SEW Region magazine December 2018

SEW

DEC 2018 ISSUE 14

MAGAZINE

EXPLORING MY SPACE WITH DEBBIE LYDDON

EMBROIDERING ORGANIC FORMS WITH NEWCOMER SUZY WRIGHT

EMBROIDERED TREASURES - BIRDS

BY DR ANNETTE COLLINGE A NEW BOOK REVIEW

The Magazine of the South East West Region of the Embroiderers Guild

SEW

MAGAZINE

Exploring Organic Forms

By Suzie Wright 22

Cover: Liminal Objects: Molluscs Exploring my Space

by Debbie Lyddon 6

Features Click on the article to go to the page

6 Exploring My Space by Debbie Lyddon Describing the environment that inspires 8 Workshop with Debbie Lyddon Learning to experience the surroundings 22 Organic Forms by Suzie Wright Drawing organic forms with a needle

Threads Through Revelation 123 The Background to her exhibition An Old Reel Story 13 Researching WW11 thread Wokingham Embroiderers’ Guild 160 The story of the branch

32 Embroidery Travels

By Lorna Bateman The Story behind her new book

Wokingham 168 A potted history of the Town

44 Making a New Work of Art

by Kate Findlay From inception to completion

Soldiers in Petticoats 66 An exhibition Honouring the Suffragette Movement

52 Titiana’s World of Flowers The use of paint with ribbon embroidery

100 Hearts - an Exhibition 86 Honouring the fallen of WW1

Regular Features Click on the article to go to the page 120 Threads Through Revelation An Exhibition Quilted panels at Guildford Cathedral

Book Review 152 Embroidered Garden Flowers

by Kazuko Aoki

94 Two e-books Describing the Guild’s latest projects

Book Review 154 Textile Landscapes, painting with cloth in mixed media by Cas Holmes

96 Book Review Embroidered Treasures - Birds

By Dr Annette Collinge 126 Book Review Hot Textiles by Kim Thittichai

132 Book Review Stitch Draw By Rosie James 140 Book Review The Art of Felting and Silk Ribbon Embroidery by Di van Niekerk & Toody Cassidy

Book Review 156 Mary Thomas’s Dictionary of Embroidery Stitches Travel to the Harz Mountains 58 Visit the land of the Brothers Grimm A Day Out in the West Country 138 Provides a nice surprise

A Walk around Wokingham 170 An easy walk around the lanes Pam’s Apple Cake 144 An unusual flavoursome cake to bake

Embroidered Log by Anne Beckingham Wokingham Embroiderers’ Guild 160

Sluice Creek Cloth: Sea Roar, ‘Higher sssh - slightly wavering. Lower, more open sss one is more promin

Debbie Lydden is a textile artist and maker. Her work explores landscape and place and her inspiration comes from experiencing and paying attention to her surroundings.

Debbie’s practice combines traditional stitch techniques with non-traditional materials such as bitumen, salt and wax to make ambiguous 2-D and 3-D works that evoke the sights, sounds and touch of 6

coastal environments.

h - continuous. The higher and lower sounds come forward and recede so, in turn,

ent than the other.’

Debbie has an MA in Contemporary Textiles from the University of Hertfordshire. She is a member and current Chair of the 62 Group of Textile Artists and a member of the Society of Designer Craftsmen.

www.debbielyddon.co.uk

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Sluice Creek, Wells-nex-the -Sea and “Pickle”

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exploring my space debbie lyddon

Every day I look out of my studio window and see the sea and the marshes at Wells-next-the-Sea, Norfolk. The experience of this landscape - what I can see, hear and touch, is the foundation of all my work.

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Marshscape Collage Linen,wax 20x20cm

The harbour of Wells lies one mile inland from the North Sea along a narrow channel that fills and empties twice daily as the tide creeps in and out. Carrying on inland past the town the channel narrows even further

Marshcape Collage Linen, wax found thread 20x20

on the water of this liminal environment.

‘I

never tire of the coast

because it’s never the same twice …..

The tides and the weather change its physical shape,

and divides into numerous

and they bring different

muddy creeks. It is a bleak,

things to look at. There’s

ever-changing place that is land

always something new.

for half a day and sea for the

It’s all about change, shift

rest. I walk on the mud and sail

and ambiguity.’

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Facing north, it has a unique

continuous and infinitesimal

soft blue/grey light. Writer and

change – nothing is ever quite

poet Jean Sprackland sums up my feelings about this place.

I am interested in all aspects of the landscape but the processes of change that occur within it capture my imagination the most. The air, wind, water, light and sound are forever shifting with Watercolour Clay & synthetic Indigo

the same.

My work is a response to these visible and invisible forces and the transformations they sustain on the landscape. I relate to the ideas of anthropologist Tim Ingold who writes about how we understand and perceive our surroundings.

Marsh Watercolour 17x17cm

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He states: ‘the ground (is) not a

those responsible for the

supporting platform upon

tides…. What (we see is)

which things rest but a

not objects and surfaces,

zone of formative and

but materials in motion

transformative processes

…. we see a world in

set in train through the

movement, in flux and

interplay of wind, water

becoming, a world of

and stone, within a field of

ocean and sky, a

cosmic forces such as

weather-world.’

Liminal Objects: Molluscs Linen, wire, saltwater.15x20x20cm

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Liminal Objects: Blow holes Linen, wire,saltwater, 3.5x35x2cm

I walk the edge of the land, sail

I walk, I am mindful of what is

the tidal waters and I notice.

going on around me – I literally

Sometimes I record these

have to look where I’m going –

‘noticings’ in a sketchbook quick pen sketches or written notes – things I hear or see, an interesting texture, or a movement caused by the wind or water.

but it is only when I sit still that I really begin to pay attention.

Stillness allows me to take time to search out detail and choose what is worthy of recording. I look, but I also listen and feel and smell.

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My senses shift from listening, to looking, to feeling as I become aware of the

of it. If I stub my toe, I look for the cause.

Nothing happens in isolation

change and movement around

and I need all senses to fully

me. It seems that one sense

comprehend. By developing a

always dominates and the other

greater awareness of what I see,

senses back it up. If I hear a

hear or touch in the world

sound, I look for it. If I see a

around me I build up a stock of

movement, I listen for evidence

personal memories and

Ground Cloth Fragment: Chalk Linen, wire, hand-collected & hand -ground sea coal, linseed oil, beeswax, sea-water 59x44cm

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Ground Cloth: Coil Linen, wire, hand-collected & hand -ground chalk, hand-collected & hand ground yellow clay, beeswax, sea water, 29x29x10cm approx

experiences that enable me to

The artist Wilhelmina Barns-

work more freely and creatively

Graham wrote that her drawings

back in the studio. Experience,

and paintings came from

consciousness and memory

‘an inner perception and outward

allow me to work imaginatively and

observation.’

This has become a

method for my making and as I

inventively to find ways of

create I conjure up memories of

expressing myself using my own

images and experiences from the

language.

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landscape: the tang of salt on

marshes. I perceive the

my fingertips after a day

landscape surrounding me with

outdoors, the rough scratch of

all of my senses and this outer

marram grass around my ankles

sensing turns into inner seeing

as I walk over the dunes, or the

as new objects and forms evolve

mournful call of a curlew as it

from my imagination when

takes off and flies away over the

I am in my studio.

Ground Cloth: Yellow Ochre Linen, wire, hand-collected and hand-ground yellow ochre, linseed oil, beeswax, sea-water, found threads. 66 x 41cm

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Ground Cloth: Sea Coal Linen, wire, hand-collected and hand-ground sea coal, sea water, beeswax, found threads. Approx. 35 x 40 x 10 cm

whelk shed studio Come and spend creative time with me at my studio and be inspired by the ever-changing coastal landscape of Wells-next-the-Sea, Norfolk.

Part of this workshop will be spent outside by the saltmarsh.

Back in the studio your collections will form a starting point for experiments with paper, cloth, stitch, & mark-making.

Contacts:- debbielyddon@hotmail.co.uk www.debbielyddon.co.uk To see a video of an exhibition of Debbie Lyddon’s work click the icon 17

workshop with debbie lyddon anne beckingham

W orkshops come in many forms, but when your requirements list says, “Rainwear and umbrella (we will go outside even if it is raining,!” you do wonder what you’re going to be doing. I was doing a two-day workshop with Debbie Lyddon at Institches in Berkshire.

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On the first day, which was

After a lovely warm drink, we

cold and damp, we took our

did some printing with our

sketch books out with pencils

found bits. We used fabric and

and graphite stick.

paper.

Debbie did not want

At the end of that first day we

drawings, rather marks to

had made a small bag to hold

represent what we were seeing.

the fabric prints.

We just stood quietly and took in what was in front of us.

As it was an Autumnal day, we had all the colours and textures to take in. I have always loved trees and bark so I had a lot to absorb.

On our walk back we did collect leaves, twigs and some even picked up bits of brick that were around.

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Day two, it was a colder day so

Debbie is just so good at

once again we wrapped up in

getting you to feel free to do

our warm coats, scarf, boots and

this. As it was OUR feelings and

gloves. Debbie wanted us to go

images, I did not feel

out and this time listen, yes

intimidated.

listen.

As on day one the observation started as soon as we left the studio. The hum of the airconditioning, birds, aeroplanes, traffic,.

To try and distinguish between near sounds and distant ones and how they change. It just opened my eyes, sorry ears to life around us.

After our restorative hot drink, we made marks on paper depicting our impression of the sounds.

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At the end of our second day we had all made a container with stitching on it to hold our art work.

A big thank you to Debbie, we had two days of having our eyes and ears opened, and we had two containers to hold our workshop pieces in. So often you do work and then have it laying around, but not this time.

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Suzy Wright

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Suzy Wright is a textile artist, who has worked with Zandra Rhodes and Kaffe Fassett. She bases her work on the local Purbeck landscape.

Painting

a variety of colours with a needle, she produces cotton drawings on a calico surface.

Her inspiration comes from the sea and the forest. It is the fresh catch on the fishing boats

coming

into

Poole

Harbour to the assortment of mushrooms

the

foragers

bring home, that catches her imagination.. She creates a series of work that feels real and comes to life. Leaving the embroidery

thread

hanging

loose and giving the picture the freedom to distort in its own way

gives the finished

work a life of its own.

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Organic Forms I have always loved and worked with textiles which has developed into elaborate cotton paintings by stitching a variety of colours with a needle.

I always use bold colours and strong mark making in my stitch. I have a blatant love of colour influenced by my time with Kaffe Fassett and Zandra Rhodes which is apparent in each piece.

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In Stitch Suzy Wright

I look into the natural world for inspiration. I grew up by the Dorset coastline, which was brilliant as I saw the landscape at its best.

My first job was in a rural farm shop, this was so important at the time, as it is where I started stitching natural forms. The shop only sold food that had either come straight off the fishing boats or came 25

out of the allotments.

I started to get inspired by this idea of capturing misshaped fruit and vegetables. It wasn’t before long that I turned my family kitchen into a studio and started from there.

I found in this man-made society we live in now, that it’s so important to highlight these extraordinary natural forms.

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I wanted to create a big

Taking photos, drawing in

collection of work which

inks and watercolour. I

expressed this. I started

wanted to take something

going to different

that we use and eat every

allotments and farmers

day and make it

markets and studying

important.

them.

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Firstly, I do a large selection of drawings on heavy weight watercolour paper to thoroughly understand the piece.

Then, once I am happy with the composition, I draw out the picture again with pencil.

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I draw this on the fabric (treating the calico like one of these sheets of paper) then making it stronger in pens. From there I start to arrange my bobbin colours and choose my threads.

Normally over a hundred different colours of thread goes into each piece.

I do a base coat, this is to help with the fabric for puckering as much.

Also, it gives you an idea of what the image will look like.

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From there I start to blend threads and layer until I feel the shade and light is good. I then trim some of threads.

When I finish a picture, I like to leave the embroidery thread hanging loose and let the fabric distort in its own way to create a lively organic expression.

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This year I finished the

Next year, you will be able

allotment series. I was so

to see my work at the

pleased as it really

Knit and Stitch Shows

highlighted what I was

2019, also the

trying to say which was

Oxfordshire Arts Week

you can take something

shows. There I will be

in its most organic form

showing my Exotic and

and turn it into something

Botanical Collection.

honestly quite beautiful.

www.orangethread.co.uk orangethreadstudios@gmail.com

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Lorna Bateman Originally from South Africa, Lorna has lived in the UK for almost 20 years where she works full time as a teacher and designer. Her teaching has taken her all over the world including the French Alps, USA, South Africa, Russia and Ireland.

She is currently working on her first book ‘Embroidered Country Gardens’ to be published and released by Search Press in the spring of 2019.

Lorna loves all forms of 3D, raised and textured embroidery and tries to encompass as many of these in her designs as possible.

She has a passion for flowers and this shines through in all of her work.

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Embroidery Travels with Lorna Bateman

I seem to be have been on a non-stop very exciting roller coaster ride over the past few years, with embroidery taking me to exciting places and heights that I never dreamed of.

Inspired by my love of nature and flowers, I enjoy working with textured stitches, silk ribbon embroidery, crazy patchwork, painting and stumpwork, which I often

“ I love all forms of raised and 3-dimensional embroidery “ I love all forms of raised and 3dimensional embroidery and find it very difficult to narrow it down to one specialist form.

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combine into various designs. I moved to the UK nearly 20 years ago from South Africa and gradually built up an

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embroidery business during this time, mostly through teaching and demonstrating at shows.

I also imported products from South Africa and silk ribbons from the USA.

customers did not seem to have the confidence to design their own.

Once the last of my three boys had left home 7 years ago,

“Customers did not seem to have the confidence to design their own.”“ I started selling online, on my own website. As a result of doing the shows, came the requests for small kits, as 36

I was able to put far more time and effort into growing my online retail shops by

bringing out lots of new designs, which I kit up in order to encourage people to try their hand at what might possibly be something new for them. My eldest son suggested me selling on Etsy, back in 2009, and as a result my designs wing their way all over the world, �I design lots of small pieces so that would-be embroiderers are not overwhelmed� with the USA being my biggest customer.

I design lots of small pieces so that would-be embroiderers

are not overwhelmed and are happy to try their hand at some thing new, without incurring vast expenses.

My kits are designed in such a way that they can be picked up and taken along on holiday or wherever. All is needed that is extra is a pair of scissors and a hoop!

I have my sister Helen helping me on the business side and friend, Elizabeth, assists with 37

assembling the kits in what is now a full-time occupation with never enough hours in the day.

I teach all over the UK giving both talks and workshops for the Embroiderers’ Guild as well as to private groups.

places, including St Petersburg in Russia, where I taught for 3 consecutive years, to France where I teach on the Alpine Experience every year, to the USA, Scotland, on a Craftours trip to Ireland and of course all over England.

“My love of teaching has taken me to a number of foreign places too” I teach regularly on Great Escapes each year and have also done workshops for Embroidery Now and Craft Sanctuary.

My love of teaching has taken me to a number of foreign 38

It is through my travels and teaching that I have made many special like-minded friends.

I have been fortunate enough to have had my work published numerous times in both

Stitch magazine and more recently in Inspirations magazine, with one of my designs chosen for the first edition of A Passion for Needlework brought out by Inspirations.

My students have been a constant source of inspiration to me. It was through their encouragement that

I have been busy writing and stitching lots of new pieces.

I finally plucked up the courage to accept the invitation from Search press to write my first book.

I finally plucked up the courage to accept the invitation from Search press to write my first book.

“Embroidered Country Gardens,� is due out in the spring of 2019,

The original idea came from a gardening book, which dealt with the planning of the layout out of a garden.

For the past two years, using this as a source of inspiration, 39

It will hopefully encourage the embroiderer to create their own garden with ideas from my book. I have done a few shows for Hochanda craft channel and after a break, I will be back next year to promote my book.

There are many more exciting events happening in my life and next year sees me off to South Africa to teach at a new stitching event being launched, as well as off to teach for the American Embroiderers’ Guild for the first time next October, at their national convention in

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St Louis, Missouri.

I love teaching with a passion and count myself very blessed to be able to work at something, which for me is so rewarding but still brings in an income and allows me to be creative and feel so fulfilled.

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Embroidered Country Gardens: Create Beautiful Hand-Stitched Floral Designs Inspired by Nature Paperback –Expected publication date 6 Aug 2019

by Lorna Bateman (Author) Published by Search Press Ltd

info@lornabatemanembroidery.com www.lornabatemanembroidery.com Phone: +44(0)1420-562793 43

How do you start making a new wor

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Kate Findlay

rk of art ?

45

My inspiration comes from

and a recent storm gave me

the countryside around me; added drama for an exciting the hills and fields, trees

composition.

and streams and wildlife

I take photographs and do

too. I love going for walks,

thumbnail sketches, then

and sometimes spot things

back in the

from car journeys too.

studio I draw up my

“My inspiration comes from

composition

the countryside around

actual size.

me�

A journey I have always loved is the road from Wantage to Streatley as it is so picturesque. The winding road over the hills near Starveall Farm is the bit that has particularly caught my eye this year 46

Then comes the fun part of raiding my fabric stash to find just the

Storm Ove

right colours and textures. I dyed a piece of fabric specially for the stormy sky in a technique

known as tray dyeing.

ironed it.

Cotton fabric is soaked in

Having got some lovely

soda, then scrunched up

sormy greys I wanted a

tightly and placed in a

bright acid yellow to

shallow tray. Dye is then

contrast with this – I love

poured onto

those fleeting moments of

the fabric or

brilliant sunshine you get

into the

with a dark storm sky

base of the tray depending on the effects wanted, but

r Streatley

“I cut precise templates of the shapes I have drawn� behind. To me it is one of the most spectacular effects

we get in our British weather.

of course,

I cut precise templates of

you never

the shapes I have drawn,

know quite what you are

and pin these onto my

going to get until you have

chosen material. I collage

washed out the fabric and

these fabric shapes onto a 47

felt backing, which gives stability, and then use free motion stitching to hold everything in place and add detail too – the stitching is great for field lines or foreground plants. Finally, the work has to be ironed then laced onto a board to keep the work completely taut and smooth before it is framed and glazed. www.artsfindlay.co.uk Kate@findlays.net To see a video of Kate’s exhibition Click on the photograph

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Producing a varied programme for a group can often seem a daunting task. We are always looking for ideas which are popular and can be managed around our busy lives.

These two books are full of inspiration and are suitable for all levels.

Mini Hoop Embroideries

Author: Sonia Lyne Publisher: Search Press ISBN No: 9781782216650

‘Mini Hoop Embroideries’ has over 60 ideas using various size hoops ranging from 1.5 ins to 3 ins. We took the current ecological environmental aspect of bees and worked on 6in hoops. When completed and left in their rings, they have uniform frames and have an inbuilt facility to be hung as a small exhibition. We displayed ours in our local shop ‘Stitchery Do’.

‘Tiny Stitches’ is full of ideas on patches, buttons and brooches, all of which can be completed in an afternoon of stitching. A wonderful way of showing off your embroidery skills by making small items to Tini Stitches Author: Irem Yazici Publisher: Search Press ISBN: 9781782217114

give away as presents. Who doesn't like a piece of your own work to display on a coat lapel or jazz up an outfit?

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Bees may be solitary or may live in various types of communities There are 267 different species of bees in the UK 50

Bees

Bees polinate a third of all the food we eat.

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Photographery

Bees

Rebecca Dreelan of Stitchery Do

Bees

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TETIANA KOROBEINYK HER WORLD OF FLOWERS Tetiana Korobeinyk is originally from Kyiv in the Ukraine. She now lives in Italy with her family. Always fond of different types of needlework: knitting, crocheting, knitting, cross-stitch and satin stitching on knitted products. She also learned macrame and spinning, until one day she found a book on ribbon embroidery which inspired her. She is completely self taught.

She now sells on line and her work can be found in private collections on every continent.

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W o r l T d E t o i f a n F A’’ l s o W e r s 54

I started embroidering with ribbon from the day when I accidentally bought a book on the subject. It was a very primitive book, but it was enough for me to fall in love. It will be with me for ever more, at least as long as my health will last.

It is now 15 years since

am not a painter, who has

that day and I continue to

studied art, I am just a

learn and improve my

modest telecommunications

embroidery.

specialist .... But I have

I always dreamed of being

always been passionate

able to do something that

about craft, and I did a lot of

people would appreciate

things before the

and start buying my work. I

embroidery with ribbon.

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As I said before, I cannot

excellent quality produced

paint well. Just “something

on gabardine. I embroider

in the bone� but it is

them using different

necessary to keep trying. I

techniques (not only ribbon

produce a landscape

embroidery, but also

composition of the flowers,

felting). I do not have a

which I then embroider.

closed mind regarding the

The prints I use are

materials I use. I use fibers,

polygraphic prints of

small details, also threads,

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beads and an assortment of

I try to give life to the

different fabrics. With the

embroidery. I imagine,

yarns I like to create herbs

that the light of the sun

in my landscapes. Very

goes on the flowers and

often I colour the ribbons to

gives the shadows and the

get the right shade.

points of light in the

After embroidering, I start

different parts .....

working as a painter. With acrylic colours,

I have a lot of fun with my

watercolour, batik colours,

work!!

I fill in the contours and give another dimension to the ribbons.

Translated from Italian

tetianakorobeinyk. simplesite.com

Kavaliere61@gmail.com

click on the photograph to see a video

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Dieter Grau

WR SCHLOSS

Q

ING UEDL

B U RY

S

SSF CHLO

ELSE

N

IRC

HE

URM

CKE

N m r Ka Pete

in

BRA

Wol

fg

Knap

pe

Sch ang

illin

g

M

TK ARK

DT NOR

RUBINKIPPE Lehmann mirko

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The Harz Mountains The Harz Mountains an area of Germany, is little known by the Brits, but well worth a visit. Famed for witches and folk tales by the Brothers Grimm it has spectacular mountains clothed with lush green forests and ski slopes for the brave in winter.

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The Harz Mountains an area of Germany, is little known by the Brits, but well worth a visit. Famed for witches and folk tales by the Brothers Grimm it has spectacular mountains clothed with lush green forests and ski slopes for the brave in winter.

Having flown to Hannover we first went to the German Quilt show in Celle.

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Ann Beer

Ann Beer

Ann Beer

Two artists stood out for me. Claudia Pfeil’s huge quilts were a great attraction and was at the NEC in August 2018. Each quilt is a masterpiece with many different patterns in every colour and top stitching that covers every inch. You must make a note of her name.

Denise Labadie specialised in stone portraits and stonescapes which produced very different types of quilt showing the rock stratus, stone arches and islands. All were stunning.

The whole show was packed with top quality exhibits.

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Ann Beer

Whilst in Germany we saw several traditional towns such as Goslar, my favourite, Braunlage, Wernigerode and Quedlinburg which were steeped in history and had cobbled streets with half timbered houses, tiled roves, and quaint alleyways.

I was fascinated to learn that my husband’s ancestor, Jos Haver, was probably from this area. He was probably bought by the Americans to fight in the War of Independence in 1790s. The local prince sold up to 10,000 men because he wanted more money for his social life! On the way home, Jos Haver stopped in Newcastle and that is how the Havers came to England!!

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Anne Beer

Later we visited a dye factory where a lady showed us all the traditional pattern blocks used for the printing, the huge dye baths and many different coloured fabrics. Out came the purses!

During our stay we had three workshops, two with Pat Archibald making simple appliquĂŠ items and one with Jolanda. She was also at the NEC. Do look out for her as she is quite a character. Having been brought up in a tent in northern Sweden, at 13 she escaped to Germany and later lived in Cornwall where she learned her English and the art of quilting.

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She told us she was a Goth, wearing black, having tattoos, long fingernails etc. But she was an enthusiastic teacher and became our guide for two days.

Although we were away only 6 nights we packed a lot into the stay including a visit to two museums, a glass blowers and a cake factory where there was a demonstration of making the local long (probably at least a yard) round cake of layers of batter and of course we found time to shop and eat apple strudel and ice creams!!

Rachel Haver

Ann Beer

Our thanks to Dr. Friedhart Knolle, from Nationalpark Harz Presse, for the additional photographs of the area

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embroidery The magazine to inspire you

Whether you are a keen embroiderer or simply love fabric and textiles, Embroidery magazine is filled with ideas and features to inspire you.

Another Great Magazine by the Embroiderers’ Guild To buy on line www.mymagazinesub .co.uk/embroidery

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Embroidered by Gillian Foster

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Soldiers in Petticoats A group project by Andover Branch Embroiderers’ Guild 66

The Story behind the Exhibition Sarah Davis

Embroidered by Anne Hellyer

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It was the kernel of an idea that that would take on a life of it’s own.

I had never expected, when I joined the Andover Branch Embroiderers’ Guild

a couple of years ago, that I would be moving well out of my comfort zone and initiating a group project that would be exhibited publicly.

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Embroidered by Eleanor Jakeman

“With the Representation of the People Act, women finally got the vote”

I knew that many of our members were taking part in the Embroiderers’ Guild 100 Hearts project to commemorate the end of the First World War but I had a growing feeling that an equally important centenary should also be honoured in some way. Of course, in 1918, with the Representation of the People Act, women finally got the vote (or at least some of them).

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As an all female group, I wondered aloud if it would be something we might be interested in. After all, the 100 Hearts pieces were not being displayed locally and we had an exhibition coming up later in the year at the Andover Museum.

Anne Hellyer, branch chair, liked the idea and kindly invited me to attend a committee meeting to share my thoughts. Everyone seemed keen and, before I knew it, I’d agreed to put together a presentation for a branch meeting.

Oh goodness – as a teacher, I was used to speaking in front of under 11s but not to a group of people much more experienced and knowledgeable than I!

“I came across some wonderful handkerchiefs sewn in Holloway Prison” I wanted to find connections between the women’s suffrage movement and embroidery and, after some research, I came across some wonderful handkerchiefs sewn in Holloway Prison by suffragettes while serving prison sentences.

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One of the handkerchiefs simply contained the embroidered names of the inmates and was particularly moving. This piece is kept at The Priest House, West Hoadley and the information accompanying the online photograph gave a brief biography of each of the women who had signed it.

Embroidered by Hazel Parnham

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This seemed like a great starting point for a group project and it was quickly agreed that all the pieces should begin with an antique or vintage handkerchief. I sourced some on eBay and distributed them after my presentation. They were speedily snapped up, especially the pretty lacy ones

“To know the history of embroidery is to know the history of women.”

To the assembled branch members, I presented a potted history of the suffrage movement focusing on the determination of the women to overturn the status quo—the marches, speeches, window smashing, imprisonment and force feeding as well as the key figures of Millicent Fawcett, Emmeline Pankhurst and Emily Davison. We explored the barriers they faced and the sacrifices they made.

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I also endeavored to demonstrate how the traditionally female art of needlecraft is intertwined with the women’s suffrage movement: beautiful banners containing powerful messages; fashionable clothing in the chosen colours of the suffragettes, as a way of demonstrating membership or support of the movement; the embroidery they were sometimes allowed to do whilst in prison.

“Embroidery is being used to highlight (mainly women’s) injustices and the work of Tracey Emin and Louise Bourgeois.”

Still today, women continue to use stitching to deliver a message whether artistic, social or political.

I encouraged the assembled members to find inspiration using their own experiences as starting points for their handkerchiefs.

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Embroidered by Janice Ballard

Embroidered by Helen Elgar

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The political aspect of stitching became of great

I had come across a quote by Rozsika Parker from the foreword of her book, “The Subversive Stitch“ “To know the history of embroidery is to know the history of women.” interest to me.

This touched a chord and it inspired me to find out more about how the seemingly domestic and placid pastime of embroidery has been used over the years to raise awareness of important issues. I enjoyed looking at more recent examples of how embroidery is being used to highlight (mainly women’s) injustices and the work of Tracey Emin and Louise Bourgeois.

“The traditionally female art of needlecraft is intertwined with the women’s suffrage movement”

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Embroidered by Ruby Lever

Embroidered by Anne Dawsett

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My own inspiration came after a few false starts when I participated in Processions, a celebratory mass participation artwork which took place in London in June.

Women and girls joined together wearing either green, white or violet, the colours of the suffragette movement, appearing as a flowing river of colour through the city streets. I was impressed by the collective power of the procession and my thoughts turned to the history of protest.

Embroidered bu Sarah Davis

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My piece would become a reflection of this with the use of slogans, banner style typography and a reminder of current issues which continue to be a barrier for true equality for women.

In total, 27 works were produced. Members had used a wide range of stimuli - individual suffragettes, quotes, pieces of jewelry. Many had used the colours of purple, green and white. Others used more recent figures for inspiration such as Maya Angelou and Malala Yousafzai.

Embroidered by Sarah Maddison

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Textile artist and fellow branch member, Sarah Maddison of Sixty-Four Packing Cases, was enlisted to lead the hanging of the museum exhibition.

She approached the job with great enthusiasm, impeccable organization skills and creativity. It was her idea to name the project ‘Soldiers in Petticoats’ and she produced an eye-catching poster showcasing some of the beautiful work that was coming in.

Embroidered by Lynda Martin

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Embroidered by Carol Grimstone

Embroidered by Jen Best

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A small team of helpers quickly decided how the project would be hung in the museum gallery so that it formed the centerpiece of the exhibition which was also commemorating 20 years of the branch.

Anne Hellyer’s idea for using matching black square frames, bought especially for the project, turned out to be an inspired one.

Once hung, the assembled pieces gave the impression of soldiers standing shoulder to shoulder and was instantly arresting.

Embroidered by Pauline Dunne

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Embroidered by June Anderson

Embroidered by Sue Jones

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The positive messages in the visitors’ book confirmed that the visual impact of the pieces had had the desired effect and provided a moving and creatively expressive tribute to the many women who had fought and made sacrifices to gain equality.

I thoroughly enjoyed playing my part in putting this exhibition together. Sarah Maddison and I have recently become committee members with responsibility for publicity and exhibitions so I am looking forward to future projects.

Embroidered by Morag Painter

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Embroidered by Wendy Brown

Embroidered by Many Dunning

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100 HEARTS:

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Legacy of War A centenary exhibition to commemorate the end of WWI

To mark one hundred years since the end of the First World War the Embroiderers’ Guild invited its members to create an original stitched design on a fabric heart; an appealing initiative that resulted in the return of over 600 hearts nationwide. The Embroiderers’ Guild Head Office, Buckinghamshire County Museum in Aylesbury, has been one of several venues exhibiting a selection of hearts and panels stitched for this project.

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In this exhibition, local and regional artists have interpreted personal stories using cloth and thread as both a medium and metaphor, allowing them to explore common themes of war - such as loss, hope, bravery and comradeship - in unique and thoughtprovoking ways.

Members of the Aylesbury Vale branch of the Embroiderers’ Guild stitched hearts in memory of very much loved family members who lost their lives on land and sea during WW1.

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There were chaplains on the front line, a family member serving in the Royal Army Medical Corps, those waiting at home for news of their loved ones.

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Also, Puttenham, a local “Thankful Village�, one of the few villages in the country where all the men who enlisted for the Great War returned safely. With the addition of photographic portraits of local men and women involved in WWI.

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Including some invited artworks from embroiderers working nationally, the exhibition at Buckinghamshire County Museum offers a contemplative space in which to remember all those affected by war, past and present.

The exhibition has been seen by many visitors to the museum, some of whom have come specifically to see it and others who have come across it by chance. Without exception, visitors have been moved and impressed by this wonderful installation.

Sue Robinson

in association with SSAFA - The Armed Forces Charity (Wilts) Bucks County Museum

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The Great War Remembered a broadcast by the BBC recorded at the 100 Hearts Exhibition click on the icon to see it

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THE EMBROIDERERS’ GUILD HAS PRODUCED TWO DIGITAL STORY BOOKS AROUND THEIR LATEST PROJECTS.

100 Hearts War Stories in association with SSAFA - The Armed Forces Charity (Wilts) We invited Guild members to take part in the commemoration of the ending of WW1 100 years ago by producing one heart. Each heart would be included in at least one exhibition and, ideally, the exhibition would be as near to their home location as possible. Between 100 and 200 hearts were included in exhibitions at the 2018 Knitting & Stitching Shows and the Fashion & Embroidery Show at the NEC in 2019 and in other major venues throughout the UK.

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To see the booklet click on the picture below

GAME OF THRONES - WINTER IS COMING Creating a Monster: From Concept to Completion

The White Walker is due to be Auctioned in Frbruary At NetworkUK representatives Sworders Fine Art Auctioneers approached the Embroiderers' Cambridge Road Guild towards the end of 2015 Stansted Mountfitchet requesting a tapestry (their word) Essex depicting a scene from Series 5 of CM24 8GE "Game of Thrones".

To see more about the auction It features one of the most intense click here battle scenes in TV history—the HBO Home Entertainment TV

massacre of Hardhome., measuring 5 metres in length and 4 metres high (nearly 17ft x 13ft 6 inches),

To read the booklet click on the Photograph below

This e-book explores the wide range of skills and techniques involved in producing a 6m by 4m collaborative piece of embroidery. With so many embroidery techniques involved, we’re sure that you will feel inspired as you flick through the pages.

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Book Review By Linde Merrick

Author Dr Annette Collinge Photographer Paul Bricknell

Published By Search Press ISBN 978­1­78221­132­7 www.searchpress.com £20.00 97

T

his is the second book from the Embroiderers’ Guild in their series Embroidered Treasures and it is another delightful publication deserving of the same praise as the first. Once again Dr Collinge has used the Embroiderers’ Guild Collection to illustrate her unifying theme of Birds, highlighting exquisite, unusual and interesting embroideries spanning from the late 16th century to early 21st century.

This review can only cover a small selection to indicate the quality of the many examples so lavishly illustrated.

“The Collection now contains thousands of embroidery and lace examples from many countries and cultures.”

F

ollowing the brief introduction to the History of the Guild and its Collection, the book’s own Introduction recognises that “birds lend themselves to fine embroidery”. “The Bayeux tapestry from the 11th century portrays many birds” while the dove and pelican appear on ecclesiastical vestments throughout the centuries.

“By the 17th century [many embroideries with] birds including owls, birds of prey, peacocks, herons and songbirds can be found.”

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Embroidered Treasures: Birds provides a real learning experience allied to the sheer pleasure of viewing the superbly photographed examples Dr Collinge has selected from the Collection. The embroideries range from small mats, sachets and panels through bags, tea cosies and cushion covers to wall hangings, sleeve bands and samplers.

“British embroideries form the main body of the Collection. with the earliest pieces from the 16th century.”

T

he 12 chapters start with a short explanatory summary of either the techniques or materials illustrated in the full colour photographs. Each embroidery is enhanced by an extended caption which gives not only the detailed information about the work but often interesting historical contexts, snippets about the embroiderer (where known) and Dr Collinge’s thoughts about and feelings for the pieces.

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T

Crewel Embroidery English - Mid 17th C Ref No. EG1981

he Embroidery in Monochrome chapter starts the exploration of the embroideries and shows some of the oldest pieces from the Collection, dating from around the 17th century – a crewelwork panel fragment of red wool on linen with “a charming little bird, with a twig in his beak”

T

he chapter ends with a 19th century Japanese silk embroidery depicting “crows in dark blue silk threads ..on a painted cream silk background”

Silk Embroidery Japanise - 19th C ReMetal Thread Embroideryf No. EG 1982,130.20

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C

hapter 2 covers Metal Thread, well known for many years, especially in professional ecclesiastical and heraldic embroidery. This chapter provides examples of mainly 19th century Indian depictions of peacocks on panels and covers.

Metal Thread Embroidery Indian - 19 C Ref No. EG 4892

D

r Collinge has included part of a cover with “a beautiful peacock with its tail displayed” because of the use of beetle wings, “which, although not metal thread, have a metallic lustre”.

“The Pea Pod Panel” Hand Stitched English - Early 17th C Ref No. EG1982.79

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his little bird is perching on a carnation. The centre of the eye is a woven wheel of silver metal thread surrounded by spirals of silk thread which are followed into the head.

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W

ithin the Applied Materials of chapter 3, there are striking examples of “contemporary textile art”

by British embroiderers.

Pauline Webster’s Collage Owl, “embellished with extra embroidery, and was based upon the Penelope kit, of the kind popular in the 1960s and 1970s”.

Applique Collage British - 1970 Ref No. EG2014.40

“The Owl looks slightly cross eyed.”

“According to Dr Collins”

T

he two Mola pieces, which end the chapter are vibrant examples of “reverse applique ... [blouse] textiles of the Kuna Indians of the San Blas Islands, off the coast of Panama”.

Reverse Applique Sand Blas Islands 20th C Ref No, TBA

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M

ade by Machine is the title of chapter 4.

Appropriately for the anniversary of the start of the First World War, it begins with a delicate postcard. It has “a particularly poignant robin” and a insert signed “With love, Leslie 19.12.16”.

Machine Embroidery Made for soldiers to send home.

French - 1916 Ref No. EG2014.4.7

Machine Embroidery British - 1990 Ref No. EG1991.11

J

ane Poulton’s late-20th century “Looking Back” is a really characterful free machine embroidery of a single bird, “where the whole surface of the piece is covered in thread”

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Silk Embroidary Japanise - late 19th CRef No EG2105

hapter 5 concentrates on Embroidery in Silk, “which is ancient in its origins...and is arguably at its best in Chinese costume” The Japanese panel of “Birds with Cherry Blossom” and British “Cockerel Sleeve Band” are silk embroideries which display a lively interplay between the chosen birds, giving a sense of movement.

D

r Collinge feels that the cockerels “look more surprised than angry” whilst cherry blossom surrounds the “two delicate little birds” on the panel.

Hand Embroidery British - 19th C Ref No. EG347

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T

he birds depicted in chapter 7 are typical of Embroidery on Evenweave Backgrounds and are mainly executed in cross stitch. The Swedish cross stitch panels are on canvas, “using wool threads in the natural colours of the birds depicted�; the blue tit and green woodpecker are instantly recognisable, Dr Collinge thinks the other two may be a waxwing and redstart.

Canvas Work Swedish - Late 20th C Ref No. EG2015.23

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Hand Embroidery English - 1914-18 Ref No EG1999.31

E

mbroidery of Bags – Chapter 8 – looks at “a tiny selection of bags, all featuring birds” from the many held in the Guild’s Collection.

T

he little English purse has “two little birds back and front, clearly chatting to each other”; cotton thread has been used in split stitch on cotton sateen fabric. It is another reminder of the First World War, as the label inside is from “the Soldiers Embroidery Industry.“ It states that it was ‘made by the totally disabled’

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Fabric Applique, Hand Embroidery English - 1963 EG1999.52

C

hapter 9 – entitled Birds as Art – addresses the long-standing argument “as to what makes an embroidery ‘art’ as opposed to ‘craft’”.

Valerie Tullock’s “Wood Pigeons” is a combination of fabric applique and hand embroidery, sequins and beads on a slubbed evenweave fabric and has a quiet charm.

Applique with Hand Embroidery British - 1910 Ref No. TBA

T

he “Chinese Pheasants” are also a mix of applique and hand embroidery but have “vibrant colours…exuberant flowers...and beautiful stitched birds”, making a favourite piece for Dr Collinge.

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S

amples and Samplers are depicted in chapter 10, starting with a Victorian Berlin Work narrow strip sampler, which has a “realistic budgerigar sitting amidst branches with berries� at the bottom.

Berlin Work - Plush Stitch 1874 Ref No. EG1746

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F

alconer Sampler is a “very rare spot sampler...it is one of only two depictions of a falconer and falcon. ...it is not dated but it is typical of 16th to 17th century samplers�.

Counted Thread British - 17th C Ref No. EG1999.17

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F

anciful birds make up the examples in chapter 11, “they stand out for being different and not recognisable as particular species”

Pattern Darning British - 1953 Ref No. EG3010

A

lison Liley’s “Birdcage” is “certainly fanciful, as three birds squashed in to a cage like this would not be sitting quietly”.

The embroidery uses stiffened silk gauze with silk threads and pattern darning to create a colourful, exciting composition.

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D

r Collinge believes that the Exuberant Birds shown on the fragment on page 103 “have come from the imagination of the embroidery” and that the “red bird on the right [of the fragment] looks particulary feathery”.

Crewal Embroidery Style British - 20th C Ref No. TBA

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C

hapter 11 covers Birds from Many Lands and “features the oldest piece in the Embroiderers’ Guild Collection”.

Weaving Egyptian - 6th C Ref No.EG3856

T

hese are not embroideries but Coptic weavings from the 6th Century, found in shallow graves...in...Egypt” and show “birds ...described as ducks”.

Weaving Egyptian - 5th C Ref No. EG3857

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Chinai Work Indian - 19th C Ref No.EG 2297.1

I

ndian Chinai and a Hungarian Leather Tobacco Pouch show how birds can be fitted into many different embroidery techniques in an assortment of cultures.

Embroidery on leather Hungarian - 19th CRef No. EG4761

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he final chapter - Stitches and More Stitches - “covers some techniques not yet seen in this book”

Silk Embroidery British - 1900-1910 Ref No. EG2022

T

he early 20th century Silk Embroidery seat cover seems to “have been for a decorative rather than functional chair” and has two parrots, a vine branch and a bunch of grapes worked in “untwisted silk floss”

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Hand Embroidery British - 20th C Ref No. Eg3514

T

he “flock of birds flying around a bird bath” on the cotton tea cosy are suitably worked in long and short stitch using cotton thread and provide a convincing sense of flying

T

he woollen cot cover “was made for the Needlework Development Scheme” in 1952 using chain and herringbone stitches and the “simplicity of the design...will appeal to beginners” Hand Embroidery British - -1952 Ref No. Eg1055

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ane Lemon’s Hen is a quirky example of the kind of three dimensional birds popular during mid 20th century.

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3D Bird British - 1973 Ref No. EG 4492

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here are now nearly 6,000 beautifully embroidered pieces in the Embroiderers’ Guild Collection and this fabulous book highlights some of the exquisite works done using birds as their inspiration. This aesthetic book provides an eye opener into the surprisingly wide-ranging, attractive and interesting embroideries which can be created showcasing birds.

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he next book in this beautiful series will be Embroidered Treasures: Animals

To Order your Book Contact:Search Press Ltd Wellwood North Farm Road Tunbridge Wells Kent TN2 3DR Tel: 01892 510850 Fax: 01892 515903 Email: sales@searchpress.com https://www.searchpress.com

Treat yourself and Order Both Books Members of the Embroiderers’ Guild You can receive a discount of £6, by logging onto the Members Room on the Guilds’ web site and following the links to the Bookshop Type in the code provided

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The Embroiderers’ Guild We are a national charity promoting and conserving stitch and textile art The Embroiderers’ Guild Supports & Encourages Inspires & Educates This is for you if you are Getting started or moving on Branching out & Exploring Creating your own designs

(example from the national project ‘100 hearts’) 118

Help make embroidery and textile art a valued contributor to the creative landscape

We identify and support the best rising talent via our

Graduate and Scholars programmes

We create mentoring opportunities for students considering

further and higher education

We sponsor and celebrate teaching excellence in the name of

the Beryl Dean Award

We have the largest network of 220 adult and junior stitch

groups in the UK

We are engaging school children across the world via The World’s Longest Embroidery for Schools

We run regional events in the spring and early summer each year including summer schools

JOIN TODAY via our secure, easy-to-use, on-line facility – please click here www.embroiderersguild.com

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Jacqui Parkin son

Threads Through Revelation I Visited the Exhibition at Guildford Cathedral

Jacqui Parkinson

By Sheena Archer

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Jacqui Parkinson

Photos do not convey the panels well at all. Most of the fourteen panels are formed from a bed sheet, wadding and white silk to form a quilted sandwich.

Layers of coloured silk fabric are then applied with curved rows of machining. The coloured layers are then cut and frayed between the machined lines. Silk applique overlays the quilt forming the images. A massive amount of work, by one person, on a long armed, quilting, sewing machine.

The exhibition is well worth a visit to this Cathedral, which I usually find rather plain in comparison with others. The panels were an excellent addition.

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Also on Exhibition are two other pieces of “Real Embroidery”.

Walk beyond the exhibition of quilts, down the right hand side of the Cathedral ….. nearly to the Chapterhouse.

On the right-hand wall is a piece I think would be called Opus Anglicanum, with split-stitch face contours. On the left-hand wall is an even more beautiful panel in gold-work and silk shading.

I didn’t take a photo of it, but it was worked over 25 years by a

Jacqui Parkinson

lady in memory of her brother who died in WW1.

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Threads Through Revelation The Background Jacqui Parkinson is a textile artist whose work has been exhibited in most of the cathedrals of England. Born in Manchester, she lived most of her life in London but now lives near Exeter.

Originally a drama teacher, she went to classes on textile art and was hooked! She loves to draw viewers in, encouraging them to think about interesting issues of faith and doubt. Her first important break was with a series of commissions from The Deo Gloria Trust; ten travelling exhibitions on various themes which have been touring cathedrals for more than ten years.

Six years ago she embarked on an extraordinarily ambitious project, “Threads through Revelation”. This is a sequence of fourteen huge panels. Based on Revelation—the last book of the Bible. Jacqui has re-imagined it for modern eyes.

Revelation is a strange book, hard to understand and full of weird visions.

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The quilted panels started life as old bedsheets. Jacqui likes the idea of the “Normal.” The joys and sadnesses embedded in these sheets become part of an extraordinary story. She painted the background with fabric dyes, overlaid layers of silk, stitched and trimmed away pieces to reveal the layers below.

Some panels have pieces of leather appliqué plus gold leaf.

Her next project is another sequence of huge panels, “Threads through Creation”. which she expects to be ready in 2022. One piece, a triptych, called “Tree of Life“is finished and will be touring soon, ready for invitations from smaller venues. “Threads through Revelation” is “resting” for a year or so but may be back on the road in 2020.

Watch a Video 124

andrewparkinson.456@gmail.com www.jacqui-textile.com

The Embroiderers’ Guild Magazine that brings you traditional embroidery techniques and a wealth of creative contemporary ideas.

“Stitch“ can be sent anywhere in the world so treat yourself, friends or family to the perfect gift that lasts all year. Inspiration delivered to your door!

To order on line click here www.mymagazinesub.co.uk/stitch

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Do you like your work neat, tidy, and precise in monochrome with just a hint of colour? – then this book is not for you. But, if you yearn for colour and adventure then you are in for a treat.

Kim Thittichai provides just that in her latest book. She brings you into the wonderful world of burn, layer, melt, distort and shape. She explains what to do with those materials you have lurking in the back of the cupboard and forgotten how to use.

Whilst giving the tools, inspiration and confidence to the beginner she also provides useful hints and inspiration for the experienced.

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Hot Textiles Auther: Kim Thittichai Publisher:Batsford Books Isbn: 978-1-84994-510-3 Price: £14.99

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Here are extracts from the store of inspiration awaiting within the pages

“Two layers of heavyweight Lutradur stitched together.

Painted Bondaweb applied to the top layer, heat gunned to reveal the bottom layer.

Because Lutradur has a matt surface it creates a wonderful crusty effect�

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Heavy duty Vilene S133 has a self adhesive side that can be dyedand will still retain its adhesive properties. Hand dyed silk hankies have been ironed onto the surface.

Then painted Bondaweb has been applied. The surface could be developed further by painting or adding 3D medium. Maybe a few torn skeleton leaves would enhance it too.

”There is something satisfying about recycling. The redemptive quality of using everyday materials by using them to create crazy or even beautiful work can’t help but make you feel good. And the materials are free!”

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An Old Reel Story Julia Little My neighbour, who is 91 years old, saw a picture that I had finished embroidering, when she came to see me.

war years when names were not displayed so that the manufacturer could not be identified (or so I am told)

A few days later she knocked on This made me curious as where it my door and gave me had come from. I asked my three reels of red cotton. The label reads: neighbour if she knew Two were partly 9 ply 2 oz Glace Sewing how she got it? She Thread used and had no remembered her father labels attached but one of (Coupon free) using this type of thread to them was in pristine condition sew backing on to rugs that he with its label intact. It looked very hooked. old to me.

Her Father was a German-born I realized that it originated in the citizen who as a young man came Second World War and the fact over to this country seeking work that it has no manufacturer’s name before the first world war. He met on it puts it firmly in the and married an English girl.

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They stayed here in the outer London suburbs.

They had one daughter.

I tried to find them a new home.

The Victoria and Albert Museum were asked to see if they would be able to add it to their As a German citizen he was collection but they were unable to interned in a prison camp and this do so. is where he may have learned his rug making skills.

I was very grateful at our local Embroiderers’ Guild meeting to be given the suggestion of the National Needlework Archive in Greenham and thankfully they are happy to preserve this unique She also brought me a needle bit of history which I felt should case in the shape of a “Holbrooks not be lost.

Fruit Sauce Bottle from the 1930’s.

In 1934 he became a naturalized British citizen dropping the final “S” off his surname and becoming - William Vos.

He spurned the beef, He spurned the lamb.

He said he did not fancy ham.

His good wife thought “I understand” And placed the Fruit Sauce near at hand.

Ah! Holbrook’s, yes the very sight Brings back the wayward appetite.

Photographs Hilary jenkins

It has a rhyme inside that reads:

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You can teach an old dog‌..

I was particularly keen to review this book as it is about something which I do! Rosie

Stitch Draw

BY

Rosie James A Review

By Sue Crook 132

James draws with her sewing machine and you will recognise her work as she usually leaves the threads trailing. But she also has an interesting twist on developing the image further.

The starting point is nearly always a pencil and paper drawing but Rosie shows us ways in which this need not be so daunting. Firstly, she gives some exercises, then mentions that figures do not need to be totally realistic.

She advocates doodling and even taking photos, printing them out and tracing!

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There are good basic business-like explanations about how to free machine and what equipment works (unlike many similar books explaining very basic equipment over several pages).

She favours old machines where it is possible to drop the feed dogs.

Her fabric of choice is (cotton) organdie or (silk) organza.

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Then Rosie launches into her process which is: transfer your drawing/ image to cotton organdie directly or via pattern paper and stitch.

She also explores layering fabrics, cutting away, further stitching and applique onto a number of surfaces (including Tunnocks tea cake wrappers!).

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Rosie uses screen printing for backgrounds and also (revelation to me!) screen printing through your free machine embroidered image.

(I have since tried it and was delighted with the effect).

She experiments with cutting out outlines of images and stencilling/ screen printing those onto the fabric.

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If I have one criticism, it is the inclusion of other artists’ work. Some of it does illustrate the variety is possible, but not all of it. It is a book I will buy ( a rarity these days) and you can certainly teach this old dog new tricks!

Author: Rosie James Publisher: Batsford ISBN; 978-1-84994-511-0 Price; ÂŁ14.00 www.pavilionbooks.com

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During the summer break, five of us from the Basingstoke B a day out going to the West Country Quilt and Textile Show It was incredibly easy to get to, straight down the M4, and less than a mile off the exit just before Bristol. Parking was free and plentiful, just a short walk from the front door of the exhibition hall.

Day Out at the West Country Quilt and Textile Show There were lots and lots of stands selling everything to do with quilts, plus an area where beautiful quilts were entered into a competition, all on display! We had a very relaxed day wandering around and of course buying the odd ‘must-have’ items.

Before leaving we realised the public were invited to vote for their favourite quilt in the competition – you know the usual “fill in a form with your choice with your email address!” OK! We were well aware 138

Branch. had in Bristol. it was a means of getting email addresses so they could send out advertising, but we didn’t really mind. We had had a lovely day – definitely worth doing again!

Well you can imagine my surprise when a couple of weeks later I got an email from the exhibition organisers saying my name had been drawn out as the winner of a Janome sewing machine (Janome had sponsored the quilt competition).

The machine duly arrived a couple of weeks later and it’s absolutely lovely. Now I am planning all the lovely things I can make. I can’t wait to get started. Christmas is coming – so new Christmas decorations and presents for everyone.

So don’t be put off putting your name/email address on a card for a draw – you might just win something!!!!

Sue Pettifor

Thank you Janome

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The Art Of Felting &

Silk Ribbon Embroidery Following on from Di's previous book, Ribbon Embroidery and Stumpwork, this one is yet another sumptuous offering. I'm not sure where to begin singing its praises. Not only is it a visual treat, but if you are not already a felting or ribbon embroidery enthusiast, you will certainly be tempted to have a go after seeing the sheer volume of information here.

This time, Di joins forces with fellow South African expert

Toody

Cassidy

whose

colourful and explicit step-bystep instructions are so clear and attractive. And when I say "stepby-step" I really mean it.

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Authors: Di van Neikerk & Toody Cassidy Publisher: Search Press Ltd Isbn: 978-1-78221-442-7 Price: ÂŁ17.99 Order: www.searchpress.com

Not one move is left to the imagination. As for the drawn diagrams, they are amongst the very best I've ever seen.

The "how-to-do-its" however are only a part of the book's appeal. There are no less than 14 attractive projects to make, once you have become familiar with the process, any of which I'd be delighted to own. The two bracelets would make a set of pretty napkin rings, for instance..

I've known Toody for very many years, so I'm especially pleased to see that her work is so highly valued and published worldwide.

Her

partnership with Di has produced an exceptional result in this must-have book. Long may it continue.

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Jan Messant

Di van Niekerk has a keen interest in all things beautiful.

Her

love

for

embroidery

soon

became her livelihood. Di lives in Cape Town where she runs two successful embroidery shops. Here she markets her own range of silk and organza ribbons.

Toody

Cassidy,

a

founder

of

the

Cape

Embroiderers’ Guild, is an avid felter and creative embroiderer who loves to share her passion for fabric, fibre and thread, patterns, colours and design with others.

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Pam’s Applecake

I have been willing myself for some time now to explore writing a blog about food so when the opportunity presented itself to write an article for the SEW Magazine I had to consider this.

You see, this was a serious consideration for a number of reasons but foremost that of time. And, although to be fair, time is genuinely a factor for most of us whether one works full-time, part time or has a number of interesting pursuits and projects.

So then what is my claim to be short on time in this instance? Perhaps dear reader you would agree that working, and getting married, for the first time, in a few weeks’ time, and with a number of incomplete critical actions for the wedding would be a plausible reason or even excuse.

However, as I have been working on myself to say 144

“yes” more often in an effort to benefit from the fullness of the universe’s offer, here I am….

This apple cake is a slight variation of the one I first encountered through a colleague I used to work with some years ago, Sue, a lady of very many talents and with a kind heart had brought us in her apple cake one day to the office. I was completely wowed and although I had asked Sue how she made the cake I did not collect her recipe.

It is often the way with me because I am curious about cooking and am not afraid to experiment. Nor do I fret too much when I could have had better results. I hasten to say that in this instance, you will be relieved to read, I tried and tested the method and quantities I am offering here for your sake (and my reputation, of course.)

Although I was born and brought up in South America, any fruit in cakes were often of the dried variety: cherries, currants and raisins. Local ingredients such as gooseberries or papaya (still dried) or sliced pineapple or grated fresh coconut were the regular features.

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I often muse at the fact that it took me to travel for all of these thousands of miles, 4,620 actually, so far away from the lush fields, yards or farms of growing banana or mango to have ever experienced a mango or banana cake!

I mentioned Sue’s cake, earlier, not just because it was delicious but because it fed my interest in using fresh fruits to make one of my favourite foods.

I suppose that this is the time to confess that I have a sweet tooth but a beautiful slice of cake, in particular, could restore my equilibrium in a flash, be it hunger, stress, fatigue and other conditions affecting the human physic.

So here at last is my offer to you: 146

This is how I made my cake: Ingredients

250 g self-raising flour 120 g salted butter, melted 2 tbsp olive oil or good vegetable oil 125 g Demerara sugar (the place of my birth!) You need to reserve 1 tbsp to add directly on the diced apples and one other for the topping 3 large eggs beaten 225 g apples, peeled, cored and diced (Bramley or Granny Smith or any garden apples like in my case, those harvested from my neighbour’s tree, overhanging into my garden- but I still got her permission) Set aside 2 tbsp of this apple and chop in smaller pieces to make a topping Half of a lemon, squeezed 3 tsp cinnamon 147

1 tsp baking powder 2 tbsp flax seed, ground (topping) 2 tbsp pumpkin seeds, ground (topping)

Method 1. Heat the oven to 180C/160C fan /gas4.Grease and line a deep 20-22 cm (8ins) cake tin with baking parchment.

2.Toss the chopped apple in the lemon juice, reserved sugar and then 2 tsp of the cinnamon and set aside.

3. Mix the flour ( minus 2 tbsp) with a pinch of the reserved cinnamon, sugar and the baking powder, make a well in the centre and add the oil, melted butter and beaten eggs, combine all of this together, folding gently.

4. Coat the bulk of the already set aside apples with a light dusting of flour and gently fold this into your cake mixture.

5. Pour this into your greased pan.

6. Quickly put together your 148

optional topping: combine all of the reserves from above: finer chopped apples, sugar, cinnamon along with the flax and pumpkin seeds, sprinkle on the top of your cake.

7. Put the cake in the oven and bake for 35-45mins or until golden brown. Check the cake with a skewer to be sure that it is cooked.

8 Allow this to be cooled but turn this out on a rack, slice and serve while still hot with a good dollop of creamy yogurt or you could get truly naughty and use one that has a caramel bottom sauce at the bottom! (Ice cream or custard works too.) This will work well as part of an afternoon tea with friends and family or just to share with your work colleagues.

Feel free to add more sugar to your mixture if you have a sweeter tooth or your apples are somewhat sharper.

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I hope that you will enjoy this like we did too. Yes, I shared my apple cake with my colleagues at work too (but without the yogurt.) The topping was a particular hit because of the

crunch it offered and how itblended well with the other flavours. Do as you would wish with your take on this recipeHave fun and enjoy!

Pam Henry

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Chocolate Celebration Bowl Ingredients 1 balloon Cling film Large bar of each white chocolate milk chocolate dark chocolate.

Fresh fruit Ice cream

Method Blow up the balloon and cover in cling film Melt the white chocolate and drizzle over the balloon allowing it to drip down Do the same with the milk chocolate and dark chocolate Make sure the bottom is covered and flat (see picture) When set burst the balloon and remove cling film.

Fill with fruit and ice cream Serve 151

Books KAZUKO AOKI is a talented and popular Japanese textile artist whose work features in many embroidery magazines and exhibitions. Her delicate pictures are inspired by her great love of nature, and the flowers in her own garden.

Author: Kazuko Aoki Publisher: Roost Books ISBN 19781611804546 Price: ÂŁ16.9 Order: Search Press www.searchpress.com 152

Embroidered Garden Flowers: Botanical Motifs for Needle and Thread

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This book is described as a 'whimsical field guide to embroidered flowers' and reflects the author's passion for gardening and embroidery.

The seasons from spring to autumn are represented in the choice of flowers and the botanical motifs feature buds, blooms and roots.

I particularly liked the daisy, geranium and fritillaria.

For each flower there are clear step-by-step instructions and detailed diagrams. Kasuko's tricks and tips for working the designs and using the embroidery stitches are very good. The photographs of the completed embroideries are excellent – very clear and artistically presented.

If you have never embroidered flowers for their own sake this is the book for you and can be enjoyed by stitchers of all abilities. The flowers could be embroidered as stand alone pieces or perhaps be adventurous and stitch your own flora.

Carol Winter

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Books Cas Holmes studied at the University for the Creative Arts in Kent. She is interested in the connections between land, place and environment and found materials. Daily observations are a constant source of inspiration for her projects and collaborations.

Author: Cas Holmes Publisher: Batsford ISBN: 9781849944359 Price: ÂŁ22.95 Order: Pavilion Books Ltd www.pavilionbooks.com/imprint s/batsford 154

Textile Landscapes Painting with cloth in mixed media

Another delightful book by Cas Holmes. This is a book to have and delve into from time to time for inspiration. It crosses the boundaries of painting and drawing with stitch, using stitch as the final defining layer. She explains how a landscape can be built up using dyes, paints and adhesives to form a collage with paper, fabrics and other found materials.

She looks at urban and urban space, the changing seasons and great landscapes as well as intimate spaces and travel diaries, using work by known international exponents to demonstrate her theme. This is an inspirational guide suitable for all levels of expertise

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enabling the production of art with stitch to interperate the world around us.

Lizzie Painter

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Books A must have for all new embroiderers. Revised by Jan Eaton, Mary Thomas’s Dictionary of Embroidery Stitches has been up-dated and reissued as a paperback. This classic reference book was first published in 1934. It includes full illustrated instructions for over 400 embroidery stitches, ranging from simple border and outline stitches, to filling stitches, canvas stitches and pulled fabric stitches. Each category of stitches is prefaced by an embroidered example.

Published By: Search Press Ltd ISBN: 978-1-78221-643-8 Price: ÂŁ14.99 Order: Search Press Ltd www.searchpress.com

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Mary Thomas’s Dictionary of Embroidery Stitches

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Wokingham

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See a video of Wokingham https://YouTube/jxbm7s6F 2d0

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Wokingham and District Branch Of the Embroiderers’ Guild

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The History of the Branch In 1998 three of our members attended an exploratory meeting held to consider setting up a branch of the Embroiderers' Guild in Hartley Wintney, but it was decided to have a day time meeting, which was not suitable for them as they worked during the day. Betty Laker, who was helping to form new branches, was at the meeting and she persuaded them to try and form a branch in Wokingham.

After much organisation, an exploratory meeting was held on 23rd September 1998 in Wokingham Town Hall.

Interest was so great that over 100 people attended the meeting; from there a steering committee was formed.

The first meeting was held on 28th October 1998 and the speaker was Adele Bates talking about “Embroidery Today�.

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Some of the founder members are still keen participants in our activities and like many branches have been branch officers and served on the committee more than once.

Although membership has declined over the years for many reasons we still plan varied programmes of speakers, member led evenings and workshops. The Guild's 'Travelling Books' initiative has 162

been embraced enthusiastically by members and has produced many mini masterpieces.

Each month there is the opportunity for members to meet informally in Wokingham library to chat, drink coffee and share their enthusiasm for stitch with interested library users. From these sessions we now have some ladies who join us regularly once a month to stitch and some have become branch members.

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The branch is also outward looking. A number of years ago members designed and made a hanging showing Wokingham Town. It was presented to the council by a retiring Mayor ansd can now be seen in the Town Hall's entrance.

More recently members made a wall hanging entititled 'The Creation' for the Salvation Army Hall where we currently meet.

Every two years we take part in 164

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the Crowthorne Flower Festival exhibiting members’ work and sharing our stitching skills with those attending the festival.

We support the Guild whenever we can. Members attend national and regional events; we have hosted a regional day and an AGM. Wokingham has supported the SEW region exhibition from its 166

early beginnings at the 'Make It' show in Farnborough which is a great event for showcasing the talents of the region to the public. Members have contributed to the 'Capability Brown Festival'. 'page 17', '100 Hearts' plus the Members' Challenge.

Anne Beckingham Carol Winter

Wokingham and District Branch of the embroiderers Guild

The Salvation Arny Hall Sturges Road Wokingham RG40 2HD We meet on the last Wednesday of the month at 7pm (Except August & December) At Wokingham Liburary on the first Thursday of the month at 10am Contact:- linde.merrick@ntlwprld.com

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Wokingham Town Hall

Wokingham Wokingham’s name comes from the Saxon Chieftain Wocca meaning Wocca’s peoples home.It had the right to hold a market from 1219, which is still held each Tuesday. The Windsor Forest Courts were situated here. In 1453 Elizabeth I granted Wokingham a town charter.

In 1723 the Black Act was passed making it illegal to paint your face black to commit a crime. It was named after a gang that usd to operate around Wokingham called the Wokingham Blacks.

Wokingham has a menufacturing past, In 1383 a bell made in Wokingham was donated to Dorchester Abbe.

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Between 1771 and the 1820s there was a flourishing silk industry in the town. Silk stockings were hand-knitted until the arrival of knitting machines. Another Company, the Lush Brothers of Wokingham, made coaches for King Edward the Seventh, Prince Christian of Schleswig Holstein and the Empress of France.One of the world's great industries in Victorian Wokingham was the production of bricks.

The Town Hall, in the Market Place, stands on the site of the former Guildhall, dating from 1612. In 1858 the Guildhall became so dilapidated that the old building was pulled down and the present building was opened in 1860.The Grade One listed Henry Lucas Almshouses are the last surviving Almshouses in Wokingham built in 1663 and closed in 2001. They were known as the Lucas Hospital.Ludgrove School,a favourite school of the Royal Family. was founded in 1892 Prince William, Prince Harry and Prince Edward are former pupils.

Denmark Street

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South Wokingham Circular Walk 4½ Miles / 7½ Km An easy walk around the lanes, fields and woods of South Wokingham.

Paul Walden-Mills 170

Start and Finish Wokingham Town Hall 51.410223, -0.833537 SU 81224 68556 RG40 1AP Trains from London Waterloo, Reading, Gatwick Airport and Redhill.

Buses from Bracknell, Reading, and Crowthorne.

Pay and Display parking behind the shops.

Various Restuarants, Shops, Cafes and Pubs in Wokingham Dog Friendly

Terrain - Town Roads, Dirt Paths, Country Lanes, Forest Tracks and Gentle Sloops.

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Start at the top of Denmark Street opposite Wokingham Town Hall. Walk down Denmark Street, going pass the Wokingham Library on your left, until you reach the second roundabout just pass Norton Road which you will see on your left.

(417 yd/ 381 m) (51.407620, -0.837046) Take the second road of the roundabout which is the Finchampstead Road. Walk down the Finchampstead Road going under the railway bridge until just before the next roundabout you come to you will see a dirt/ gravel path going o to your left. The entrance to Tescos is a short distance further along. (382 yd/ 349 m)

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(51.404566, -0.838101) Turn left and follow the track. After a short distance you will come to a gate across the track. Go through the gate and keep following the path the other side until you onto a tar-maced country lane beside the Wokingham Equestrian Centre.

(594 yd/ 543 m) (51.400563, -0.834379) Continue straight ahead down the lane until it turns sharply to your right. On your left is the Henry Lucas Almshouses.

(132 yd/ 120 m)

Henry Lucas Almshouses

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(51.399476, -0.833875) Straight ahead of you is a gap in the hedge. Go through the gap and follow the dirt path the other side until you reach the access road to Ludgrove School. (74 yd/ 68 m) (51.398994, -0.834401) Turn right and walk through the gate onto Luckley Road.

Continue straight ahead a short distance until you see a public byway on your left. (102 yd/ 94 m) (51.398991, -0.835813) Turn left and follow the tar-maced byway with ďŹ elds on your left and a railway line on your right. Keep going until you see a large Nissan hut on your right with a cottage a short distance further along. At this point the tar-maced byway turns into a dirt byway. Keep going until you see a dirt path leading o to your right. (1371 yd/ 1259 m) (51.390066, -0.828297) Turn right and follow the dirt path with the grounds of the cottage on your right and some woodland on your left. Keep following the path straight ahead as it goes into a pine tree plantation. After awhile the path will turn to the left and a short distance further along you will come to a Y-junction. (972 yd/ 889 m) (51.382798, -0.826440) Turn left and continue straight ahead until the next crossroads.

(251 yd/ 229 m) (51.383454, -0.823351) Turn left and continue straight ahead until you reach a dirt bank across the path. Go around the dirt bank on the right and continue straight ahead. After awhile you will cross a couple of small wooden bridges with ditches on both sides. A short distance pass these the path will turn to the right. On the left you will see a gate leading into a farm with lots of Polly tunnels.

174(681 yd/ 623 m)

(51.388877, -0.821033) Go through the gate and follow the dirt track straight ahead which runs between the Polly tunnels until you come to two wooden fences with a dirt path running between them. Follow the dirt path a short distance until you reach a gate. (808 yd/ 739 m) (51.395240, -0.823864) Go through the gate and follow the dirt track straight ahead, with farm land on your right, until the path turns to your right. On your left a marked path goes into a small dip.

(303 yd/ 277 m) (51.397396, -0.826031) Follow the path on your left as it goes through woodland until you reach a tar-maced lane.

(373 yd/ 341 m) (51.400006, -0.828574) Cross over the lane and take the path slightly to your left. Continue along this path until you reach the railway track.

(526 yd/ 481 m) 175

(51.404115, -0.830866) Cross over the railway bridge and follow the path the other side to the end where it joins Gipsy Lane.

(71 yd/ 65 m) (51.404623, -0.830544) Turn left into Gipsy Lane and continue along the lane until the end where it joins Longborough Road.

(662 yd/ 606 m) (51.407889, -0.835233) Turn left into Longborough Road and walk up to the roundabout beside the Wokingham Library.

(74 yd/ 67 m) (51.408214, -0.836123) Turn right and walk up Denmark Street back to the start beside the Wokingham Town Hall. (316 yd/ 289 m)

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Byway off Luckley Road Path through Ludgrove School

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For Further Information Debbie Lyddon

debbielyddon@hotmail.co.uk

debbielyddon.co.uk

Suzie Wright

orangethreadstudios@gmail.com

orangethread.co.uk

Lorna Bateman

info@lornabatemanembroidery.com

lornabatemanembroidery.com

Kate Findlay

kate@findlays.net

artsfindlay.co.uk

Tetiana Korobeinyk

kavaliere61@gmail.com

tetianakorobeinyk.simplesite.com

Herz National Park

info@nationalpark-harz.de

nationalpark-harz.de mymagazinessub.co/embroidery

Embroidery Magazine Bucks County Museum

museum@buckscountymuseum.org

buckscountymuseum.org/museum

Search Press Ltd

sales@searchpress.com

searchpress.com

Jacqui Parkinson

andrewparkinson.456@gmail.com

jacqui-textile.com mymagazinesub.co.uk/stitch

Stitch Magazine Paul Walden-Mills

edraconus@hotmail.co.uk

Batsford

info@pavilionbooks.com

The Embroiderers’ Guild

administrator@embroiderersguild.com embroiderersguild.com

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pavilionbooks.com

Our Thanks to all the people who made this magazine Contents Debbie Lyddon Anne Beckingham Suzie Wright Lorna Bateman Kate Findlay Tetiania Korobeinyk Sarah Davis Sue Robinson

Rachel Haver Linde Merrick Jacqui Parkinson Sheena Archer Julia Little Paul Walden-Mills Pam Henry Mary Ellingham

Carol Winter Jan Messant Sue Pettifor Sue Crook Frida Green Matt O’Grady Pat Tempest

Photographs Ann Beer Hilary Jenkins

Rebecca Dreelan Tim Phillips

Dr. Friedhart Knolle Will Phillips

Videos Debbie Lyddon Kate Findlay BBC 100 Hearts Tetiana Korobeinyk Jacqui Parkinson Mike Day

Exhibition - Moments of Being Part 1 & Part 2 Exhibition - Hadron Collider Quilts Exhibition - The Great War Remembered Exhibition - Silk Ribbon Embroidery Exhibition - Threads Through Revelation Wokingham - A one Day Trip

Editors Anne Walden-Mills (Editor) Amanda Smith (Proof Reader) All articles and photographs used in this magazine are the copyright of their authors. The magazine's content is for private viewing only and must not be reproduced in part or full for commercial gain in any form.

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Bringing stitch and textile art to a new and wider audience is one of the core aims of the Guild.

Our next joint project will be “HOME” We are anticipating showing HOME at the Knitting and Stitching shows in London and Harrogate 2019 as well as the Fashion & Embroidery show at the NEC in March 2020. The Guild stand at these shows is fast becoming one of the ‘go to’ exhibitions for visitors. Please help us continue this theme and join with us.

Come and join the Guild and participate in our Joint Projects