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stricted the use of colour to just 3 hues per painting extending this to 5 in 1978 zing1 1971 well travelled much of her work evokes the spirit of the landscapes which inspired her she spoke of her egyptian palette after her visit to egypt in the early 1980 s it was around this time when her work shifted away from the disciplined structure of her earlier op art to the assertive gestures of the neo expressionists entranced by the colours she saw around her while travelling through egypt she wrote the colours are purer and more brilliant than any i had used before here was where she finally learned how to use colour and light in the manner she had been seeking ra 2 1981 throughout the mid 1980 s and 1990 s bridget riley began to explore a new geometric form the diagonal lozenge here she worked with form and colour with an emphasis on contrast of depth tone hue and even direction she considered both form and colour as ultimate identities as things in themselves from here 1994 from 2000 onwards the shape changed again this time growing more fluid and curved the colours were softer too eg blues and lilacs two blues 2003 bridget riley s modus operandi reminds me of the painstaking approach which many contemporary art quilters adopt in the making of their textile art she begins with a sketch of her design which she then enlarges everything is done by hand and with great precision a single painting may take 6 9 months to complete references https en wikipedia org wiki bridget_riley http www op art co uk bridget riley bridget riley the stripe paintings 1961 2014 https davidzwirnerbooks com product bridget riley the stripe paintings 1961 2014 artist of my choice alice kettle the instructions were to choose an artist whose work relates to some aspect of this module blackwork tone machine stitchery decorating fabrics with dyes paints 3 dimensional items i chose professor alice kettle because of the impact her work made upon me after viewing her textile art which was exhibited at the knitting and stitching show in dublin many years ago what struck me most of the sheer depth of emotional content which resonated through the meandering lines of her freely machined stitch and then there was the size of each individual piece the immensity almost overwhelming volume of line upon line upon line alice kettle s art evokes a sense of otherness a mysterious interrogation of some of life s most unanswerable questions her machine embroidery is so much more than the sum of its parts for each stitch each line seems to be placed precisely where it is supposed to be there is nothing superfluous added no sentimental pathos or hyperbolic noise just a statement of one of life s mysteries sketched like a question mark written in rayon perhaps it is her emphasis on the fragility of the human figure which generates such fathomless responses from the spectator t he figure is the absolute essence of the work the human content the emotional link for me as an artist alice kettle three caryatids 1988 9 the theme i develop is often subconscious it emerges in the making i like images that are universal that sum up some inherent quality of human existence i like playing with contrast and paradox these caryatids are made of something soft delicate and flowing but are they stone or even human they are made from something intricate but they are monumental alice kettle commenting on her work three caryatids though the figures are shapeless sometimes faceless they are never anything less than beautiful and yet her art is beyond decoration for her works always reference something beyond themselves as her art progressed in depth and vision a new sense of universality began to emerge so that by time she embroidered creation the main figure was genderless ageless raceless this is concept art at it s most notable for to combine an idea with the perfection and beauty of execution requires the skill set of a mature and experienced practitioner which alice kettle displays in abundance creation 1991 alice kettle studied fine art from 1979 84 at the university of reading followed by post graduate studies in textile art at goldsmiths college london until 1984 she is an honorary member of the prestigious textile art 62 group amongst many fellowships that she holds she is also a research fellow at manchester metropolitan university though she began with painting it wasn t until she switched in 1985 to textiles that she finally found her niche alice kettle works intuitively following where the stitch wants to go she prefers to work this way instead of laboriously planning her art so dyeing and printing methods are not for her unlike hand embroidery machine embroidery allows her to fill the canvas with long sweeping lines of stitching she uses coloured threads in much the same way that a painter uses oil paints or acrylics furthermore the act of over stitching layer upon layer creates a rippling effect in the canvas transforming a 2 dimensional flat piece of work into a shimmering 3 dimensional surface it was as if the canvas itself was also changing rather than me just putting more and more into the surface of it alice kettle alice kettle s huge embroideries bring to mind the ancient art of tapestry weaving in both form and content and yet though evocative of many of the mythological stories from the far flung past her machine sewn embroideries are anything but ancient instead they are thoroughly modern in mode if not in meaning for once again we notice that it is not alone the vague generalised outlines which represent universal figures but the emotions evoked through the narrative threads are common to all times all eras all beings i like images that are universal that sum up some inherent quality of existence alice kettle odyssey 2003 alice kettle is a master colourist evidence of her earlier days exploring the interaction of hue and light while painting in college but while most of her massive scaled embroideries are swirls of illuminated colours there are a few equally striking even though they are bereft of colour what follows are a selection of some her monochrome embroideries with accompanying commentary from the artist i was especially drawn to them in that they seemed to suggest a very new and post modern approach to the traditional form of blackwork embroidery where the lines of delicate stitchery echo the gentle art of double running or holbein stitch anthracite ii 1989 black and white has so much power it dispenses with the prettiness of embroidery niagra 1995 working in black and white gives me great freedom without decisions of colour the line takes on paramount importance black and white brings me back to the essence of stitch references eye of the needle the textile art of alice kettle edited by matthew koumis alice kettle mythscapes exhibition catalogue machine stitch perspectives alice kettle jane mckeating posted by edith at 2 51 pm no comments labels alice kettle blackwork bridget riley hans holbein the elder hans holbein the younger holbein stitch machine embroidery spanish stitch thursday march 23 2017 chapter 12 final project functional 3 dimensional embroidered item at long last i am nearing the end of module 2 today i put the final touches to my functional 3 dimensional embroidered item a bag the shape of my bag was based on a section of the shell of the tortoise i sketched earlier the details and thought processes described in previous posts below are a few images of the bag under construction embroidered fabrics adhered to pelmet vilene using bondaweb unbleached cotton bondawebbed to backs of front and back of bag straps in progress it was interesting to see how much shorter the straps became the more i knotted the strips of fabric together i made each knot with 4 to 5 twists completed bag with gussets free machine corded edging at top and knotted strips of frayed fabric for straps front of bag back of bag gusset edge with straps applied embroidered purses design technique by linda tudor was invaluable in helping me work out an approach to making my bag something i had never done before ms tudor offers a number of different bag constructions from which i chose her bag with gussets as my model authenticating photograph of me adding finishing touches to bag references embroidered purses linda tudor strip patchwork valerie campbell harding machine embroidery stitch techniques val campbell harding pam watts blackwork embroidery margaret pascoe blackwork becky hogg t he machine embroiderer s workbook val holmes shibori for textile artists janice gunner posted by edith at 6 26 am no comments labels 3 dimensional functional embroidered item chapter 12 finished bag module 2 tuesday december 13 2016 chapter 12 mock up of bag with a gusset below are a couple of photos of a mock up of my proposed final 3d project made with white card and thick cotton thread for the shoulder strap the elements have been taped together with sellotape my plan is to use black fabric for the gusset decorated possibly with overlapping flaps of fabric representing the scales of the tortoise legs the shoulder strap will be made from a braid of machine stitched cords i really like these little 3d shapes moulded to replicate the raised protrusions found on some tortoise shells next step is to try and pull all these elements together posted by edith at 8 10 am 1 comment tuesday november 8 2016 module 2 chapter 12 stage 2 creating a functional 3 dimensional embroidered item in preparation for making the final project for this module i began by returning to my monoprinted and dyed fabrics stash from earlier picking a few to machine stitch below is a selection of a few of my new decorated fabrics this time i was a lot more comfortable playing with both cable stitch and whip stitch i also enjoyed incorporating both of these approaches to machine stitching on the same piece of fabric i found that they complement each other rather well the scrunched up piece of fabric on the top of the image below was especially interesting i really like the ruched effect whip stitch can create especially when machined fast the next step was to create the pattern based on a section of the tortoise shell from one of my research images earlier in the module this shape was just different enough to lift my bag design from the ordinary and expected that it waspart of the tortoise whose shell had informed so much of my experimental work simply added to the effect for me now with design and shape in hand it was time to make a pattern from which to cut the pieces of the bag i enlarged the shape on cartridge paper then traced it on to architect s paper before cutting out pattern pieces from pelmet vilene and lining fabric which was cotton canvas i also created a window shape of the design to help me audition which sections of the combined fabrics i would use for both front and back panels using bondaweb i ironed the cotton canvas to the insides of the bag panels now the real fun began it was time to start playing and experimenting with fabric layouts to create both front and back panels of the bag but first back to the drawing board covering the table with painted and decorated papers i played with some of the design ideas previously explored only this time bearing in mind the finished object i knew i wanted one side to be somehow based upon or derived from the fibonnaci design as i had enjoyed the beauty of its geometry when experimenting with it earlier in the module first i choose a selection of fabrics to sew together in strips keeping a close eye on their tonality next i cut the combined piece into the fibonnaci sequence 1 1 2 3 2 2 4 6 to rejoin the pieces i cut some black fabric following the fibonnaci sequence again and sewed the strips together into a single piece below is the front of the fabric with seams facing outwards much as i like the effect of the outward facing seams which will be ravelled back as far as possible i also loved the effect of the back of this piece and was rather pleased with the overall effect of the stitched and decorated fabrics i would never have thought that such a simple approach to fabric play could generate such effective work next step was to take the cardboard cut out of the pattern and audition which section of the pieced fabric i would choose for the front panel how about this or this back to the drawing board or rather the cutting and pasting board to play with ideas of placement bearing quality of tonality in mind which led to this note that the pattern piece still needs to be cut to size as well as having it s seams shredded for the back panel i wanted to work with the quality of value moving from light to dark i loved the blackwork section of this module and was keen to incorporate elements which harkened back to the days of such glorious embroidery so i started by cutting and pasting some of my decorated papers on to the mock pattern piece next job was to recreate the above with fabric choosing my fabrics carefully i stitched them into strips before cutting them roughly into the panel shape bother panels will be completed by adhering the fabric to the other sides of the pelmet vilene once i have fully frayed all the seams otherwise there is a chance that the action of pulling at the seams and fraying the fabric will loosen the panel from its supporting vilene posted by edith at 5 31 am no comments wednesday july 27 2016 module 2 chapter 12 stage 2 continued continuing to play and experiment with surface design for my bag i began by adapting the method worked in an earlier chapter but instead of stitching for shibori dyeing i stitched with a view to gathering the painted dyed and patched fabrics in order to generate entirely new designs through stitching in the first example below i began by choosing one of my log cabin samples and stitched uneven lines of running stitch before gathering unfortunately because i stitched with normal sewing quality polyester thread one of the lines of stitching broke thinking about this i came to two conclusions the first was to use shibori quality thread next time and secondly ungathered sections create a more interesting finished effect log cabin sample log cabin stitched log cabin gathered tightly in the next sample i chose some commercial striped fabric and gathered it more loosely than previous sample i then rearranged the gathers in order to imitate at least partially the lines in the image of the tiger s markings below tiger markings striped fabric striped fabric gathered loosely and then rearranged in an attempt to capture the tiger markings above wrapping fabric strips with thread instructions from three dimensional embroidery by janet edmonds finely woven linen in first failed black dye bath wrapped in white crochet cotton next step was to coil the above wrapped fabric into a pointed shape reminiscent of peaked shapes on tortoise shell i really like this shape definite possibilities for a possible panel for my tortoise inspire...