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campbel, pam, watts, 5797, knotwork, iain, bain, 469810, courtney, davis, 2144, finishes, 8867, queen, wardrobe, unlock, janet, arnold, 901286, agnes, geijer, 85667, 055, manipulation, colette, wolffe, 478, 008, books, britain, 1200, 1750, santina, levey, 85177, 126, historic, 874080, practical, 7153, 9829, fanciful, embellishment, nancy, welch, 937274, book, 340, 0067, peter, collingwood, 5645, plaits, barker, 2316, inspirations, 8750, recycling, holmes, 9781, bridget, riley, kettle, yard, cambridge, whitworth, manchester, fabrication, willow, oswestry, goldwork, eleri, mills, earth, computer, heswall, tradition, mai, liberated, bilston, rhos, sea, knitting, shows, nec, harrogate, skip,

Text of the page (random words):
as rhyl library 2014 context heswall library 2014 textiles transformed computer textile design group 2012 earth the right angle ruthin craft centre 2012 eleri mills ruthin craft centre 2012 goldwork rhyl art centre 2012 fabrication textile exhibition willow gallery oswestry 2011 whitworth gallery textiles hands on manchester 2011 quilt art rhyl arts centre 2011 bridget riley kettle s yard cambridge 2011 books embroidery a history pamela warner 0 7134 61063 the victoria albert museum s textile collection embroidery in britain 1200 to 1750 santina levey 1 85177 126 3 designs from historic textiles jan messent 1 874080 60 7 treasures from the embroiderers guild collection the practical study group 0 7153 9829 6 tassels the fanciful embellishment nancy welch 0 937274 53 4 mary thomas s embroidery book mary thomas 0 340 0067 4 textiles and weaving structures peter collingwood 0 7134 5645 0 making braids and plaits june barker 0 7134 2316 1 celtic inspirations for machine embroiderers 0 7134 8750 x creative recycling in embroidery val holmes 9781 906388 75 1 layered textiles kim thittichai 978 1 84994 008 5 experimental textiles kim thittichai 978 1 906388 478 machine embroidery stitched patterns val campbell harding 0 7134 8159 5 machine embroidery stitch techniques val campbel harding pam watts 0 7134 5797 x celtic knotwork iain bain 0 09 469810 4 the celtic arts courtney davis 0 7134 2144 8 edges and finishes in machine embroidery val campbell harding 0 7134 8867 0 queen elizabeth s wardrobe unlock d janet arnold 0 901286 20 6 the history of textile art agnes geijer 0 85667 055 3 the art of fabric manipulation colette wolffe beaded tassels braids and fringes val campbell harding 49725 04891 english embroidery barbara snook 0 263 05579 5 creative bead weaving carol wilcox wells 1 57990 080 1stumpwork muriel best 0 7134 5572 1 image to stitch maggie grey 978 1 906388 02 7 surfaces for stitch gwen hedley 0 7134 8666 x embellish and stitch valerie campbell harding maggie grey 978 0 9555371 03 creative quilts sandra meech 10 07134 490063 layers of stitch valerie campbell harding maggie grey 0 7134 8653 8 machine embroidery stitched patterns valerie campbell harding 0 7134 8159 5 memory on cloth shibori now yoshiko iwamoto wada 4 7700 2777 x treasures from the embroiderers guild collection machine embroidery stitched patterns val campbell harding 0 7134 8159 5 embroidery a history pamela warner 0 7134 61063 elizabethan embroidery george wingfield digby the techniques of indian embroidery anne morrell 0 7134 6410 0 embroidered textiles sheila paine 0 500 23597 x nuno felt liz clay 978 0 7136 8601 2stitch and structure jean draper 978 1 84994 121 1 fusing fabric margaret beal 10 0 7134 8956 1 bridges dan cruickshank 978 0 00 788108 6 calatrava bridges alexander rebeca caso donadei tzonis 0 500 28579 9 the encyclopedia of origami and papercraft techniques paul jackson 0 7472 0416 0 pop up greeting cards origamic architecture masahiro chatani 0 87040 733 3 medieval craftsmen embroiderers kay staniland 2006 the british museum press needlework an illustrated history edited by harriet bridgeman elizabeth drury 1978 paddington press victoria albert museum guide to english embroidery patricia wardle 0 11 290030 5 the techniques of indian embroidery anne morrell 1 883010 08 x ethnic embroidery margaret ohms 1989 0 85219 739 x this lustr ed cloth alysn midgelow marsden 0 9554048 1 9 the continuous thread of revelation alysn midgelow marsden 0 9554048 0 0 the art of stitching on metal ann parr 978 1 84448 225 2 paper metal stitch maggie grey jane wild 0 7134 8918 9 stitch cloth shimmer shine sarah lawrence 978 1 84448 627 4 colour on paper and fabric ruth issett 0 7134 8068 8 design sources for pattern jan messent 1 87480 75 5 stitch magic jan beaney jean littlejohn 0 7134 8196 x transparency in textiles dawn thorne 978 1 906388 48 5 machine embroidery lace see through techniques moyra mcneill 0 7134 4485 1 textiles of ancient peru their techniques raoul d harcourt 2003 websites victoria and albert museum for collection of elizabethan embroideries www vam ac uk www practicalstudygroup co uk opus anglicanum www needlenthread com peruvian textiles www metmuseum org exhibitions ancient peru william siegal gallery peruvian textiles www dma org artists www textilestudygroup co uk posted in uncategorized leave a comment authentication posted on april 19 2018 by alisonrey i alison reynolds confirm that all the work presented in this module was completed unaided by myself posted in uncategorized leave a comment storage of work materials tools and equipment posted on april 19 2018 by alisonrey where do you store the following items item ideal conditions your storage place designs drawings in files flat away from sun in files flat in cupboard liquids dust children pets fabrics dry away from sun dust flat in plastic boxes rolled or flat threads untangled in groups of colour in drawers in cupboard completed embroidery wrap in acid free tissue paper table out of direct sun papers flat away from sun moisture dust flat in files in drawer inks paints crayons etc sealed labelled containers labelled in cupboard dyes fabric paints as above as above glues bleach secure labelled inaccessible in cupboards to children pets beads metal threads in acid free tissue not plastic bags in plastic pill boxes tins sewing machine normal room temp humidity in workroom out of direct on solid surface protect flex sun pedal store with needle down other electrical equipment similar to above unplugged in cupboards with flex when not in use wound loosely health and safety rules observed use of iron soldering iron heat gun keep electrical flexes tidy between socket and equipment and are not a tripping hazard to other people in the vicinity keep in an appropriate secure holder when hot but not being used during use stand soldering irons downward facing through the drainage hole of an old terracotta plant pot pressing irons stood upright on an ironing board heat guns supported on their stands when finished leave until completely cold before packing away only use on a heat protected surface and when using the heat gun use tongs or tweezers to hold the fabric not your fingers use in a well ventilated area to avoid breathing in any fumes work in a quite area away from children pets and disturbances to avoid distractions whilst using the appliance store electrical items with the cables loosely wound up in a secure cupboard away from children and pets ensure any electrical equipment meets current safety and fit for use standards do not leave hot irons unattended clean off any adhered material from the base of the iron or soldering iron point when it is cool use of chemicals dyes wear apron gloves masks when handling dyes other chemicals read follow instructions accompanying the chemical mop up spillages as they occur wash hand after handling chemicals especially before eating or drinking dispose of spent chemicals responsibly ensure chemicals are stored in secure labelled containers out of reach of children pets use of naked flame when heating materials work in an open or well ventilated space to avoid inhaling fumes have a heat resistant surface to lay hot items or tools down on have a non flammable surface and or damp cloth nearby to quench overheating or burning materials do a small test piece before treating a large area so as to be prepared for the outcome choose a quiet time to avoid distraction from children pets use tweezers to hold the material not your fingers adhesives replace caps and lids when glues are not being used wipe up any spillages promptly use in a well ventilated area if using solvent based glues as per instructions on the product allow the glue from glue guns to cool before handling sharp edges and points handle cut wire and metal with care as the edges are sharp treat the item with the same respect as you do cutting tools when sticks metal and decorative items are part of the construction particularly if they protrude from the item take care during handling to avoid injury especially to the eyes cutting tools punches use a suitable cutting surface such as a self healing mat to prevent damage to the base layer replace the protective cover over the knife blade or retract the blade into the housing when the knife is not in use don t wave the knife scissors wire cutters seam ripper or other sharp pointed tool around or hold the unprotected blade up during use posted in uncategorized leave a comment records of costs and time posted on april 19 2018 by alisonrey papers cartridge tissue tracing 1 00 pva cmc glues bonding powder 0 50 bondaweb 2m 3 82per m 7 64 paints inks acrylic transfer walnut ink kmno4 crystals 1 00 shrink plastic 1 3 pack 4 84 1 61 household materials inc spices sauces fruit plastic bags nets beads threads from stash 0 50 tyvek paper 10 a4 sheets 2 50 pieces of old archery targets tyvek fabric 1 2 m 5 m 2 50 evolon small pieces from stash calico cotton felt scrim scraps from stash 1 00 organza s chiffon scraps from stash 0 50 total 18 60 design work started on 03 10 16 completed on 16 04 18 104 hours posted in uncategorized leave a comment evaluation of completed work posted on april 19 2018 by alisonrey on going addition to research theme i continue to be aware of the world around me wherever i happen to be and to now consider viewing things from a different angle position or through layers to create different design aspects use of sketchbooks to glean visual information i ve been revisiting some of my earlier sketches and experimenting with some of gwen hedleys ideas of moving distorting and manipulating parts of them to create new arrangements and designs designs talking to gwen has given me insight into some different ways of creating new designs i realise that i ve already been doing this in some of my earlier work without really being aware of it it has also made me review how i record the information and what i record so as to enable me to develop new designs and thus pieces of work more fully in the future completed site specific assessment piece i deliberately chose this piece to be exhibited outside as i d never made such an item it was very interesting to discover and address some of the issues of scale weathering and background colour that i d not encountered before whilst spending time working outside on the site i also got a feel for the place and wrote down some words and thoughts something i d never done with previous assessment pieces i found this quite helpful when i was making the piece as it influenced some of my choices of marks colours and design listening to how other recognised textile artists also use these words to build up a dialogue with their subject material i think i ll be including this aspect in my future pieces of work as i can see how much it strengthens it in all this piece was a very rich learning experience written illustrated essay i had no difficulty choosing my three artists for me dawn thorne gwen headley and shelley rhodes sang out to me it helped that i d met all three and spent a summer school with each of them during that time and in some cases subsequently i familiarised myself with their work and working practice and got to know them personally i came away high with ideas as to how their work related to mine each artist has had a big impact on the direction of my work and its development for which i am very grateful over all ability to manage study time and to keep to the course schedule this module took rather longer the planned i got so engrossed in some of the chapters that i found it difficult to move on with others i wasn t very satisfied with my results so persisted until i had something worthwhile natural ups and downs i think in addition part way through this module i was involved in two exhibitions i wanted to prepare some new work to exhibit at our textile group event so took time out from my course studies to complete these posted in uncategorized leave a comment chapter 12 artist study posted on april 19 2018 by alisonrey dawn thorne dawn draws much of her primary inspiration from architecture but especially from the more open glass and steel structures around her her work is further enhanced from ideas derived through study of other buildings and patterns appearing in the natural world she is particularly fascinated by water another transparent medium its movement surface reflections and the distortion effects it has on underlying layers shadows parallax or how an object appears to move depending on where the observer is positioned and the play of light on surfaces particularly inspires dawn dawn is also captivated by repetition including repeated patterns shapes and the process of creating them she suggests that the repetition of an element many times can sometimes create a more powerful impact than the single element her work often involves lace like and open structures networks and weaving which are all linked by the repetition detail from the mall 2013 dawn a mixed media artist often incorporates some rather less traditional materials into her work as well as the more usual paper and fabric she frequently uses a variety of different plastics including casting gels and resins perspex acetate and cellophane all of which have very different properties to traditional materials the transparency gloss rigidity and pliability of them offer the textile artist a range of exciting new materials to work with several of these materials are especially relevant in the construction of larger 3 dimentional structures that require more support than traditional materials provide they also facilitate the opportunity to create layers with varying degrees of transparency to alter the surface of these rather different materials dawn etches scratches and colours them to change the transparency and heats them to bend create holes and promote surface distortion wire of varying thickness becomes the thread to decorate and stitch the layers together how my work relates to that of dawn thorne i first encountered dawn s work at an early distant stitch summer school in 2012 i was immediately taken with the idea of using completely new materials to create transparent layers that could support themselves be manipulated and where i could alter the nature of the surface that workshop led onto the idea for my first assessment piece a 3 dimensional lampshade lampshade assessment piece detail from site specific wall hanging like dawn my research theme of bridges is drawn from architectural inspiration dawn s fascination with open glass and steel structures is analogous to mine with bridges both are frequently constructed using an open network of connected lines allowing the viewer to see through the different layers to whatever lies behind the finished lampshade shown above featured three differently stitched layers sandwiched between two pieces of distorted perspex the outer layer of perspex was scratched in a gr...