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!
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…….
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!
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.
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!!!!!
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
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.
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.
I want to show how my stitched work progresses; here is a very heavily edited set of images taken over the last 2 months – from July through to the end of August 2022. Not shown is the unpicking, pulling apart already stitched fabrics and rearranging that leads to frustration and doubt but mixed with delight, calm contemplation and my eventual recognition that, having captured my original vision of this ominous sky, I can stop working on it. The drawing above took less than 1 hour, the piece shown below, more than 8 weeks…..
The first stages were quite tricky to lay out using strips of silk georgette onto a pale cotton ground, that had to be kept scrupulously clear of stray threads while building the applique ground.
By the end of the second week I had managed to cut the clouds and baste them all into position, then I checked them against my original drawing. The tiny sample of energetic Kantha quilting inspired the way I attempted to stitch the cloud.
I started the running stitches in rows of single silk threads to create an undulating rippled surface. After a few unhappy days I stopped stitching, undid as little as i could get away with and inserted more pieces of rust coloured silk organza to give the cloud ‘depth’. The chalk drawing, above right, shows the paths I need to stitch along; I think stitching rhythms into cloth by using the Kantha technique is a bit like patting your head and rubbing your tummy at the same time – tricky!
Weeks 4 & 5
I was determined to use this piece of work to try to find a way of controlling the outer edges of the appliqued fabrics; usually when I make very large drifting Kantha Stitched Skies I leave them to be contained and wrapped out of sight when stretching the finished work. But here the view is much smaller as this black cloud did not extend the whole length of the estuary – it faded out just beyond my window frame. I looked at Georges Seurat (who is a great influence on the way I have developed the colour mixing within my stitched work) and adapted his painted canvas frames – his dots are my stitches ). And eventually the marsh starts to emerge, using large straight slanting stitches
Weeks 6 & 7
However as the stitching progresses the different tensions start to exert itself onto the fabric – where the stitches are close together the fabric width starts to shrink, which is to be encouraged as this gives the curious patterns that I feel are so like air currents…. So the side borders are unpicked and the the whole embroidery is squared up. When I had almost finished stitching I outlined the whole piece using a machine stitch to give me a better guide for the dozens of running stitched lines for the frame.
These rapid drawings below are early attempts to express one of my most vivid dreams lest I ever forget it…. But the dream was not ready to be forgotten, it has reoccured often in one form or another – evidently I have not learned its message; the loosening ladder rungs and the tiny impossible blue window never change
the earliest drawing above on the left has some written comments that I was interested in using for the embroidery also I seem to have both shoes on; the one on the right is scaled up for embroidering on a sheet! What was I thinking?
So I recently decided to embroider it as a pillow for my ongoing project Make it Through the Night . It is a simple idea and my friends who saw the drawing were highly amused by me in my nightdress losing my shoes…but I started this piece just before the lockdown and now I see it in a very different light.
The interpretations of dream referring to ladders are many and varied depending if you are climbing up or down, and a broken rung (just the one) means “you will never achieve your greatest ambitions” while “to lose a shoe is indicative that you have forgotten something important ” or “finding your direction in life difficult” – and as to the lack of underclothes whilst climbing a very high wall in your nightshirt……
I found stitching the ladder the most challenging piece of work, a vintage pillow has only a limited space for inserting embroidery hoops and working straight onto fine linen needs stretching. I preferred to use some natural linen yarns and whip them into position making a more fluid line – finding knots and drawing them became a fascination.
above are the various ways I managed to stitch the ladder into position, with and without a stretcher.
Now to the window: in some dreams it is impossibly teeny tiny, in others I get to go through it – only to find a steep and shaky descent on the other side into more blueness, the one thing always in common is that it is always a brilliant and shining deep blue
the background of the sky is painted with cotton dye, then embroidered in silk threads, it is high up in the farthest corner of the pillow case
I feel now that it makes its own statement without the added words; and why should it balance? I mean, what am I describing?
AND it is only after finishing this that I see this is a perfect portrait of how I feel right now – just coming out of the strictest lockdown period….uncanny!
However, we were well into the current lockdown before I had found the impetus to finish this work. And while stitching I realised that I just wanted to stop this whole project that excavates very personal ideas, dreams, mottoes, and observations….I did have more ideas that I planned to stitch, but now I no longer want to make them. It has taken me over 10 years, off and on, to get here.
I use drawing to express myself to myself. I feel that Drawing is the language closest to my heart; my second and most used language after English, followed by the most difficult to have mastered, Stitching. It is the foundation of my chosen discipline of hand-made stitched textiles and almost all my work starts with a drawing, sometimes just a scribble or as a written note, but it will be expressed as a drawing with enough information for me to proceed.
Scribbled thoughts are put down as lists for skies I see when waking up, and on whatever is to hand. The imagery is enough to lead me to another drawing…..
Very occasionally when I work from photographs, I will start an embroidery without a drawing – and it always leads to difficulties as I am torn between the ‘real’ thing as recorded by the camera and my initial vision of it. Basically the drawing is the first edit of the image, it concentrates me on what was important when I first took the photograph, but the camera sees everything and I get seduced too easily by captured colour, and sometimes the colour isn’t the same as my memory.
Below are various single pages from individual sketchbooks – the top 2 are observational drawings taken directly from life, the red in pen and ink is a detail from of my garden, the iris was from a friends garden. The the others are all working /design/ research drawings, (with added photographs of finished brooches)
I keep all my working drawings in a series of books that go back some 40 years! The types of drawings collected in them range from a scribble on the nearest available paper, as above, through to straightforward observational drawings that then get re-arranged or even collaged together
then eventually the detailed working drawings are assembled and kept together, and accompanied by any other research materials.
The images above are open pages of my own research books from different long term projects, they really show the way my mind works, both visually and mechanically.
The 2 pages below are anemone flower drawings made from photographs in a garden magazine many years ago for my Flora embroideries, they have inspired many many different pieces of work in a variety of materials; good drawings have their own energy and life.
a few of the many different works that have been generated directly by the drawings above.
The images above are of vitreous enamel dishes and a silk applique with a machine stitched drawing that plays with the idea of anemones, another name is windflower.
Occasionally I do make finished drawings ready for exhibition.
but somehow the stitching seems always to get in on the act.
and here are I suppose my most personal drawings ( sad isn’t it) that just arrive onto any page near me, usually when I am talking on the phone to friends and colleagues, and sometimes prospective clients but always when i am fully engaged, they do not arise out of boredom. What is very strange is they have never changed over all the years I have been making them…
Affirmative sayings seem to be the philosophy of our times, the be-in-the-here-and-now mindfulness movement. But I have been collecting and pasting all sorts of sayings and mottoes in my work books and on my studio walls for years. Quotations, overheard remarks or messages and even poems from friends sometimes develop into pieces of work, but most often they just serve to enable me to grin and bear with it – see above!
A current favourite was heard when I was mid-way through making the ‘Butterfly Dream Pillow’ – “I am proud of it and I am ashamed of it” immediately struck me as the perfect expression for how I feel about the work I do. I wrote it down on my work-top with the first thing that came to hand – an indelible pink marker! I have read it out to other artists and makers, and they smile and nod in recognition.
It almost made it onto my own Comfort Blanket, which is part of my ongoing work project, Make it Through the Night..and I did write it out along with the ones that have stood the test of time. I wrote all of them onto large scale graph paper so that my own handwriting could be resized, with the idea of stitching them easily. I have had this ‘affirmative sayings’ idea for several years, and for several different media, even as a vitreous enamel patchwork, but never had the time or energy to face making it. In between some commercial projects, late last year I started to make it – piece-meal.
Above show the first attempts to design the ‘blanket’ idea as a quilt; the inspirational Strippy Quilt above right is an American design, I love the wobbly lively stripes, like a flying flag. Initially I had considered stitching a vintage wooden blanket, then I realised that heaving around such a large piece of fabric would not be easy for a lot of hand embroidery. I remembered a Strippy Quilt in Unconventional & Unexpected: American Quilts Below the Radar” by Roderick Kiracoffe, it inspired me to change tack, this way I could stitch the sayings piece-meal and patch them all together at the end; it also meant I didn’t have to decide the order of the quotations immediately.
I started by using some scraps of vintage striped deckchair fabrics, but they were too hard to hand stitch into. I turned to my stash of scrap fabrics, Kaffe Fassett Studio’s lovely subtle shot cottons and woven stripes left over from various quilts that my team have made for his Patchwork and Quilting books were perfect. Very colourful and here very RED, and “the purest and most noble minds are those that love colour”. But not having enough of any one fabric for the background I cut my stripes into strips and joined the clashing shot cotton colours together as a background.
I have a saying that lives with me – a mantra that I recite during my sleepless hours of most nights; it has subtly changed over the years I have used it to still my thoughts, and I can chart my state of mind by what I have decided.
Eventually I got them all into order, some sayings were dropped or the blanket would be enormously long I would need to re-design, others were added as they described more succinctly what I wanted to express about how I feel about the work I do. The quotations are all by individuals who have used their life to express themselves, teachers and critics, a bon vivant, a dancer – and me. They are in order from the top, The Rev. Sydney Smith, John Ruskin, Richard Sennett and the last 2 (heavily edited) are by the American dancer Martha Graham. The succinct “Do what you can, with what you have, where you are. sums up my husband’s philosophy for living…
And ” I am proud of it and I am ashamed of it” – go figure!
It is almost 20 years since I had this disturbingly beautiful dream but I have NEVER forgotten it. Re-visiting my sketch books archive, I found the original drawing that was hastily scribbled down when I thankfully I woke up.
Now, I have decided to complete my long standing/stitching on-going work project “Make it Through the Night“, after not working on it for more than 5 years. I have determined to complete the project to a degree where I can hopefully resolve it but so as not have it in my brain as frustrating “unfinished business”. I just can’t ignore it any more…. too much of me resides in it; and as the composer Gustav Holtz puts it ” Compose nothing unless the not composing of it becomes a positive nuisance”
The initial drawing , above left, is dated 28th July 03; the second drawing is another later version when I was trying to make a composition for a stand-alone embroidery….. now I have decided to add it to the ‘dream pillows‘ and I need a different composition. Recently looking very carefully at the 2 drawings I realised I had completely forgotten that the butterfly had a face – YIKES!
In the actual dream it was a giant butterfly several yards/metres wide, dying and lying on some grass underneath a tree, the remnants of wings scattered round it. People were picking up the large technicoloured pieces of shattered wing and I really wanted some as well – but I thought I would get it something to drink first, then decided to pick it up and take it to a nearby puddle, the result was my butterfly covered hands…I abruptly woke up.
I started to research the ways on which I could have held the massive butterfly. I looked at many different British butterflies and chose the Peacock mainly because it was so colourful but it has eyes as well – one of the major symbols I use in my work. Every year we get smaller butterflies over-wintering in the house but these beauties are rare here.
I enlarged the first peacock butterfly image and cut out my hand shapes…next I had to add the patterns to enable me to stitch the whole hands……the original working drawings below with a a technical sample that I would use for the very complicated patterned hands. I decided to paint dye onto the ground first to give me guidance for the colour blending and to assess the amount of work I would have to manage.
Next I had to imagine the shattered butterfly – I tried many variations; the shape had to show a degree of violence and some direct connection in the shapes left after my hands had devastated it, because it shows the terrible result for the insect…
I drew the hand outlines and running stitched them, then drew my palmistry lines on each hand and painted dye within the lines and fixed it securely – all of this before I could start stitching, which I was itching to do …..
2 images above show the first and last day’s stitching of the hands. I started this project in early August and now it was late September – I needed to move onto the butterfly now…
working from my research drawings, I drew and embroidered the main area of the butterfly and then placed paper shapes to act as the shattered wings to make some connection to my hands.
It was at this point that something strange started to happen….I found a trapped Peacock butterfly in the window of my studio, I was delighted, I had never seen one of these in the house; the weather was still warm, so I let him go….
But then more and more Peacocks came into the studio, and in different areas of the house… in all we had 11 different Peacocks visit us. SPOOKY WOOKY……
Sadly some of them died indoors and I keep them in m studio – they are all in different conditions; some very tattered wings and faded colour but others still beautiful.
so I eventually finished the pillow, completed the writing in running stitch and it is ready to join the Make it Through the Night project.
The Curzon Cinema in Clevedon, North Somerset, https://www.curzon.org.uk is my favourite (actually our only) local cinema; it looks and feels like the picture houses of my childhood in the 1950’s. (photograph above courtesy of Go Bath Bristol) Saved by the community from total dereliction some years ago, it now has a major problem, the roof is leaking and needs major money for repairs. So there was a call – out for local artists to help – decorate an old roof-tile in any way whatsoever ………and they are being auctioned on line next month from 1st December 2019.
The central curve reminded me of the the headland at the end of the bay where I live, Battery Point, on the Severn estuary, fanciful I know but I have many drawings of this view and have made many different types of work from the studies.
I tried many variations of colour scapes from my earlier drawings. I liked the glistening nylon shot fabric for the water, trouble is that the water of this estuary is never a deep true blue, air-force blue is as good as it gets. For some reason I started with the lump on the left…so the view was of the other end of the bay where the sun sets and all the colour emerges from…but it wasn’t working for me – then one morning I just changed it around so it looked like the Battery Point headland…I was suddenly on home ground..or should I say water?
The task now was to organise the layout of the fabrics so that they would lie in straight lines when they were eventually placed onto the undulating tile …this took some calculations as the tile is wedge shaped but the sea level and the salt- marsh horizons are straight….
I used the simple running stitches of Kantha technique for this appliqué, I have to get the fabrics to stay together in a soft and malleable form so that I can easily manipulate the fabric over the lumpy tile.
I continue to stitch down the length of the tile – it takes several days but as always fascinating to handle the colour changes. The stitching is quite large and almost crude using a heavy gauge silk thread but very satisfying to do; usually when working this technique I use one single thread of silk and it takes ages and ages to cover the ground
As I continued to stitch the colours became muted and now the once brilliant orange sky was being challenged by the bright green of the salt- marsh; reluctantly I changed the fabric after several different variations of shot cottons had been tried, but there is enough going on in this small space as it is – hey ho!
I then covered the tile in a layer of very thin wadding, sticking it down with thins lines of fabric glue so that I could continue to embroider the silk piece to it. I have evolved this technique for covering 3D shaped objects over many years of trial and error but this was a real challenge.
Having aligned the top of the stitching to the top of the tile I tacked it into position, then pinned it all along the undulations…it’s really tricky work trying to keep the horizon lines straight…all those years of pattern cutting came into play! The top and bottom were secured by over stitching onto the back of the tile wadding, pulling and stretching as I proceeded eventually it was securely stitched and bedded into position.
I am really liking the feel of the tile now it is so softly padded and am thinking of possibly making some more stitched covers for other objects – one day. Meanwhile my husband Stephen Jacobson, has painted another view of the estuary using the imprint of the tile manufacturer as a flag with a view of the band stand at Clevedon. And artist Alfred Stockham has painted eyes to create a curious face and called it ” The Man in the IronMask “
Another commission has just been published, yippee! I have something new to write about. I first started the designs for this catalogue last year when Hugh Ehrman asked me to make some new designs using affirmative sayings. The mottoes and sayings come directly from the handkerchiefs in my ongoing if intermittent work ‘Make it Though the Night’https://janethaighherwork.com/gallery/gallery/heart-mending-mottoes/. I have a great stock of them in my research folders. I offered several different mottoes, Hugh wanted 4 cushion designs, but asked me to make 2 to start with, he chose ” Always be Kinder than is Necessary “ and I chose my old favourite ” Choose Your Attitude”.
I looked at a copy of one of my go-to magazines for current graphic ideas, FLOW, it is clean, colourful, fresh and very of the moment. I really liked this hot pastel colour mix on the cover and the sense of energy in the design. I started with Hugh’s choice and started to chart several alphabets from various sources. I already had a layout in mind inspired by the strips of words with the abstract shapes as background…
The first scribbled designs were dependant on the different types of lettering I could find to stitch to the right scale (I have tried to find the wonderful curly alphabet, above, that I downloaded, but sadly now can’t locate , and I snipped out the necessary contact information along with the letters I cut out for charting. As it is used in both the designs – a big thank you if anyone out there recognises it and can give me a source).
Slowly through sample stitching various letter forms and different gauges of canvas, the design emerged and the colour developed into something softer and kinder. When designing for this company I am directed to use particular range of wools Appletons they come in 2 versions, Crewels ( 2 ply yarns) and Tapestry( 4 ply yarns). I keep a separate section of my studio cupboards just for them.
the studio drawers full of colour co-ordinated Appletons’ Yarns.
When I have sorted the basic graphic layout I develop the designs using colour, co-ordinating the yarns to my drawings. This is always tricky getting the colour balance and many designers sensibly just stitch the entire design – but I don’t work like this as I am more used to envisioning the designs by painting them full scale so that the original art work can be printed on the canvas for the cushion to be stitched. the art work has to be the same scale as the eventual embroidery.
I make many drawn and coloured versions of the idea and finally choose one to work up as the final piece but even so things can change at this point as well. Having chosen the design I then put it aside, partly to leave a few days to see it afresh, but usually to start on any other designs before committing myself to the task of painting them both – together.
The next cushion was an easier design to construct and I had already sorted out lots of different alphabets to use, I wanted to express different ‘attitudes ‘ by using various typefaces – now all I had to do was choose and re-size them to fit together…ha ha! here you see cut and paste in it’s literal sense.
above are several versions of different letters words and colours and the stitching sampler for the 2 cushions with the start of the third one ……I always love the energy contained in the stitching samplers…so much enquiry, curiosity and abandoned ideas – all ready for future use if my ideas run dry.
so far so good – but now having decided the brilliant colours of the letters I wanted to make a very strong overall design, I liked the striped ground ..but it was difficult for the dancing letters of ATTITUDE to be read against it – I tried many many stripes – here are just a few.
Whatever I did, the stripes just dominated and were inspiring migraine in me. Whilst there was no major deadline for this work, as the Ehrman website is the major source for publishing now and things can be uploaded at any given time, I needed to get on and finish the first half of this commission.
I decided to just start to paint. Painting art work is a slow and precise process, mixing the Gouache to the colour of each yarn is fascinating work, and takes time and I have to make enough paint for a whole design, it takes a lot of paint to cover the ground evenly – I do not want to run out of a colour before I finish .
When I had finished painting the letters I now had to decide on the stripes to use…but it looked so fresh and spring like that I decided, much against my designer instinct, as I love pattern on pattern, to keep it neutral. Part of this decision was the thought of the customer who may eventually buy this design – they will surely buy it for the message – so keeping the letters clear was the most important aspect.
the 2 finished art works with accompanying colour notations and threads. And below the finished pieces ( which I never get to see!) taken from the latest paper based catalogue.
the next 2 designs will hopefully appear in time for the new on- line website that Ehrman have been developing and I will post them as a celebration of its birth next month – or whenever they are published – so watch this space……