'New vintage' stitching project

This is the third in our series of projects developed by Gill, our Programme Secretary, aimed at providing stitching ideas and inspiration. Gill explains how this project came about.

My inspiration for the project came from Karen Nicol's book, Embellished, New Vintage (see details at the end for ordering), though of course none of the project details are copied from Karen's book. Members may remember the captivating talk by Karen, a very accomplished and exciting textile artist, back in October 2018.

I was moved by the pages which show interesting, detailed objects that have been beautifully laid out and photographed. I think we have all collected objects over the years, and many of the things we keep may hold a special meaning for us.  I thought I would lay out some of my own objects on my worktable and see how I could use them to inspire a small piece of work.

I decided to standardise my blog samples so that I can put them into fabric books, but you can make yours any size.  So, again, as in previous blog articles, I am starting by drawing a 14cm square on paper. If anyone wants to join me in making samples to go in a book, and you are also doing other online workshops like the Textileartist org challenges, you can perhaps include those in your books as well. I intend to make my pages out of fabric too, but you could alternatively stick them in a ready-made paper book.

To make this challenge different I set myself some other rules just for this project:

I split my square into three separate sections by ruling a line across the full width, 3cm down from the top and another line 4cm up from the bottom, leaving my middle band 7cm wide.

I then set about picking out several objects and used their shapes/characteristics on my piece.  It took a little time and error working this out on paper before I stitched. I did the project once and then repeated in twice more (see my examples below). The objects I used are shown alongside the pieces. 

You will be able to take more time over yours and add more detail, but I wanted to show it could be done quite easily and you will get different results every time. 

Sample one: I started by drawing round my objects using a pencil or Frixion pen. I then stitched them and coloured the top and bottom sections using Sharpie pens.

Sample 1

In my second sample I used three different fabrics to denote the three sections. For this one, I took inspiration from a brooch, which I made bigger than it actually is. The heart box I drew round, repeating the shape across the bottom half, and I finished with vertical lines inspired by the notches on the lace bobbin and the small intricate brass cage

Sample 2

Sample three is still work in progress. This time I laid fabrics down and then heavily stitched them using some decorative stitches on my sewing machine. I then took the enamelled buckle to inspire my appliqued addition. I intend to use the little key as my next appliqued item.

Sample 3

It's useful to think about 

• representing the objects in a different colour from the actual objects
• changing the scale of them
• repeating the same image multiple times

Have fun - once you start making your piece, just run with it and don't worry about whether you are strictly adhering to your initial inspiration. The items are only to help you create a new type of abstract composition.

If it goes well, consider repeating the exercise, or, if you like what you have made, you could scale it up and make it into a picture for your home.  Alternatively, you could use your pieces on a book cover, a small cushion or the front of a make-up bag, etc. 

Please do send photos of your new work inspired by this or any other features on our blog to Janet at leamingtondistrictitrep@embroiderersguild.co.uk

and we appreciate your Comments on this article.

Karen's fantastic book is not available at the time of writing, but if you would like to reserve a copy, go to her website: karennicol.com - where you can contact Karen using the "mail me" option.

You may be interested in ....

UNBOUND: VISIONARY WOMEN COLLECTING TEXTILES 

This recent exhibition at Two Temple Place in London has now closed, but the organisers have started a new blog with an extensive photo tour of the exhibits, together with very some interesting articles, which is well worth a look:

PHOTO TOUR OF UNBOUND: VISIONARY WOMEN COLLECTING TEXTILES

By the way, if you happen to have read A Single Thread by Tracy Chevalier, you will certainly like to know that the exhibition shows textiles collected by Louisa Pesel, who was featured in the novel on account of her work with the Winchester Broderers in the early twentieth century. 

The exhibition also features items collected by Enid Marx, whose collection was bestowed to Compton Verney and is on permanent display there.

Dragon in lace

Continuing the animal theme, Lucy has sent us photos of her wonderful dragon, and a super, detailed explanation of how it was created.

Lucy says: 

"The dragon is approximately one foot high.  The inside structure is a cotton moulded body, which, since I didn't have a pattern, I made up and adjusted as it came together, and stuffed with old pillow wadding.

"The outer body is cut from an assortment of pieces of lace, which were painted with three layers of acrylic paint to get the right colours.  When dry, each piece of lace (approx. 1.5" x 2" in size) was sewn to a black base fabric. Beads were then added to all the holes in the lace, and when each individual piece was complete, it was sewn straight on to the cotton body. This allowed me to add extra lace, and to bead through it to cover the joins.

"The dragon's horns are constructed from lace cord soaked in Paverpol [a water-based fabric stiffener] for strength.  The spikes from his nose down to his tail are lace pieces, which I beaded into then sewed to his back, so they added movement.

"His eyes are flat-backed beads which I nail varnished on the backs, then scratched to get the eye pattern. 

"The dragon's wings are made from six layers of old, thin black plastic bags. I laid them under a cloth and ironed then together lightly, then free-machined to get the pattern. Wires are held in place with zigzag stitching - these enabled me to bend his wings into shape.  I then stippled bronze paint on the wings to achieve the appropriate colour.

"He took 218 hours to complete in between other projects."

Wow!! A real labour of love, and a fabulous creation, Lucy!  Admiring your ingenuity and skill. 

Quite a Menagerie!

Our Branch Chairman, Liz, was moved to put together an article in celebration of some of the wonderful talent within our branch, and it's her words that follow. 

This time animals and birds have provided the inspiration for the designs and they have been interpreted in a rich variety of techniques. 

These delightful owls were needle felted by Gill in wool using a variety of shades to create the impression of feathers. Gill’s skilful felting has worked a very well defined heart into the lemon yellow owl. Their enormous eyes, faces and their wings have been worked separately with machine stitching and then needle felted onto the body.

The feathers on these tiny creatures by Diane are made from a variety of cotton prints. Diane’s first owl has carefully graded colours and the way they curl out enhances its outline, whilst its companion has a wonderful selection of paisley buta designs for feathers and delicate broderie anglaise across its breast. Both of these pieces show an imaginative use of materials to create a lively interpretation of the characteristics of this chosen bird.

  

Janet's barn owl has a needle-felted face, while its breast feathers are created using eco-dyed fine silk torn into strips and stem-stitched to the body. Eco-dyed cotton fabric was used for his wings, back and tail 'feathers', and his wired claws are wrapped with frayed cotton.

Continuing with feathered creatures, Sue has taken the national bird of New Zealand, the kiwi, as her inspiration. Sue has also used felt made with an embellisher as her base fabric. Its body is covered with spirals of running stitch, with a spiral of turquoise Pekinese stitch creating the eye. Pekinese stitch (from The Constance Howard Book of Stitches) is used in the beautiful Maori motif that adorns the body of the kiwi. The channels between the turquoise stitching are filled with feather stitch and the lovely legs on which the bird scuttles through the undergrowth of the forest are wrapped wires ending in his serviceable feet.

This exotic bird was created by Ruth. It is beautifully constructed from a chocolate-coloured fabric, enhanced by the shades of gold stitching and beads and dramatic contrast provided by the turquoise features. Ruth has embellished the body with hand and machine stitch, appliqué and beading. Its tail feathers are a magnificent set echoing the brown and turquoise colour of the body and decorated again with a mixture of hand and machine work. Its character is really enhanced by the amazing beak and bright beaded eye.

These birds are work in progress by Caroline. They have constructed body shapes decorated with stitch, and additional feathers have been made from a range of fabric pieces. Do look out on our Branch Instagram for the completed versions (no pressure there then!). 

The guinea pigs with their totally realistic colouring are also Caroline’s and are needle felted and complete with carrot and lettuce! 

Jenny has turned to the animal kingdom for her pieces. This charming sheep was originally a mohair jumper that Jenny shrank (deliberately!) on a hot wash cycle. This was machine stitched in spirals to create the curly coat whilst the face was coloured with fabric paint and stitched with smaller spirals. Its eyes are beaded and its sturdy legs are found twigs. 

The enchanting pair of reindeer is constructed from wool suiting fabric. The green one has machine stitched designs of leaves embellished with French knots and appliquéd felt. Both the antlers and the legs on this one are found twigs. The pink deer has a machine stitched outline around which Jenny has placed felt appliqué motifs creating an impression of folk art in a Scandinavian style. Whilst this deer also has twigs for legs, its antlers are wire that has been machine stitched in the manner of wrapped cords.  

 

           

Judi's lovely spring rabbit is stitched on cream linen In fresh pastel colours.  The rabbit is decorated with a variety of stitches based on a paisley theme, echoing the colours and shapes with feather stitch, chain stitch, straight stitches and lots of French knots.

This delightful tortoise is the work of Margherita. Its body is covered with intricate detail. The head and legs show the scaly construction beautifully with the claws and eye carefully delineated. Its shell is a wonderful menu of the flowers, fruits and vegetables tortoise eat, and each is carefully hand stitched in realistic colours.   

I’m sure you will have enjoyed looking at these lovely pieces of work. You may be interested in the following observations. 

Animals and birds have been popular inspiration for embroidery for a long time. Here is one of the marginal pieces on the Bayeux Tapestry showing the Fox and the Raven from Aesop’s Fables. I have been re-reading The Bayeux Tapestry Embroiderers’ Story written by Jan Messent and published by Madeira Threads. It’s an impressive study, full of Messent’s delightful illustrations and lots of information about the techniques used as well as speculations on who made it and why. 

There is a well-illustrated article on the V&A website from the Opus Anglicanum: Masterpieces of English Medieval Embroideryexhibition that I know many of us managed to visit in happier times. There are lots of beautiful close up illustrations of medieval representations of both realistic and mythical animals and birds, including the obligatory unicorns and dragons and a very interesting mermaid, complete with her comb and glass in her hand! She’s from an incredible funeral pall made for The Worshipful Company of Fishmongers in the early 16^th century. 

https://www.vam.ac.uk/articles/medieval-mythologies

A further item on the V&A website shows an incredible casket made by an eleven year old girl in 1671. Amongst the creatures she chose to include in her designs were a dog, rabbit, squirrel and a stag. She might have been familiar with all of these but the camel? Or leopard? Or elephant? It’s a beautiful piece using stump work, so fashionable at this period and well worth a visit electronically as we can’t go in person at present.

 https://www.vam.ac.uk/articles/martha-edlins-casket

Black & White

Sue has been using her time to finish this lovely book cover, started at our last Members' Day, which had the theme 'Black and White' ...

Rainbow, and blue willow pattern

JETS members have received instructions by email for making this fabulous rainbow, but if anyone else would like them, please email Lucy: leamingtondistrictjets@gmail.com

oo - OO - oo

Shay has sent this beautiful piece, which was inspired by the Cas Holmes session, part of the Stitch Challenge on TextileArtist.org .

She says it's for her Mum, "who loves willow pattern and the colour blue. She's isolated in a nursing home until this virus is over and I can visit again."

Online embroidery classes with Zara Day

Many of our members will know Zara Day from the super workshop she did for us a couple of years ago, as well as from her recent courses.  As the founder and creative director of Rosemaryrose Bespoke Embroidered Textiles, Zara is an expert in embroidery design, as well as an experienced teacher of textiles, art and design.

Zara has developed an online embroidery course that gives you a step-by-step guide to work through each design stage, using tried and tested techniques she uses in her teaching and business.

Zara says:

Each course is broken down into six weekly sessions of one-hour tutorials, followed by time to chat and review work as a whole group.   You can be a complete beginner or an experienced embroiderer, as Zara can tailor the development of your design to fit your skills. You can either follow exact instructions or be as creative as you want in each project. We all begin from the same starting point, then each member is given the skills to develop their own individual outcome.

Each week I will send out an email reminding you of the time of the next session and what equipment you will need to have ready. Sessions are delivered through Zoom.You do not have to be a member of Zoom and can join using either your phone, tablet or computer by just clicking on the emailed link.

The cost is £30.00 for six sessions with a free session at the end of the course. During this session I will explain the next course and we will look at all the work that is completed by the group.

Courses are restricted to 10 participants, and the next course starts on Monday April 27^th at 4pm. If you would like to enrol please contact me at the following email address by April 20th: zara@zaradayembroidery.com . If you have any questions before you decide to enrol please email me or give me a call on +44 (0) 7717 371668.

I will then give you a link to enrol, further details of the first session, what equipment you will need and where to purchase it from. I look forward to hearing from you.

Course One - Drawing with Stitches - Textured Experiments

For the first course, I thought it would be great to start by experimenting with drawing with different traditional stitches in a contemporary way. Then infilling areas with different textures using stitches, beading and appliqueing additional fabrics. These techniques will lay the foundation for all the following projects.

Here are some examples of work created on this course, and others can be found on Instagram at @zara_day_embroidery.

 

Using our newfound free time (2) ...

Please keep your photos coming in of your current projects -  especially if you have been making either of the two posted here recently.

Jenny has sent photos of some fabulous cards she has made, using "Stitch" magazine (issue 118) as inspiration for the two 'cocktail' cards, and the third was a Golden Wedding Anniversary card:

Using our newfound free time (1) ....

There is a need for sewers to make much-needed scrubs and wash bags for NHS staff.  Here are a couple of links:

Scrubs needed

Warwick Hospital - you can find the link by searching 'South Warwickshire Scrubbers', 

for other hospitals in the Warwickshire area, search on Facebook for 'Warwickshire Scrubbers' 

or for further afield 'For the love of scrubs'. 

These groups are trying to provide the pattern (rather than you having to download) and the fabric. 

In addition:

Empress Mills has fabric suitable for scrubs 

Minerva have fabric and patterns

DeDenne prizes for Leamington JETS members

Lovely news to give us all some much-needed cheer! 

Leamington JETS members have done really well in the 

Guild's de Denne competition.

All in the 5 to 8 years age range:

Amy won First Prize for her tamigotchi toy computer dog

Eiliyah won Second Prize for her dressed bear 

and Niamh won Third Prize for her rabbit in a flowery dress

Really well done to all!

Wall hanging gifts from stash materials

Sally has kindly shared photos of two wall hangings she has made as surprise gifts for children in her family.  She says her inspiration came from the meaning of their names and the decor in their bedrooms.  The material was all from her stash.

Lucky children!

Face mask instructions - update

# 14 should read:

Sandwich the layers of the face mask: layer 1 - cotton fabric right side up, layer 2 - T-shirt jersey knit right side up, layer 3 - cotton fabric wrong side up, align the "tent" seams, pin if that feels more controlled and comfortable, and take this to your sewing machine.

 DOWNLOAD THE UPDATED PATTERN

Also, just to clarify:

• This is NOT a surgical mask
• Adding a HEPA filter is optional
• The pattern is endorsed by Beebe Healthcare in Delaware, US 

The mask provides a barrier whilst being a visual reminder to practice social distancing and not to touch the face. However it is only one element of the personal hygiene regime that we must all follow. The mask must also be cleaned regularly.

Make your own face mask ...

Oakshottfabrics have just posted instructions for making your own face mask.  Full details are on the Oakshottfabrics website.

Unlike others, this face mask:

is healthcare-approved, can be processed and reused
has a pocket for a replaceable HEPA filter
is more comfortable to wear with no front seam over the nostrils and mouth

The design is the work of Pam Smith @piecefully_pam a Registered Nurse and quilter.