The art of observation might well be Gwen Hedley’s super-power. She begins any new project with careful scrutiny of her subject.
The art of observation might well be Gwen Hedley’s super-power. She begins any new project with careful scrutiny of her subject.
Gwen Hedley (2020) Integrating (Detail), 31.5 cm x 16.5 cm, found cloth fragments from the beach, fused with stitch. Photography credit: Melanie Chalk Gwen Hedley focuses upon the construction of c…
When I saw this which is her interpretation of a wall she'd seen I couldn't help but think - Giraffe!
The art of observation might well be Gwen Hedley’s super-power. She begins any new project with careful scrutiny of her subject.
Gwen Hedley is very much a embroidery and stitch based artist. She has a book out called 'Drawn to Stitch' which I found very interesting to look through. Gwen is also part of the Embroiders Guild and Textile Study group. Her working materials: - Old natural fibred fabrics (cotton, linen, wool) She likes to use second hand fabrics which have a history. They feel warn or can be patched or darned. Most of her fabrics are found in Charity Shops. - Cotton machine thread and stranded cottons She likes to create her own colour palette, blending different coloured threads to create her own subtle colours. The threads she uses can also vary in thickness to create a different feel and weight to her work. About Gwen's work: Her older work was a lot more machine stitched and she would use the sewing machine needle as her drawing tool. In recent days, Gwen has begun hand stitching and couching in order to make the strong marks from her drawings. I love the quality of Gwen's work and the textural feel it gives with the layers that she builds up. I think her work becomes very interesting and in her book I found the transitions from her drawings to textiles and how she translated drawings very interesting. Text reference: www.gwen-hedley.co.uk Image references: http://embroidery.embroiderersguild.com/2001-1/hedley.htm Hedley, G. (2010) Drawn to stitch : line, drawing and mark-making in textile art. London: Batsford.
Gwen Hedley
The art of observation might well be Gwen Hedley’s super-power. She begins any new project with careful scrutiny of her subject.
Or at least her book, Drawn to Stitch. I decided to start stitching smalls samples at night while I watch Netflix. I was doing an exercise on pages 40-45 about mark making and while doing that stamped some small (4" X 6") pieces of cloth with black acrylic paint which I will "stitch around". Here is the cloth I'm not sure what I am going to do but I'll see. Now this is the result of the exercise. I took some newspaper and ironed steam a seam onto the back. Gwen never mentioned taking it off - if or when - but I did and I'll tell you when. She did saw to leave it on while making marks. She had quite a few pages involving what types of lines to make and potential implements to use. I did make a note of what I used in my (ahem) journal. Some were India ink with the Japanese calligraphy brush, china maker, colored pencil - plain, pastels - unwrapped and drawn length wise across a rigid collograph, ink in an eye dropper, my foam donut (must take a picture of this piece of material that was rescued packing material from something I bought - one of my absolute favs - picture soon), sharpie, credit card on edge and others as well. The directions said to make one and cut it in half so of course I made 2. Also of course and as usual I forgot to take pictures starting... but I did take some soon after making a few marks. Book open A stamp (top and bottom rows) and that soft wide mark that looks like a tire print (said favorite foam donut), Round circles of Noodler's Polar brown ink applied with a sponge circle and the curvy brown line from the eye dropper. The wide brown line was Noodler's brown rolled on with a Q-tip. I tried to make the marks as though the two sheets were attached Then I cut each sheet into strips, one sheet vertically and the other horizontally using curvy cuts with a (gasp) rotary cutter I reserve for paper. Both finished sheets before cutting (above and below) Then I wove them together (with the paper backing removed) as in the directions from the book. Removing the paper backing was NOT in the directions but the slight tackiness of the steam a seam helped keep it all together. When done I trimmed up the edges - just eyeballing - and placed the woven two layered piece on a sheet of thin brown packing paper that I had ironed flat in advance. Finished Gwen had further ideas about what to do with this which involved close-up shots of the piece (cropped) and 2 transfer techniques...more later
Gwen Hedley is very much a embroidery and stitch based artist. She has a book out called 'Drawn to Stitch' which I found very interesting to look through. Gwen is also part of the Embroiders Guild and Textile Study group. Her working materials: - Old natural fibred fabrics (cotton, linen, wool) She likes to use second hand fabrics which have a history. They feel warn or can be patched or darned. Most of her fabrics are found in Charity Shops. - Cotton machine thread and stranded cottons She likes to create her own colour palette, blending different coloured threads to create her own subtle colours. The threads she uses can also vary in thickness to create a different feel and weight to her work. About Gwen's work: Her older work was a lot more machine stitched and she would use the sewing machine needle as her drawing tool. In recent days, Gwen has begun hand stitching and couching in order to make the strong marks from her drawings. I love the quality of Gwen's work and the textural feel it gives with the layers that she builds up. I think her work becomes very interesting and in her book I found the transitions from her drawings to textiles and how she translated drawings very interesting. Text reference: www.gwen-hedley.co.uk Image references: http://embroidery.embroiderersguild.com/2001-1/hedley.htm Hedley, G. (2010) Drawn to stitch : line, drawing and mark-making in textile art. London: Batsford.
The art of observation might well be Gwen Hedley’s super-power. She begins any new project with careful scrutiny of her subject.
Please visit my website http://BirgitteHendricks.com for more examples of my textile art. © Birgitte Hendricks 'Fibrefusion' 'Affi...
The art of observation might well be Gwen Hedley’s super-power. She begins any new project with careful scrutiny of her subject.
The art of observation might well be Gwen Hedley’s super-power. She begins any new project with careful scrutiny of her subject.
The art of observation might well be Gwen Hedley’s super-power. She begins any new project with careful scrutiny of her subject.
The art of observation might well be Gwen Hedley’s super-power. She begins any new project with careful scrutiny of her subject.
The art of observation might well be Gwen Hedley’s super-power. She begins any new project with careful scrutiny of her subject.
Trochę oryginałów angielskich wam przedstawię. być moze niektórych znacie z siecibo anonimowi nie są- bynajmniej.Wiec na poczatek moja nauczycielka LIZZIEHOUGHTON. LIZZIE Z MOIM MĘŻEM - KTÓRY O DZIWO - DAŁ SIĘ WYCIĄGNĄĆ NA TARGI Z DZIEDZINY . KTÓRA GO KOMPLETNIE NIE INTERESUJE STOISKO LIZZIE - SORKI ZA SŁABĄ JAKOŚĆ ZDJĘCIA -ALE SWIATŁO TAM BYLO NIE NAJLEPSZE DZIEWCZYNY Z COMMITTED TO CLOTH- TAKIEGO MIEJSCA GDZIE SIE DRUKUJE , FARBUJE I SKĄD SIE METODY NA CALĄ ANGLIE I NIE TYLKO ROZLAZŁY./ JA TEZ SIĘ MIEDZY INNYMI TEGO UCZĘ-DZIEKI LINDZIE MAYNARD KTÓRA BYŁA TAKZE ICH STUDENTKĄ/ STANOWISKO COMMITTED TO CLOTH- SPORE CO? KOBITA KTÓRAWYKONUJE ARCYDZIEŁA METODĄ CEROWANIA/ POWAZNIE/-MAM W DOMU JEJ NAZWISKO I STRONĘ PODAM PO PRZYJEZDZIE -WYBACZCIE ALE NAZWISKO MI UCIEKLO Z KADRU I GLÓWKI MAGGIE GREY DEMONSTRUJE JAK ZROBIC MONOTYPIĘ NA BÓG WIE CZYM- KSIAZKĘ KUPILAM - ALE TAM SĄ WYMIENIONE SUBSTANCJE KTÓRYCH JESZCZE NIE ZNAM- KOLEJNY KURS SIE SZYKUJE CHYBA JAKIEŚ NIESAMOWITE SUBSTANCJE SĄ UZYWANE , ALE EFEKTY- SUPER SEKCJA KORONEK KLOCKOWYCH I PONIZEJ PANI OD KORONEK PANI BYŁA PRZEMIŁA I OD RAZU CHCIALA MNIE UCZYĆ KORONKI ,,,ALE WIECIE TO CHYBA MNIE PRZERASTA.JEDNAKOWOZ TO CO MA NAD GŁOWA - BARDZO WSPÓLCZESNE FRAGMENT KSIĄZKI GWEN HEDLEY I JESZCZE JEDEN KSIĄŻECZKA GWEN HEDLEY SKLADA AUTOGRAF NA MOIM EGZEMPLARZU A TO PRZEMIŁA PANI ANGIELSKO - POLSKA , KTÓRA OKAZAŁA SIĘ BYĆ POTOMKINIĄ EMIGRACJI - MÓWIŁA PO POLSKU PRAWIE BEZ AKCENTU ,TYLE ZE UZYWAŁA SŁÓW I SKŁADNI LEKKO STAROŚWIECKIEJ- MIŁO BYLO POSŁUCHAC.TU WIDAC JAK WYKONUJE NA DRUTACH SZALIK Z CZEGOS PODOBNEGO DO WEŁNY CO PO ROZŁOZENIU BYLO TASMA OK 6 CM SZEROKOSCI -I DAWALO SIE Z JEDNEGO MOTKA ZA GROSZE ZROBIĆ TAKI SZL . OCZYWISCIE NATYCHMIAST POLECIALAM KUPIĆ,ALE KOLOR JUZ POZOSTAŁ TYLKO - UWAZACIE - RÓZOWY.
Louise Penny and Trudy Nan Boyce are the recipients of the 2017 Pinckley Prizes for Crime Fiction, named to honor the memory of Diana Pinckley. Bestselling author Louise Penny, the first Canadian to receive the award, is the winner of...
