Showing the multi head who's boss!

After initially deleting the tacking stitches, which made the satin stitches fall out, I changed the offset and moved the remaining stitches to the edge. However, as soon as I regenerate stitches they all return to the previous position, which could be problematic for larger scale work.

Pink stitches on right are in the usual position.

Changing the offset and moving any remaining stitches to the side.

5 layers of madeira classic thread with running stitch x 2 edges

• Find a colour palette and other shapes in my own drawings.

Design Portfolio Lecture - Rachel Kelly

Practical advice about mounting and selling work and taking on commissions.

Matthew Collings and Emma Biggs - Lecture

She is a mosaicist and chooses the colours instinctively, which he then paints! Each side of the diamond is two tones of one colour. The colours draw your eye across the surface creating a visual vibration or pulse. 

I'd like to create this effect with the colours in my circles.

Irish Machine Induction

Exploring alternative machines for producing satin stitch, I love the speed and 

immediacy of the irish after the digital process of the multi head.

MMU Irish machine sample on linen scrim

Platt Hall and Interventions: 62 Group

 Julia Burrows work conceals memories of her own clothes in multi coloured garment fragments, it's orderly form contrasts with the beautiful long stitches and patched ground in Hazel Bruce's gloves.

I can imagine the buttons below as images inside my circles.

Julia Burrows

Hazel Bruce

Satin circle lace

Six layers using Cotty and Tanne thread, which give a matt, worn appearance

after the dissolvable backing is washed off.

• Work out how to eliminate the central stitches that prevent cutting.
• Leave some circles uncut to create balance.

6 layers laced with ribbon through bobbin stitches to keep circles attached.

3 satin stitch layers with single running stitch to secure stitches, on fine inter-facing .

Drawing Lace at Gawthorpe Hall

Drawing the different laces made me examine their structure in more detail. The bell flowers in the schiffli piece below are made of two layers and there is padding in between them. 

This relates to the padded nature of my work with layers of satin stitch.

Drawing of Schiffli embroidery above.

Flounce, pont de gaze (Brussels) RBKS 24264

Detail of small flower from flounce above, under the digital microscope.

Looking for a colour palette in the edges of heaven and earth

The colours as the sun sets are beautifully bright and muted 

but I'd prefer to work with a broader colour palette.

Tutorial with Nigel

• Pursue ways of cutting the satin stitch and constructing motifs onto dissolvable fabric. 
• How big can the motifs go?
• Try different threads and bobbin thread.
• Try the obi stitch.
• Change scale of motifs.
• Create my own set ups for drawing.
• Dye fabric to create grounds as with Nigel's sample below.

Silk velvet and chiffon, overstitched with twin needle  - Nigel Hurlstone  

More satin stitch circles

Experimenting with different ways of cutting the satin stitch, continuing with the circle motif for now.

Lost in Lace

I liked the way lace was used to delineate space 

using layers, both within the stitches as well as the reflected shadows.

Liz Nilsson's The Latticed Eye of Memory represents the layers and changing nature of memories, the holes in the outer layers allow the viewer to see through to the deeper and more brightly coloured layer. I'm interested in her depiction of something unseen but none the less very real.

The Latticed Eye of Memory Liz Nilsson

The Latticed Eye of Memory detail,  Liz Nilsson

Installation of Moucharabieh Annie Bascoul

Installation of Moucharabieh (detail) Annie Bascoul

Line (detail) Diana Harrison

Satin stitch circles

Satin stitch circles created by changing a running stitch circle into satin stitch.

Cutting the satin stitch gives a soft textured feel, a bit like candlewick bedspreads! The missing stitches, top right, came away with the stitch and tear; working out how to stabilise the stitches is essential.

Layered satin stitch circles, the running stitch line in the centre is the tacking underlay which I need to work out how to delete.

Inspired 2012

Below are some of the lace items from the Rachel B. Kay-Shuttleworth collection at Gawthorpe Hall to introduce the Inspired 2012 lace competition. The raised 3D effect of the Greek embroidery done in blanket stitch and the Belgian needle lace interested me.

Detail from Greek embroidery from Gawthorpe Hall above.

 Flounce, pont de gaze (Brussels) RBKS 24264.

Lace edged cloth with printed motifs.

detail of cloth above

The appliqué printed motifs on the cloth above have a worn, delicate look 

that contrasts with the black ground. I would like to incorporate images under my satin stitch, 

perhaps photo stitch or digital prints for a kind of advent calendar look!

Drawing with Colour from Different Views

The painting below is the beginning of a response to Nigel's suggestion 

to use more colour and to draw from different perspectives.

Basket of soap - gouache and graphite

Satin stitch squares

Satin stitch with tacking, double cross and piping underlays (clockwise from bottom left)

Diagonal cuts and piping underlay.

Shelley Goldsmith Lecture

The subjects of Shelley Goldsmith's work tend to draw on tragedy, loss and death, often about the beginning and end of life. Her idea that you can't erase the memory in cloth relates to my thoughts about whether garments can be imbued with healing power.

Trends for Autumn / Winter 2012 /13

Trends for next winter include words like rebirth and transformation with spiritual overtones reflecting concerns about the planet. These ideas fit with my own spiritual and creative journey, 

I feel as if my spirit is waking up from a deep sleep. 

A dress by Sarah Burton made from broken china referenced the Japanese wabi sabi aesthetic that I looked at in my essay,
I think my cut stitches relate to this idea
and the embroidery on the Marni coat below also creates a broken edge.

Alexander McQueen

Marni A/W 2012/13

Circles and Layers

Creating 3D effects is important to me, so I am considering layers and repeats as illustrated below. Gornall's combination of precise lines and organdie circles in brilliant colours across layered planes are very compelling. Harries' layered alphabets have a more simple, rustic look but again have depth.

Short Walk VIII (detail) Rachel Gornall

Embroidery May / June 2011 p.40

Slate Alphabets (detail) 2009 Ruth Harries

Embroidery November / December 2011 p.30