Books Consulted & Exhibitions Visited
Course recommendations in my collection
Layers of stitch Campbell-Harding & Grey Batsford
Edges and finishes in machine… Campbell-Harding Quilters’ Resource Publications
Fabric painting for embroidery Campbell-Harding Batsford
Flowers & plants in embroidery Campbell-Harding Batsford
Machine embroidery: stitch patterns Campbell-Harding Batsford
Stitch, dissolve, distort Campbell-Harding & Grey Batsford
Machine embroidery Harker Merehurst
Sketchbooks and journal quilts Berlyn self published
Books from my own collection
Embroidery: a history Warner Batsford
The textile book Gale & Kaur Berg
Conquest & overlord Jewell Midas Books
Art Nouveau designs in color Mucha et al. Dover
Embroidered pictures Tucker Black
Contemporary embroidery Morrell Studio Vista
Machine embroidery: inspirations from… Dibbs Sally Milner publishing
Lettering for embroidery Russell Batsford
Cindy Hickok: with thread in needle… Hickok ISBN 978-0-615-
On form: a stitcher’s workbook… Fibrefusion Art Van Go
Transfer painting Gamester ISBN 978-0-
Encyclopedia of embroidery techniques Brown Headline
Needlework school Practical Study Group Windward
Design for embroidery Springall Pelham
Design for embroidery Howard Batsford
From image to stitch Grey Batsford
Applique Brown Merehurst
Embellish and stitch Campbell-Harding & Grey d4daisy
Magic of machine embroidery Curran Batsford
Layered cloth Small Search Press
‘this lustr’ed cloth…’ Midgelow-Marsden Art Van Go
Strip patchwork Campbell-Harding Batsford
Quilting Osler Merehurst
Fragile fabrics Beaney & Littlejohn double trouble
Layer, paint and stitch Dolan Search Press
Stitch, cloth, paper & paint Hughes Search Press
Surfaces for stitch Hedley Batsford
Fabulous surfaces Monk d4daisy
Exploring creative surfaces Monk d4daisy
Smocking Andrew Merehurst
Spun-bonded textile and stitch Cottrell Batsford
Country diary of an Edwardian Lady Holden Book Club Associates
Embroidery & architecture Messent Batsford
England is a garden Hamilton Select Editions
West country is a garden Hamilton Select Editions
Staffordshire hoard Leahy & Bland British Museum
Sutton Hoo ship burial Evans British Museum
Early medieval designs Watson British Museum
Green Man Basford Boydel
The kingdom of the ice bear Miles & Salisbury Book Club Associates
Henri Matisse: the cut-outs Buchberg et al. Tate Gallery
Life & works of Gustav Klimt Harris Paragon
Eric Ravilious Binyon Lutterworth PressEric Ravilious Powers Imperial War Museum /Wilson
Antoni Gaudi: complete works Cuito & Montes Feiraband, Berlin
Gaudi: modernism in Barcelona Postcard book Taschen, Cologne
50 favourite houses by Frank Lloyd Wright Maddix Thames & Hudson
Golden Spider silk V&A
Alexander McQueen: savage beauty V&A
Shoes: pleasure & pain V&A
Henri Matisse: the cut-outs Tate Modern
Fabrications Group Riverhouse, Walton; Lightbox, Woking
Kingston & District EG Exhibitions 2013, ‘15, ‘17 Kingston Museum
Why the trees are blue Knole House
Jewish Embroidery Waddesdon Manor
Wendy Dolan Standen House
Ramster House, 2013, ’15, ‘17
Embroiderers’ Guild website
Individual embroiderers’ websites
Part of my workspace (in the spare room)
The business end
Time & Costs
I have individual time logs and costs for each Module (see below). The costs do not include servicing my sewing machine, which I have done every two years, and most of the outlay has been for threads, which it is difficult to apportion.
Health and Safety
This is covered in the individual Module paperwork (see below)
Also covered in the individual Modules.
Total time for Module 1: 129.00 hours Costs: £62.35
Total time for Module 2: 197.00 Costs: Nil
Total time for Module 3: 225.75 Costs: £89.36
Total time for Module 4: 177.25 Costs: £38.48
Total time for Module 5: 137.75 Costs: £108.17
Total time for Module 6: 203.75 Costs: £147.09
Overview of the Course
1. Yes, I am much more confident in my use of the machine, and much more aware of what it can do. My ability to produce the effect I have wanted has also increased. My previous C&G courses had already greatly improved my design skills, which were not good, and I have been able to build on them to further improve
Design for reverse of cushion for Assessment Piece 2
2. I’m not sure what my expectations were: the Adult Ed embroidery class I was attending was closing, and the C&G Machine Embroidery course I had started had become un-viable due to lack of numbers, which had been disappointing. I wanted to increase my skills to include proficiency in Machine Embroidery as arthritis was making hand embroidery difficult. Although it seemed counter-intuitive to take a practical course on a distance learning basis, I have an Open University Degree which had surprising parts to it, so I thought it likely this course would be the same. The only thing which I might (and I emphasize might) have wanted was some way work a solid stitch piece (like Carol Naylor) without puckering the surrounding fabric. Perhaps the design part has shown me that maybe this is not wholly desirable?
I think it is the best piece of work I have ever done, certainly from a design point of view.
I like the effect of all the different stitches.
Just to prove I can do Cable stitch and get a really good effect.
I love this, too.
And this: Markal Oil sticks do work, after all.
I must learn how use moulding felt, ie. choose a more suitable design source. I couldn’t get my head round Frank Lloyd Wright although I really like his work. Moving it on into something else seems outside my capabilities.
Sometimes you can over-complicate things, so knowing when to stop is a good idea.
Or even when never to start is a better one. (See Moulding felt above)
This is the design for ‘Mad Bird’. For some reason I can’t remember now, I didn’t want to do this at all, so I had a tantrum and threw everything I could find at it. This produced the obvious result: it was horrible and I hated it.
Use of machine patterns in a decorative panel.
Not actually for the course (a birthday present) but I would not have achieved this level of free machining without the course.
Probably the best results I have ever had on Romeo
I actually think I might become a machine embroiderer!
I have a list as long as my arm (quite literally):
Shorten the sleeves on a T-shirt, mend the hem on the sitting room curtains…
Start on the pieces for the Kingston Branch Exhibition in October
A piece based on this method: Sticky paper and Romeo and the Flower-stitcher foot.
Something similar, using these shapes and techniques, plus some motifs from C’a d’Oro palazzo in Venice, using a turquoise dyed background and gold applique.
This is my contribution to the Branch Exibition of 2009: the Branch Project above (now in the Education Centre at Hampton Court). Somehow I have to work out how to do a face in machine stitches to portray the Patron Saint of Embroidery: Constance Howard, green hair and all.