Looking at several different interpretations of trees as fiber art, including driftwood art.
In your journey to becoming a textile artist, the most important thing you can learn is to trust your artistic instinct. Have belief in the inherent quality of your work, and celebrate where you are now. Recognising where you fit in the Four Stages of Textile Art Mastery can help you on your way. When
Artist, writer, lecturer and author Cas Holmes needs little introduction from us – she's one of our most experienced and popular artists.
A reference for fiber arts that can be used as a handout or a poster. A great introduction to weaving, embroidery, and sewing for students in K-8. Vocabulary, tools, materials, techniques, history, and project ideas are clearly illustrated in one handy design. ...
Good Morning Folks Donna-Marie here to share a new technique with you that combines both paper and fiber art. ...Toilet Paper Art . I know I promised a video but here in the northeast we are in our 6th day of a heat wave...ugh!!! I live in New England for a reason...I would rather be cold than hot. Anyway my craft room is our sunroom with all windows...a beautiful place to create indeed until the heat and humidity rear their ugly heads. I could only last a short time in my room so pictures will have to do today. I have lots of photos so grab a comfy spot and enjoy:-) Here is a close up of a completed piece Here is the stamp I used. Once this piece has dried it becomes a piece of fabric...flexible yet sturdy so I was able to include my fiber art and create this... I added beads and embroidery along with some yummy wool fibers for a one of a kind piece...all from toilet paper!!! Let's see how this works... You will need 2ply toilet paper, a foam brush, watered down gel medium (one teaspoon to 1/2 cup of water) make sure the medium is well dissolved, spray bottle of water, a stamp and a brayer. The stamp you choose is important. It can be any variety...on a block, no block, clear, doesn't matter however what does matter is how deeply it is etched. The stamp should have nice deep areas throughout the stamp for maximum benefit. Get your gel mixture ready first choose your stamp and let's go... I chose an all around stamp background pattern this time...mist it heavily with water. Lay your toilet paper down...you can see that I have overlapped the center and also have it hanging of the edge. The overlapped part will not show on the final piece and the edges that hang over become "ruffly" like a lettuce leaf edge which is pretty when colored. I spayed the piece down again after I laid down my paper. Then I go over it with my foam brush loaded with the water/gel mixture. Do not rub "dab" up and down releasing the liquid otherwise you will tear the paper. No worries if it tears slightly with all the layers going down it will be fine. After you have added the water/gel mix run over it with a brayer. Not back and forth...only one direction!! Then continue with the layers in the exact same way: water, paper, mixture, brayer...I used 6 in all. This is what it looks like when all 6 layers are down. Now carefully peel up the entire paper piece off the stamp and flip it over...you will see the beautiful embossed image. Because the image is fully saturated now is the time to color it especially if the medium you are using is water soluble...like Dylusions Inks :-) I sprayed the piece with 4 colors of Dylusions Ink: Fresh Lime, London Blue, Vibrant Turquoise, and After Midnight. The image looks very dark right now because it is saturated but when dry it lightens up quite a bit!! It takes almost 48 hours for this to dry so I can not show you the final project but I have another piece done the same exact way with another stamp... I added some embroidery, beads, and small mini flowers...look at the edges love the unfinished "ruffly" look. I am working on a fabric book or these pieces...stay tuned :-) And here is the piece used in my mixed media piece entered into the eP challenge see it in the frame. I also used the extra pieces I cut off to fit it in the frame as part of the background. I hope this inspires you to be creative and mix your love of the arts no matter which ones you enjoy the most :-) Peace Out
A Textile Designers guide to the art of Fabric Manipulation to use in simple craft projects
Hey, gorgeous crochet friend! Can you believe it? I finished […]
Judy Martin's work is featured in Claire Wellesley-Smith's new book, Slow Stitch: Mindful and Contemplative Textile Art. It is published by Batsford and distributed in USA and Canada by Sterling Publishing Company. This beautiful hard covered book can be purchased from your local bookshop or online. The book explores a slow approach to stitching on cloth. The pleasures to be had from slowing down processes are multiple, with connections to ideas of sustainability, simplicity, reflection and multicultural textile traditions. (from the introduction by the author) Judy's work is pictured on page 96 and 97 with the accompanying text. Canadian textile artist Judy Martin uses the idea of daily practice in her monumental work Not To Know But To Go On (the name of the piece taken from the writings of artist Agnes Martin). For three years she used her practice as one might use the daily ritual of writing a diary. The design of the piece refers to her Finnish cultural heritage of rag-rug making (although the piece is stitched not woven). Every day one complete skein of stranded cotton embroidery thread was couched over strips of found fabric from her own collection on to a cotton canvas backing. She says, "Stitching gets me up in the morning. I look forward to spending that quiet time with myself. It's emotional therapy, as I stitch, other things fall into place; the time it takes helps me to be quiet. Inner time goes backwards and forwards. Time is recycled." This private and controlled endeavor as Judy describes it, speaks to me as a visible record of time, making it tangible. it is a dense, material representation of thought and making. There is great craftsmanship visible in the repetition exhibited in the work. As I look at the densely stitched loops and coils of this work, so great in length after three years of daily stitching, I wish I could touch it and properly engage with the physicality of the object. Judy says, "I'm interested in producing something very simple and quiet and marked repeatedly with the human hand. Not because it's a metaphor for anything, but just because it's an object that says, unequivocally, I was here. I spent time with this. Feel my touch." The Manitoulin Circle Project is pictured on pages 116 and 117 with the accompanying text. Canadian artist Judy Martin worked with over 140 people during the four year Manitoulin Circle Project. Four large 'meditation panels' were created during the project: Earth Ark, Precious Water, Layers of Time and Mended World. Each panel carries the message of environmental appreciation and reparation. The work was largely made from donated and charity-shop materials: damask tablecloths and other domestic textiles, including crocheted doilies, women's handkerchiefs and wool blankets. A theme of re-creation and also of reparation through the remaking of these materials ran through the project. Every week during the four years of the project participants gathered in a church hall to work on the pieces, building community and personal friendships as they slowly created their pieces of work. The Mended World panel is constructed using a string-piecing technique. Using a sewing machine, four or five long narrow strips of a variety of textured damasks (from recycled tablecloths) were sewn together along their long edges to create a new striped fabric. This fabric is then re-cut several times and sewn back toether to make a wide piece of new fabric. The project speaks of time and has produced beautiful, meaningful work. as an artist who works with communities, i am always deeply moved when I think about the other work that goes into producing pieces like this. The other work is the conversation, the communication, the slowing getting to know one's stitching neighbour, the memories and skills shared, and the hours of committed thought and organization of the facilitator/artist. Somehow the tactile cloth holds all of this within its folds, layers and stitches. This work is a reminder that people and places mixed together, and the exchanges they have, can produce satisfying results. Other artists featured in the book include: Abigail Doan Kate Bowles Alice Fox Pat Fuller Lotta Helleberg Roz Hawker Hannah Lamb Christine Mauersberger Mandy Patullo Celia Pym Roanna Wells as well as the author herself, Claire Wellesley-Smith (her work in progress shown below) Claire includes natural plant dyeing, working with community, walking as a practice, and world textiles such as Japanese boro and Indian Kantha cloth in her writing about the topic of Slow Stitch. The cloth cover of the book makes me want to hold it all the time. Several projects and ideas are presented by the author such as how to develop your personal stitches, making your own stitch journal and telling narratives through stitch and cloth. Congratulations Claire Wellesley-Smith on a beautiful addition to the growing library of inspiring books about hand-stitching. I am so pleased to be included and so are the women of the Manitoulin Circle Project. Thank you.
Be Inspired by the incredible mixed media embroidery art of contemporary fibre artist Ana Teresa Barboza on The Fiber Studio.
Contemporary textile artists often seek to challenge traditional values and conventions, and that can make their work unique, aesthetically stimulating and
Fabrics and the role they have played in the decoration of your home is undeniable. Starting from the curtains on your window and doors to the bed linen we
Flora and fauna are beautiful but this artist zooms in on the lesser seen beauty in nature’s details.
Textile Wall Art | " Authentic Dreaming " | ORIGINAL | FRAMED 8 x 10 inch This modern + minimal original textile artwork "Authentic Dreaming" is full of linen fabrics, wool felt and cottons. Earthy and modern, this textile collage is framed in an 8 x 10 inch frame and is full of creative freedom! Size : 8 x 10 inch FRAME Made in my studio + one of a kind www.meghanpauleynespeca.com
Read Mark-making in Textile Art by Pavilion Books on Issuu and browse thousands of other publications on our platform. Start here!
Explore Julie Shackson's 472 photos on Flickr!
A weekly round-up of weaving inspiration.
Well my show has been put back another six weeks – bump in is now 8th april. However Christmas group exhibition opens 23rd November at Rosebed Street Gallery Eudlo – Sunshine Coast Que…
Today I’ve shared a simple method you can use to create your own unique hand painted fabrics to use in your slow stitch projects.
After a few years of having this project on my 'to teach' list, I finally got around to trying paper plate weaving with my Grade 4-6 mixed class. I saw the original idea HERE on the amazing website of Cassie Stephens. I followed her direction exactly and the weavings turned out really well. I HIGHLY recommend only using Chinet brand plates as Cassie states. I tried it with a thinner paper plate and it did not hold up well. So stick with Chinet or the sturdiest brand you can find. Students started off by painting their plates using tempera. They could use any colours/patterns they wanted to. They had a lot of fun with this step and thought it was pretty cool painting on plates. They didn't fit in my drying rack so we left them on the floor to dry overnight. I collected yarn like a madwoman from garage sales and thrift stores. Then a colleague, who I was sharing yarn with, colour coded all the yarn into different plastic bags- sweet! I laid all these out onto a couple of tables so my kids could see the variety of colours and textures available. Following the directions on Cassie's blog, students wrapped their warp (I demonstrated two times, then we did it together) and then they started weaving using the same warp string. My kids have done paper weaving before and most caught on pretty quickly. Once they have had enough of one colour, they tie on a new colour and keep weaving. The kids LOVED this project and they all turned out really nice :)
“The embroidery is growing and the tangles in the pieces make evident the constant transformation of nature.”
As a textile artist, Agy has found no shortage of inspiration in the natural world; you just have to slow down, look and observe! Here are 5 tips to get going.
exploring the sculptural potential of wool in
Free motion embroidery creates a lot of scrap threads. I don’t throw them out and incorporate them in my art work. Here are a few tips on how to reuse them.
Happy Monday! We are starting the week featuring an extraordinary textile artist! Meet Vanessa Barragao! Growing up at the seaside, she uses the connection to the ocean as an everlasting inspiration for her artworks. Her work features captivating coral reef environments in which she merges and combines crafts and recycled materials and by employing old techniques such as latch hook, felting, macramé, knitting and crochet she brings life to her unique and luxurious sculptural carpets, rugs and tapestries. Visit her instagram and site for more of her eye-catching work.
The largest collections of Aboriginal art and artefacts in Sydney.
* I love the delicacy of Peggy Osterkamp’s fiber work. Once an apprentice to Jim Ahrens in a production studio, Osterkamp has introduced hundreds of students to weaving theory and production …
Eleanor Pritchard’s textiles nod to British modernism and local craft. Thanks to a new upholstery line, she’s poised to become an industry name.
Weave with fabric to add something extra to your weaving. Try these different ways to incorporate a new material into your next project.
Learn four simple methods forto created textured fabric for your quilt
Layout stage before the final felt
