A Picture A Day: March 2018 Visual Diary

 Here is my month in one photo collage. Please click on the image to see a larger version.

A Couple of Pages From My Sketchbook

Following a talk last week (about giving talks!) by Joanna O'Neill at the Embroiderers' Guild in Dumfries, Margaret and I were discussing her wonderful sketchbooks, which were on display at the end of the lecture. There were also examples of her quilt work and small journal quilts, images of which can be seen on her website. I bought two printed cards of her work (scanned image below).

Having learned the importance of keeping a sketchbook on an OCA textiles course, and having observed the way in which textile artists such as Joanna use them (she keeps a mixture of representational drawings, jottings and notes, quick sketches etc - a visual journal/diary), it has encouraged me to make an effort to keep using mine.

We agreed that the only way to do it was to set aside a regular time in the day for drawing, otherwise 'life' takes precedence.

Here are a couple of my recent pages...

Drawing of a print seen on a wall in an artist's studio, in a book called "Maker Spaces" by Emily Quinton, which Rob bought for my birthday. I thought that this sort of design could work well as a patchwork textile wall hanging, or a cut paper collage.

"Change Something" - a collage of found images and mixed media. I am always cutting odd phrases and pictures of objects and human features and body parts out of magazines. These strange creatures occasionally emerge from the cuttings.

Twelve Hearts Patchwork and Appliqué Wall Hanging

Here is my latest wall hanging: made from a mix of machine sewn patchwork, hand appliqué and hand quilting. I was aiming for a colourful mixture of fabrics with a 'scrappy', improvised look. 

Making
The individual rectangles are pieced, then each has a heart sewn to it. The rectangles are joined (after much deliberation about the layout!), then the top is sandwiched with a wadding and backing layer before quilting begins, using embroidery threads for added touches of colour. I added some Czechoslovakian matte glass beads in three places, to add a further layer of interest. A binding is added, along with a hanging sleeve on the reverse, and finally, my maker's label.

This piece is available for sale in my etsy shop. 

Mixed Media Miniature Art Works

Here are some of my latest pieces. They are made from a punch needle centre, set in a painted, papier mȃché frame. 

Punch Needle and Papier Mache Hanging Decoration - Spiral

The punch needle embroidery is worked by punching each loop through the backing fabric using a hand tool to form a textured surface: just like making a miniature rug!

This is the frame and tool I use for working with. The picture above shows the front of the work, with the tool and embroidery threads.

This close-up shows the reverse, 'working side' of the fabric that you punch from. There is a very clear description of the technique on Wikihow called "How To Needle Punch".

Punch Needle and Papier Mache Hanging Decoration - Yellow and Grey Abstract 

Punch Needle and Wooden Brooch - Sunrise

Punch Needle and Papier Mache Hanging Decoration - Rainbow Abstract

More items will be listed in my Folksy and Etsy shops as they become available.

Standing Wool Hanging Decorations and Trivets

I have been experimenting with a new (to me) technique called 'Standing Wool', and of the sub group 'Beaded'.

Circles Wall Hanging - Shades of Green


This traditional construction technique dates back to as early as the 1870s in America. Rugs were often made with strips of worn out clothing, blankets etc. I first learnt about it through Diana Blake Gray's website, Rugmakers' Homestead.

Black and Yellow Wool Trivet


I am currently making a small bedside rug from a recycled woollen blanket and have made some trivets and wall hangings from re-purposed fabrics and craft felt, respectively.

It is quite time-consuming as each strip has to be cut, coiled and hand sewn. Before that you have to decide on the colour combinations to use and the thickness and type of fabric; size and thickness of the 'beads'; and where the piece will be used.

Standing Wool Trivet - Pastel Shades

The size of the 'beads' can be varied to create a free-form design, but if you are sewing a string of 'beads' from the centre in a spiral, they will tend to form a hexagonal shape like honeycomb.

Circle Wall Decoration - Shades of Grey and Tangerine


I find it a very appealing technique, with great potential for large and small projects. Watch this space!

Little Cloud Hanging Decoration - Shades of Grey, Lemon Yellow and White

Artist's Biography and Artist's Statement

Artist’s Biography

I was born in rural Oxfordshire, England in 1966, but have lived in Scotland for the last fourteen years.

My love of arts and crafts began at an early age, when I would spend many happy hours painting, drawing, flower arranging, making collages from ‘found’ items, making figures out of fabric, weaving on cardboard ‘looms’, embroidery, and painting pebbles. I once made an ‘installation’ of a giant spider’s web that took up several rooms in our house made from the contents of my Mother’s knitting bag. On another occasion I mixed every jigsaw puzzle in the house together, hoping to come up with a new picture at the end of it. Since Mum was none too pleased at having to tidy up after me, I stuck to less ambitious artworks after that!

At Clifton Hampden Primary School, as well as the usual academic subjects, knitting, sewing, gardening and cookery clubs meant that we all enjoyed some ‘hands on’ practical work every week.

Berinsfield Comprehensive School allowed me to follow my interest in art and crafts with lessons in drawing, painting, pottery, woodwork, metalwork and even batik. I got an ‘O’ level in art and went on to study Art with Art History ‘A’ level at Wallingford Upper School.

I turned down a place at Maidenhead School of Art and instead chose to study Psychology. (We all make mistakes!) My interest in art continued with visits to Art Galleries and Museums, and eventually, as an adult, I again returned to my first love and began to make sewn goods such as bags, household items, small quilts and cushions to sell at local craft fairs.

Alongside this, I worked in a variety of jobs, including retail, administration, marketing, gallery assistant, book seller, and currently, a button seller.

In 2007, I discovered an online venue for selling my art and craft work, called Etsy.com. I am not a prolific artist, and this way of selling a small number of artworks suited my way of working perfectly. You have direct contact with your customers on Etsy, and I occasionally take on commission work.

Although I have been contacted by shops and galleries wanting to sell my work, I have not yet taken that route, as I don’t have enough pieces available!

Artist’s Statement

I am passionate about making textile artwork, using new and recycled fabrics. I make rag rugs, patchwork, appliqués, collages, and also acrylic paintings.

I try to design with colour, beauty, humour and functionality in mind - or at least one of those things!

My ideas are usually drawn from nature, in particular, beautiful colour combinations. I often start with a life drawing or photograph, which is redrawn and simplified until it becomes icon-like, while retaining the essence of the original. (For example, ‘Euphie Guinea Pig’ was adapted from two paintings I made of a childhood pet).

Other sources of inspiration include:-

·         sitting down with a blank sheet of paper and just doodling whatever comes to mind. The doodle can be enlarged to form an abstract theme (for example, ‘Fire and Water’); or may turn into a picture (eg, ‘Secret Landscape’);

·         cutting out pictures or shapes from a magazine and arranging them to form a new image or pattern (‘Three Hills’ card);

·         altering a photograph through colour changes and with special effects, such as using a ‘mosaic’ filter in a programme such as Paint Shop Pro until the original subject becomes almost abstract and unrecognisable (‘Sunset on Snow’);

·         gathering fabrics together and picking out the colour combinations and textures that go well together (‘Raw Edge’ sample);

·         decide on the subject matter and work out how you can best express what you want to say. For example, (‘Austerity Britain’ and ‘Green Britain’ came about this way).

My favourite part of creativity is the problem solving and design:-

·         How can I best express an idea or image? This may involve making trial pieces to see what works and what doesn’t

·         Which medium will suit my idea best?

·         Which colour palette will I choose? And so on.

I hope to continue exploring my ideas through a variety of media.