Does this happen to you? You finally admit it’s now autumn, cold enough to warrant a proper coat being worn, and on putting a hand in the pocket you find your fingers caressing one of last year’s conkers. You then also realise it’s time to start lashing on the hand-cream and wearing gloves - looking at my dry hand I realise I should have started that regime a while ago!

This week Debbie Lyddon has been teaching her Exploring Place workshop in the studio and one of the things students have been doing is collecting and recording things found on their local morning walk.

Outside the studio there are huge oak trees so there are plenty of acorns,

down the lane pheasant feathers were found

and, of course, conkers were everywhere!

​But what to do with all these things we collect?

Debbie has made a series of vessels 

While the grasses were twisted and woven into a series of small balls.

Terry walks and collects too, usually by the sea.  

Usually, Terry records what she finds, such as the lovely sea glass above. 

But, sometimes Terry isn't able to actually 'collect' the items she finds, like the beautiful ammonite pavement on Monmouth Beach, Lyme Regis.  That's where carrying a camera and a small sketchbook comes in handy and back in the studio she was able to do a series of studies on paper, from which a thermofax screen was made.  The quilt, above right, shows where this screen was used to discharge a piece of hand dyed fabric.

The line of oyster shells were 'drawn-without-looking' and eventually became a free motion quilting design which Terry has used several times, above is Walking on the beach and below they feature on one of the long Narrative: walking strips.

Look carefully and you will find other images of collected items!

More of Terry's work can be found on her website.

Are you a collector of random 'stuff'? If you are do tell us what you collect and how you use it in your creative practice.

Hazel & Terry

Yesterday it was 24 degrees in my garden and as I sat in the beautiful autumnal sunshine eating a salad lunch, after a morning spent gardening, it felt like summer could go on forever.

 How deluded was I.

Today has been cold, damp and quite frankly miserable. True, Saturday looks a bit perkier, but there’s no denying, autumn is definitely on its way. Not before long some may say, but I have so loved these long warm summer days. Now it’s time to move back indoors and start thinking about some serious stitching projects.

After the flurry (and I have to note, some success) of the three quilts I made earlier this year (if you missed them you can read all about then here, here and here!) I've been a bit lax on the sewing front it has to be said: too many cycling adventures, a lot of gardening, getting ready, setting up and taking InStitches to shows, and the knitting of socks (yes...really, doesn't everyone?!)

Also taxing my brain was a certain tell-tale line slowly rising up my study wall.  It certainly has put a dampener (#allpunsintended) on creative thought - take a look...

How can such a 'tiny' leak create so much havoc?

The whole of my study has spent weeks in the garage,

Harry and Betty have been, quite rightly, flummoxed at times.

But the plasterers finished today.  Now there's 'just' a new floor, woodwork and full decorating to go and finally I shall have my study back.  THEN I can begin creative work - surely??

True, I could have, of course, gone up to my workroom.  But as you can see, the state of affairs in there isn't much better.  In fact it's worse - only I can sort that mess out (actually, that's what happening, we all know you have to be messy in order to tidy up - don't we?)

I know I also have a whole studio to play in...but quite frankly over the summer it hasn't looked that great in there either...if we'd been burgled I think they would have felt duty bound to tidy up for us!

The new studio is progressing slowly, despite all the edible brides and encouragement. But all good things come to those who wait... (note: this picture was taken a few weeks ago and there's been a lot of activity - you'll just have to trust me on that one!)

So there's nothing for it, I can't procrastinate anymore; no more excuses, I'm going to have to do what I'm always telling our students to do: get the sketchbook/workbook out, set an intention, make some notes and start exploring! I just need to begin... Carpe diem!

Hazel & Terry

Dutch orange, saffron, amber, ginger, minium and nude.  Coral, terracotta, peach, apricot and tangerine.  Call it what you will, orange was described by Wassily Kandinsky (1866-1944) as 'warm red, intensified by a suitable yellow'.

But I've had a love-hate relationship with the colour orange most of my life - is it because I'm a child of the 70's I wonder?  Just like with blue cheese, red wine and olives though, as I've grown older I'm finding myself, however, willing to dabble with the odd flash of orange every now and then.  

​It's autumn here in the UK, and at this time of year there's a lot of orange about, as Terry found when she visited Forde Abbey in Somerset to see the pumpkin and squash harvest ripening in the sunshine.

Here in Hampshire the garden  still  has plenty of colour, with orange coloured flowers, leaves and berries galore. 

The colour orange is named after the fruit, which was probably first cultivated in China before spreading west across the world. In Sanskrit it is narangah, naranja in Spanish, orenge in French and of course orange in English; but it wasn't until sometime during the sixteenth century that orange was used as a name for the colour, up until then English speakers referred to yellow-red (geoluhread).

When paired with blue, its complimentary colour from across the colour wheel, the colour scheme is zingy and never dull - although I don't think the Buddhist monks were concerned at all about that when they hung their freshly washed robes out to dry in the court yard underneath the blue shutters!

Just look at the stunning colour scheme of this traditional wooden house on the island of Suomalinna, just a short ferry trip from Helshinki, Finland

and again here on a canal side tin shack of a shop in Kerela, India.

Orange cloth, often associated with Hinduism and which would have originally been dyed with saffron, has been worn in parts of India for over 2000 years. The Hindu festival of Holi to celebrate the coming of spring sees children and young people throwing coloured paints everywhere.  Originally the colour orange would have come from natural plant-based sources such as turmeric but nowadays it is increasingly a water-based commercial pigment; and hopefully washable!

From the cheerful orange marigolds piled high on rugs laid out on the roadside, rows of bright orange plastic jugs strung across a market stall to the huge namaste hand gesture of greeting on the terminal wall in Delhi airport - the colour orange is everywhere across India.

It's in many other far eastern countries too as I found out last year, as I cycled around Myanmar- it is also the traditional  colour of Buddhist monks' robes.

 ​It's the national colour of The Netherlands and their royal family is the house of Orange-Nassu; in Thailand it is the symbol of Thursday.  

And it's the colour of a perfect sunset.

So let's raise a glass, perhaps a Seville Gin garnished with a slice of fresh orange?, and toast the colour orange - have a happy weekend!

Hazel & Terry

If you went to the Festival of Quilts at the NEC or The South West Quilt and Textile Show in Bristol you may have joined us on one of our ‘take two stitches’ workshops, where we explored the potential of just two stitches - the straight stitch and a French knot.  

This lady enjoyed the class in 2017 and had brought her sampler with her this year to show me and to buy some more of our thread so she could finish it.  When I asked her what it was she had enjoyed so much she said it was having the encouragement to start and the inspiration to continue; she enjoyed the slow rhythm and peace that hand stitching brings.

Terry also enjoys hand stitching and often combines it with machine stitch and this year two of my quilts featured dense hand stitching.

My Contemporary Quilt ‘InPrint’ entry ‘Pink Floyd, this way’ and

my entry for The Fine Art Quilt Master, ‘the space between the moments’ both featured a lot of freestyle cross stitch to build up layers of texture to suggest a decaying old wall (Pink Floyd) and pine trees and snow ( Moments). Like the lady who came to show me her sampler, I  too find this type of hand stitching very contemplative and soothing: I have to slow my mind and develop a different rhythm.

Through the winter evenings I can sometimes even be found knitting woolly socks on 4 bamboo needles - got to have something pretty to keep those toes warm!  Knitting is rhymical and soothing too - and given their size I have a good chance of finishing them as well!

I always like to keep some hand stitching on the go as well, this little blue study was done on a piece of vintage table linen. Can you spot the exquisite darn in the middle? It was that which inspired me to join in with #1yearofstitches2017  over on Instagram.

I kept the daily hand stitching up for a good few months, even as I cycled round the Mekong Delta and Myanmar. Obviously not while I was actually cycling, but when I was having my restorative G&T in the evening! I always mean to keep an art journal when I go off on my adventures but some how it never happens, but last year the stitching did. Secretly in my room at first (I didn’t know what my fellow travellers would think) but then down in the bar and at the dinner table whilst we were waiting. I needn’t have worried - everyone was fascinated and as the days went by the whole group were keen to ensure not one event went unrecorded in stitch!  By the time I came home I had a whole stitched account of my 3 week adventure on two wheels.

This autumn the socks are coming along at a pace so I’m thinking that I’ll need another hand stitch project. I don't have a quilt on the go at the moment, but like a pianist I need to keep up with my daily practice, so I’ve looked out some stitch books for inspiration,

collected my hand sewing equipment,

and started to select my threads. I thinking a piece of vintage table cloth or maybe some old linen for the fabric, I’ll need to have a rummage through my stash in the morning.

Or I might continue stitching on this. I put this together a couple of years ago from an off cut of wool wadding and some of our cotton fabric from the studio. It’s a couple of metres long already, so I could piece on another section and carry on! I intended it as a stitch sampler, a place to try out new combinations and threads, but sometimes I struggle to come up with something different.

Which is why I’m really excited to be welcoming Richard McVetis into the InStitches Studio this autumn. Richard is a British artist known for his meticulously embroidered drawings and sculptures and his artistic practice centres on his training as an embroiderer through the use of traditional hand stitch techniques and mark making.

If you feel inspired to pick up needle, thread and fabric why not come and join us on the 12th and 13th November? If you want to know more about the two days then take a look at the workshop Richard has planned for us.  All you need to bring is your hand sewing kit - all the other materials are provided as well as homemade biscuits with morning coffee, a delicious light seasonal lunch and a pot of tea and a slice of homemade cake before you head off home after a day of creative stitching.  What are you waiting for?  Come and join us, I for one can't wait!

Hazel & Terry

We both produce our own unique fabric to use in our quilt making. It’s all about the total ownership and freedom that comes with the creative process; we have a piece of white fabric, dye it, print it, remove some colour and then add even more: we take the cloth and make it our own. No two pieces are the same and often the results aren’t quite how we planned, but that’s okay - over the years we’ve learnt to embrace the serendipity that comes from working with the bucket and bench.

Each summer we move the dyeing process outdoors and into the sunshine - and yes, the sun does always shine on an indigo day! Indigo dyeing - pure alchemy. Back in July I blogged about our latest indigo day (missed it? Take a look here) so this week I thought I’d show you what I’ve been sewing with one of the pieces we created.

See the honey comb piece on the left? That’s a full width half metre piece of shrunk cotton, which we rolled up along a piece of chunky cotton string and pulled up tight until it resembled a hair scrunchy. A couple of dips in the indigo vat and that’s the cloth you get! Super easy, super fast...and super fabric!

So what did I make with it?

Each summer, as we cut, roll and label the fabric for our stand at Festival of Quilts I always say ‘next year I’m going to sew something to wear out of some of our fabric’. If you’ve ever visited us on our stand you’ll know I never had.....until this year! Yes, we have been (worryingly) so organised that everything is cut, folded, bagged and boxed ahead of schedule that I’ve had time to sew a top!

If you follow me on Instagram you’ll have seen that over last year or so I’ve come back to dress making with some summer dresses for me

and last year a couple of fiendishly tricky 1930’s evening dresses for my daughter - definitely a labour of love!

I didn’t attempt anything as complex for the indigo fabric but chose a simple top using a pattern I’d bought when we were at thread last month at Farnham Maltings, from our friend Viv of Purple Stitches.

I thought it was a great pattern to showcase some of our indigo fabrics! Its also got just 3 pattern pieces!

Multi sized with a couple of length options and printed on good quality paper - so much easier and more robust than the flimsy tissue paper the bigger pattern companies use. Cut out in a flash (does help that the InStitches studio has lovely large, height adjustable tables !) and sewn in a couple of hours

I like a lined yoke and if you go onto the pattern website there’s pattern options and videos to show you how. No excuses really!

I’ve made 3 already! So what does the indigo one look like? Take a look...

I’m really please with it. If you want to see how it looks on then do be sure to stop by and say hello, we’re on stand QIA15 next week at the Festival of Quilts - I could just be wearing it! And you never know - Terry might even have her's cut out and sewn up in time...

Hazel & Terry

A couple of years ago I travelled around India and spent some time in Rajasthan. Wherever I travel I take hundreds and hundreds of photographs and very often I come home, unpack, stick the laundry on and then don’t do anything with the images. Until, that is, when the 2018 Contemporary Quilters’ In Print challenge was announced.

The peeling, shabby walls of India tell their own stories and the walls of Pushkar were no exception. Wandering the back streets one afternoon, camera in hand, photographing anything and everything I took a series of images and it was these which were to become the starting point for my quilt.

This part of Pushkar had definitely seen better days - black mould crept across the once white walls, the paint worke was peeling and tatty posters and handbills were stuck everywhere. Graffiti spread like a rash. Much to the amusement of my fellow travellers and accompanying guides I often photograph graffiti. From Cambodia to Vietnam, Myanmar to India I’ve photographed a lot because, I don’t know about you, I think that when it’s in a script I can’t read, a lot of it, far from looking destructive, looks creative! The pattern of these words inprinted on the walls are telling stories often only know to the writer.

If you’ve followed the blog for awhile you’ll know I often photograph doors, walls, windows and now graffiti! So out came the photographs (actually, on went the computer – isn’t that where all photographs are stored nowadays?) and these two images immediately caught my attention. I remember photographing them and being amused – Pink Floyd, playing here, right here in the back streets of Pushkar, really?! Absurd, but it tickled me that’s for sure.

As with all the CQ challenges there is a size restriction and for this challenge it was 100cm x 45cm in either a horizontal or vertical format. I tried both and ended up selecting horizontal which meant I had to modify my original ideas, but it made me focus!

First step was to fuse the two images, nothing technical, I simply printed them off onto normal copy paper, married them up and glue them into place and rephotographed them!

This fused image was then uploaded to Adobe Sketch on my iPad. This app allows you to have different layers so I was simply able to trace marks, shapes and text . SSSh! No drawing required...

This whole cloth quilt is a piece of vintage linen. To create the rusty marks for the door I draped the fabric in a large plastic tray, the rusted objects (and we have quite a lot at the studio!) were strategically placed on the door area, as well as littered over the rest of the ‘wall’ surface and then I poured over black tea. It’s the black tea combined with the rust which gives the grey, black and finally rusty marks which I needed for the first layer of colouring. This is definitely a quilt of layers!

Once I’d rinsed and dried the fabric the door area’s rust marks weren’t as distinct as I’d hope for. Balancing nails on their head for the nail marks isn’t an easy task! What is easier is to dip a nail into pva glue, print the required mark and sprinkle with rusting powder before spritzing with a water /vinegar mix. The cup of ground coffee which had gone cold by this time was useful for adding extra colour to the door ‘wood’. Nothing goes to waste when you’re being creative!

Machine stitching came next to give structure to the door with hand stitching to blur the edges. Then it was time for another layer of paint. White opaque fabric paint, mixed with puff paste, was sponged onto the wall area and then heat set to expand – I was after that slightly blown, bubbly texture of old painted wall. The creeping damp was created by sponging over black fabric paint.

I’d already ‘traced’ the text in the Adobe Sketch app so it was a simple step to create cut file and send it to the Cricut for cutting as a stencil. A couple of test runs using copy paper were needed to find the correct size (the separate arrow was tricky!) before I then set it to be cut in freezer paper. The Cricut has been in the studio for quite awhile but it’s a struggle finding time to play with it and put it through its paces. We have it for making repeatable stencils as it’ll cut through a wide variety of materials so I’m sure that once I’ve figured it out it’ll be a brilliant tool to have at our disposal.....

Anyhow, freezer paper stencil ironed into place, it was time to add colour with Markal oil pastels. I over did the black slightly so then I had to used several cotton buds to carefully remove some. Curing takes a couple of days before I could start stitching. For a little quilt there was a lot of hand stitching to create the surface texture, thank goodness for tv box set!

I didn’t want a visible binding so chose to apply a facing to finish the edges. The last step was to apply, using red Markal pastel and a stiff brush, the red graffiti numbers.

I’m pleased to say it was juried into the In Print exhibition and you can see it at a variety of venues around the UK until spring 2019. At the moment it’s at the Forge Mill Needle Museum in Redditch and at the end of August it’ll be at the West Country Quilt and Textile Show, which is where I will catch up and see the whole collection.

Bye for now,
Hazel& Terry

Where do you find your colours ?  Flowers, fruits and natural landscapes are often used as inspiration, but have you ever thought about looking at the hard landscape - the buildings, the roads and man-made structures?

From Wakefield to Bath via the Mekong Delta.

The peeling, the rough and the weathered

or the modern, the reflective and the graffic?

You can see how we've been inspired in our new range of fabrics - Sticks & Stones, which will be available to buy on our stand at this summer's shows.

Until next week it's back to the print bench, there's still plenty to do!

Hazel & Terry

​Following on from Hazel's post last week, here's the story of my quilt, Black across the Sun II, which will also be travelling with SAQA's Wide Horizons VI ​exhibition later this year. One of the things that is good about this exhibition is that the call for entry allows older pieces to be entered - up to three years old in fact. Which meant that this quilt of mine which was originally made for a Grosvenor exhibition of my work in three of their southern quilt shows gets to be seen by a wider audience.

This quilt is an attempt to depict the strange feeling you experience during an eclipse - right at the point of totality, and the route by which I came up with the design is quite convoluted!

To go right back to the beginning, a while ago Contemporary Quilt, one of the specialist groups of the Quilters' Guild, had an exhibition where the theme was Dislocation. They specified dimensions of 50x120cm, but I also wanted to try out a square format. ​Although this is the second quilt in the series, and not the one I made for the CQ exhibition, they have a shared story.

​It took me a long while to think of something to do for this theme. I knew couldn’t involve the obvious interpretations using bones and X-rays or displaced peoples and refugees as I have no experience of these. Having been a nurse in a former life I was thinking about the odd feeling people experience when coming round from an anaesthetic (I have no direct experience of this either!). While I was working I was listening to a prog rock song called Anesthetize by the band Porcupine Tree (don’t ask!). I usually listen to music while I work, but I have to know the lyrics well, otherwise I spend my time trying to work out the words and no work happens! On this day the words crept into my consciousness and I realised they could be describing an eclipse.

I remembered my experience of the eclipse in the UK in 1999, seen at its full extent only in parts of SW Cornwall and South Devon. In the middle of the day the sun was obscured; there was an eerie quiet darkness, with no birds singing or flying and a strange otherworldly landscape - not quite dark, but definitely not normal. This was a sense of Dislocation that I could relate to. I researched the phenomena which accompany an eclipse and learned a lot in the process, and this enabled me to develop ideas and imagery for the quilts.

Circles and scribbled rings have long been one of my go-to symbols when I'm at a loss for what to draw: they're very versatile and can represent pebbles, shells, fossils, or the cycle of life and many other concepts, so my sketchbook already contained marks and ideas that I could use for this piece.  Luckily in my stash were several black fabrics, mostly hand-dyed in various combinations of black and brown, which were great for printing with discharge paste to remove the colour.

I created the main fabrics for the pieces using monoprinting techniques for the large fractured rings,  freehand drawing with a needle-nosed bottle for the smaller rings and zig-zags and Thermofax screens of some of my sketchbook pages of texture and rings for the positive and negative prints on the supporting fabric. I added in a breakdown printed fabric and a 'plain' dyed blue for a pop of colour in the thin shards which fracture the surface at intervals. ​

​The textured fabric was printed using a Thermofax screen of one of my sketchbook pages containing a text exercise that I love. Start by writing words or a phrase repeatedly to cover the page in one direction (then turn the page through 90 degrees and write it all again; repeat this twice more and the words will no longer be legible, but will read as texture. This is a great way of adding layers of meaning to a piece.
 
I constructed the quilt with simple strip piecing, free-cut so that the strips tapered to nothing. The machine quilting developed from a phenomenon called shadow bands - thin shafts of scattered light from the edge of the eclipse, and I used a variegated black and white thread - normally too high contrast for me, but perfect for this quilt. The centres of the large circles are hand quilted with black crosses or FMQ'd with a spiky vermicelli, and some hand stitched orange circles in the text areas echo the circle on the sketchbook page which remarkably come out on the Thermofax screen (usually only black and white is reproducible).

We’re both members of SAQA and earlier this year we each submitted a quilt into the Europe and the Middle East members’ call for entry for the Wide Horizons VI exhibition . The way this works is each quilter submits two images, a whole quilt image and a close-up image, for consideration by a jury panel. Then you sit, wait and act as if you don't mind one way or another! In our case we’ve both been (and still are!) very busy running the studio, sorting next year’s programme out and getting ready for Thread and Festival of Quilts, so this part at least was quite easy.

It was a delightful surprise therefore, in the midst of a very busy day, to receive an email announcing that my quilt Do you remember the cherries? had been one of the ones selected. And it was a double delight to find that Terry has also received an email saying her quilt Black across the sun had been selected as well. In total over 80 quilts had been submitted with 27 making the final selection. Just 8 quilts come from the UK and two of those are from the InStitches Studio!

The Wide Horizons VI exhibition will be at various quilt shows through out Europe during 2018/19 but at the moment we don't have the UK dates so we thought we’d give you a sneak preview of our entries, first up this week is my quilt Do you remember the cherries?

When I’m sewing my art quilts I’m constantly pinning them up on the design wall to see what they are saying and as you may know, sometimes quilts just demand to be made; this quilt knew it’s own mind and how it was to be. I also had in the back of my mind a postcard, sent to me many years ago from another friend, by the Japanese artist Tomoi Yokoi. I didn’t want to copy her artwork, but using the dark background appealed to me and put me in mind of the Flemish still life artists such as Caravaggio and Bruegel and the female Dutch still life painters, Rachel Ruysch and Clara Peeters. The food is central to the compositions but the accompanying textiles and china all have important roles too. With my bowl (incidentally this one I bought on a trip to Warsaw and it holds many fond memories, not just of cherries) constructed it was time to audition fabrics, I like to use my Ipad for this aspect of the design process: pin, click, view. Easy!

Once I’d selected my fabric drape - a piece of wax resist hand dyed cotton sateen, I pinned and tucked it into place before removing it and snipping (very carefully) the excess bulk away. I wanted to incorporate text into the pale areas so I used a piece of removable paper stabiliser behind the fabric as I free motion embroidered the words. It was then machine appliquéd into place before the bowl was finally positioned and stitched down.

The final step for my still life collages is to add extra dimensional detail using Derwent Inktense pastels and in this case, a quick touch of gilding paste for that just picked look!

Artist’s Statement:

Alison had bought them on her way home from work: you didn’t have much appetite by then
and she thought cherries would tempt you.
Our clever girl, she knew you so well, after all she has your sweet tooth.

Plump, sweet and ripe, the juice ran down your chin
And as we carefully wiped it away we saw the delight and happiness in your eyes.

Two summers after you went away I planted a cherry tree for you
And last summer I was able to fill a huge bowl full.

Plump and juicy, each one I ate reminded me of you.




Until next week, when Terry will tell you all about her quilt, Black across the sun, enjoy the weekend,

Hazel & Terry

Hazel takes every opportunity to visit the Yorkshire Sculpture Park because its such an inspiring place , but last bank holiday, when spring and summer finally arrived all at once, I went to explore a different sculpture park. Set on the northwest corner of Portland in Dorset, Tout Quarry sculpture park is a fascinating place with views over Chesil beach and Weymouth to die for.

Tout Quarry is one of only two remaining quarries where Portland Stone was extracted using the old methods. The last stone was taken from there in 1983 for the sea defences at West Bay (30000 tons of it) and since then the landscape has been left to nature. The Portland Sculpture and Quarry Trust Project protects the site, and artists have created over 60 hidden sculptures from the stones left behind by the quarrymen. It’s a great place to explore and gives a sense of the geology and ecology of the area, as well as the history and of course the art.

Works are carved into rock faces, extracted boulders or built from shale, and there is something to see around every corner of this magical landscape. Some are inspired by animals, with detailed carvings or simple line drawings. . .

.. . .others by the human form: the work on the left & middle below, entitled Still Falling, is by Anthony Gormley, and is carved into a massive rock face of unquarried stone in the centre of the area.

One recent sculptor took inspiration from the grizzly local folk tale of the Roy Dog, which hunted smugglers and ate them, weaving their eyes into its fur so they can still see. Look closely at the picture on the right and you’ll see the eyes!

All around are remnants of quarrymen’s work - tramways, bridges, caves and the places where the spoil was tipped over the cliff.

As you wander around the park you will discover a wealth of marks and lines to record and inspire you. (The ones bottom centre are known as Portland screws - fossilised shells in the rock - often seen when Portland Stone is used in building.) Nature has been left to reclaim the area and it is managed as a nature reserve.

We had only intended to stay for an hour but ended up staying all day, walking to the local town centre (Easton) and buying a picnic from White Stones Cafe and Gallery, which is a gem with an artist’s garden and well worth a visit.

We’ll definitely be back to discover more in this fascinating corner of Dorset. Put it on your list if you’re ever in the area - you won’t be disappointed.

Until next week

Terry & Hazel