Based near Beauly in the Highlands of Scotland, my work is a direct response to my environment. What is seen and gathered on walks along forest trails changes with the seasons and feeds into my wor…
Based near Beauly in the Highlands of Scotland, my work is a direct response to my environment. What is seen and gathered on walks along forest trails changes with the seasons and feeds into my wor…
Attaching the LeavesI tried various methods for attaching the snowdrop leaves.Firstly, I painted some silk with diluted printing ink and left the fabric to dry on a crinkled plastic bag so that it dried unevenly to create different shades of green. The back was then stablised.I appliqued the leaves from the back using the tracing as a guide. The main difficulty was applying the leaves in the correct order so they overlapped as planned.I found that if was easier to machine with the feed-dog up on
May / June 2024 This issue goes to press hot on the heels of my return from the Selvedge Textile Tour of India. I want to take this opportunity to thank my team for going above and beyond in putting the magazine together in my absence, to Katerina, Catherine, Florencia, Kate, and Ella – without your dedication; this issue simply would not have been possible. I also want to thank Param Pandya and Ravi Ramswami in India and all of the hundreds of artisans, designers, and curators from Ladakh to Kerala who invited us into their homes and hearts – your warmth and hospitality will stay with us forever.Leading a tour has highlighted the importance of teamwork, and in this issue, we focus on working hand-in-hand with others. For instance, the special relationship between teacher and student is explored in Nicola Miles’s article about her teacher and mentor, Lou Taylor. In this article, Taylor describes the pleasure of watching students encounter historic garments for the first time. In another story, we discover how Nike Davies-Okundaye balances the pleasure of solitary work and what she gains from sharing her skills by burning the midnight oil!Successful collaborations come in many forms and involve different levels of cooperation. Madrid-based Milliners Maleza joined forces with Claudy Jongstra in her LOADS project – the resulting hats were the outcome of discrete contributions from both designers. Similarly, when designer Odette Blum invited 27 artists to respond to a theme, she gave them a free hand – the project culminated in a book that celebrates their different visions. As Elizabeth King, Head of Costume Production at the Royal Opera House in London, explains, collaborations with more rigid external parameters require more skilled negotiations. Yet, when costume designer Sandy Powell realised a director’s vision, ultimate insight, intuition, and even greater communication were needed.During my time in India, I came face-to-face with collaborations between artisans and designers where both parties were equally respected. From this position of strength, they could overcome the challenges facing the craft community. The information age has brought new opportunities and the promise of a better quality of life but it also threatens the survival of the intangible cultural heritage of hand work. Thao Phuong shares her account of how artisan Phan Thi Thuan navigates the symbiotic relationship between tourists and craft in Vietnam by contributing to the greater interest in lotus-silk weaving and deftly demonstrating how crafts can survive hand in hand with tourism. Ramesh Menon of Save the Loom warns in Vinita Makhija’s article “Hope for Handloom” about “handmade being positioned on the premise of charity.” He notes, “Most who venture to support continue to play this card, damaging the sector. Handmade is the ultimate luxury and needs to be positioned and marketed in that realm.” Views shared by Madhu Vaishnav of Saheli Women, a co-operative based in Rajasthan. In a round-table conversation, Makhaja’s panel contributed insights into how technology can be used in tandem with the craft sector for mutual benefit. I leave you with the thought that perhaps to save craft; we must collaborate with technology. Polly Leonard, Founder Published on 15 April.
From functional, to decorative or aesthetical, your works also vary in techniques and materials. Tell us about your woolen felt
Happy New Year to all my followers, friends and family! I hope it is creative and fun. Last year was very very busy for me and culminated in a two month residency at Atauro Island which was an unforgettable experience which stole my heart. The coming year is going to be almost as busy, but I will actually be in Australia quite a lot more. I hope to be able to build an ablutions shed at some stage this year money and time permitting, as I will have to get a workman to help me do that- having no tools or building skills. I think I have worked out what to do about the skylights in my shed which make it incredibly hot in summer- too hot to work. But meanwhile I have decided to rewrite some of my Travellers' Blanket on-line class, as my stitching has progressed since I first wrote it and ideas have progressed as well. I will be offering this class starting 21 January and it goes for 4 lessons delivered fortnightly as a pdf file. The cost of the class is $75AUS.I set up a private Facebook group to share information and images and I keep the group opne for quite some time as stitching a blanket takes quite some time The idea of the travellers blankets grew from the notion that if you travelled in times past and you wanted to make a memory cloth to record what you had seen you would snaffle fragments of fabric to detail your journey. The idea has grown and the blanket I am working on at present is of sea urchins. Urchins studded the beach on my dawn walks on Atauro island and I love their shape and patterning- so in a sense it is a reminder of those walks and the feeling that watching the sun rise evoked. In a sense anything can be made into a travellers blanket.It is a visual form of story telling which dictates its own pace and reflections. I call them blankets because someone referred to one of my quilt art pieces as a blanket- so that was grist to the stone! Email me if you are interested in joining the class and I will send you further details , how to pay and a materials list. The images are of work/travellers blankets I worked on in 2017. The blanket above was exploring embroidery to encapsulate the idea of communities, in particular indigenous communities which are whole systems of information. The blue travellers blanket is quite large and is a journey through the years of printing and linocutting I have been doing since I began with textiles as my full time work. The piece below is inspired by the urchins encountered on morning walks on Atauro island. There is a lot of colonial knots on this piece!
Read our Q&A with rag rug maker and textile artist Sue Dove from Cornwall. Browse photos of Sue's beautiful wall hangings, textile figurines and colourful rag rug designs while learning more about the rag rug making process. Get design inspiration, rag rug tips and more on the Ragged Life Blog.
Based near Beauly in the Highlands of Scotland, my work is a direct response to my environment. What is seen and gathered on walks along forest trails changes with the seasons and feeds into my wor…
Yes I am running another on-line course starting on 1 July. I will also be teaching the travellers' Blanket in the flesh at Wrapt in Rocky next week. I had hoped to have gotten my khadi cloth circle blanket finished- but that hasn't happened. I have got all the silk circles sewn on- now the embroidery and then what to stitch in the background? One of my students from a previous class sent me some photos of her completed travellers blanket- I love seeing projects that have been completed- but I love even more when I think...oh my goodness I wish I had done that. So I wanted to share Petra Kooij's travellers blanket( she does not have a blog unfortunately) I love the glowing jewel like quality of the patched/stitched circles on the background and I really like the way she has played around with shadow and light - i just love it! Thank you for sharing Petra! So the hand dyed background with tie dyes: Placing darker toning fabrics to create shadow and light; Adding another design element which works really well The finished piece- I think the framing in the slightly darker yellow works really well. A close up image of the piece. Other past students work can be seen Glensbirdonawire blog, Saltbushstitch blog,Annette Sibson's blog, and Cramzy's Flickr. And here is my blanket with all the circles sewn on- now for embroidering. If you are interested please email me. Cost for the course is $60AUS and it takes place over a four month period- though you work entirely at your own pace. And I am teaching my Gypsy Blanket workshop in Sydney on 17 & 18 August for the NSW Quilters Guild- I shall also be giving a talk at their AGM
Hannah Rae has a passion for worn, faded and bleached vintage textiles as well as objects that show the passing of time. She uses as an intuitive approach,
Read our Q&A with rag rug maker and textile artist Sue Dove from Cornwall. Browse photos of Sue's beautiful wall hangings, textile figurines and colourful rag rug designs while learning more about the rag rug making process. Get design inspiration, rag rug tips and more on the Ragged Life Blog.
Based near Beauly in the Highlands of Scotland, my work is a direct response to my environment. What is seen and gathered on walks along forest trails changes with the seasons and feeds into my wor…
Explore tinctory’s 1,196 photos on Flickr!
Lucy Levenson translates her visions into folk art using paint, threads and fabrics as her medium creating whimsical works.
peinture et broderie
Explore tinctory's 1196 photos on Flickr!
Kantha is the practice of reinventing worn cotton fabric into household textiles in India and Bangladesh.
Following an over 20-year career in fashion, Dosa’s Christina Kim is exploring a new world of textiles: embroidered and upcycled wall art for the home.
Zbruc sat down with Tetiana Vytiahlovska to discuss her work and the art of tapestry weaving - Light is deeply and organically intertwined into fiber art through the materials used by tapestry artists, namely wool, which radiates a certain harmony and warmth. In addition, lines are an essential component of this technique, as they convey...
My favourite New Year wish for you first posted on January 1, 2014. May your day be filled with blessings Like the sun that lights the sky, And may you always have the courage To spread your wings and fly! May your past be a pleasant memory, Your future filled with delight and mystery, Your now a glorious moment, That fills your life with deep contentment. May your troubles be less And your blessings be more And nothing but happiness Come through your door. May the nourishment of the earth be yours May the clarity of light be yours May the fluency of the ocean be yours May the protection of the ancestors be yours. Blessings on you and yours this new year.
Perinteinen peittokirjonta Havukosken koulun valinnaisryhmässä ryhmätyönä valmistettu seinävaate. Materiaali: musta villakangas sekä ryhmäläisten itse kasveilla värjäämiä villalankoja. Suunnittelu: jokainen oppilas on suunnitellut oman toteutettavan kuvionsa jonka jälkeen kuvioiden keskinäinen järjestys […]
Explore tinctory's 1196 photos on Flickr!
