we just knew that the combination would make spectacular images
Patricia and her mother Clare, in Heart Space club room waiting for the camera
the most amazing thing about these beads is that they are made of all the left-overs of ribbon scraps from the other projects in the book – and they are the most popular item in it – we have sold out our launch Making Ribbon Beads workshop at The American Museum , but of course we are running them later this year at Heart Space.
But that’s not all – off we went this week to mount a display for the launch at the museum. Jane- Marie Mahy, Ilaria Padovani (2 of our amazing volunteers) and I arrived at the very cool and elegant Gallery Shop.
gallery Shop at the American Museum in Britain
what would our hotch – potch of brilliantly coloured Kaffe Fassett inspired projects look like here?
detail of Kaffe’s Corner
We needn’t have worried – perfect colour co-ordination with Kaffe’s section of the shop…..was it Ruskin who said that only the noblest minds concerned themselves with colour?
Ilaria pressing the aprons
Jane- Marie arranging the projects
eventually everything was in place
detail of the shelves with Ribbon Book projects displayed
and then the gals took piccies….colour co-ordinated or what?
Finished
now all that is left to do is make the ribbon packs for the Museum to sell alongside the books; sort out the bead workshop materials and pack, get some workshop leaflets printed, organise guests to get into museum with the invitation, bring extra blue tack just in case…oh and turn up on the day in time for the launch itself……….
Paula and I hand stitch the knitting onto the lamppost
Shaun the Sheep – the popular cartoon character from Aardman Studios, Bristol’s world famous animation company is being celebrated with a series of decorated sheep statues being deposited in a trail throughout Bristol (and London). The local high street community, including Heart Space Studios, has sponsored a sheep sculpture and he arrives in the first week of July….meanwhile Heart Space have decided to welcome him with a knitted yarn bombed lamppost and bunting.
Paula New stands beside her creation – the knitted sheep lamppost
We recycled an old length of knitted bunting by giving it a really good wash and then Paula made lots of crocheted flowers which I stitched into place to liven it up; we are really pleased with our efforts and all our neighbours are delighted to see our new bunting, they keep photographing it…..the local children come and hug the lower area of the lamppost and we made this particular design as all proceeds for Shawn go to the Bristol Children’s Hospital
recycled knitted bunting
So to add to the funds we once again, by popular request, ran a children’s workshop this time to decorate bags….Paula also helped out with this – I kept well out of the way, just occasionally took the photographs….it looked very lively in the main studio..
patterns, fabric, felts, buttons and beads all ready to for the children to decorate the sheep bags
we had provided sheep patterns for the sheep, prepared fabrics with bondaweb, found buttons beads, eyes and all kinds of stuff to play with.
all sorts of stuff neatly laid out for decorating
as soon as the children – boys and girls – arrived they started to trace around our specially drawn templates, and using special fibre pens coloured,
stitched and appliqued….. Mothers helped as well – with the pressing,
everyone joins in the making session.
we also had boys making their own characterful versions of sheep …..
get those blue eyes!!!!
now that’s what I call a pig ready for a party!
choices, choices choices….the children’s imagination knew no bounds when it came to decorating the simple drawn outline.
after refreshments – provided by Ilaria and her mother, who was visiting from Italy,
the table full of wonderful hand made cakes and biscuits from Ilaria and her mother..
the bags were finished
and everyone had to be photographed as they left the studios.
we had lots of happy people leaving with their own very personalised bags….
research workshop materials -printed paper butterflies
‘Wings and Things’ is the working title for an exhibition being developed for the local community’s annual “Westbury Park Festival”.…last year we hosted a drop-in making felt flowers – this year we are show-casing the talents of the staff and tutors at Heart Space Studios – so no pressure!
research workshop materials – feathers
Each of the 11 people who opted to work towards the theme have committed themselves to attending up to 3 research sessions when we all work together to make a mixed media exhibition – by mixed media I really mean any materials that can be connected to textiles, either physically or metaphorically. ‘Things with Wings’ was an idea proffered by Debby Bird (who else?) who is a busy tutor at the studios and a major force for developing new ideas for classes. We are working together to make an unusual and hopefully amusing exhibition
selection of glass beads for workshop materials
It is always fascinating to see how each person responds to any given the brief: we had asked for any ideas and drawings/ samples of work ready to be discussed on the day – we wanted everyone to participate in helping one another develop ideas, otherwise working in a group can be really distracting.
Step Wooster brought the real thing
teeny tiny drawing book of ideas with pigeon coloured materials – Steph Wooster
Steph Wooster brought several real birds wings that she had been given by a local game butcher, plus some tiny drawings in the goes-everywhere-with-her-sketchbook. She placed the book open at a pigeon drawing next to a bag of – to my mind – Pigeon Coloured materials….
Ilaria Padovani’s grandmother’s patchwork design re-sampled for the project
Ilaria Padovani, brought a couple of samples specially prepared for the day – one a pair of collaged wings which was bright and busy, but another patchwork made from a pattern that her grandmother had made for her as a child it was her favourite winged thing – the dragonfly – and it is full of flight!
We immediately advised her to just make lots and lots of them in all sorts of different colours and to exhibit them flying randomly across the walls. I had brought in several frames to establish various sizes of each piece – Debby and I needed to have an easy hanging session prior to the exhibition opening. It was decided to wrap the dragonfly patches around small stretched canvasses and so keep them light and airy.
Mary Bishop – appliqued and embroidered birds
Many textile artists, regardless of name, work with bird imagery; Mary Bishop has made several pieces of bird related embroideries and so she brought a few of her early samples and an open mind, as it was her first tutor’s making group attendance. She is really taken with the idea of Magpies – after all they do like bright shiny objects and we always have lost of those at Heart Space.
glamorous feathers placed on top of a vintage bird book I had brought to the workshop – a really good idea for further collages here.
beads and feathers for Magpie’s stash
I thought she should start with the nest – I mean she can easily do the birds at home alone – but the nest and it’s contents could be found in the studio stash….I asked her to just find lovely things a magpie might steal from us and then to make a nest from them, later she can choose to use parts of it as a sort of grounding for the birds or develop other ones from other materials….the ideas are endless here.
starting to make the Magpie’s first nest – Mary Bishop
Some people had already started making flying things from textiles, Sophie Bristol has carefully cut wings from a length of vintage lace..the ways ahead were obvious, lots of different wings from different laces just needs to sort out the bodies – rich ground for playing with all sorts of media. However……
beginning of a cut lace butterfly – Sophie Bristol
striped of silk fabrics to make into a 3D bird cage….a really innovative idea and a lot of interesting work to develop.
during the introduction when everyone had to show and talk about their own ideas she liked the idea of making a cage from a sample made in an earlier workshop.
She set about making a prototype in card and tape to ascertain the sizes and shapes required – but what will the cage contain?
cylindrical cardboard sample for Sophie Bristol’s birdcage
One way to use a themed exhibition is to try something new or an idea that has been on the’ back-burner’. I think Kirsten Hill-Nixon thought this way. She arrived with lots of well organised materials, books and ideas – lots of drawings in her research book and a firm grasp of what she wanted to achieve…it’s a tall order!
like a cabinet of curiosities – Kirsten Hill-Nixon’s research materials
Kirsten wants to make a series of exhibits of ‘natural’ objects trapped under glass domes…she is making different types of what look like fungi and cast off chrysalis shells. She is making them out of all types of fabrics, waxed and “preserved” – I found these curious things near a batik kettle – where are the winged things that maybe emerged form them?
waxed casts and wrapped objects for Kirsten Hill-Nixon’s curious collections of post-flight litter?
Ilsa Fatt had already designed and made several beads that were based on hearts with wings but the general consensus was that she should make bigger beaded wings –
Hearts with Wings glass beads – plus some wriggly beaded ‘things’ – Ilsa Fatt
twisted beaded wire winged thing – Ilsa Fatt
Debby Bird had made lots of tiny wings and insects using twisted silver wire and she suggested Ilsa make some and by the end of the session when the red beaded winged thing emerged we all wanted to wear it, either as a brooch or worked into a necklace.
Silver wire shapes with opalescent threads ready for sampling – Debby Bird
Debby Bird always has lots of different media to develop into new and desirable objects and images…she excels in hunting out amazing new products and manages to incorporate them into her work…unlike the rest of us! She had made several different samples prior to the session but the thing she settled down to was an idea from her paper cutting experiments.
perforated paper dragonfly design – Debby Bird
the results of a long time piercing the paper with a needle was ethereal and beautifully nuanced when see against the skylight. I am looking forward to seeing how this essentially simple idea is developed into further work….all sports of light fitments and holders could be made – I must give her some vellum to sample.
new research tools for our latest volunteer, Ceema McDowell
Sitting next to Debby, who by piercing paper was working with one of the most primitive way of making a mark, was Ceema McDowell, busily using the most modern of research tools to develop her peacock design…the strands of random dyed woollen yarn is reassuringly traditional.
Threads found when sweeping Heart Space Studios workshop floor
And to me – what did I get to do? well not a lot on the day but I have had a frivolous idea for this project – it is not at all what I usually concern myself with, but it would not go away….so I told the group to see how they would react – they laughed but said it could be really interesting.
One of the daily chores of running a workshop -based studio is sweeping the floor before and after every workshop – and there always seem to be tumbleweeds of threads and fabrics under the tables and in the corners…
left over fabric scraps from my own studio floor
as well as spilled beads or left over buttons…….it was the buttons that made me ponder: why are there always masses of Beige Buttons left unused in any button collection?
Beige buttons fly to button heaven with silk embroidered wings: sample idea by Janet Haigh
I started to imagine where all the unused beige buttons will eventually go; will they fly off to a beige button heaven? Will they then become pearl buttons when they were beatified? I also thought of the threads and the fabric scraps…what would become of them if they flew to heaven – how would their wings look and what’s more – what would their eventual version of heaven look like?
My Crazy Patchwork fan design on the cover of this season’s events catalogue at the American Museum.
I have been getting out and about recently and have been taking a workshop at the American Museum in Britain, which is situated just outside Bath. I have been asked to deliver 2 day long workshops by their education officer, Zoe Dennington (who found me via this blog). Zoe asked me to use Crazy Patchwork techniques for classes to run at the same time as the current vibrant Kaffe Fassett exhibition being held at the museum for several months.The second class is in October to make a crazy patched and beaded heart.
the range of fabrics that I took for use in the workshop
Luckily I was given a batch of cotton samples of fabrics designed by Kaffe Fassett to use in my workshop by a friend, Susan Berry ( who produces his very popular patchwork and knitting books) and they certainly livened up my Heart Space Studios fabric stash….I had designed a special project for this session, a simple design of a fan and one of the most popular motifs used in traditional of Crazy Patchworks.
the original crazy fan design used for the programme cover
I reasoned that if I provided patterns for the patches then things might go quickly and everyone would finish – well that was the idea! We started off by choosing the fabrics for each fan – there are 7 sections in the design that I had created for the class, which means less embroidery than my sample.
this range was chosen from the fabrics brought by me to the workshop
subtle and softly coloured fabrics brought by a student to the class
I had also asked people to bring whatever they liked of their own materials as well. The fabrics chosen were quickly organised into many different striped bands – I explained about balance of pattern to plain fabrics and crucially for a small colour scheme, to separate a few colours from the patterned fabrics and use them as plains or solids to show up the patterns. And not to worry too much about getting the colours perfect at this point as later the coloured stitching over the seams would help with the colour co-ordination of the whole piece.
vibrant fabrics for chosen for the fan design
Red white and blue – always a good clean colour combination
organising the fan sections is much easier and quicker than for usual odd shapes of crazy patches. The sections were laid over one another and then pinned and using running stitches held section by section till the fan was complete. The complete arrangement was then pressed onto the special heat activated fabric backing
Brilliant colour for the start of stitching the fan into its finished position
. Once the fan had been pressed and trimmed the next task was to find the coloured ground to applique it onto…I find that this is quite a good way to get people to appreciate the difference that different coloured grounds can make to the overall piece.
a rare shot of me teaching – explaining how to deal with coloured ground fabrics using a soft and subtle piece of patchwork.
Sometimes soft colours can be made bolder if placed on very dark grounds and brilliant colours more muted if placed on a toning ground. It is also a chance to reassess the colours prior to embroidering the seams which also fix the fan to the background
the fan shape against a black ground
same fan against a brilliant blue ground – note a new patch on the left hand side to make a more balanced fan
Now to start embroidering – I had chosen to demonstrate 1 basic row of herringbone stitch and then show how to add extra stitches or I should say decorations…it is my favourite decorative embroidery stitch as it can be developed so that it looks almost like a braid. But to begin just a couple of well spaced rows…and then the extra colours can be added.
this vibrant fan design is made even more brilliant by contrasting colours
I like to use contrasting coloured stitches on the seams – they are very obvious but then I do not think it worth doing any decorative hand embroidery if it isn’t to be noticed!
the brighter the contrasts the richer the decoration here the colours sing out
although up close and personal the colours are very vibrant the more colours added to each row of stitching the softer the colours will appear more subtle
the addition of yellow running stitch to the bright pink herringbone stitch makes it less vibrant
when soft colours are used to not much affect then the herringbone variations allow for extra emphasis – this is why I really like this particular stitch – it gives a lot of opportunity for invention
the addition of French knots and detached chain stitches enliven this row of muted herringbone
At the end of the session we put all the unfinished patchworks together on a table to assess them for further additions…. you can now see the affect that the Kaffe Fassett fabrics had on the works – but you would not think by looking at this picture of some of the group around the table that they actually liked what they are looking at !
Crazy critical assessment!
. Everyone faithfully promised me that they would finish the fans and send me photographed results – watch this space…….
Sea creatures emerged as inspiration in the beaded work of 
