The Stitchbook Collective
a shared vision
ISSUE No 1: COLLECTIONS
In this workshop I am taking a look at how multiples and sets of objects or ideas can be used to great effect in your Stitchbook.
Repetition, classification and collating are all fundamental instincts. In terms of design, the ability to recognise and manipulate pattern or chaos is a very powerful tool ...
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ISSUE No 2: JOURNEYS
In this workshop we are looking at how we might represent a journey in Textile Art. This is a virtually endless theme ... as it says in the Dao De Jing (the book of the way):
A journey of a thousand miles begins with a single step.
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ISSUE No 3: RAGS to RICHES
In this workshop we are looking at some different ways to use old or discarded fabric and yarn to construct new surfaces to stitch and embellish. The philosophy of 'waste not, want not' can be an integral part of our slow stitching practice.
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ISSUE No 4: STUFFING & LAYERING
In this workshop we are looking at some different ways to use old or discarded fabric and yarn to construct new surfaces to stitch and embellish. The philosophy of 'waste not, want not' can be an integral part of our slow stitching practice.
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ISSUE No 5: SNIPPET ROLLS
This month we are looking at Snippet Rolls - which originally hail from the world of 'scrapbooking' (but as usual, my aim is to subvert the 'norm' and look at how the concept of joining and decorating 'little bits and pieces' is at the very heart of slow stitching.)
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ISSUE No 6: BAYEUX STITCH
This month we will use the Bayeux Tapestry as our inspiration to find out about Laid and Couched work (Bayeux Stitch) and also take the opportunity to have a look at how this Early Medieval Embroidery record both historical and everyday events.
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ISSUE No 7:
Family and Friends
HEARTS & STARS
This month we are looking at one of my favourite projects. The original project was called 'Christmas Stars 2007.
New for 2023 I have renamed the project FAMILY & FRIENDS HEARTS & STARS. It doesn't have to be a Christmas project (that's just its legacy) but its a great concept to unite groups of people who may be parted physically from one another, for whatever reason.
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ISSUE No 8:
TEXTILE PORTRAITS 2023
This month we are looking at something which we have a tendency to shy away from because it looks 'too hard' .. making recognisable portraits from textiles. Its actually much easier than you might think -- its mostly about preparing a good starting image and then letting your innate 'facial recognition program' do the rest!
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Below are videos from previous years which extend this project ...
ISSUE No 9:
THE BUTTERFLY EFFECT
This month we are looking at a universally recognisable image .. The Butterfly.
I would like us to look at this familiar (some might say 'trite') image and use it to explore the process of 'finding your own connections' to any given subject. I will show you some very basic research techniques and my own version of 'mind mapping' in the hope that it may offer solution to any 'creative block' which, let's face it, we all feel at some point ... let your mind be free like a butterfly!
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VIDEO TIMINGS
00.00 Workshop Introduction
00.55 Folded Butterfly Introduction
01.22 NEW PROJECT LAUNCH
01.48 Preparing to fold
02.30 Folding
09.36 Research
10.56 Making a Template
I have taken the folding section from the main video and offered it in the BONUS VIDEO section, for ease of use. x x
ISSUE No 10
Fabric Painting with
water-based Paints
This month we will be looking at simple, but really effective, methods of HAND PAINTING fabric. All you need is some watercolour paint (pans or tubes), or some acrylic paint or even tester pots of emulsion will work!
If you look up ‘fabric painting’ you will find an enormous amount of technical stuff, telling you that you need all sorts of fancy equipment, lots of technical knowhow and expensive purchases .. but you really don’t!
… of course if you are wanting to make clothing or soft furnishing you will need specialist materials, but for slow stitch ….. just relax and enjoy the simplicity of this workshop ….
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VIDEO TIMINGS
00.00 Workshop Introduction
03.15 Working on different fabrics
11.05 Example 1 and 1a
Polycotton Sheeting & Freezer paper
28.36 Example 2 and 2a
Loom-state unwashed Calico
41.26 Inktense Pencils and Blocks (introduction)
ISSUE No 11
JOOMCHI
This month's workshop has been a long time coming: over 3 years actually. I particularly wanted to share with you what I learnt after the previous workshop on Joomchi, namely my investigations about creating more deliberate holes in the paper.
This month I will also talk about the differences between Joomchi and Momigami, and different types of paper.
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ORIGINAL JOOMCHI VIDEO
If you haven't already watched this, I suggest you watch this first.
VIDEO TIMINGS
00.00 Workshop Introduction
01:30 Basic Demo (recap)
08.40 Dropping technique
12.57 Sewing machine stitches
17.34 Inktense blocks
21.28 Experimentation
22.40 Momigami
ISSUE No 12
TIME TO REFLECT
This month and into the new year is a good time to stop, reflect and maybe sort out a few bits and pieces, so that you can see where you have been, and where you are going ... BUT it really isn't the time to be making any New Year's resolutions.
This workshop looks at making a folder and box to keep your magazines in, and this month's magazine looks at some ways in which you might like to begin putting your Stitchbook together.
BOXES, BAGS & BOOKS 2022
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ISSUE No 13: OPEN WEAVE
This workshop looks specifically at open weave fabrics and what effects you can get by manipulating the regularity of the warp and weft. We will also look at how you can alter the 'look' of woven cord or multi-ply threads and yarns for couching.
You will find some fabric swatches in with your magazine.
If you make samples for your Stitchbook using these swatches, would you like to photograph them and send the photograph to me at
thestitchbook@aol.com
Of course you don't have to, but it would be an opportunity to share and keep a record of our work.
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ISSUE No 14: MANDALAS
This month we are looking at Mandalas. I am using the mandala symbol in the hope of encouraging an appreciation for form, colour and pattern, using a combination of concentric circles and repeated stitches.
I would hate for any of this work to be seen as the misappropriation or trivializing of any belief system or culture.
For avoidance of doubt, the word mandala itself simply means "circle" in Sanskrit.
Chiefly found in the practice of Hinduism and Buddhism, the mandala is used as an aid to meditation. The intricate geometric designs are often used as spiritual guidance tools; to symbolise the universe; and to establish a sacred space.
The mandala pattern is also used across many other religious traditions worldwide, where it represents wholeness, holiness and all things encompassed by God.
For ‘mindful stitching’ purposes, I hope that we can agree on the definition from www.worldhistory.org
‘MANDALA: an artistic representation of higher thought and deeper meaning given as a geometric symbol used in spiritual, emotional, or psychological work to focus one's attention. ’
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Issue 15 MATCHES & MATCHBOXES
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This is my ‘finished’ page for this month. It’s a bit of a mish-mash: a combination of lots of ideas and samples. There are melted polyester felt flowers, weaving, rolled fabric beads and of course the beetle in his little matchbox house!
This month is a great reminder of just how versatile and useful your Stitchbook can be.
You can try new techniques without having to make a huge investment in time or materials, and stitching your samples together onto one page and keeping some of the loose pieces safe in the pocket, will make an invaluable resource for future projects.
I think I’m going to stitch the words: ‘Maybe it’s OK to play with matches.’ in the top corner of the page, and unite the samples with some slow stitching.
VIDEO TIMINGS
0.00 Introduction
1.09 Matchbox Loom
16.00 Relief Printing
21.25 Alexander Beetle
34.22 Polyester Felt Flowers
Issue 16: STITCHED SAMPLERS
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This month we are looking at sewing with wool threads, (crewel work) and how you can blend colours and tones using the simplest of stitches
… THIS ISN’T going to be an embroidery lesson! You know me well enough now to know that I don’t have the patience or skill for fine embroidery.!
Since our focus, as a group, is on mindful stitching, you may like to try limiting your vocabulary of stitches to just three simple stitches:
Straight stitch
French knots
Couching
and limiting your colour palette. You’ll be amazed at the variety of outcomes you can achieve!
VIDEO TIMINGS
0.00 Introduction
5.32 Fabric
8.44 Blending colour
14.00 One Stitch
16.30 Examples
This month we are looking at
Water soluble Stabilisers.
You will learn 2 methods of creating useable pieces of fabric from the tiniest of offcuts ... This really is 'waste not want not' at it's very best.
Issue 17: Water-soluble Stabilisers
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VIDEO TIMINGS
0.00 Introduction
0.39 3 samples
1.34 Lace Patchwork using
water soluble film
15.00 'orts'
24.00 using samples in
more defined pieces
of work
27.00 Mesh and self
adhesive mesh
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This month we are looking at the effects you can achieve by adding a bead, or a cluster of beads, to your textile work. Beads can be used in addition, as an alternative, or as a contrast, to decorative stitches like French knots or bullion stitches.
I will talk a bit about my LOVE/HATE relationship with beads .. it is so easy to OVERDO it (!) I hope you will see that the judicious use of one or two, not necessarily shiny beads, can make a huge difference to your work.
Of course, we all know that beads come in an enormous variety of sizes, shapes, colours and textures. They are something which you can pick up easily at charity shops … AND since one of the unique features of the Stitchbook is that the height of embellishments can be accommodated within the pages, why not have a go at adding some considered areas of beading to your work.
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This month, I'd like us to take a look at what we can learn from 'traditional' patchwork ... and how this is almost diametrically opposite to the ethos of the huge craft industry which has built up around 'pieced patchwork'.
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I love working with textiles. For me, textiles have a direct connection to my understanding of what it is to be human: a form of identification, of belonging, of history. I work with fabric, print, poetry and prose. I am also fascinated by evolution and heredity - and genetic fingerprinting - the chance mutation, a repetition, another layer of surface being formed. It is important to me that the history and story of textiles are accessible .. using materials, methods, techniques and skills which are familiar - which have passed through generations.
This is storytelling at its best .. in other words .. narrative textiles!