The Accidental Embroiderer

Winter tree

Still looking at some old things – here’s an abstraction of a leafless tree, based on some drawings I made last autumn. It’s another attempt at using piecing to make a large panel from small, individual embroidered squares

 

Usually the problem with these panels is that it’s difficult to put together the small pieces to make a coherent whole, because the lines never quite match up as they cross from one small piece to the next. So I thought I’d make a virtue out of necessity, and break up the image of the tree into very different views of the branches and trunks. It was something like some of the ideas of the French Cubists, of the early 20th century who said they wanted to look at many different views of the same object all at once. Not that I’m a cubist, but in a small way I could see what they were talking about, so in this panel each square is a slightly different view of part of the whole tree. The little squares were stitched onto painted fabric and then stitched together by Cherri Kincaid’s expert hands.

  TreesmallWinter tree panel, assembled by Cherri Kincaid

It sort of works, but I think I should have used darker thread for the twigs and branches. The painted fabric is perhaps a little too intrusive, and really the tree should stand out a little more. But as this is more art than straightforward embroidery, I think I should be able to get away with touching up the image a little with more contrasting colours. I’ll have to think about it 

 

Cherri’s quilts part 2

Work here has pretty much come to a standstill, because my machine has been suffering from a major thread jam for some weeks, and it's not been possible to take it in to the dealer in Edinburgh. So in the absence of any new projects, here's another of Cherri Kincaid's beautiful quilts from last year. She made it for the 2010 Hoffman Challenge, and it's based on a design by quilt designer Amelie Scott. As I've mentioned before, to enter the Hoffman Challenge you must construct a quilt that includes the fabric they've chosen for that year's challenge. In 2010 the fabric was a blue green print, which was pleasant enough but not particularly strong. To liven it up a bit I digitised extensions of the main pattern which emphasized scrolls, curves and more dramatic elements.

Maillge
The Hoffman Challenge fabric with embroidered embellishments

 

Cherri incorporated these embellished fabric squares into the quilt design and overstitched them with designs of birds and flowers she'd found somewhere in my back catalogue, and which echoed the shapes and colours of the quilt pieces. The result is original, exciting, intricate and very attention-grabbing

Quilt
 Cherri's finished Hoffman Challenge quilt

Cherri’s quilts, part 1

Continuing with some of my older designs and projects that were done some time ago, here’s a quilt that Cherri Kincaid made for the Hoffman Challenge of 2005. If you’re not familiar with the Hoffman Challenge, it’s a yearly competition in which designers are asked to make a quilt using a specific Hoffman fabric. (http://www.hoffmanchallenge.com/) In this case Cherri made use of some of my old designs based on the ceramic designs of Clarice Cliff, and the exuberant Hoffman print combined beautifully with the 1930’s style of the embroideries. The colours of the fabrics and the designs combine to give a retro feel to the quilt, which at the same time has a very modern energy

  Quilt Front
 Cherri's quilt combines a Hoffmann Challenge fabric with Clarice Cliff inspired embroideries

Back to the files for a while

Disaster! My embroidery machine has broken down, and because it’s the holiday season and because we still have a snow problem here in the Highlands, it’s going to be a long time before I can get it down to Edinburgh to be fixed. So at the moment I’m spending all my time drawings and digitising, but because I can’t do any stitching there’s nothing new to show

So I thought I’d go through some old things I have in my files, and the first thing that came to mind was a series of leaves, suggested by Cherri and inspired by a visit to the Eden Project in Cornwall (http://www.edenproject.com/index.php).  If you’re not familiar with the Eden Project, it’s a spectacular series of huge domes filled with plants from all around the world, and there’s no better place to see a stunning variety of beautiful tropical leaves. I spent hours there filling up sketchbooks with drawings. The leaf shapes themselves are usually very simple but the detailing of leaf colours and veining can be dramatic. So the designs that were inspired by the leaves were also very simple in shape and concept

Panel1

  Panel2

Some of the Eden project leaves as stitched by Cherri. The leaf shapes are very simple: it’s the choice of fabric that gives them character

 

 The only problem with these leaves is that they’re a bit indeterminate and vague in shape – they just sort of fizzle out at the stem ends. They desperately need organising into larger patterns, and that’s just what Cherri did with this brilliant cushion. She stitched the leaves on to a simple leaf print and added a few embroidered insects from another of my old collections, and the result is truly tropical in feeling

 

Cushionsm
Tropical cushion by Cherri Kincaid, using the Eden Project leaves

Christmas

I love the Christmas holidays and since childhood have made my own Christmas decorations. In the past I’ve played around with using embroidery to make tree decorations but I could never really solve some of the technical problems that presented themselves. However this year I‘ve been trying a new approach

  Ornaments

The bird and star are straightforward appliquéed and embroidered designs, made with hand-painted fabric and stitched onto a normal medium-weight calico. I stitched one side of each design, then mirrored it and stitched that, and then glued the two halves together. I used “Paverpol” but you could use any kind of thick PVA glue. The advantage of this kind of glue is that it’s transparent when it dries (so spills don’t matter much) and it also makes the embroidered fabric hard and rigid. If you don’t have any PVA to hand you could probably use any kind of fabric glue, although you might have to sandwich a piece of cardboard between the two pieces to make them stiff enough to hang.  If there’s any white showing along the line where the pieces join, you can cover it up with a dab of paint. The bird’s wings are just made as a separate piece in the same way, and then slotted into place

You could add sequins or crystals or little gold or silver ornaments to these to make them sparkle, but unfortunately I don’t have any to hand (and we’re snowed in yet again so I can’t go out and get any). So this will have to do

 

Pieced embroidery

The thing that annoys me most about computerised machine embroidery is that you’re restricted to such a small field (a maximum size of 7 ¾ x 11 ¾ inches on my machine, which is pretty small). So what do you do if you want to make a larger panel? Most professional digitisers will usually just chop up a large picture arbitrarily into small squares that will fit into the embroidery field, digitise them separately, stitch them together to make a large panel, and hope for the best. This seems to me to be a pretty crude approach, and one that shows no respect for the design. But piecing seems to be about the only way you can make a large embroidered panel so I’ve been working on the best ways to do it

Sometimes you can draw a design that has only minimal attachment between the “squares” that will eventually make up the design, and this will make the pieced panel look more natural. One example of this is a long thin design, where the adjoining pieces need to meet only at one spot

  Panel1
 

This Audubon-inspired panel is made up of separate squares stacked on top of each other, drawn in such a way that they need to be aligned only at the spot where the stem of the plant runs from one square into the next

 

Or you can draw a design in such a way that it fits naturally into separate blocks, with few parts that run from one segment into the next.

  Bird cushion

From the beginning, this bush with birds was drawn and digitised to fit into four adjacent squares

 

However this is not always a suitable solution to the problem: some designs do not allow you to chop them up into squares and reassemble them so easily

As far as I can see, there are two other things you could try. First, you can break up a design into sections where the “joins” fit seamlessly into the design so that you scarcely notice them when they’re stitched. Or second, you can design something that is deliberately made up of small units, so the separate parts look quite natural when they’re stitched together. I’ve been working on both these techniques and will be putting some examples up in the coming weeks

 

 

Backgrounds

I’m really enjoying our painting group, run by artist Frances Crawford, who lives locally (http://www.francescrawfordart.com/). It’s not easy for me to make the change from drawing to painting, and from design to more serious art, but it’s definitely going to be worth making the effort.

One thing that Frances has been emphasizing is the use of background in compositions. “Background” is a difficult concept to carry over to embroidery, where the design is usually composed in isolation, and whatever background there might be is left to the person who stitches it out. If there is a background at all, it’s often just a series of simple stitched lines, like the fishes I posted on 5 November, or this bird

  Artbirdforblog

The only background is an area of simple contour lines

 

So I’ve been thinking about the different backgrounds you might have for an embroidered image. You could paint a background specifically for a particular design, like this one.

Desertbird
Bird embroidered on a piece of fabric painted to suit the design

 

Or you could incorporate some embroidery on a painted background, to draw the background and the main image together.

Fishforblog
The background to these fish is a combination of embroidery and painted fabric

 

But the best way is to design the background and the main object together, like these two animals from a series I did a while back, inspired by the Waterhouse terra-cotta animals on London's Natural History Museum. Of course the problem here is that not all designs are suitable for this treatment, and it does perhaps restrict the use of the design. But it makes the design richer and more attractive to the eye, and it’s something that I will be working with in the future

2forblog
The background of foliage was designed around the animals and is an integral part of the composition

Projects

To be honest, I’m not all that interested in making things out of embroideries. To me the most interesting thing by far is the quality of the embroidery as a design or even as a piece of art (if that’s not too pretentious).  Add to that the fact that I’m useless on a sewing machine and the result is that I don’t make many things out of my embroideries. But embroidery is after all a craft, and I realise that most people think of it as an embellishment for objects, so every now and then I try to think of useful things to do with it. Here are a couple of ways that people have used my designs in the past.

  IMG_1212

Jacobean motifs on a stole, embroidered by Carolyn (http://www.creativeneedlecraft.com/)

 

  Bag1

Little celtic bag – one of the few things that I’ve actually made myself

 

  Bathroom window3

Art nouveau motifs make a shade for a bathroom window (by Cherri Kincaid)

 

  Trunk show 3

Trunk show of my designs that Cherri put on at a local sewing shop

 

Something definitely new

Now here’s an unusual use for embroidery. Recently I’ve become so interested in acrylic paints that I’ve joined a local painting group, where we try out different ways to use these paints. Acrylics are great for printing, and some people in the group have been experimenting with printing using textured papers and laces as printing blocks.  These immediately reminded me of embroidery, and I wondered if you could perhaps print with embroideries.  So I made a small version of one of the tapa fish, painted it with acrylic paint and used it as a “stamp” to print the image on paper.

  Inkyblock

The inked-up embroidery

  Printfish

My first attempt at embroidery printing

 

Even though I still have a lot to learn about printing with embroidery, it turned out a lot better than I had expected. The image was surprisingly delicate, and it faithfully replicated most of the little details of the embroidery. OK, it’s still pretty rough around the edges, but this was after all intended to be used for painting, and painting can sometimes be all the better for a bit of roughness and spontaneity. If you wanted a neater result you could trim the embroidery close to the stitching and glue it to a wooden block. The rest of the painting group were scandalised that I had used a piece of embroidery like this (“how can you bear to cover it with paint?”) but when I explained that the embroidery machine could turn out many copies in a few minutes they became interested. I now have several ideas of how to use embroideries in paintings and will see if anything comes of it

 

 

Roses

This design had its origin in a piece of wrapping paper that came with a gift. It reminded me of those ubiquitous Charles Rennie MacIntosh Art Deco roses (a style which I have to admit I rather admire, at least when done by MacIntosh) It’s a simple style to imitate, so this was an easy design to draw, and for such a complicated design, surprisingly straightforward to digitise

 

  Roses1

Roses v. 1

 

The first major problem was the terrible “pull” around the edges., where the embroidery distorts the fabric.This is a large design (7 x 11 inches), so it needs the largest hoop my machine has, and this hoop sometimes doesn’t hold the fabric firmly enough

Also the colours were all wrong. I don’t have many red fabrics in my collection so I can see I’ll have to paint my own for this. Finally, I thought the overall effect was a little bit simple. Simplicity was of course one of the hallmarks of Charles Rennie’s brilliant style, but as I’m not really an Art Deco artist, I felt like adding a little more detail

Roses2
Roses v.2

 

The result was definitely an improvement, although the changes I made to the border were a mistake. Still, the detailing works pretty well, and adds a little extra dimension to what is quite a flat design. The hand-painted fabrics add an interesting variation in shades and are a (slight) improvement. The pull problem is better, although still not solved. If this design didn’t take so long to stitch out I’d make a v. 3 – however as it is, I think I’ll leave it for the moment