Couching.

Which is a word rather like couchant, which comes from the French word for lying down, which has a particular meaning for me as it appears in one of Ganna's novels, spoken about the sight of a headland, rather like. Beachy Head. This headland is in Swanage, know there as Ballard Down, I have a tinted photograph just outside my bedroom door.

The novel is called Glory Down. I have read it several times, but so long ago now I can't remember the detail. I'm off for a couple of weeks over Christmas, and might read it then.

Working notes in Ganna's handwriting

But I digress. Couching. Using stitch to apply thread, or other, to a ground material, in this case the piece I've already used for the laid work.

I had been over in Eastbourne, and wandered into the little mall beside the station, looking for things to couch down. There's a little embroidery shop there, which always has something a bit out of the ordinary. I brought my treasures home, and, unpacking them, thought to look for what else I might have tucked in a drawer or two! I came up with these.

Then I thought to look further, what else might I couch down? A piece of fabric from a dyeing experiment, some fragments of Mum's dresses from. My scrap box, a vivid bit of turquoise, all repurposed fabrics, stitched to a charity shop find damask napkin which served as ground for the laid work.



Then I started stitching down the dyed fabric and did a little what if, which I am just starting to understand after following Jude's Blog for some years now? What if I bring the needle up and put it down within the profile of the strip of fabric?


A slight ripple in the fabric, which could be exaggerated but here is just held in with some turquoise fly stitches, their tails lengthened to accommodate the narrowness of the fabric.


I also discovered one has to have a full stop, or the fabric will flip up in an ungainly way!

Here some French knots and a little nine patch to echo the one in the centre hold everything in place, and stop the fabric from fraying any further. A little bit of fray brings out that lovely contrast between warp and weft.

Here, the same technique with the same thread gives me a flower garden, and allows a bit more of mum's dress to show behind the flower fabric.

I did my best to continue the colour theme from the central piece of stitching, it must have some common theme to pull it all together, colour seems a good start.

I also try to use an elbows length of thread, as advised by Barbara, more or less, depending on the thing I'm stitching, the change colour - so what follows can contrast entirely, so long as it works with the colour theme and with what's being stitched down.n

Preparations

Tomorrow, I'm going to my next workshop at Studio 11. Colourfun, once a month for the coming year. What pleasures to come!

The first session is resist dying, which was what I did for the mini quilt workshop, so I've been preparing.

pre-stitched/tied pieces waiting for tomorrow

I've done

cotton stitched in wavy lines, with points pulled up to make spiderswebs

the wavy lines all drawn up into exotic looking ruches

Silk wound round a plastic tube, then bound with, in the one case, fine cotton, in the other, rough thick twine. I'm interested in how the different binders affect the pattern; whether the texture of the twine will appear in the resist.

 More cotton, a strip this time, folded into triangles, concertina style, then stitched right through at the borders with, perhaps, the arms of a snowflake pattern. The stitching then drawn up on two sides, and on the snowflake arms, for texture. I'm hoping the stitches on the long edge will resist right through and leave a little ant trail at the folds end make the final arms of the snowflake. Alternatively, there'll be a jumble of textures, reading as nothing!

Then there's the old linen tea towel, probably Ganna's; folded, again concertina style, (linenfold) then folded again and wrapped, not too tight, with a rubber band

Lastly, some leaves, perhaps, or maybe little fish ...

stitched into the single layer of fabric, drawn up tight and tied off, with a little spin round the nubbin for added texture

 then I pleated (as best I could) the fabric across it's width, leaving the little nubbins sticking out. We'll see.

Where are the ideas coming from? From Janice Gunner's Shibori for Textile Artists. It is full of so many interesting things. You may remember the video I posted on Shibori a while back. It's the Japanese art of tying  binding, pleating and otherwise adding resists to cloth with thread, clamps and "stuff". Having absorbed plenty from Christine's last workshop, I really wanted to have some ready prepared cloth as well as doing some more folding and clamping tomorrow, with the other bits of cloth I've not shown you!

I wonder what pictures I'll be posting on Tuesday!

oh boy!

Harry and Connie

Have I been having fun today. I've been to be tutored by Christine Chester at Studio 11 in Eastbourne. I had the privilege, due to the sickness of the other course attendee, to have a one to one all day with Christine. I brought along some cotton; torn up sheets, (one of which had a woven label from Harvey Nichols), used past wear, so renewing themselves to a different purpose here. They once belonged to Connie,  my grandmother's older sister and Harry, her lifelong lesbian companion - but that's another story.

Christine was a delightful tutor and, whilst enlightening me on the marvels of tied, resist, clamped, twisted and crumpled dyeing, we found ourselves chatting about; family, studying history, playing music, adopting cats, living by the seaside and other enjoyable things.

The studio itself is really lovely, with windows on two sides, an open airy atmosphere, plenty of big trestle tables to work on and a space for being messy by the sink - not to mention a rather delicious pink tin containing bicuits!

I thoroughly enjoyed tearing my sheets into smaller pieces of differing proportions, then wrapping up a variety of things; rectangular blocks of acetate, ice lolly sticks, kebab sticks, acetate circles and donuts - clamped over folded fabric, rubber bands holding pleats and pinches of fabric and, on one small piece of silk, brought for a particular reason, a combination of folding, tying, clamping and sticks!

I was shown how to mix up the dyes, add salt, immerse the fabrics and, later, add mordant to fix the dye. She also talked to me about design, balance, using colour and texture, proportion and repetition, contrast and the placing of lights mediums and darks to achieve an interesting harmony of shapes on the final piece. Then, whilst the fabric was taking up the colour, I sat down with squared paper to design, trying to bear in mind what bits of fabric I'd dyed with which technique and how much of each! I've come home with the plan and finished making out a cutting list. I've run my bits of fabric through a hot wash, and I've found myself with these.

My favourites are

Some moons

Flowers of the field

and this rather nice

Mandala

Tomorrow I have the fun of going back again to think about how to put bits of these together to match my design - or rather to work with design and these bits of fabric to create something, hopefully, beautiful. With any luck my fellow student will be feeling better so there'll be twice the fun.

I am genuinely stunned at the wonderful patterns and colours that have resulted from all of this. Not because I think I'm particularly clever, but because such simple techniques well taught, can produce such riches.

Can't wait

Autumn beginning to happen

I mentioned this little piece quite a long time ago now here. It has been sitting in the study waiting patiently  for me while I was busy with other things. I took it up again last week and played about with it, pinning and repinning, photographing each redesign so I could have a think about how it was to go together. Eventually I printed little versions of each photograph in Black and White - OK sort of sepia really, but monochrome, so I could see the design and the balance of tones without the distractions of colour.

I thought I'd decided on the version below as a format, but once I'd started pinning and then tacking the bits onto the ground cloth, I realised that I preferred to leave the right hand edge of blue in one line, rather than staggered as it is here. It feels more secure, better enclosed, protective; protection seems to be a feeling developing with this piece....
Gosh, hark at me, talking as though I were some kind of expert - I promise, I'm not!

So, I've got the most part of it tacked down now, ready for the "proper" stitching - no that's not the work in progress above, I'll take another picture when it's a bit further along, but I have managed to get that odd little swing from left to right in the background sorted out now. I have a vague idea abut how I want to do this, but only very vague, I'm quite happy to let it become as the stitching takes it. I watch Jude's magic blog and see how she allows her cloths to tell her their story as she stitches them. I also try to keep up with a wonderful variety of others, who also follow her path. I know I can't manage the same, but will see where this one takes me. The gentle pink of the background was once a bridesmaid's dress, a vibrant magenta velvet with swansdown at the neck, sleeves and hem. I tried a little bit of the waste fabric (found in a box, having been hoarded by Mum over the years) in one of my earlier dyeing experiments. A lot of the colour leached out in the pot, but I rather like its soft, muted hue now. I have to say, I did adore the dress. Mum made it for me, and I really felt like a princess for the day

something for Her Majesty

Our regional challenge - note how I just casually drop in the "our", when in reality I'm such a new girl! Anyway, the regional challenge for the local Guild is to produce a piece of wearable art for the Queen's Jubilee. We, that is the members, are creating a series of  sort of "slips"; separate bits of embroidery, on a street party theme, to be carefully stitched to a dress that is being loaned to us for the project. In the past slips were on canvas, usually on a horticultural theme and made to be applied to hangings. We'll display our contribution, along with those of the other groups in the south east, and will be judged on the grand regional jamboree day out.You'll remember last year's was my somewhat whimsical Beezeyeview which does at least mean I've been a member for nearly a year, since that was for last year's challenge. I have been tasked with producing an ice cream dish with three scoops, some wafers and a cherry on top! The design has been provided along with clear instructions on how to proceed.

I've hunted down some fabrics in the right colours, and made a start with the dish. I did a couple of trials on some spare fabric - very useful as they helped me understand how the stitching would react with the fabric and allowed me to adapt the way I was going to work..

Talking of being helped to understand - my advice - please take it - don't include your finger in the piece you're stitching on the sewing machine, it's very unhelpful!

Anyway, inspired by the glitzy piece I did for Brodie, I thought a little celebratory sparkle might be in order since this is for a Jubilee celebration, so I've very carefully done a bit of reverse applique. First I got the fabric all pinned down, marked and tacked so I knew where I was going.

Then I stitched round the lines, first with straight stitch to stabilise the fabric, then with zig zag satin stitch to create an edge to cut against. Then I cut away the green fabric from the front, inside the diamond stitching.

Then I needed something to back the organza and bring our its glamour, a bit of a scrap I found while rummaging in Hastings Old Town recently - the best place to rummage I have to say. I stumbled upon a delightful shop, run by a delightful lady, with all sorts of scraps and bits of lovely fabric. She asked me what I was going to do, when I got home, with the little hoard I was clutching to my chest. "Probably take it out and stroke it" was my reply! I'll have to go back and tell her that a little bit became part of a Jubilee embroidery.

Anyway, where was I? Yes, I tacked this to the back of the piece, turned it over and stitched round the diamonds again and voila! A diamond cut green glass sundae dish ..... if you squint carefully!

I think I'll go round the outline with buttonhole stitch - I can almost recall Ganna teaching me how to do it - very useful for cutwork table runners, tray cloths, napkins and "dressing table doilies" ! It will allow me to cut the pieces out, so they can be assembled and fixed in pace with vilene on the back.

I'm also going to add some more embroidery to the stem and base, with perhaps a bit more of that exciting turquoise that reminds me of peacocks feathers.

Then there's the blobs of ice cream to do! Oh, and the wafers, and the cherries which I am going to try and do with free machine embroidery over soluble film to see if I can achieve something like a stitched badge, with perhaps a couple of silver beads of dew on the surface, and scattered across the ice cream. I'll use a scrap of salvaged silk to fill the in betweens. Hope I get it finished in time - it is jolly good fun doing something to a brief.

As I work, I sit at Mum's little kneehole desk, which she bought in her just post war youth. It used to house her typewriter, the source of countless letters to friends and loved ones; letters full of good humour, little rhymes, concern for and interest in all the various people around her. The ratatat tat of her fingers as they flew over the keys were the backdrop to my childhood. She bought it with wages earned shorthand typing in a dingy London Office, all the while longing to study music and play her beloved piano.

and some stitching

I'm still stitching away on the City and Guild projects, each a little exercise in a group of stitches.  The latest piece is taking it's time, and mine, in between visits to York and the Quilt Museum, which was delightful as always.

This was the source - from one of our splash and splosh days at Barbara's

And this the work in progress. The colours aren't quite as disparate, but one was taken by lamplight and one by daylight. Fabric, a zingy recycled shirt found in the Lakes in a charity shop.

The idea in this one is to use composite stitches like raised chain band, guilloche, pekinese, amongst others and interpret the splishes and sploshes in the collage. It is slow but fun, and should be followed by three exercises in counted thread work, - canvas, cross and blackwork.

However I need to get the inspiration and the preparatory stitchings together for my final piece, which is based on this lovely pot that you can find here

She's a goddess of creatures, mistress of the animals, and dates from about 680 BC, called Potnia Theron. From this I got to this, with apologies for the poor reproduction of the drawn image

Again, a bit of splish and splosh as we were encouraged to explore our image, hence the collage, which could translate in to an interesting applique at some stage. The gold of the fabric, which will be quieter in the final piece, is one of the hankies I dyed here.  It seems fitting that a  little goddess cloth should have one of Mum's myriad of hankies as its base - with a  muslin backing to give it some substance. In the hemmed edge of the hankie there is a little row of three birds who will be her animal representatives. I want to use toning, quiet colours that fit with the original image, which is black on terracotta. I have to get this "idea" in by next weekend, which means this week as I have to go up country to visit my Aunt Cecil next weekend and get her settled down for Christmas.

more grandmothers gifts

I am gradually sifting and sorting "things", and thought I'd share a few more precious bits that have come to me, handed down through the generations. Some I found in the past, some have come more recently on Mum's death. They are little fragments of lace and embroidery about which I know nothing. I have treasured many of them for years, tucking them away in a drawer, wrapped in acid free paper to try and ensure they don't deteriorate, though I have to confess that the little embroidered bag was once home to my marbles! I have no idea of their age, but suspect they are mostly Victorian. I do know that my great grandmother's family moved from Ireland to Liverpool in about 1869. My great great grandfather had been a Methodist Minister, travelling all around southern Ireland preaching. He lost his faith after the deaths of six children from illness in a very short space of time. Once in Liverpool the family seem to have set up as drapers, and are recorded as such in the census. My Aunt recalls her Aunt Annie doing the "most beautiful delicate smocking" on dresses, and teaching her the skill; my grandmother embroidered, knitted and worked crochet lace; Mum knitted and sewed and my Aunt is a very skilled needlewoman. I like to think that some of these things were worked by family hands, I am happy to feel that I carry on that tradition in some small way. 


Here are just a few of the treasures.