Page 47 - The Digital Cloth issue 2

draw and paint. I take lots of reference palette and the stitches as my brush strokes. So
photos which become an invaluable I look for colours, textures, marks and patterns
resource as I start to plan my embroideries. on the fabrics that relate to my subject matter

I always begin with an under drawing; a pencil and will help me to describe it in my textile
sketch directly on to the calico. This sketch “painting’. Then, working in small areas I
has some detail but there’s a point at which, carefully cut shapes and place small pieces of
because of the nature of the process, you fabric into position, before beginning to stitch
quickly find yourself covering the on the sewing machine. I use a darning foot
drawing with fabric, so adding in too much with the feed dogs lowered to allow free
detail is pointless. Its purpose is merely to lay motion. I don’t use a hoop as I’ve always
out the positioning of the key components and found they get in the way. I’m often asked how

to allow me to visualise the overall I stabilise and the truth is, I don’t.
composition and make adjustments. The next Somehow, I manage to coax and tweak the
stage is to gather together a palette of fabrics fabric and keep the surface relatively flat. The
and threads. My work space is overflowing stitching is what begins to bind the individual
with baskets full of fabrics, so I spend time at fabric elements together and add-in the
the start of every piece pulling out fabrics I details.
think I will find useful. Essentially I think of The things I feel passionate about are usually
myself as a painter, but my tools are just a little the things that get my creative juices flowing.
less conventional. The fabrics are my paint One such passion is the sea, so when the time