Assignment Two: last Research Point 1

Assignment Two: Research Point 1

This Research Point focuses on textile artists and designers who choose to work with found, recycled, worn or even discarded textiles and materials.  I can think of several like Claire Wellesley-Smith(UK), Cas Holmes(UK), Judy Martin (Canada) but have decided to look at the work of Jude Hill (USA).

Jude Hill has been described as a storyteller whose textile work blends piecing, appliqué, kantha stitching and embroidery into organic who cloth pieces rich in imagery and revelation.  Jude’s materials are made up of raw fragments of cloth and she uses repetitive hand stitching to weave her mythical, imaginative and interesting work.  She shows her work which she calls ‘spirit cloth’ using social media primarily a blog.  Her work has been featured in several magazines like Quilting Arts and Handeye.  She challenges herself with the phrase “What if …”.  She has always used found cloth and preused cloth and started by using her stitching as a drawing tool and sewing on her long commute to work.

She has used imagery like lions, often hearts, circles and dots.  Jude has travelled and studied ethnic textiles and different cultures and this background is sometimes reflected in her work.  She uses simple hand stitches mostly based on the running stitch.  She has indicated that her pieces evolve through a process of ‘thought catching’ and ‘what-iffing’. I like this approach and especially the ‘What if …” which challenges one to take a piece or technique that much further.

She uses layers and unconventional cloth construction always with pre loved fabrics. Her website is extensive and really inspirational and contains numerous examples of her work.


Handdyemagazine –

TAFA: The Textile and Fiber Art List/Jude Hill – Spirit Cloth



Assignment Two: Stitched Piece Three

Assignment Two: Stitched Piece Three

For the third stitched piece I thought about developing the design pattern formed by the poinciana tree pod I had drawn previously.  The pod has a series of little bridge type lines that inspired me and I worked on my ideas in my sketchbook.  As in the previous sample Two I included a small print of my drawing glued to the sketchbook page as an easy reference particularly when looking back in the future.

IMG_7920I played around on the sketchbook page and gave lots of thought (the way I often work) to what might work.  I finally decided to gelliprint with black/brown red fabric ink on a piece of my hand dyed cotton fabric (procion) a pattern  inspired by the ridges on the seed pod.  These I then decided to stitch in lighter brighter threads using a mark making line slightly wonky to achieve what I hope is an interesting pattern.  I varied the colours to add interest and the hand printing produced variation in the lines too. So the fabric would be more stable to stitch I attached (bonded) a piece of thin cotton batting that I had also hand dyed (procion) to the back.  The piece is larger than A4.

I liked the way the pattern emerged and the colours without consciously thinking are Australian Aboriginal ochre type colours.  The piece could be finished off differently like being mounted on an artist canvas finishing for show right on the edge of the stitch line.


And a close up of the stitching and showing the gelliprinted lines.  I like the way the gelliprinting worked with a type of outline on each section.IMG_7922

Assignment Two – Stitched Piece Two

Assignment Two – Stitched Piece Two – Variety of Scale

I thought of my newspaper scrunched sample of a large seed pod, based on my drawing of the seed pod, for my second piece.  I wanted a textured type base cloth which you might find on some tree trunks and I wanted a fabric I could create folds with for the seed pod.  I decided to scale up the seed pod sample to fit a piece of fabric larger than A4.

I played with my ideas in my sketchbook first:


I hand dyed using procion dye a number of different fabrics including cotton, cotton drill, silk, organsa, cotton velvet, ‘butter muslin'(similar to scrim in the UK).

I chose the cotton velvet for the base cloth as I liked the richness of the dyed colour and the texture.  For the seed pod I auditioned silk, cotton, organza and butter muslin. The butter muslin worked really well.  The muslin piece I had dyed I had pleated to create folds created more interest too.  I felt a little out of my comfort zone doing this piece but it is also interesting to see what evolves and works!  I chose a thin thread for the stitching and overcasting.


Assignment Two Stitched Piece One

Assignment Two, Stitched Piece One 

The aim of this assignment is to consolidate my exploration so far by creating a series of stitched textiles.  To employ observational and compositional skills in addition to material and technique handling in the creating of these stitched textiles.

The idea is to create a series or small collection of stitched textiles inspired and informed by my drawings and my stitched paper explorations.  In doing this I will develop a series of three stitched pieces showing a sense of repetition, variety of scale ad a placement design. These pieces will be larger than A4 and may not necessarily be the same size.

Stitched Piece One – REPETITION

I explored my idea to use kantha stitch inspired by my paper samples and drawing of the kantha purse and the waves in the way kantha stitch works on the fabric in my A3 Sketchbook.  I like now the idea of working in the sketchbook before I undertake the actual work on a piece.  This is not the way I have worked in the past but I now am seeing the value of using the sketchbook for ideas and samples and drawing.

The first photo below is my thinking and sampling of different types of fabrics which I have hand dyed with procion dye.  I also sampled the type of running stitch I wanted to use and the colour of the thread I would use.


I chose the flour cloth because it was soft to show the drape/waves in the piece and for a backing I chose kona cotton – all hand dyed by me with procion dye.  I chose a valdani cotton thread with a slight variation and it is a perle 12.  The piece is larger than A4. I decided to add the top flour cloth using  a diamond pattern for more interest. It took me 10 hours to do the stitching but I enjoyed.


A close up of the stitching showing the movement/waves on the flour cloth fabric creating shadows.


Assign 2, Project 2Ex 2.4 sample2

Project 2 Exercise 2.4 Sample 2

I did some drawing and writing ideas up in my Sketchbook for Sample 2 based on a wattle seed pod.

I used soft fibrous paper for this A4 sample and did an expanded version of the wattle tree seed pod.  I found the paper soft to stitch into and used rubbed holes for the seeds with a fine tissue type paper underneath and three shades of thread light to darker. Disappointed with the photo hard to capture. Think there is lots of possibilities in design with seed pods.



Assign 2, Project 2 Drawing with Stitch Ex.2.4

Project 2, Exercise 2.4 Developed and composed Samples

This exercise is designed to help me explore the role of evaluation, selection, development and refinement in my design and mark making process by developing two larger stitched paper pieces approximately A4 to A3 size.  I need to use two different drawings from the six I used to work the earlier work.

I need to think about the scale composition and layout of the samples and make sure use my sketchbook to plan out some ideas using my drawings.

Sample 1

I have been drawing in my sketchbook and sampling substrates I wanted to think about the shadows and folds in the kantha purse but I am trying but find it hard to replicate the shadows I think I will just keep trying with folds in general until I feel that I can draw them well – that may be a long term assignment!  From this experimenting I have the idea to use scrunched brown paper and use a grid like I sketched in one of my earlier drawings to represent an area of the kantha throw rug but within the grid to do markings in stitch that represent various marks I have drawn in my work. So this will be bigger sample one.

I worked in my sketchbook to try to work out my ideas further see pictures below:

From this work I developed my sample.  I found the scrunched brown paper amazing it felt just like fabric.  I was happy with some of the grid areas the ones with the thicker or darker thread.  I thought the mid town brown in grid 4 and  grid 6 got lost on the paper.


I found the bright tropical light here in my room in Jakarta hard to not get extra type shadows in the photograph but if I removed from the light the photo did not show any of the folds and scrunches!  So I went with the photo with the shadows.

I have worked in my sketchbook on Sample 2 and will discuss that and the sample in the next post – still working on the sample!

Assign 2 Part 2 Project2 Ex 2.3

Part 2, Project 2 Exercise 2.3 Drawing with Stitch on Paper

I have examined my drawings, my manipulated papers and my threads that I have with me here in Jakarta.

  1. I looked at the lines in the folded drawings and using crumpled brown paper I followed the lines of the crumpled folds and stitched using large running stitch. I decided the line stitched needed to be solid so threaded the thread through the running stitch to make a solid line but a more organic line.  I used a weaving thread for the stitch  work.

IMG_55252.  I also worked on another piece of crumbed brown paper with a seeding type stitch see below.  But I then challenged myself did this really represent the drawing and I decided that it did not. I used a paper thread in two sizes for this stitching.

IMG_55263. Next I took a sample of the pierced paper and looking at my gelliprint of the eucalyptus leaves which have printed with straight lines I started to stitch with a thick thread but the paper rebelled and I could not pull the chenille needle through.  I switched to a finer thread and this worked fine.  I wanted to give a hint of the shape of the leaf with texture added by the piercing.

IMG_55274. I looked at my drawing of the seed pods and I decided to take one of the rubbed fragile Japanese silk type paper that I had dyed with coffee to draw more attention to the rubbed holes.  I use the holes to depict the hollows in a section of my drawing of the long seed pod and then stitched in between to represent the top part or bridge between the hollows. I took two photos one taken on the surface and the other I held up so you could see the light behind the paper. Because the paper was so fragile I had to use a fine thread so as not to break the paper.


5. My next sample I looked at the small pods drawing and the way the light was reflected in my drawing on them and tried to recreate with the holes and stitch.  The paper I chose was a more robust paper which I had also coffee dyed.  I chose two shades of thread with the dark one to reflect the dark shading in my drawing.

IMG_55316. Next sample I looked at my drawing of the folds in the Christening robe and decided to use one of the folded paper manipulations because it represented the folds.  I doubled the thickness of my available thread and stitched in the depth of the folds on the paper. I chose to do a curved stitch and long to give more interest.

IMG_55377. I looked at my drawing of the large closed seed pod and thought of the crumbled folded paper I had made using the local newspaper I decided it might lend itself with the curved folds I had made to this seed pod. I decided to combine a paper thread and a rayon thread together and see what happened.  I was surprised that the newspaper was so robust and dealt with the two threads and the chenille needle perfectly – no tearing.

8. I looked at the collage I did of mending and holes and seam lines.  I decided to use the brown paper i had rubbed and inspired by my collage stitch the seam line and some mending.  I used crinkled hemp paper thread and I did a backstitch but I turned it over and much preferred the back of the stitching so used that and attached some yellow handmade paper to cover the holes in places.


9.  I chose the pierced handmade paper and decided to reflect drawing with a more loose circular type stitch using the Indian silk viscose thread which is quite stiff so the stitch sits high on the paper –  I knotted from the front.  I liked the way the thread casts a shadow onto the paper due to its height.

IMG_555510. I had a piece of white handmade textured paper from an Indonesian shop which I decided to fold and then dye in coffee to give it some more interest and to play on the swirly texture indented into the paper so I decided to use it to feature on small section of the swirly curvy indian ink drawing I had done with a stick depicting the flower on the christening dress.  I chose the white thick paper thread and decided to couch it down with thin cotton thread.  I chose shiny rayon thread doubled to do a secondary thinner line of curves. After I had finished I turned the piece over and thought the back looked interesting so I have photographed both the front and the back.

IMG_5557IMG_5559I found making the samples a challenge at the beginning how could I marry the drawing, paper and stitch but as I set about doing I found it really interesting.  The qualities of the paper as manipulated was good to set off stitching and really thinking about how drawing so informs the sample work overall.  So the more interesting and formed the drawing the better.

Assign2,Part 2 Project 1

After my spending several days working on better understanding drawing and spending hours practicing my drawing I resolved to draw every day for up to an hour to improve.

So in choosing my drawings for this Project I may need to redraw and or add to my drawings from Part 1 to obtain a better quality of drawing for this Project.

I am particularly drawn to my work thus far on the Christening Dress and seed pods.  I like that the Christening dress has a variety of layers and textures and patterning and very interesting detail items.

Assign 2, Part One Research Point 3

David Hockney Part 1 Research Point 3

David Hockney is a renowned contemporary living British artist. He works in a variety of medium including painting, drawing, printmaking, photography and digital art. I had heard of Hockney but not been exposed to his work here in Australia. I really enjoyed looking at the Yorkshire Sketchbook, 2004, I found his sketching and watercolour and ink approach to the landscape, trees and vegetation refreshing.  I like his use of bright colour, foliage and brushstrokes. The lack of complication.

His exhibition at London’s Royal Academy in which he exhibited 51 drawings from his iPad as well as a series of landscapes of his native Yorkshire depicts amongst other things the seasonal changes over four years.  The tree is a key motif in this work depicting summer foliage and the bareness of winter for example.  The iPad works were enlarged and depict the arrival of spring along a local road where Hockney lived.  The grasses, buttercups and dandelions of spring feature in different pictures.

Hockney has been seen as innovative for his use of painting using an ipad as the canvas. He started out using the App ‘Brushes”.  He likes to experiment with the latest technologies to learn new ways to make images.

He has also embraced the iphone and emails pictures of flowers drawn from his window on a daily basis to his friends.  Virtual flowers!!


Hockney’s Pictures, 2012, Thames &Hudson

David Hockney A Yorkshire Sketchbook, 2004, Royal Academy of Arts