A small thing

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This is short post about this very small piece which measures about six inches by four inches.  It is made on a piece of old quilt with needle-turned appliqué.  The appliqué is mainly done with plain fabric which I monoprinted, but I used such small pieces that it just looks like striped fabric:

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The fruit is meant to look like an apple, although I think it looks more like an orange.  I made the piece because someone was telling me about the old, and now defunct, I think, Austrian custom whereby young women would put a piece of apple in their armpits and then do a ritual dance.  At the end of the dance they would give the apple slice to their lover who would eat it.  I presume if he refused the relationship came to an end.  The way I was told the story was that the lovers put the apple slices in their armpits and then danced together all night and then swapped slices at the end and went home with their lover’s scent impregnating the fruit so they could continue to think of them.  I think this is a nicer version.

This was a quick piece to make and I think the old, battered, frayed quality of the piece goes with the old, romantic tale.  The piece of old quilt came from the Welsh Quilt Museum in Lampeter.

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Still more applique

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This piece is backed onto some curtain interlining and then washed in hot water to give it a vintage feel.  This particular interlining seems to turn into tungsten steel when you give it this treatment so I thought I would stick to something fairly simple for this piece, a spray of leaves.  Once more it is based on a lovely piece by Mandy Pattullo:

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Her’s has a lot of dynamism because of the swirl of the quilt piece behind it.  Mine is much more stable and sedate:

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I wanted to use these lovely purple-y Laura Ashley pieces which were given to me by Gill Bonham, one of the Bristol Quilters.  They were mainly quite fine lawn pieces and very easy to applique.  I decided to embroider them in pink because of the lovely foliage on some flowers I was recently sent:

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I love that pink edge on the shiny strappy leaves.  I was wondering what to do lift the piece and I decided to add some buttons:

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I am not normally a big fan of buttons, and I do actually know someone who genuinely has a phobia of them, but on this occasion I thought they matched the naive quality of the piece.  Furthermore, these all came from my mother-in-law’s button box which I inherited when she died.  Most of them are fairly vintage, which fits in with the general theme of the series.

This little piece has some really old Laura Ashley prints.  The background has some of what looks like Indian woodblock print and this is some of the first designs the company produced for clothing.  The navy and white prints in the above piece are also quite old ones.

It was a delight to do, and I think my hand applique has really improved over the course of this project.

More applique

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This is the latest of my Mandy Pattullo/Laura Ashley pieces.  The background is pieced paper (English method) hexagon patchwork with an overlay of Laura Ashley fabric applique.  I had thought that I would do a fairly minimalist piece with just the dark flowers at the top like Mandy Pattullo sometimes does:

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but I thought mine looked a bit bare:

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I wanted to use these big plastic rose buttons that came as a free gift with a magazine as the centres of some somerset puff roses, and I think that worked quite well.  I wish I had taken a photo before I put the roses on, because the hexagon looked like a cartoon cactus sticking out of the pot.  Anyway, I decided this needed more, and for some reason, I suddenly thought of the Baltimore originals I had in mind when making the pieces: the rick rack braid rose.

I don’t particularly like rick rack braid apart from the really tiny stuff which looks lovely on borders if you have the patience to stitch it on, so this was something that I didn’t have in my stash.  I went to Flo-Jo in Bristol which is a great shop selling fabric and haberdashery and running workshops and dressmaking classes.  It is run by really lovely enthusiastic people and stocks particularly gorgeous ranges of unusual fabric.  Of course, they had a range of rick rack and I bought some red, pink and orange.  Old Baltimore quilts seem to me to delight in virtuoso effects and experimenting with the latest thing, and they often have 3D elements like these roses.  They are really simple to make.  You take two pieces of rick rack, twist them together like plaiting and then roll them up.  The final stage is to pull back the outer rounds to make unfolding petals.  There are lots and lots of demonstrations of this on You Tube in particular, and they are mostly stuck together (opinion varies on the merits of a hot glue gun), but I stitched mine for authenticity (although I expect the ladies of Baltimore would have used a glue gun if they had had one available).  As an aside, there was a wonderful video of a woman making daisies rather than roses out of rick rack which she then fills with pearls and sticks on lace and which are really not to my taste.  At the end of one of the videos she makes leaves out of synthetic ribbon.  ‘You need to burnish [i.e. singe] the ends together,’ she trills gaily and proceeds to take what looks like one of those things used to light gas rings on cookers and to waft it in front of her ribbon, slightly singeing her fingers.  ‘It doesn’t hurt,’ she says, ‘well not really.’  I am not sure that I really want to scorch my finger ends for ribbon leaves but it doesn’t seem to do her a lot of harm.  Pyrotechnics aside, there are some very clear tutorials available, and, of course, fans of Baltimores will know that Elly Sienkiewicz’s books contain explicit and well-illustrated instructions, particularly her book on dimensional applique.

I am not sure if you can tell from the photograph at the top but I made a big central rose of red and pink twisted together, and four large red roses and four small pink ones.  They are really good fun and quick to make, and the best bit is at the end when you pull back the outer rounds and the rose almost leaps forward.  The You Tube demonstrators tend to stick them on rings or brooches or hair slides.  I would just recommend going easy on the lace.

I finished off with some big mint green leaves with the veins done this time in fly stitch.  In the end, I rather liked the naive charm of the piece, and I think it is an interesting example of something I have written about before: your relationship with your work.  You might think that you have finished, but your work will whisper, or shout very loudly as it did here, that it is not finished.  And you have to finish it because otherwise it will go on shouting until you do.

More embroidery

My last post was about the fox piece that I started at the Mandy Pattullo workshop I attended.  I really like Mandy’s work and I wanted to do a bit more with some of the ideas that we discussed at the workshop, so here are a couple more pieces.  They are worked on top of a variation of a hexagon rosette all done in Laura Ashley fabric and then applied to a base.  These were then washed at 90 degrees and tumble-dried.  This gives a nice antique-y feel to them, but it also makes what is already pretty dense fabric almost impossible to stitch into.  I live and learn.  I thought just embroidering through the top layer would be okay but the furnishing (decorator) weight, if anything, got denser rather than softer.  Still, the end results were pretty and confirm me in my view that more is more with regard to decorative pieces.  A few tasteful marks would have been useless.

First is this piece which has a vague look of seventeenth-century crewel work to me:

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Compare it to one of Mandy Pattullo’s pieces and you can see the influence:

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The second is rather more folk-arty, I think:

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It reminds me a bit of Pennsylvania Dutch art which I have always loved since my mother’s penfriend sent me a tiny PD pendant when I was a very little girl:

This one is applied to an IKEA linen tea towel cut in half.  This would be lovely to stitch into were it not for the upholstery weight rosette behind it.  I am particularly proud of this piece for an odd reason: I managed to find my set of yo-yo or suffolk puff makers which I bought years ago before I realised what a fruitless task making suffolk puffs is.  But on this they really work and the gadget makes them quick and easy to make.  I had three go-s at the plant pot before this finally worked.

I am really enjoying making them, and the medical profession is very keen on my doing embroidery at the moment, and so everyone, temporarily at least, is happy.

Laura the fox takes a moonlight stroll in her new lacy black stockings

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Last week I went to Bristol Quilters’ workshop with Mandy Pattullo.  I had a great day.  Mandy Pattullo is an artist whose work I have admired since I saw it at the Festival of Quilts a couple of years ago.  Her work is with old and often recycled textiles and embroidery.  She was very generous in allowing us to photograph her work and so here are a few photos to show the sort of work she does:

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She gave us each a piece of a plain old quilt and some templates for flowers and hearts and things, as well as a couple of pieces of very worn old quilts which we used to start the background.  I decided early on that I wanted to make a fox as we are having fun and games with our dogs getting us up at 4.00 am most mornings to root out whatever is in the garden and which I think might be a little vulpine friend.

I was sitting between two great quilters, Alison and Nathalie, and they gave me the fabric for the fox’s body and legs.  I was really pleased to be able to use Nathalie’s Laura Ashley fabric for the fox’s body as this fits in with the project that I have been doing for ages.  Alison gave me the fabric for the legs – which I would make much finer if I did it again.  Foxes have black legs, surprisingly, and this was the best we could do, but they do look like lacy tights, which I rather like.

The method is to block in some thing like the fox body or a vase and then to take a water soluble pen and draw a line and then improvise round it.  I drew my line which I turned into a tree.  It’s done with chain stitch in stranded embroidery cotton.  The whole piece came together at the end when I put those black flowers clipped out of a quilting cotton and then stitched down with detached chain stitch and colonial knots, the latter done in orange to try and tie everything together.

The fox was done in needle-turned applique which I enjoyed doing far more than I expected.  Then I put a mix of slivers of leopard print cotton and straight stitches in a variety of threads, some of which were given to me by my good friend Mary from her mum’s stash:

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I embroidered the eye and nose.  I finished the piece with a backing of terracotta Laura Ashley fabric to echo the fox.

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This is the page from my notebook/sketchbook about the piece:

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I really enjoyed the workshop and meeting Mandy, who was great.  I want to do a bit more in this sort of style but without the old quilt as I don’t have one to cut up.