SEW Region Magazine December 2017

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Issue No. 12 December 2017

Folded Secrets Chinese pockets Embroidered Treasures ‐ Flowers Book review

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


CONTENTS Press the Buttons to take you to the Page

Features Folded Secrets Keeping Chinese Folk Art Tradition Alive Colourful Memories Facing the Challenge of a Change of Direction The Nativity Tableau The Trials of Organising the School Play Teacher Training 1956 Style The Textile Curriculum for Preliminary and Secondary School Children

What is Tapestry? Tapestry as a Construction on a loom The Clock The making of the winner of"Quilt Creations" Introduction to the Festival of Quilts An exhibition of Diploma work An Embroiderers' Guild Newbie First impressions of learning to Stitch Angels An Advent Embroidery for Christmas 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. The Magazine can not accept liability for errors and omissions. It is the responsibility of the contributors to take reasonable care not to breach other's copyright, and to ensure that all making instructions do not breach the Health & Safety Regulations.

Books Embroidered Treasures ­ Flowers By Annette Collinge Art in Felt & Stitch By Moy Mackay

Stitch People By Jo Dixey Layered Cloth By Ann Small The Mr X Stitch Guide to Cross Stitch By Jamie Chalmers

Regular Features Exhibition Reports The London Exhibition

Travel And Pastimes

A celebration of 250 years of

Workshops in India

Hand & Lock

A trip to sample the crafts of Rural India

Page 17

The Royal Borough of Windsor

An exhibition celebrating printed

The Windsor and Maidenhead Branch

publications in Stitch

of the Embroiderers' Guild Walking in Windsor A tour of Historical Windsor and Eaton Plus Vidio Food White Christmas and Rocky Road Sweetmeats to give to friends Project Beaded Cobweb Make a beaded Dorset Button.


In the second week of July, Hand & Lock took up residence for two days at the historic Bishopsgate Institute to present the hotly






An exhibition to Celebrate 250 years of History The London Embroidery Exhibition had been painstakingly put together by a team of expert curators funded by the London College of Fashion. Exhibited were items on loan from the Textile Research Centre, The Lightfoot Archive, The London College of Fashion Archive, The Diana Springall Collection and the Bishopsgate Institute Archives.

All these articles were carefully interwoven with special pieces from the Hand & Lock atelier and archive. For two days hundreds of visitors carefully examined examples of military embroideries, modern textile artworks and 6

cultural embroidery from around the world.

The Cambridge Satchel Company "Poppy"

Divided into ‘zones’, the first display offered visitors a chance to marvel at the 13 embroidered handbags produced for the 250th anniversary. The exhibit was accompanied by a film produced to explain the project and reveal more about the charities that will benefit from funds raised at the December auction.

Each Bag tells a Different Story Moving clockwise around the hall visitors could next immerse themselves in a grand history of craftsmanship, seeing up close a restored Victorian ledger dating from 1880 alongside the traditional embroidered military badges Mr. Hand became famous for making. In this section the curators placed a Hand & Lock embellished jumper by the designer Mary Katrantzou who had been partly inspired by historic embroidered badges just like the ones on display. This mixture of old and new demonstrated the eternal quality of the embroidery techniques used.


From Ceremony to Couture

In the centre of the hall guests were invited to discover the myriad of designer collaborations, and read the handwritten letters from Christian Dior, Hardy Amies alongside embroidery samples for Catherine Walker and the Emmanuels.

"It is particularly rude to dress squalidly at the opera, theatre or concert hall." Hardy Amies in The Englishman’s Suit (1992) Here, guests were treated to the spectacle that is the Nicholas Oakwell designed ‘Great British Dress’, commissioned by the UK government to promote British craftsmanship. The dress, first modeled by Erin O’Connor, took 800 hours to embroidery and was worked on by both the embroiderers of Hand & Lock and The Royal School of Needlework. 8

The next section encouraged visitors to immerse themselves and be inspired by cultural and artistic embroidery expressions from around the globe. Here internationally renowned textile artist’s work was exhibited along side pieces that evoked ancient cultural traditions. To everyone’s fascination this section featured the ‘Forbidden Stitch’, an embroidery stitch so small it was banned in China for allegedly contributing to poor eyesight and even blindness.


The curators also exhibited works by Inge Jacobson, Hannah Hill and ‘Nice Threads, Mate’ that showed embroidery as a purely artistic expression. Finally, we looked to the future and exhibited work by the most promising graduates from LCF alongside three exceptional pieces that had recently been submitted to the H&L Prize for embroidery.

Demonstrating that embroidery is not just rooted in the past but thriving in the present.

PATRICK COX "THE ROYAL SHOPPER" Patrick Cox's iconic trademark logo, the fleur‐de‐lis, is featured on this simple canvas tote bag, with traditional goldwork evoking a distinct sense of opulence. With the raw functionality of the bag and the contrastingly lavish logo, linked through history with Royalty, the design celebrates timeless style and craftsmanship.

Visitors to the pop up embroidery exhibition experienced 360 degrees of embroidery; its history, its cultural significance, its ability to forge collaboration and its bright future. It may have been the 250th anniversary of Hand & Lock but the celebrations were about everyone who embroiders 10

and everyone who loves to create.

An Inspirational Magazine by the Embroiderers' Guild The essential hands­on magazine for creative stitchers, STITCH with the Embroiderers’ Guild brings you traditional embroidery techniques and also a wealth of creative contemporary ideas. Through how­to­do­it projects and articles from many of the world's leading embroidery tutors and designers, get stitching and discover contemporary free­ machine embroidery and explore traditional techniques like canvaswork, goldwork, crewelwork, stumpwork, blackwork and Hardanger. Our mixed­media projects combine stitching with all sorts of materials and techniques – the list is endless and the only restriction is your imagination. 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! For any enquiries please email No postage or packing charge for the UK for subscriptions. Subscription rates inc p&p from 1st December 2015: UK £26.40, EU £32.70, The Americas £39.60, Rest of the World £42.00. 11


Book Review By Linde Merrick

Published By Search Press ISBN 978­1­78221­131­0 £20.00 13

I t is difficult to describe this book without gushing.

Almost every page of this beautifully presented book is an eye-opener to exquisite, unusual or 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

"British embroideries form the main body of the Collection."

B rief introductions to the History of the Guild,

its Collection and the way flowers have been used in embroidery from medieval times until today are given. “British embroideries form the main body of the Collection, [with] extensive numbers of embroideries from China, India, Turkey, Greece and Eastern Europe. Less well represented are Japan, Scandinavia and the Americas.”

"There are nearly 6,000 pieces in the Collection."

I t provides a learning experience allied to the sheer pleasure of viewing the superbly photographed examples Dr Annette Collinge has selected from the Collection. The embroideries range from small mats, sachets and panels through bags, tea cosies and cushion covers to tablecloths, dresses and shawls.

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 Annette Collinge’s thoughts about and feelings for the pieces. 14

Blackwork English - Late 16th century Re No. EG206

Montmellock Embroidery Irish late 19th crntury Ref No - Not yet accessioned

T he Blackwork and Whitework Chapter starts the exploration of the embroideries and shows the oldest pieces from the Collection – two English blackwork, hand-embroidered motifs from the late 16th century.

"Blackwork, also know as Spanish blackwork, is said to been introduced by Cathrine of Aragon"

T he Whitework examples introduce the first overseas pieces – Chikan embroidery from India and Mountmellick work from Ireland.

E venweave fabrics, defined as “anything from delicate muslin

to coarse canvas” are used in Chapter 2 to provide the background for such items as a beaded tea cosy and a daffodil tray cloth, “darned directly onto very fine, white machine-made net” 15

T he Sampler and Samples chapter

gives a magnificent example of a child’s sampler, sewn in 1657 by the ten-year-old Mary Powell which would have been used by her as a reference for the stitches and techniques. Nancy Kimmins’ sampler, by contrast, was made in 1947 while she was at the Royal School of Needlework and highlights the masterful use of the long-andshort stitch technique to produce life-like roses.

Roses Great Britain - 20th centuary Ref No. EG1984.10.2

N eedle Lace (chapter 4) embroidery ranges from the early

17th century coif panel, incorporating spangles and metal thread as well as showcasing the colourful, detached needlelace, through the Reticella mats from Italy, to the “lengths of individual needle lace flowers called oyas or bebilla [that] are characteristic of Greece and Turkey”.


T he Applique embroideries in Chapter 5 build on the 17th

century techique of crewelwork slips, whereby the design is worked on a separate piece of cloth and then attached to the background fabric. Ribbons, felt and net all make an appearance and Shisha mirrorwork adorns a blouse front from India.

"Ribbonwork is an appied technique involving manipulation of the ribbon"

C hapter 6 is amazing and outstanding in that it covers floral

embroidery with unusual materials, Aerophane for instance, is a “fine, slightly stiff silk gauze fabric often gathered or pleated”, produced since 1828 and used extensively during the Victorian era for dresses and hats.

The posibilities of embroidering on unusual material has expanded with the use of vegetable nets and plastics

T he 3D copper rose makes use of gold-coloured leather and

other items display embroidery on plastic net bags, leather and tree bark. But the most surprising items are the 19th century pieces using straw and fish scales to produce their floral effects. three-dimensional gold applique Great Britain -20th century Ref No 2015.16


M etal thread is covered by

Chapter 7 and “many of the embroideries in the Collection are partly stitched with metal thread.”

"Many Embroideries in the Collection are partly stitched in metal thread."

T he 18th century stomacher

Reversible Embroidery Constantinople- late 19th century Ref No. EG5024

incorporates gold thread, couched into circles whereas the 20th century Or Nue panel has the metal threads laid down in close parallel lines. The delicate scarf from Turkey which completes this chapter is “outstanding as it is completely reversible” and “[b]oth sides appear identical”

S titches and More Stitches (Chapter 8) compares such

techniques as Shadow Work, Berlin Work and Tambour Work as well as showcasing embroideries made entirely of French Knots and Pekin Knots. The rarest piece is possibly a cushion cover, worked in Rococo Stitch - “also known as queen stitch and is a traditional canvas work stitch, dating from the 17th century.” 18

Chinai Work India - 20th cantury Ref No. EG4379

C hapter 9 concentrates on embroideries using Silk and Wool.

The silk examples mainly reflect its ancient use in China and Japan, for such items as kimonos, aprons and sleeve bands. The Chinai piece is an example of “work...done by Chinese immigrants to India from the 19th century and into the 20th century.” The British wool hanging and Norwegian pocket show the use of thicker threads with more emphatic colours and “are very different to their silken counterparts.”

Machine embroidery has made a major impact but many do not think it is " Proper Embroidery"

M achine embroideries (Chapter 10)

are a 19th century development arising from the Industrial Revolution. The Wild Rose and Sunflower Panels created by Joy Clucas in 1966 were made by the free machine embroidery technique and use cotton threads on cotton fabric, whereas Audrey Walker’s White Tulips combines both machine and hand embroidery to produce a piece of “textile art”.


ymmetry in Stitches is explored S in Chapter 11. Not all the pieces

Symmetrical Designs Great Britain - 20th century

have mirror images but “they do represent repetitions of patterns.” (p107) Many of the examples are a feature on household or clothing items such as the Tablecloth, Cushion Cover, Greek Sash Fragment and Turkish Trouser Fragment. The Kashmir Shawl is an example of the professional work done by embroiderers in Delhi.

T he final chapter (Irregular Designs) covers “beautiful

embroidery that does not fit easily into another category.” The two 18th century pieces both feature carnations showing the international flavour of floral embroidery, but the Embroidered Pocket is a delicate British example on linen and the Greek Carnation Panel has “exuberant flowers in silk threads on a linen background.” The hot iron transfer technique of the 1950s has been used to produce “exuberant designs” of bouquets on two panels.

The Collection is continuously being added to by donations and acquisitions


“T 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 flowers as their inspiration. It seems to me that this book encapsulates the best there is in the world of floral embroidery. This is definitely a book to brighten any craftsperson’s home and for anyone to treasure.

THE COLLECTION CARE APPEAL The Embroiderers' Guild is a Charity The aims are to preserve the knowledge and skill of textile art

Cushion Cover 19th Century

The Collection, owned by the Embroiderers' Guild, is one of the few teaching collections in the world Byzan um by Margaret Nicholson

To secure the future of the Collection, the Embroiderers' Guild has made an arrangement with Bucks County Museum Trust They will provide storage, curatorial and conservation services at cost Punto in Aria by Paddy Killer

There will be a designated gallery named after the renowned embroiderer, Beryl Dean

Panel metal thread 17th C

We need to raise money to equip the Gallery and make the Collection accessible to the general public

Panel designed by John Henry

Chinese Pheasants, early 20th

HELP SAFEGUARD THE FUTURE OF THE COLLECTION Clema s by Kay Dennis 21st C by A donation to be included in a permanent display of contributors or A donation to be linked to a piece from the collection

For further information and to make a donation Please contact

Parrot Berlin work 19th C

The Embroiderers' Guild is a company limited by guarantee and registered with the Charity Commissioners-Registered No.

Julia Caprara early work 1980

England 294310 - Registered Charity No. 234239

London Bridge at Night 20th C

What is Tapestry?

Dorothy Crossley 22

In a recent article in the Tapestry Weaving magazine issue 22 September 2017 Christine Eborall has wri en an emotional appeal to clarify the misuse of the term ʺtapestryʺ. She argues that companies like Ehrman Tapestry and Gobelin Tapestry use the term ‘tapestry’ to sell needlepoint and cross stitch kits worldwide. They are not tapestries but embroideries on fabric. The Bayeux Tapestry is in fact an

embroidery produced fabrics designed to imitate Grayson Perry’s textiles are produced on a

tapestry. Thus confusion grows

computer controlled jacquard loom. They are not tapestries but are commercially

So let us put the record straight A tapestry is constructed on a loom; this can be a simple frame, a backstrap loom or a more complicated high or low beam loom. Size is immaterial; the loom can be 10 cm x 10 cm upwards depending on space

All the textiles produced have the same method of construction A plain warp i.e. thread stretched vertically in a regular spacing of wool, linen, co on or silk. This warp is then interwoven over and under, by hand with a horizontal thread called the weft. This weft is beaten down and must completely cover the warp 23

thread, front and back.

No weft should show The warp is where the design is developed, using colour, texture and pa ern. It is very labour‑intensive and can only be produced by hand using fingers to manipulate the warp and weft balance. Whether from ancient Egypt, Peru, Syria, China or Indonesia we find the same basic loom ‑ a warp of stretched threads into which the coloured threads of weft are woven by hand.

Why are these distinctions so important? Firstly we should respect the art form and call it what it is and secondly we should try to understand it and to educate our audiences. To quote Christine Eborall “The obvious consequence of all this confusion and ignorance is that tapestry is poorly recognised, poorly understood and poorly For more information on "What is Tapestry" go to


This has the effect of undermining and devaluing an ancient art form that is still relevant and alive today.


KATE CROSSLEY is a textile artist and an inveterate collector; a "snapper up of unconsidered trifles." A bottle of sand from Petra, old books, clock parts, a stuffed crow line the shelves of her studio. She uses her collected articles to make quilts. These are stitched, painted and acid etched, often tell stories, embellished with found objects, photo transfer and text. She gained a Masters Degree in Contemporary Fine Art from Oxford Brookes University and has continued to exhibit, gaining awards. Her work can be found in University and private collections both in the UK, Europe and abroad. “The Clock� was the winner of Quilt Creations at the Festival of Quilts. More information can be found at


The Clock and how it came to be

How did it start ‌. well scroll back 25 years and, for me at least, it started with a tree! In Pembrokeshire, where I lived for many years, an old elm tree was blown down and, as happens in close communities, the timber was shared out and gifted in exchange for a bit of work clearing the site or some eggs or whatever. I received a large plank with the bark still on in return for half a British Icelandic sheep fleece! The plank became the first ‘clock’ I made, simply painted and drawn, it still sits in the kitchen leaning against the wall ticking off the minutes.


Then, scroll forward to 2014 .... I was looking for inspiration and my eye kept drifting to the clock and then Mum said … why don’t you revisit the clock but in quilt form (she really meant make a small flat one I think!) and the idea stuck, although it kept coming out as a Grandfather Clock rather than a flat piece! How was it made … Well it really is just card and foam board, not a ‘real’ old wooden clock that I covered. Its made in 3 sections (so it can fit in the car) which were then coated with paper mache for strength and covered with quilted fabric. Sounds simple? ...... Well in some ways it is … each side was made up of panels which were covered separately and then stitched together down the edges and applied to the main structure. By breaking it down like this I was able to add layers of interest and complexity to the surface. The main body of the clock is covered with machine and hand quilted acid etched layers and silk velvet dyed with walnut ink and tea. The acid etching is done by layering up different fabrics, holding them together with a stitched net 27

and then applying devore paste which burns away the cellulose fibres when heat is applied. This gives an aged look to the piece that I like. The sides are made up of shelves built up during the construction process and then coated with paper mache using a combination of tissue paper and fabric. The shelves are filled with my cast and made objects, bottles and found objects. I often use Fimo clay or paper pulp to cast objects that are too precious to me to be put into a piece. Casting also allows me to make duplicates.

The face was made up of fabric and batting covered discs of card, overlaid with bound metal hoops and layers of free machine embroidery using metallic thread done on water soluble fabric. The numerals and the words are photo transferred using Lesley Riley's wonderful TAP paper; you simply create your design on the computer (you can actually draw freehand onto it too) print it out, remembering to reverse the image, and then you iron it onto the fabric (this takes a little practice but gives a wonderful result) These were then hand quilted and stitched to the structure. 28

The boss on the base of the Clock was also done in the same way. The ‘vine’ creeping its way around the clock was made using ribbon yarn, a tube of cotton or viscose, which was space dyed and then threaded onto a cotton core. The ribbon was then pushed down so it gathered up on the core, leaves and grapes were added as it was couched in place.

The only drawing that I did was a small pen sketch and then I did draw the outline full size on brown paper to get the correct proportions; faces of grandfather clocks are always bigger than you think! and then it was just a case of building the sections then creating each textile piece to apply.

Kate Crossley


PAGE 17 Page 17 is a specially created exhibition of textile artistry where each piece takes a book as its inspiration. Any sort of book could be chosen – fiction, poetry, recipes, maps, catalogue, instruction manuals. All techniques were used to portray an image indicative of the genre of the publication. 30

A Trip From Contact 44 to "Ally Pally" What an unexpected bonus from my reading of issue 44

The Domesday Book Jan Messant

of the Guild’s Contact magazine. Tucked away on the final page was a 10 question quiz relating to the articles. I spent a couple of minutes

Hans Christian Anderson Jen Best

finding the answers and

then emailed them to Guild HQ for an entry in the prize draw.

I Won Imagine my surprise and delight when I got an email

Photographing Snow Heide Jenkins


back saying I had won one of the tickets to the prestigious Knitting & Stitching Show at London’s famous Alexandra Palace –

s The Wind in the Willow n rlto Cha Margaret


affectionately known as “Ally Pally” to the thousands of enthusiastic crafters who

English Nettles Elain Izod

descend on the Palace in early October.

Off to "Ally Pally" My first port of call was the Guild’s stand to thank Pat Tempest (Contact’s editor) for my ticket and to view the

Through the Lookinglass Loetitia Gibier

exhibition of the fabulous

work done by members for both the annual Members’ Challenge and this year ’s creative initiative entitled

The Lindesfarne Gospels Joan Barkham

“Page 17”.

Page 17 was Awesome All the work was inspiring, awesome, beautiful and a great show of the amazing talent shown by all the embroiderers and textile


Crime and Punishment Karen Rowe

artists. In the Great Hall I was able to check out the many stands selling fabric, so that I could buy some black and white material for a fellow embroiderer who couldn’t make it to the Show. I was able to revel in the glorious ranges on offer before taking home half a dozen

50 Shades of Grey Carol Winter

The Tulip Philippa Moggridge

fat quarters, my only

purchase for the day.

A Great Day Out

Altogether I had a great day out, seeing many wonderful things, having interesting conversations with fellow textile lovers and generally enjoying the buzz from an unanticipated opportunity. Linde Merrick

Wife The Photographer's son mp Tho nah Han

To see Larger pictures ­ click on this box


n o i ct

u d o r t e s n h i t t l i n u A to Q f o l a v i t s e F

By SusanÊAttwood 34


The Background I decided to embark on a City & Guilds Certificate in stitched textiles (patchwork and quilting) and continued then with the Diploma level. I was extremely surprised and honoured when I was nominated and accepted by the adjudicators to exhibit in the C & G Student Gallery at The Festival of Quilts at the NEC in Birmingham. My Diploma research was based on the Mawddach Estuary, and the archeological finds in the area. My exhibition included my three Diploma Assessment pieces.

The Quilt The combination of rusting metals, decaying structures and the magnificent landscape were my inspiration to convey the tranquillity and essence of the Mawddach. Bamboo Silk, rust dyed using rusty objects collected from the area, the design lines inspired by the decaying wharf. Sponged with 36

acrylic ink – machined quilted.

Wearable A tunic for “Branwen” a Welsh Warrior Woman­ no pretty flowery outfit for her. A powerful leader she fights alongside her troops. Using the stitch and slash technique on four quilted layers, inspired by the Dyfi estuary jetty. The slashes represent her battle scars, the orange/pink layer her feminine inner essence a dynamic combination.

A Miniature A sail for a boat made of papier‐mache ‐ the sail design combined Welsh text with upright struts of a decaying wharf in the Mawddach estuary. The challenge was to keep everything in scale, balancing the stitching and design for a much smaller project.



Exhibiting enabled me to be “back stage, ”which was really interesting to see the huge effort that goes into making the vast empty halls fill with amazing textiles and stands full of things to tempt your pockets ‐ truly a transformation!! Susan Attwood


A Magazine by the Embroiderers' Guild Whether you are a keen embroiderer or simply love fabric and textiles, Embroidery magazine is filled with ideas and features to inspire you. Each edition is packed with colourful features on contemporary and traditional textiles, and keeps you up to date with news of the latest shows and events taking place around the UK. Our diary and what's on pages show you what's hot, while our features delve into the vibrant world of textiles, fashion and embroidery ­ covering everything from craft to catwalk and more! We bring you the best of embroidery and textiles, talking to makers and stitchers who share their passion for embellishing the surface with us – giving our readers a unique insight into all facets of this sumptuous craft. In our bookshop, you'll find the latest books on fashion, embroidery and textiles. For further information see the Embroiderers' Guild web site:­ Contact us By phone:­ 01778 392468 By email:­ By post:­ UK only ­ FREEPOST: Warners Group EMBR, Non­UK ­ Embroidery Subscriptions, Warners Group Publications, The Maltings, West Street, Bourne, Lincs, PE10 9PH, UK Subcribe on­line:­ Buy EBook copies:­ Either as single issues or take out an annual subscription. Once downloaded, every issue is stored in your magazine library permanently! To make a purchase visit and search for Embroidery magazine

I was in my sixties and had never heard of the Embroiderers’ Guild. But then I didn’t sew, not even at school, nor did my mother and I didn’t know my grandmothers. Recently I found that two of my friends are amazingly creative stitchers and both mentioned the Embroiderers’ Guild to me when showing me their work. Having always been interested in creative visual arts I was inspired to have a go myself. Hence I found my local EG branch, Wokingham, on the net and went to a meeting. Since then life has got even better because I have found a wonderful group of friendly people who share my love of textile art. The big difference between me and others members of the Wokingham branch is that I know almost nothing and they are all skilled, experienced stitchers. This meant that at the first meetings I attended I didn’t understand most of what was spoken about. Many words I had never heard before e.g. scrim, couching, feed dog (that has a very different meaning in my house with my two dogs!). All the people spoken about were unknown to me and events and other things happening I hadn’t heard of or understand the context. I joined the EG about eighteen months ago and in that time, the members of the Wokingham 40

branch have been generous with their time and expertise and have taught me so much. I now understand so much more of what is talked about. As a newbie, I found name badges invaluable at meetings, but I had no idea how to make one for myself. Anne Beckingham, our CoChair very kindly put a kit together for me and I had a go (see photo). This was an occasion when I was grateful my parents gave me such a short name. There are so many things I enjoy about being a member of the EG including our Travelling Books. These were started at Wokingham in the last year, thanks to the efforts of Mel Ward. Yes I am intimidated, yes it is scary when everyone around is so talented, but the books force me to focus on sewing something different each month and stretch me to try more than the two stitches I knew – although I am constantly surprised by what can be achieved with just running stitch and French knots. Pictured is my latest piece for a book made with three different stitches, yes I have learnt what couching is. 41

Being new and keen to learn, I really enjoy and value one day workshops and have attended excellent ones organised by both Aylesbury Vale and Wokingham branches. I look forward to finding out about workshops organised by other branches and hopefully attending some and meeting more friendly creative people that inspire me.





Over the years one of our local churches have had a weekend celebrating “The Festival of Trees”.

It started in 2009 when we were asked to join in and decorate a tree for charity. The tree would be supplied complete with lights and we would be able to have a card giving our name, contact and explaining what we do.

Since then we have made stars, snowflakes, balls and even decorated large luggage labels to adorn the tree.


Each year the church choses a different charity. Last year we made angels using a pattern found in Stitch Magazine, they were decidedly eccentric angels.

We had run out of steam. Trying to decide what to do this year after much thought we decided to give it a miss.

When through the post came an invitation that asked us to decorate a wall hanging with angels.

Having put our brain into gear, we decided to have some fun.

We dusted off last years fallen angels and made some grandma angels which were put into the pockets of an embroidered quilted Advent calender.


W or ks hops in I ndia 46

Craft trips to far flung countries have become increasingly popular over the past few years. This is what we did in the craft workshops in India which are still mainly cottage industries

Article by Eleanor Jakeman Photographs by Eleanor Jakeman and Gill Foster


Craft trips to far flung countries have become increasingly popular over the past few years. Many are very expensive and their itineraries don’t always give a hands­on experience. Our trip to Bengal was very humbling. Here we often found that we were the objects of interest – why would a group of inquisitive British ladies want to go to their village? The people we met were so willing to share their knowledge with us and were very happy for us to sit with them to learn. What did we do? ­ We tried crafts that were new to us and honed others that we had tried at home. Somehow doing them with the people who do them day in day out, for a living, put a different dimension on things. As most were cottage industries, health and safety issues seem to have bypassed these family run businesses! Gold work – We were taken up several flights of stairs and came to the workshop on the roof. Here men were stitching beautifully intricate designs in gold work. They worked so quickly, sitting cross­legged on the floor. They had kindly given us tables. However, our tables were sunk into the floor and we had to climb down to our seats! We were given a floral design, traced onto black velvet. How hard could this be? 48

I felt a complete beginner as handling the gold thread on velvet was not as easy as it looked. I was rather relieved to find I was not alone in feeling inadequate. Several of the group are experienced hand sewers but none of us managed to recreate the standard of work the men achieved. The women here do not stitch, so we caused the men much amusement. Indigo Dyeing – This was our first experience of an industry in a home's back yard with cows looking through the fence! Everything was quite higgledy piggledy with blocks on shelves vying with everyday household items. We block printed a pattern onto a large square of white muslin with a mud resist which was fixed with a type of sand to prevent it bleeding and then dried in the sun. We could not see or work out where the indigo vats were until the dyer lifted a circular piece of wood on the ground which covered a deep hole filled with dye. It was fascinating to see the resist scraped off, and the squares put in the indigo vat. They came out a lovely jade green then changed to indigo before our eyes. The cloth was then taken to the roof to dry in the sunshine. Tie Dye – Again this was done in the craftsman’s home with the dye being heated on the equivalent of a primus stove! Children were running in and out, why did they not have accidents? We sat on garden chairs and created a star design on a large muslin square. The grandfather was our teacher. He was highly amused that we found it so difficult to tie the fabric tightly.


We were offered chai while we waited for the squares to dry and there was the inevitable chance to buy some of the beautiful work they produced at the house. Chai is not to everyone’s taste, but it is offered in such small quantities that we were all able to accept their hospitality. Block printing – The factory in Pushkar was far more modern. Here we used inks on wooden blocks to print on muslin. We learnt how to build up a pattern in assorted colours by placing the specially cut blocks accurately on the fabric. The skill the men used was quite amazing and they showed us how to tell a hand printed piece to one done on a machine – it’s quite easy when you know how! They get quite concerned about the survival of their art when they see so many cheap look­ a­likes. Sujuni embroidery – None of us had done this before ­ or so we thought! Sujuni embroidery is based on running and chain stitch and each piece depicts a story. We were given pre­ drawn, quite simplistic, 50

designs to stitch. We found this very therapeutic. Our tutor came from another area of India where Sujuni had been instrumental in giving women the freedom to earn a little money and therefore some independence. Kantha embroidery­ This was also true of Kantha embroidery. Our tutor had set up a school for children which allowed the mothers to stitch Kantha in the day. Many used the daily get together to stitch to escape the drudgery of their home environment and arranged marriages. We joined them sitting on the floor­ lots of creaky knees were heard when we got up! The basic concept of Kantha work is based on variations of running stitch, we did not get anywhere near the standard these lovely ladies achieved. Kantha is also used to stitch recycled fabrics together. We had the opportunity to work Kantha twice – firstly simple running stitches on cotton and then more complicated designs to create pre­ printed silk cushion squares. The squares were printed using a petroleum based transfer ink which was done in another area – just as well as the fumes would have made us all a little high. For such a simple concept the results can be quite stunning. Shibori tie dye – we visited a cooperative in Kolkata which had traditional crafts being 51

created over five floors. Compared to the cottage industries we had seen, the building was very modern, light and airy! We joined the ladies sitting cross legged on the floor. The designs were pricked out on the fabric, stitched and then pulled up very tightly prior to dyeing. We produced designs that were scalloped, zigzagged, curved with not a traditional circle in sight! Again though, they didn’t think we were capable of tying the fabric tightly enough and after seeing how they worked they were probably right! The top floor was where the dyeing took place and here we also had a go at clamp dyeing where the fabric was folded and clamped prior to plunging in either red or indigo dye. We also saw a centrifuge being used but this looked as if it had should have been in a museum rather than in daily use.

We came home with lots of samples and finished products which we had created, together with other crafts that we were able to buy. We felt enriched by our experiences and very grateful to these lovely people who so willingly, proudly shared their skills with us.










Jill Flower is probably known for her experimental textile work creating illusions of a fabric using papers and magazines – sometimes called “The Ruff Lady” She is a member of “Studio 21”, a well‐ established group of experienced textile artists whose aim is to challenge each other with new ideas and projects giving regular opportunities to exhibit at a professional level. The members of “Studio 21” are presently experimenting with a new body of work. They began this new venture by exploring their relationship with, and their memories of, colour. By investigating the use of colour both personally and culturally ‐ It will be known as “Chromatic Reflection” Here Jill tells of her own experiences researching her relationship with colour. Details of the “Chromatic Reflection” exhibition will be released in Spring 2018 61

Colourful Memories

By Jill Flower 62

For my new project, rather than using papers, I set myself the challenge of reverting back to the use of fabrics only. Like most textile artists, I had stored up samples and remnants of beautiful purchased fabrics and threads that have remained ignored for years. As a young child I was brought up in West Africa and this year I was able to return for a walking safari. This gave me an opportunity to explore and research. All the colourful sights, smells and sounds came flooding back. A sketch book developed, filling pages with doodles, patterns, feathers, sweet wrappers and, most excitedly, tiny scraps of fabric which had been discarded on the pathways and tracks in the woods or the bush or caught on thorny trees. Surprisingly, each day became a textile adventure as more and more fragile shards of fabrics were found which had been subjected to the searing hot sun, the equatorial rains or trodden into the ground by humans and animals alike. Why were they discarded like this? This intrigued me and after some investigation, one possible reason was given. The local

village ladies, whose job was to tend to the communal co�operative farm, grow vegetables, dug wells, and protected the garden with patches of used fabrics and plastic netting, sewn together and tied to random posts to create a colourful patchwork textile fence against the local wild animals. For the villagers, our traditional fencing of wood and wire would be too expensive, so the ladies became inventive and used anything they could sew into this protection. However, this structure was no match for the determined long horned cows or marauding baboons and thus tiny scraps of material were dislodged and fell by the wayside. Once home with my small bag of treasures, I welded the scraps together to discover a variety of different cloths, some bright, others dull, many patterned and hand dyed. It was easy to see that they all seemed to have had many lives, used many different times and for different purposes. I set to work using the newly found fabrics. I had randomly pieced them together by hand to make one long piece of cloth with intermediate small sticks of wood, forming this into a circle to give an illusion of an 64

African garden compound. I felt that the use of a sewing machine would destroy the delicate nature of these scraps and so have used a variety of hand embroidery stitches such as French knots, chain and straight stitch to reflect the African designs seen on carvings, ironwork, painted houses or on the vibrant exotic dresses. The piece is called “Protection” It is a cacophony of exciting colours all found by happenchance! I am continuing with the second stage of the project with work “still in progress”, stitching and piecing together the remaining fabric pieces to produce a new colourful cloth, which grows each day. The final size is still unknown as I am determined to use every last scrap and last frayed thread, as I feel they are far too precious to be boxed away with my purchased fabrics. Each tiny found piece has had a history, yet is still full of life, and hopefully it will represent the heritage of this exotic part of Africa, the lives and the colourful people”.


The Nativity Tableau By Carol Winter Every Christmas the junior school where I was a school governor held a Carol Service in the local church. It was an opportunity for the school community to come together. Attendance was always good with family and friends enjoying the opportunity to celebrate the meaning of Christmas and sing carols with gusto. The first year my son was at the school the headteacher asked if I would dress the children for the Nativity tableau. I agreed and having seen the school’s productions I knew the costume cupboard was well stocked and thought this would be a straight forward activity. The headteacher assured me they were all together and would be available for me when I was free. When I picked my son up from school, his teacher said she understood I was doing the Nativity. My reply was enthusiastic and I said I was looking forward to the task. She had a strange look on her face and said “Are you sure”’but didn’t say any more. A few days later I went to sort and give out costumes as everything was ready for me in the library. I’m not sure what I expected but it wasn’t three battered suitcases and two very sad cardboard boxes. One of the boxes contained some strange hats, soft toys and tatty parcels.. The other had a collection of plastic animal masks – donkey, camels, sheep and oxen- all had seen better days, had a strange smell and perished elastic. 66

I wasn’t looking forward to opening the suitcases. Inside them was an interesting collection of clothes. Were they for the Nativity characters? It wasn’t obvious! They all looked very tired and had a strange aroma. This wasn’t going to be as easy. Two black rubbish bags were soon filled with torn and grubby items. The remaining clothes were sorted into piles for each character. A hunt in the costume cupboard was called for; some waistcoats for the shepherds and a pale blue dress for Mary were added to the collection. At morning break I realised there was no Baby Jesus. Everyone I asked denied knowing where he was. After searching many cupboards the only one left held the office archives and cleaning equipment. On the floor in a corner was a black bag in which was a box and a scruffy plastic bag. I took it back to the library and someone said “You’ve found the manger”

Inside the bag was a doll and swaddling cloths that were all swaddled out and the box was indead, a very sad manger. "The Baby" had an expression on its face of complete astonishment – Oh dear! The Angel Gabriel and the heavenly host were the easiest as their outfits were in a plastic bag marked ‘angels’. These costumes were fine and looked reasonably new. Each child was asked to take them home to be washed and ironed. The children and I agreed that the tinsel halos were scratchy and I promised to buy some more. First item on my to do list. Mary and Joseph came next. The dress I had found earlier fitted her perfectly and 67

with a dark blue cloak and white headscarf completed her costume. Mary stayed to help dress Joseph and as he was a tall boy all the items I had chosen for him were too short. I sent for the Innkeeper and with some mixing and matching both boys were soon dressed. These costumes were sent home to be ironed but not washed as this might have been a disaster. Mary asked to see the manger and baby. I put it on the table and when she saw how sorry it looked she said “I’m not cuddling that!” I added sort out Baby Jesus and manger to my job list. The shepherd costumes were not the best but went together OK. Each shepherd had a cuddly lamb, some were lamb coloured and some were blue. The overall appearance needed livening up. I borrowed some clean bright checked and striped tea towels from the staff room – instant shepherd transformation. The costumes for the Three Kings were a mix of dresses, cloaks and strange hats. Careful mixing and matching pulled the three costumes together. But the hats! Transformed to be turban like, another with feathers and the third was fez like livened up with quickly made long tassels. The Gifts were three tatty boxes – All add to job list. The king’s gifts, manger, swaddling and Baby Jesus were taken home. The rest were returned to the cupboard. A fruit and veg stall provided the manger – a deep wooden sloping sided orange box. The stallholder was only too pleased to give it to me – "was one enough"?! At the dress rehearsal halos were made and the gifts given to the Kings. The manger had been painted brown and Baby Jesus had a 68

pram blanket and swaddling from a sheet found in a charity shop. He now met with Mary’s approval.

The Carol Service and Nativity tableau went very well and the revamped costumes received favourable comments. The church was full in the evening and warm for a change. Carols were sung with enthusiasm and as the Christmas story unfolded and the tableau began to take place on the small stage. Mrs Innkeeper had the manger in place and was ready to push it gently towards Joseph who would put it in place by Mary. On cue she got hold of the manger and pushed it with such force it went across the stage behind Mary and Joseph towards the edge on the far side. Quick thinking by a narrator saved the day. He stopped the manger and got down on his knees and pushed it back to Mary who promptly cuddled Baby Jesus. Remember the astonished look on the doll’s face, well it seems it was warranted. The rest of the Carol Service went without incident. The headteacher thanked me and

asked me would I do it again next year and I heard myself say that would be fine. At least now I knew what I was working with and that there was scope for improvement. 69

White Christmas

These easy squares are great with a cup of Coffee when friends drop in

3 cups Rice Crispies 1 cup desiccated coconut 1 cup powdered milk Glace cherries & sultanas

2/3 cup icing sugar 225g Copha or hard vegetable fat Toasted crushed nuts Vanilla essence

Melt the fat and mix in the other ingredients. Pat into a baking tray. Leave to set overnight, then cut into squares. To make extra special melt a bar of white chocolate and drizzle over the top 70

Rocky Road

Save some to pack into bags tied with a ribbon to give to unexpected visitors

125 g butter 300g dark chocolate 3 tbs golden syrup

200g dry sweet biscuits crushed 100g marshmallows icing sugar for dusting

Melt the butter, Syrup and chocolate in a pan, add the marshmallows and crushed biscuits. Put into abaking tray and press down. Leave to set overnight, then cut into squares. To make extra special melt a bar of dark chocolate and drizzle over the top


Teacher Training 1956 Style In 1894 The Battersea College of Education was founded as part of the Department of “Womans' Studies”. It was a teacher training school. By 1948 the London County Council took over and changed it to the Battersea College of Domestic Science and moved to Clapham Common. Science was included in the curriculum in 1954. The College later became part of the University of London with courses leading to a teachers' certificate which was phased out in 1979. Below is a worksheet for 1956/58 giving suggestions for practicable work for the individual and groups for primary and secondary modern students. Many items look quite an undertaking for young students, also for their teachers. How many mums today would use, or even know any of the suggestions if their children came home from school lovingly holding one.

Group work projects and free choice Matilda House that Jack Built Bedspread ­(book of costumes in connection with geography) Table cloth and napkins Sea side Toys Puppets ­ glove Applique pictures Dolls ­calico or socks


Hangings for piano ''' bookshelves ''' nature table Tent and costumes for Red Indians of hessian or sacking

Flat articles Bags ­ needlework, work, shopping, knitting, shoes, peg, toilet , beach. Hot water bottle cover Handkerchief case Needle and silk case Feeders or bibs Tea cosy

and tray cloth Egg cosy Cushion cover Chair pad Pram cover Coat hanger cover Cot clothes Dolls bed clothes Chair back Table runner Flat embroidered. pieces made into Hussifs

Simple blouse " jacket " bolero Baby’s matinee coat Sun suit Sun bonnet

Covered cardboard boxes

Toys and Felt Kettle holder Pixie hood and mittens Coal glove Pin cushion Pencil case etc Purse Glove puppet Soft ball Simple soft toys ­ horse, mouse, penguin duck etc.

Information By Anne Sandwell Photographs from The Needlework Development Scheme issued between1934 to1961 The Embroiderers' Guild Collection holds the largest collection of phamphets and items from this time.

Garments Aprons ­ work, garden , cookery Simple skirts 73

Beaded Cobweb

Jen Best Beaker Button 74

Materials 1 fine brass ring 4.5cm; 10m of thread used doubled throughout the whole button making process; 64 size 6 seed beads in colour A and 16 size 6 seed beads in colour B; blunt ended needle; sharp small eyed needle for threading beads; scissors. Casting Have a length of thread approximately10m long, threaded double on the needle. This will give you a thread with a loop at one end. Thread the loop end through the ring and pass the needle through the loop to secure it to the ring. This eliminates the need to knot the thread round the ring. Stitch around the entire ring in blanket stitch. Bring the needle towards you through the ring and pass it away from you through the loop created. Make sure to cover the whole ring, moving the stitches along the ring so there are no gaps.

Thread through the loop to secure thread Blanket stitch around the ring until you have covered the button


Slicking Turn all the stitches so that they face inwards, leaving a smooth edge to the button. Pre load the beads Thread the beads onto the thread before laying the spokes in the following order; *1 B, 8 A, 1 B* repeat * * 8 times in total. If you haven’t got a needle with a small enough eye try using a needle threader. Add the bead onto the threader first, place the thread into the metal loop then move the bead onto the thread. Repeat this until the beads are all threaded.

Pre load the beads before laying your spokes

Laying Start with the yarn dropping down from the top of the button at the back. Wrap under the ring at 6 O’clock with your first (1 B, 8 A, 1 B) sequence of beads ready near the edge of the button. Wrap back over the top of the button and space the beads with 1 B, 4 A at the top and 1 B, 4 A at the bottom. They will move about so don’t worry too much 76

about keeping them in place, as long as they stay roughly in order. Wrap under and 8mm to the left of the last bottom spoke. Move the next bead sequence ready to place near the edge of the button. Wrap over and to the right of the last wrap spacing the beads 1 B, 4 A at the top and 1 B, 4 A at the bottom. Repeat the last step until you have 16 spoke (8 wraps) and your wheel is complete. Gather all the spokes together from the back using a crossed stitch in the centre.

1st bead sequence in place

1st wrap under at 6pm over at 12pm, under 8mm to left of 1st wrap

2nd wrap over to right of 1st wrap, then left of last wrap

Until all 16 spokes (8 wraps) are wrapped with beads in place as shown above

Gather all the spokes together from the back using a crossed stitch in the centre. 77

Rounding Back stitch round the spokes, moving the beads into position as you work as shown in the photos. You will leave gaps naturally as you stitch. Don’t try to fill them, they are part of the design. Bring the needle up from the back. Pass it back down clockwise over the spoke. Bring it back up two spokes anti­ clockwise (include the stitch you just stitched over). Pass it down one spoke clockwise. Repeat this until you reach the start of your first round. Continue back stitching rounds in this way until the entire button is filled. To make the button more central push the stitches closest to the edge into the middle with your finger, but leave the stitches furthest away.

Bring the needle up Stitch over the spoke Stitch under 2 spokes stitch over 1 spoke from the back

One round worked move every other bead sequence to the centre stitch over next spoke above the bead Round 2 with every other stitch above the bead 78

Continur working the back stitch, placing beads as shown in the photos

Untill all the beads are used and the ring is filled.

Reverse the button thread through the back to weave the tail make a last couple of stitches leaving a hanging loop

Finishing and making a hanging loop Thread the needle through the back of the button twice to secure, being careful not to let the thread show on the front of the button. Make a small stitch at the top of the button, leaving a 10cm loop for hanging the button. make two or three small stitches in the same place to secure and trim. 79

The Windsor and Maidenhead branch of the Embroiderers' Guild attracts members from this Borough



The Royal Borough of Windsor


Windsor and Maidenhead branch was started in 1978 by students at East Berks College who attended a City & Guilds course tutored by Jan Beaney, who is now our Branch President. Next year we’ll be celebrating our 40th anniversary with a special day in September. If you are in the vicinity why not join us; the details will be on our web site. Being a branch of the Embroiderers' Guild and part of the South East West Region (SEW Region) and also a member of Maidenhead Arts Council, there is always something going on. Our programme includes talks, mini workshops and day schools. We encourage members to take part in national projects such as Page 17 and The Members' Challenge, together with exhibitions both locally and further afield; they bring their work to an international audience.


Suppliers are always happy to bring their interesting products to show us and in this way we are able to keep up to date with the exciting new merchandise on the market


We go out to meet the general public by taking our work to the local town centre where we are able to to interact with people, encouraging them to stitch. Many prominent embroiderers have been members of our branch and we are lucky to have as current members Jan Beaney and Jean Littlejohn who are happy to help both beginners and experienced embroiderers. We welcome all visiters to our events and meetings.

Click here to see more pictures

We meet at The Soltau Centre Church of St. James the Less Henley Road Stubbings Maidenhead Maria Wetherall




Book Reviews Art in Felt and Stitch Moy Mackay ISBN 978­1­84448­563­5 Published by Search Press £15.99 Stitch People Jo Dixey ISBN 978­1­78221­562­2 Published by Search Press £12.99

Layered Cloth The Art of Fabric Manipulation Ann Small IBSN 978­1­78221­334­5 Published by Search Press £17.99 The Mr X Stitch Guide to Cross Stitch Jamie Chalmers ISBN 978­1­78221­424­3 Published by Search Press Price £12.994 85

Art in Felt and Stitch Moy Mackay "Creating Beautiful Works of Art using Fleece, Fibres and Threads" As soon as I saw the cover I thought "Scotland". The colours are so wonderful and vibrant, it makes you open the cover with great anticipation. You will not be disappointed, from the start you are drawn in by the coloured pictures and examples you can work. That's the thing, you can work your own piece of Art. It has a step by step guide to working the felt. All very clear and easy to follow. It also shows you how to stitch into the felt, using hand and machine stitching. I can't wait to start.

Anne Beckenham

Published by Search Press ISBN 978­1­84448­563­5 £15.99 86

Stitch People Jo Dixey This is Jo Dixey’s first book and ‘Stitch People’ is a refreshingly original approach to encourage the development of hand stitching. The book is designed for those new to embroidery and the more experienced hand stitcher. Twenty projects are organised for different ability levels. As you progress through the book each project includes new stitches to expand your stitch knowledge. I particularly enjoyed the explanation of long and short stitch that is often very off putting to the embroiderer. It was good to read that Jo Dixey, who was trained at the Royal School of Needlework, took two years to be happy with this stitch. I particularly liked the cushion ‘A moment of calm’, the ‘Shopping Bag’ and the ‘Bus Queue Stitch Sampler’. All the project templates are easily adaptable and a good starting point for the hand stitcher to develop their own creative ideas. I could see people outlines being used in many ways and the ‘Window to the soul’ eye would be an interesting brooch. This modern approach in this book to using embroidery stitches provides inspiration to begin stitching or to revisit and develop your existing knowledge bringing hand stitching out of the shadows in a contemporary way. Carol Winter

Published by Search Press ISBN 978­1­78221­562­2 87 £12.99

Layered Cloth ‐ The Art of Fabric Manipulation Ann Small First impressions are of an attractive book full of enticing things, lively, colourful and a variety of techniques for layered cloth. The author Ann Small, has worked making costumes and studied authentic historical costume and embroidery. Her experience and teaching methods are very evident in the success of this book, which is a joy to open. She offers good advice on equipment and materials not only on what works well but also on what may not work so well. If you are an experienced textile artist there are tips that are more than useful. The practical section starts with layering, stitching and creating different kinds of edges and then moves on to more experimental techniques. Instructions and diagrams explain processes so they can easily be understood. She follows with techniques using grids, hand­stitch and embellishment. This is extended into a little background information and illustrated examples of Kantha where fabric is cut away to create a pattern. The next part of the book deals with design, with some useful ideas on translating a drawing and scaling up from sketch, with a section on using colour to good effect in layering fabric. The second part of the book takes you into other techniques of fabric manipulation by pushing the boundaries, including Trapunto Carving, Book Stacks, Twisted Spirals and Puffs. Some examples move into the realms of three­dimensions and sculpture. Published by Search Press IBSN 978­1­78221­334­5 £17.99 88

It finishes with a few achievable projects and lastly suggestions and advice to take you further in experimenting and pushing the boundaries. All in all a rich and informative book. A useful addition to your collection. Rosemary Davison

The Mr X Stitch ‐ Guide to Cross Stitch Jamie Chalmers This book is a great book for beginners and experienced cross stitchers. The book explains the tools and materials needed and explains from the start and end of cross stitch, including tips on washing, mounting and framing. It builds your confidence on not only traditional cross stitch but using cross stitch on plastic and metal. The quote is "If it's got holes in it" !!! There are several “Outliners” that give a brief resume of their lives with cross stitch. On how they started on their journey and their confidence in designing their own designs. The chapter on computer design givs an example of a pineapple. This uses colours, different material count and the design's difficulty . I would recommend this book to anyone who loves to cross stitch. Sally Wilkinson

Published by Search Press ISBN 978­1­78221­424­3 Price £12.994 89

Further Information

The Collection

Embroiderers' Guild

The Clock

Kate Crossley

Beaded Cobweb

Jen Best

London Embroidery Hand & Lock Exhibition

Colourful memories Jill Flower Folded secrets

Ruth Smith

Stitch Magazine sally Saunders Embroidery Magazine Jo Hall Books Search Press Tapestry

outlook_8998994F0B stitcheditor@embroiderers


Dorothy Cerossley

O Ou urr tth haan nkkss tto o aallll tth hee p peeo op pllee w wh ho om maad dee tth hiiss M Maag gaazziin nee Contents Jan Messent

Anne Sandwell

Jill Flower

Anne Walden­Mills

Sally Willkinson

Kate Crossley

Rosemary Davidson

Susan Attwood

Robert McCaffrey

Carol Winter

Maria Wetherall

Dorothy Crossley

Paul Walden­Mills

Eleanor Jakeman

Pauline Johnston

Linde Merrick

Jen Best

Search Press

The Embroiderers' Guild Anne Beckingham

Ruth Smith

Photographs Pauline Johnson

Anne Beckingham

Jen Best

Paul Walden­Mills

Heide Jenkins

Ruth Smith

Embroiderers' Guild

Joan Barkham

Kate Crossley

Pat Tempest

Susan Attwood

Dorothy Crossley

Robert McCaffrey

Eleanor Jakeman

Jill Flower

Clair Jones

Gill Foster

Editors Anne Walden­Mills (Editor) Amanda Smith (Proof Reader)

Please send contributions for the next magazine to:­ The Editor at by 15th April

Join the Embroiderers' Guild Be part of a Charity which is the only organisation in the UK that exists to support, educate, promote and inspire the art of stitch and textile design. We are part of a world­wide community of Stitch. The Presidents of the Guilds in Australia, Canada, New Zealand and the USA are Honorary Members. We encourage exchanges of information and news. Click on the photos to find out more


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