SEW Region Magazine June 2018

SEW

JUNE 2019 ISSUE 14

MAGAZINE

The Magazine of the South East West Region of the Embroiderers’ Guild

Embroidered Flowers with Karen Nicol Monoliths from Felt with Sarah Waters Sculptural Figures from Wool with Caroline Kaufman A Review of Lorna Bateman’s New Book

SEW

MAGAZINE

Myths and Stories Caroline Kaufman 42

Cover: Flowers Karen Nicol 10

Features Click on the article to go to the page

10 Flowers by Karen Nicol Why they are part of her life

Embroidered Country Gardens 64 A Book by Lorna Bateman

24 From Fleece to Felt by Sarah Waters (A Monumental Work)

35@23 Afghanistan by Sarah Maddison

42 Myths and Stories Spun in Felt

by Catherine Kaufman

Red 6 - The 60 year old Sports 82 Car by Val Carter

54 At one with Nature by Caroline Hyde-Brown

Experiments with Printing with Sue Crook

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Regular Features Click on the article to go to the page

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Encylopaedia of Printing Reviewed by Alison Hulme

Felt Making by Alison Hollamd of George Weil Ltd

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108 Report on the Regional Exhibition By Anne Walden-Mills

Pam’s courgette by Pam Henry 144 Bake and Enjoy

116 Crafting around the World

By Anne Beckingham

Book Reviews

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126 My Great Grandmother’s war Record By Sophie Seffield

Newbury Branch

By Mair Edwards

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134 The Exhibition “ Collect”

By Terri Berry

“A Circler Walk” around Newbury 180

By Paul Walden-Mills

From Fleece to Felt Sarah Waters 26

Karen Nicol

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Karen Nicol is an embroidery and mixed media textile designer/artist with a design business working in fashion, interiors and gallery based in London.

In the fashion world Karen has worked with design houses such as Schiaparelli, Alexander McQueen and Louis Vuitton. Her work covers both ready-to-wear and couture,

The King of Qatar, the Pope, Estee Lauder and Gwyneth Paltrow have been amongst many clients commissioning her work for interiors. Screens for palaces, tableware for parties, upholstery fabrics and rugs.

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Karen has also produced own label collections for companies such as Anthropologie and Designers Guild.

Karen’s aim, throughout her long career, has been to break boundaries in conventional fabric embellishment and to push the preconceived expectations of embroidery. Most of her work is produced on a hand governed embroidery machine whose basic simplicity allows hands on innovation and huge diversity.

In 2010 Karen began to create art pieces to explore and develop her passion for the infinite possibilities of the craft without the restricting practicalities necessary in fashion and interiors. She creates large embroidered and sculptured animals as vehicles for her textile explorations ‘Couture Creatures’…. Napoleonic Polar Bears to Marquetry foxes. Karen has since exhibited in galleries and art fairs around the world with solo shows in London, Paris and New York.

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Currently her three year role as artist in residence at De Montfort University opens up new, exciting opportunities to mix the knowledge and practical skills gained from a hugely varied 40 years of practice with further exploration of modern technology.

Karen was founder, senior lecturer and visiting professor of the Mixed Media MA degree course at the Royal College of Art, London and has taught and lectured in colleges around the world.

In 2014 she was awarded the Beryl Dean teaching award and in 2015 she was made an RDI, a Royal Designer for Industry, by the Royal Society of Art, one of only 200 in the world.

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Flowers Karen Nicol

“flowers have been part of my life” 10

My mother was an artist and flower arranger both Western and Ikebana and I thought it was absolutely normal to always have the bath full of soaking foliage and to sit in flower arranging classes after school. When I left art college I unconsciously embraced flowers in my work helped by the fact that there are very few seasons in textile design where flowers aren’t popular in some form or another.

Recently I was asked for a visual CV and was astonished to find how much of the work I chose to feature on it was floral over the worlds of art, fashion and interiors.

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Designing with flowers is such a gift to a mixed media artist. You have affordable, constantly changing first hand research at your fingertips. You have the wonderful colour, texture and form and then mix that with the vast diversity of embroidery.

Creating flowers with a thousand textures, colours, patterns and materials, what could be better?

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What I find fascinating is to try to look at embroidery like a painter with gestural mark making rather than strict adherence to process.

I’m not a labourintensive embroiderer.

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My work is quite speedy and intent on the visual result rather than the process. I had to develop this quick way of working because working in ready-to-wear fashion and interiors often required a quick turnaround and it was all too easy to price a design out of the market by time consuming techniques.

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I have developed over the years an embroidery language of my own to express flowers which I constantly return to but I’m always searching for new ways of looking at them and ways to utilise the remarkable mark making properties and versatility of textiles.

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I love to really look at my visual research and try to use the qualities of the thing I’m embroidering to inspire the technique and material and to try not to rely on clichÊs.

The technological advances in embroidery are fascinating and I thoroughly enjoy using the wonderful equipment I have access to as artist in residence at De Montfort University. However in my own studio I basically use hand stitch, an Irish Singer, a Bernina, Princess Pleater and an Embellisher.

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I have chosen to keep the technical side of my machinery to a minimum purely because I feel it is the simple hands on approach which encourages me to really explore the potential of stitch and push my creativity and ability to try to innovate within the subject.

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My main styles encompass hand stitches like attempting to create the sweep of a brushstroke with torn strips of chiffon.

Drawing with a fine torn strip of chiffon is also great as you can twist and untwist the fabric to change the quality of the line. I create many 3D flowers, embroidering the petals first then cutting them out and assembling them on the machine or sewing over millinery canvas or sculpture mesh to create a malleable surface and I like to work with unusual materials as well like zips, plastic sequin film, foiling and paint.

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What an extraordinary craft embroidery is, I have been stitching for fifty years this year and it still reveals new possibilities constantly!

Contact www.karennicol.com Instagram @karennicol1 See Karen Nicol • A Fascinating Journey To watch click on the icon

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SARAH WATE 20

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“Joseph Beuys considered fel

medium for m

and Sarah Waters has been inspired t

Professor Richar

Augus

Sarah Waters’ earliest childhood ‘ farm, memories are on her parents collecting pieces of wool caught on fences and twisting it into long threads.

Her first real encounter with wool and fibres came about in the late ’70s when at the age of thirteen she sold her bicycle and bought two Jacob sheep with their lambs, and then spent her teenage years learning to spin, weave and grow plants to use as natural dye something she thought was a normal occupation for a teenager, but now realises was very far from it!

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lt as a serious and innovative

making his art

to follow faithfully in his footsteps.�

rd Demarco CBE

st 2018

Failing her Art O’level and unable to study textiles, she went on to study Agriculture. After graduating, and with several hundred rare breeds of sheep to manage, she won a research award to look into fine wool and started breeding naturally coloured Merino sheep. Using the wool from her own and nearby sheep, she then ran a yarn and knitwear business. When her parents retired, and the farm was sold, she changed her focus to learn as much as she could about felt making. It was an easy progression from breeding to felting.

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From Fleece to Felt A lifetime of wool The Background

Sarah Waters

In the early ‘90s felt was

embraced the ability to be

in its infancy and there

able to experiment and

was scarce information.

‘play’ with fibre.

I feel that time, patience, and experimentation is the key to producing a good felt But it was then that the

25 years later I’m still

International Felt

playing and still loving

Makers Association,

what I do.

founded by Mary Burkett

I feel like I have gone full

was starting to expand.

circle in life with wool.

I learnt as much as I

Even though I know how

could from the few that

and what the fibres

were willing to teach and

should do,

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I still love the alchemy

good felt and, having

and the unexpected

initially used merino

results that transform.

wool, I now try to source

A stitched foundation

local fleeces and work

degree helped me to push

with the characteristics

the boundaries with my

of the fibres.

work.

I still love the alchemy and the unexpected results that transform.

I am now trying to take it

The British Empire was

to the next level

founded on the wool

creatively, to show the

industry and I feel a

diversity of the fibers, by

responsibility to be a part

making installations and

of reviving the use of

large-scale art works.

wool in new and

I feel that time, patience,

innovative ways.

and experimentation is the key to producing a

Read about Sarah’s latest Monumental work ď Ą 25

From Fleece to Felt A lifetime of wool The Exhibition

sarah waters

My recent work came about as a result of exhibiting in the beautiful Norman Romsey Abbey, in Hampshire.

Visitors were fascinated and amazed that my finished pieces, in front of the font, were felt and not stone.

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I loved the way I was able to take soft wool and make it appear strong and solid like stone.

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Using both traditional and innovative techniques I then wanted to show the diversity and qualities felt making can be taken to.

Embracing British wool at its core I wanted to push the boundaries with my work.

Using sketchbooks to draw from nature is a part of my daily ‘routine’. Over time I built up a collection of standing stone drawings, from places visited with my family.

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So it made perfect sense to produce a series of Monoliths (standing stones or obelisks.

They are part of our heritage; covering the countryside from Cornwall to Stonehenge and up through the country to Ireland and the Orkneys.

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The planning for the ‘Stone’ exhibition took months of washing fleeces, sorting, carding and making pre-felts ahead of the construction. By prefelts I mean half made pieces of felt – all at varying stages of thickness and density, which when added to the work produce strong, definitive lines.

I spent time dyeing and mark making on to various fabrics, all to be incorporated in to the final work. I am fascinated by texture and tried to add as many different techniques as possible.

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The realisation and logistics of actually making the stones hadn’t dawned on me until far too late in to the project!! With no table large enough to work on, and with my studio a relatively ‘compact’ size, a friend offered her double garage and herself as my helper – a perfect combination!

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There were many challenges in constructing the Monoliths. Layers of carded fleece were laid down on to a 15ft grass mat, followed by a surface layer of texture, fabrics and detail.

Wetting down of the fibres took several hours of encouragement.

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The next job was to secure all the fibres by gentle rubbing by hand, ready for rolling. Normally this would be done at table height but each stone was impossible to move – so the floor it was – back breaking work! Once stable the work (heavy and very wet) was lifted on to a table ready for rolling.

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The felt was continually rolled, unrolled, checked, turned and re-rolled allowing the fibres to consolidate and interlock together. Working on such a large scale provided lotsof problems to overcome and new ways of working. It was impossible to stand back to look at the work and assess the stones from afar. Even a ladder didn’t help much. Some of the wool used was very coarse and didn’t felt as well as anticipated.

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Stitches which were then added to help (they were only meant to secure and hold the work in place temporarily) became an integral part of each piece.

Although I had drawings and a vision for each stone they had a mind of their own and evolved. I love the alchemy of feltmaking – never quite knowing‌!

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I feel privileged that I have a passion and a career that I am able to share with many people, of all ages and abilities.

Contact Web: www.sarahwaterstextiles.com Blog: www.sarahwatersart.wordpress.com Email: swtextiles@aol.com

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C A T H E R I N E

K A U F M A N 39

Catherine Kaufman was brought up in Cheshire, with three siblings. Her father ran an antiques business and her mother always drew dancing ladies with crinolines, all of which had a great effect on her. Having failed her 11 plus she left school at 16, without any qualifications.

Marriage and three small children later, she was approached to apply for Blackburn University to study at BA Level Fine Art which she had thought impossible. She decided to try it and gained a firstclass fine art degree in 2012.

This year Catherine has been chosen as an ambassador for the Knitting and Stitching shows where she is exhibiting as a textile artist.

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Her work, “Miss Havisham� won the peoples vote 2018 and is touring along with her other work, with the Knitting and Stitching shows at Alexandra Palace, Dublin RDS and Harrogate 2019.

Catherine

believes passionately in the importance

of keeping traditional craft skills alive, particularly in the digital age, and her aim is to promote female craft skills as high art.

She values wool for its environmentally friendly, natural and organic qualities. Her current work retells the tales from nature, myth, legend and literature with a female perspective.

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Myths and Stories

Spun in Fleece Catherine Kaufman 42

As a small child, I loved fairy tales of princesses lost in towers or sleeping under spells from wicked witches waiting for the Prince. I would imagine stories as I played in the forests and glades and riverbanks near my home. I loved the smells, the birdsong and the noises. Whilst amongst nature, my imagination would spring, all the characters from the stories and the fairy tales I had heard would come to life. It was a rich tapestry waiting to emerge.

It all happened by chance and I still believe it was synchronicity.

One morning, I was walking by a lady who sat demonstrating spinning and felting. I had never considered this medium before or rarely paid any attention to wool.

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I asked her “Do you think

around in my mind and

I could make sculptural

sub conscious or perhaps

figures with wool”. She

it has always been there

invited me to come to her

waiting!... I don’t really

home where she then

know who will surface so

taught me all the craft skills I would need to start creating. That lady was Judith Beckett from Stockport Wonder of Woollies. She has become my Guru and mentor.

It all starts with getting the inspiration, a thread of where to start which comes in many forms. I find the figure has been gestating and whirling 44

it's very exciting....

I work from a female perspective using a

My work is ambiguous

personal and

and somewhat

psychological drawing of

autobiographical.

the tales and yarns as a vehicle to give my own inflexion. Throughout my work I wish to honour the female and convey the importance of female strength, courage and resilience to carry in adversity and succeed. I use my own body for measuring all my figures, as it made sense to me, for I am always on hand, so it wasn’t really a conscious decision but a necessity.

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The story of the Gorgons is about three sisters, named Sthenos, Medusa and Euryale.

Sthenos and Euryale were immortal but their sister Medusa was not.

It is believed to be written by Ovid about Medusa, a beautiful maiden of exceptional beauty. She had a beautiful face and her greatest charm was her wonderful golden hair.

This is is how I imagine her before her beauty caught the eye of Poseidon.

Hypatia is depicted in a 46

sculptural garment . She was one of the few women in Ancient Greek academe. Hypatia of Alexandria was a true sight to behold and she was killed because of it. A jealous mob ran her down

Undine“is a watery fairy-tale and dragged her and

from Germany that has a lot in

flayed her in the street.

common with the story of

This was a horrific attack

“The Little Mermaid”

and a tragic end for

Undine is a water sprite or

Hypatia. I assume it was jealousy at work again.

The garment takes on the look of flayed skin and the wool was dyed with cochineal (crushed beetles) which give it the amazing red colour. I believe the garment has taken on the pain of Hypatia and this reinforces what jealousy

mermaid who was switched at

and ignorance can do to

birth with a human baby

innocent people.

by her uncle a River God. She 47

can only gain a soul if she

world where she could not

marries and her husband

fit in; she was different. Her

is faithful to her. She

story had a very sad end

marries and makes an

because of it.

excellent wife but her husband's previous

The sculptural figure of

partner jealously breaks

Undine has a garment that

up her marriage.

can be taken off to enable her to return back to her

As Undine returns to the

mermaid shape.

water she threatens her husband not to marry his

I have always been

previous partner, upon

intrigued and fascinated

which, Undine returns to

with the tale of Rapunzel.

kill him.

Rapunzel was taken away as a child by a cruel witch

Here again, we have the

and locks her in a tower

green eyed monster.

Rapunzel is beautiful and

Undine walked into a

has long golden hair and

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the most beautiful

tower and falls in love

singing voice. A

with Rapunzel.

passing Prince hears her beautiful voice and

I have made Rapunzel

calls “Rapunzel let

as a classical styled

down your hair�.

figure. I did not give

He climbs up into the

Rapunzel any arms or legs below the knees as I felt this would represent her mental torture at being imprisoned for most of her life.

Her long hair was spun on the wheel.

Miss Havisham is a character from the

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novel by Charles Dickens,

tragedy, stuck in her

‘Great Expectations’, who

trapped grooves of memory.

is a wealthy spinster jilted

I have depicted Miss

at the altar. She insists on

Havisham as a sculptural

wearing her wedding

figure with her garment

dress for the rest of her

made in needle felt

life, broken hearted, she is an emotional and physical wreck within the confines of her Gothic mansion. She is an allegory of the female in our society who must resign herself to the menopause, giving way to a peaceful old age.

Miss Havisham continues to be embittered in her 50

I feel the importance of

keeping the ancient craft skills alive in the digital

I have great respect for

age. It is time and

the gentle, soft wool I

important for textile

work with. It gives me

artists to challenge the

great piece of mind, it

world and promote textile

truly is a labour of love.

art as high art!

Using wool as my material is a conscious decision, as living in Lancashire wool is readily available. I believe wool gives my work a strength and modesty. The wool

Additional photographs Lee Parkinson Contact Catherine Kaufman catherinekaufman@hotmail.co.uk

has a spiritual and celestial symbolism that represents purity and

Facebook Woolly Queen - Catherine Kaufman Needlefelt Fibre Artist

truth that I wish to convey through the work.

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CAROLINE HYDE-BROWN

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Caroline (known as Caz) lives in a small rural village called Shelfanger on the Norfolk /Suffolk border.

Living in such a quiet area gives her time to really tune into this environment enabling her work to revolve around the natural flora and fauna. Caz’s research projects are ongoing and influence her practice and methods of working. She is a strong believer in “The Circular Economy and Sustainability” which leads to the use of various recyclable materials.

Having trained in Fine Arts and Textiles, she uses her studio, which overlooks the countryside, to hold small studio days, teaching different applications of contemporary textiles and embroidery. Her sketchbook work gives her the opportunity to experiment and play at creating various effects, including pastels which she loves. She also likes to apply lots of layers whether this is paper, stitch or photographs.

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At one with Nature Caroline Hyde-Brown

My current work is about studying the wildlife that we are so lucky to have in abundance. I am ardently involved in wildlife conservation, part of my garden is just left to grow wild during the summer months.

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We have Barn owls, Tawny owls, partridges, hares, crows and many songbirds visiting us. In particular the family of hares that visit our garden and nibble away at our plants.

Also the moonshine beetle and other insects that are rapidly on the brink of decline; they all feature in my work. Nothing stands still in nature, but just as embroidery encourages you to sit still and recreate so too does observing and looking at the world around us.

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The amazing differences in our seasons are a constant source of inspiration.

As are the spontaneous plays of light and colour at different times of the day and year. A few extra stitches here or a splash of colour there add to the many layers of my embroidered pieces which are almost never entirely representational, more like a snapshot of the memory I took away from that moment in time when I'm at my happiest.

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The delicacy and fragility of the natural world also influences my colours.

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I find I am drawn to pale and muted tones and these are reflected in my pastel studies of daily walks. It is from a walk I took in an area known as The Ling, which isa site of special scientific interest north of Wortham in Suffolk. There is acid grassland and very dry heath which produces intense browns and greens

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from all the lichens and mosses that live there. During the early autumn it is covered in blooming heathers producing wonderful purples and pinks. I find that by picking certain colours and tones one can really hint at the natural world and allow the viewer to imagine themselves there.

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Working intuitively has taken many years of daily practice and is something I celebrate and encourage. I don't feel the need to apologise for not being a purist. I use various recyclable materials such as banana yarn and paper, and newspaper. I am always on the look out for handmade papers and yarns from the developing third world countries where the small rural communities rely on this niche industry for their income. I deliberately support many small emerging companies as the ethical nature of such materials showcases their beauty and diversity

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Through my teaching I welcome people who have little knowledge of the techniques required or may not have ever touched a needle and thread. I love that magical moment when an aspiring artist brings a piece to life during a workshop and realises how easy it can be if you just loosen the shackles of your daily commitments and go for it!

We don't always need an explanation, working spontaneously and subconsciously is an integral part of my practice.

Contact artistcaz@aol.com www.theartofembroidery.co.uk

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If you have ever been to one of Lorna Bateman’s workshops then you will love this book. If you haven’t then you are in for a treat.

This is Lorna Bateman’s new book “Embroidered Country Gardens”

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As with most books on embroidery, this book starts with the equipment needed and setting up the work, but for the more experienced embroiderer it is peppered with useful hints.

The chapters then flow on to “A-Z on Stitches” which is

most comprehensive In this Lorna includes one of her favourite stitches rarely seen elsewhere. It is the single and double-sided “cast-on stitch” also known as “The Brazilian Stitch “ and it’s companion the “Drizzel Stitch” 67

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Cottage Gardens are abundant with a variety of flowers and colours. Lorna’s chapter the”A-Z of garden Flowers” is an encyclopaedia on how to make embroidered flowers recognisable.

Many of these garden

flowers attract bees and butterflies so she suggests embroidering a profusion so adding charm to the garden.

All the projects have a layout, with a guide to each flower used.

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Traceable patterns for the flowers, tools and insects are provided at the back of the book . These are mostly to scale. They can be used to copy the examples Lorna has

provided or used to create your own gardens.

The chapter on finishing your work is very comprehensive and most welcome.

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A beautiful array of examples of items that can be completed by following Lorna’s clear instructions Anne Walden-Mills

EMBROIDERED COUNTRY GARDENS BY LORNA BATEMAN

is out in print from 5th July To order a copy contact Search Press

Search Press Ltd www.searchpress.com price £17.99 72

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Based on United Nations 2009 Administrat

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‘35@23’ AFGHANISTAN Sarah Maddison

tive Map

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In 2013 Britain still had servicemen and women fighting in Afghanistan. One - Lance Corporal James Ashworth received a posthumous Victoria Cross after leading his team in an attack on an enemy compound just months before. He was just 23 when he died.

As an Army wife, I had always wanted to create a piece that reflected the stress of life with the military – I am lucky enough to have a husband who returned safely from conflict in Iraq (twice), but some wives and mothers are not so lucky!

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James was so very young, just the age of my son now! It set me wondering how many other brave 23 year-olds had set out in search of adventure and never returned from Afghanistan.

Research at the time showed there were 35 lost souls.

I was working towards an exhibition which included a group project to transform an antique napkin with lace edges – it reminded me of the silk maps that pilots carried on operations and its fragility was the perfect reminder of the 35.

The first step was to transform the napkin into a map using torn combat clothing that had seen service in Afghanistan and was procured from the Quartermaster stores.

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Stitching it behind the napkin, I used the camouflage to define areas of mountains and lower ground similar to those on an ordnance survey map. By padding them and roughly cutting away areas to reveal the combats, the frayed fabric seemed to echo the vulnerability of everyone involved in the conflict – the negative spaces became the soldiers. However, I left the genteel lace edging in place, creating a suitably conflicting background.

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I hand embroidered the names and rank of every young man on my list of 35 and the names of places where British troops were based and fought like the Province of Helmand and the towns of Kabul and Laskhar Gaw. It was an intensely moving experience.

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When the work was originally shown in Suffolk, two visitors had very different views – one lady said it had no place in a public exhibition while her friend carefully read every name and told me it had moved her deeply.

It is perhaps the piece that creates the most conflict in terms of reaction to my work, but it is also the one of which I am most proud. I often use it when visiting textile groups – it’s a bit of a shock when they are expecting me to talk about my work in stitched landscapes, but it certainly causes a good discussion.

Most importantly though it is simply my way of never forgetting the ultimate sacrifice some pay, whether in WW1, WW2 or conflicts around the world since.

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

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Red 6 82

Our 50 year old Sports Car Val Carter 83

My husband Den and I are very enthusiastic members of Kennet Valley Group for TR sports cars. Our car is a a 50 years old red, very shiny TR6, nicknamed -“ Red 6!�

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We have travelled with and without our car up to Alaska and the Yukon and as far down to New Orleans where we have gone several times enjoying our friendship with the British Sports Car club of new Orleans.

We have been all over Europe , as far as Italy going over the St Bernard Pass‌.also spending another holiday doing a round tour in Northern Spain and staying at paradors. I loved the paradors .

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Each one being a lovely surprise after the last one. They are historic buildings that, rather than fall into disrepair, are made into hotels and still owned by the government.

Most are very picturesque.

This summer, we are planning to take our car, and together with other club members, we are going to Chinon in the Loire. We will be taking part in a rally of vintage and classic cars around the fortress of Royale

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Chinon, which was known as the “Grand Prix de Tours�.

Over the years the tour has gained in popularity for it is a fun, relaxed long weekend, driving through some of the prettiest parts of France. The drive down forms part of the enjoyment. We will cross the channel and disembark in Caen, and drive along the scenic D roads.

Just south of Le Mans, we will be on the D304, the road which used to be used by several of the Le Mans racing 87

teams and is still a must-do drive for motoring enthusiasts visiting the area.

We will have lunch at the famous Hotel de France, where the GT40 and Aston Martin teams were based over the 24-hour race weekend in the 60s . The hotel continues to welcome celebrities today .

Throughout the weekend there are receptions with other enthusiasts, hosted by the town. It is a way to see the lovely old sports cars and their drivers, who put them through their paces and, hopefully in the sunshine too.

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We are lucky to be able to follow our pursuits still after being retired for nearly 18 years. So here is hoping to more travelling and maybe writing about some of the places we visit.

Our thanks to John Marcar of Classic Grand Touring Ltd for enabling us to use the photographs from their web site www.classicgt.co.uk See a video of the event

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Experiments with Printing Sue Crook Over several years, I have been dyeing and screen printing onto fabric. I have mainly used Procion dyes as these work well with my preferred cotton, silk, linen, bamboo and (occasionally) viscose. An opportunity came to utilise studio space at Basingstoke College, so I experimented with Breakdown Printing.

Breakdown Printing (Deconstructed Screen Printing) ‘Breakdown printing uses thickened dye as a slowly disintegrating resist on a screen. The areas with the thin dye deposits release and print first, while the thickest dye deposits act as a resist and release dye more slowly.’ Extract from a quotation by Joy Stocksdale

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When working this process at home, it is usually necessary to leave it to dry for a week. College is much warmer and the screens can sometimes become too dry. But some good (and poor) results were had.

Polychromatic Screen Printing Not unlike the first process, but, instead of thickened dye, a thin dye is painted onto the screen and dried. This can be done fairly quickly – in the same session.

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Three different approaches used: 1) Design painted onto the screen.

2) Design painted and salt added.

3) Pouring on paint and tipping screen.

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Marbling on Fabric

Various methods were tried – with thickened dye and shaving foam.

“Eco” Dyeing I seized the opportunity of a workshop with Caroline Bell, who teaches eco-dyeing (contact dyeing fabrics with plant material by steaming or boiling).

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Screen printing through stitched fabric A book by Rosie James gave me the idea of using some of my stitched sketches as a screen for printing.

What next??

Looking into natural dyeing, cyanotypes and collagraphs using stitch. So many ideas, so little time! www.hapticart.co.uk www.suecrook.com

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embroidery The magazine to inspire you

Whether you are a keen embroiderer or simply love fabric and textiles, Embroidery magazine is filled with ideas and features to inspire you.

Another Great Magazine by the Embroiderers’ Guild To buy on line www.mymaga zinesub.co.uk/ embroidery/

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The Encyclopaedia of Printmaking Techniques By Judy Martin A short look at this book by Alison Hulme

Published By: Search Press Ltd ISBN: 978-1-78221-645-2 Price: £12.99 Order from: Search Press Ltd www.searchpress.com

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I began printing nine years ago when I started my degree in Stitched Textiles. I started to screen print after seeing Andy Warhol on You Tube.

Finding it just so much fun, I now screen print all my own fabric which I then make into pinnies and other things.

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When I was asked to review this book I jumped at the chance.

Summer Fruits (monoprint & linocut) by Rebecca Owens

It is a new, upto-date edition of this popular and comprehensive encyclopaedia on printing techniques.

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This inspirational, visual guide offers a wealth of information on the techniques and materials you'll need before embarking on your printing pursuits.

It will give you so many ideas and starting points. It shows more techniques than I have achieved.

The sunflowers, printed in each technique define each section

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I found the chapter on screen printing very informed with lots of ideas that you could do at home with just household stuff and a silk screen, obtainable for a few pounds.

I successfully used a commercial stencil tape on a screen when I wanted a Celtic Cross on fabric.

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The chapter on screen printing also tells you all about paper stencils and lots more that you can do with just the plain screen.

I have done Lino Printing, so I can really recommend this section, it is again full of ideas and the chapters take you from start to finish in every method.

Cherries in Green Bowl (Linoprint) by Celia Lewis

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Lino printing an excellent technique for the complete beginner. Whether you are printing in monochrome or colour there are clear instructions which will give a successful outcome

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Collage Blocks are a fun method of printing, as they use any and various materials, that come to hand. The outcome is never assured.

Judy Martin gives an example using braid and yarn which would make a great ground for textile work.

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Red Peppers and Tomatoes (lithograph) by Elizabeth Harden

Judy Martin goes on to explain in detail the printing methods using plates and stones, and gives up to date advice on these.

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I think this book works for the complete beginner to the more experienced printer giving new ideas and new ways of getting print to paper or fabric. A stunning gallery of images created by professional printmakers, featured throughout the book provides inspiration. I will be referring to it often, accumulating ideas for future work

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Meadow Clocks (etching)

by Phil Greenwood

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Our New Home 108

The Regional Exhibition Anne Walden-Mills

Farnborough International Exhibition and Conference Centre 109

SEW Regional Exhibition Anne Walden-Mills Ten years ago in 2008 the “Make It” show was moved to Farnborough Airport. The South East West Region was contacted through the Embroiderers’ Guild to see if we would like a stand there. Little did we know then, what we were taking on, and with the constant help of the organisers what it was to become today. it all started in 2008 We started with one small stand showing a few odds and bobs hauled out of members’ cupboards. We have learnt as we have gone along and the stand has grown to 7 by 2 m, which enables us to exhibit our work to its best advantage and also run small workshops. This generosity is provided by the organisers.

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Now we have come to the end of an era and life will never be the same. The Make It show has changed its name, and it has a new venue. Gone is the marquee which threatened to take off in a high wind, gone is the roof that made a slight shower sound like a downpour and a downpour- a deluge, making it difficult to hear yourself speak. Gone is a heating system which left us shivering one minute and sweltering the next.

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So now what do we have - a spanking new purpose built exhibition venue, with the same helpful, friendly faces. The venue is huge and accommodates the 10,000 visitors, and just under 100 exhibitors, easily. Plenty of choices of food and places to sit and chat. I was personally pleased to see the hog roast back.

Why are there never enough ladies’ toilets?

We do have the old hoary problems - both due to the design of the building. Not enough ladies’ toilets!! (Why do we always have to queue?) Also the difficult disabled access if you are not in a motorised wheel chair or have a strong helper. The walking disabled have a steep climb or have to negotiate the steps if they park in the designated parking.

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And the name? It is now the “ Make It and Knit and Stitch It� show. The show has grown from a paper and scrapbook crafting show in 2008 to be more inclusive.

The Regional Exhibition has become part of the furniture.

The show attracts every type of crafter so we are not speaking to the converted.

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This year’s exhibition was a great success. In fact we could have done with a larger space as we had enough pieces of work to be able to change the display for the second day.

The exhibition was a great success

So thank you to all our members who have contributed over the years whether enabling us to exhibit their work, stewarding or helping behind the scenes.

Also thank you to the organisers for supporting The Embroiderers' Guild, and making the exhibition a happy event.

Watch a video of the event

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�

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Crafting around the World

116

on Viking Orion Anne Beckingham

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I have just returned from the most amazing, enlightening and eye-opening cruise.

We sailed from Bangkok (Laem Chabang) to Hong Kong, calling in to Cambodia and Vietnam on the way.

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The Viking Line has commissioned art on board.

On the Orion were six pieces by the the textile artist Kate Jenkins

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On our first sea day in our daily newsletter - I read:-

10:00am-12Noon Crafts Corner (un-hosted): Bring your crafts and join your fellow guests for a chat.

All crafters welcome.

Explorers’ Lounge Port Side (7)

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So off I went with my much travelled embroidery threads and fabric.

Yes, I always take some stitching but very rarely do any, - never enough time! So here was my opportunity to get some done.

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There were three ladies one knitting, one crocheting and Roz doing her cross-stitch. (Sorry I can’t remember the knitter and crocheter names.)

We were then joined by two ladies who informed us they normally sit over the port-side, ok we were new to all the nautical terms. They were some of the “93 dayers” in other words they were on a “93 day” cruise, having joined the ship in Auckland and were on until Vancouver.

Laurie was busy knitting a poncho, while Carol was making a hanging, using rag rugging. It has bits of fabric she has acquired on the journey and even some feathers from the ship’s show stage. A true stitcher using what ever is around.

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I started using a picture I had taken at the temple in Bangkok which had mosaic porcelain flowers. With only three sea days I did not get much done!!

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On the last day of The Crafters get together, we were joined by two other ladies, one was stitching a pillow case with a cross, the other lady was doing a canvas work belt. It was interesting to learn that she sends her work off to be made into belts.

Here is my finished piece with the pictures I took as inspiration.

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‘My Great Grandmother’s War Record’ Sophie Sheffield

I joined the Embroiders’ Guild in 2017 after I saw the beautiful exhibition of work at Alexandra Palace. I wasn't aware at the time how it would make such a positive impact on my life and artwork.

With a degree in Textiles I had always produced artwork in a range of materials but not always had the opportunities to explore new things and challenges

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I was delighted to discover that being a member of the Guild meant that I could attend branch meetings where I could learn new skills and meet a wider range of people but also take part in national exhibitions.Â

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The 100 Hearts exhibition was designed to commemorate one hundred years of the end of the First World War. We were asked to design and sew a three dimensional heart which could commemorate in some way the First World War. The hearts had to be a specific size and you had a choice of either blue, navy or red felt, as the background which had to be specifically ordered.

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At first I wasn't sure what I wanted to base my work on, there are many images that come to mind but I felt I wanted to make it more personal and decided to explore the story of my great- grandmother.

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She was a bus conductress in London and she met my Great-grandfather who was a bus driver. I wanted to explore the beginning of the relationship with the image of a bus and explore what I remember about my Great-grandmother. 131

I spent some time researching and playing with materials to create a contrast, the quilted and embroidered handmade felt of the bus in conjunction with the images of my Greatgrandparents alongside the delicate beaded hydrangea flowers which she loved.

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It was fantastic to see all the hearts exhibited over the country and I feel proud to have been part of this amazing exhibition Watch a video of the exhibition

�

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the international contemporary craft exhibition collect 135

Collect is an annual show of international contemporary craft, organised by by the Crafts Council. I have wanted to attend this event for the last few years but it is only open to the general public for 3 days so has proved very difficult to schedule.

It is a great opportunity to talk to other artists about their craft and processes, especially on the top floor.

This is dedicated to emerging artists rather than the other galleries occupying the ground and first floors.

It is a pretty incredible show, being spread over 3 floors of

This year however, was different and I finally got to go, in person. I am so glad that I did!

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the Saatchi galleries. You will need at least 3 hours to do it justice, more if you plan to attend any of the talks.

These photos are some of my highlights from the exhibition. They form just a tiny selection from the whole.

“Wall hanging” by Inger Fohanne Rasmussen

Exhibits from left to right.

Detail of “Time Space” by Shihoko Fukumoto

“Unexpected Creatures” by Ricardo Tena Chavez

The Artical cover “Threads on canvas” by Mathieu Ducournau

Article and photographs by Terri Berry

“ Cocoon” by Martha Rieger

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Felt Making

By Alison Holland from George Weil & sons Ltd

Traditional felt is made from sheep’s wool, although most fibres can be made to “felt”.

Under a microscope, a wool fibre shows tiny overlapping scales for the whole length of the fibre.

These are the key to what makes the wool turn into felt.

There are two traditional ways of creating felt. By poking them from above with the barbs of a felting needle or by rubbing and pressing the fibres together, adding hot water and soap whichencourages the scales to open out and interlock.

Choosing a suitable fibre matters. There are hundreds of different sheep breeds and each grow a different type of fleece. Their characteristics are

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determined from where the sheep originates; climate, diet, terrain will all have contributed to their type of coat.

The fleece is gathered by shearing which is mostly carried out in the spring to stop sheep from overheating during the summer and to prevent flystrike. If the fleece is allowed to grow it can become long and heavy causing mobility issues for the sheep. Shearing is essential for the welfare of the sheep.

The shorn fleece will have acquired field debris such as vegetable matter caught up in the fibre.

This is picked or cut out during a process called skirting. The fleece is also impregnated with lanolin which is secreted from the sebaceous glands. This waxy substance helps to keep the sheep’s skin and wool in good condition and to protect it against the elements. The fleece is gently washed in cold water and detergent to 139

remove the lanolin before it is tidied by being opened up using hand carders or combed with traditional wool combs, Which are rows of fierce needles in wooden handles.

Commercial wool fibres have been processed in a carding machine followed by combs which take out all the short fibres. All the fibres are brushed in one

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direction into a long length of fluffy ‘sausage’, approximately 60mm wide, now called wool tops.

It is important to make sure that you are using an appropriate quality of wool top for felt making.

A coarse fibre from a mountain living sheep will be slow to felt and take much effort. Finer fibres from the softer conditions of the downs and lowland fields will felt more easily.

Fleece from two breeds of sheep are most commonly used.

Merino wool is very popular with felt makers due to the fibre fineness and ease of felting. Their natural colour is a pale cream which can be commercially dyed to a vast colour range or by the felt maker using natural dyes from the hedgerow, wood barks or even dead beetles.

Pre-dyed Merino wool

tops are readily available in a huge range of colours which can be further extended by blending the colours with hand carders.

Blue Faced Leicester is another popular wool fibre for felt makers. It has an exceptionally fine lofty handle. It is slower to felt than Merino as it is a little coarser, but offers a choice of three natural colours including white, oatmeal and dark grey.

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The equipment used by feltmakers is simple, designed for fibre preparation, all the creativity comes from the patterning, shaping and colour use as the fibres are felted into a personal art work, a wearable garment or a useful household objects such as purses, slippers and mats.

My thanks to Alison Holland from George Weil and sons Ltd for this article

www.georgeweil.com

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Pam’s Courgette Offerings It is my second article that I am writing for this magazine and I am once again revisiting baking one of my favourites; a cake. However, it is not quite a conventional cake and as I am at risk of boring you with this subject altogether I am including a savoury version to balance out the sweet..

My selection is not accidental but really purposeful which stemmed from a worthwhile cooking activity at work. You see, I work with children and their families, for too many years that I care to count here, and I am keenly interested in adding something to make a difference to how individuals do or think about everyday things. More specifically, in my work, we are tasked with supporting families to adopt a healthier lifestyle: of eating more fruits and vegetables, using less sugar and fat as well as exercising more. Alas, we are growing a population of individuals who need to be more careful about what we eat, young and not so, including me of course.

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Now, I do not have any intention of preaching to anyone about this since I am such a terrible culprit.

However, I do have moments of trying to be better and hopefully you will agree with this attempt that I am recording here for you as the recipes in this issue unfold.

Just also to clarify another point, please understand that I do not consider myself to be a ‘star baker’ by any means but rather I see myself as an experimental cook who is not afraid to try new flavours and combinations, especially as I consider myself to be fortunate in that often those who have sampled my attempts, mostly, agree that the outcomes are quite edible, in some instances even delicious and worthwhile repeating. Happily too, a certain well know TV critic is not mirrored among my acquaintances as I would certainly be criticised for indulging myself with too many flavours. My argument on this subject is that I like the complexity of the multiple flavours as this goes back to the flavours and cuisine of my childhood, celebrating a fascinating melting pot of peoples. I ask you to indulge me.

Also, it is an unrivalled rush of emotion that one experiences when observing the more positive reactions of willing others to sample the taste, texture and smells of one’s creation: I am no exception of a cook who enjoys quite a high as a result of people enjoying what I have created.

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I am using courgette as my central ingredient this time for both of the offerings I am about to bring to you.

I first had courgette cake over ten years ago and could not believe the delicious moistness and taste of it and it was done by a dear friend, Judith, thank you. And more recently I found a recipe for savoury muffins online which I have used at successful cooking sessions with families. My recipe has evolved into what you have below because of the range of options I encouraged families to try. The children were sucked into the idea that they could have optional extras and so added and enjoyed ingredients that they would have ordinarily refused to try.

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Sweet Courgette Muffin or Loaves

Ingredients

1 small courgette, grated with the peel (or 200grams) 225 grams self-raising flour

175 ml lactose free milk (I am lactose free but ordinary milk can be used)

50 ml good vegetable oil (I blended olive with rapeseed- 1/3 to 2/3 ratio)

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100 grams of sugar (Demerara, of course, it is the place of my birth! ) But this quantity can be reduced by at least 10 grams or even more if you are using another sweeter type of sugar.)

1 egg 2 teaspoons baking powder ½ teaspoon cinnamon 1 handful of sultanas 20 or so pistachio nuts A squeeze of a lemon A few drops of vanilla essence

Start your oven at 200 degrees

Method Simply combine all of your ingredients in a bowl except the sultanas and the nuts. These you may wish to add at the final mixing so that they will not sink to the bottom of your tin.

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(I dripped my mixture into muffin cases, a mini loaf pan as well as a small cake tin. I topped the cake one with the nuts.)

Put into the oven and bake for 40 minutes. If your oven is a really hot one reduce the heat to 180 once it has been heated.

The cake tin may need a further 10 minutes but do reduce the temperature to do this.

Once it is all cooled try some along with a nice cup of tea.

Why not try the savoy version

ď…¸ 149

Tasty Courgette Muffins

Ingredients 100 grams cheese, grated (I used lactose free cheddar but would have loved to try it with vintage or even Old Amsterdam if you were going to make it for a snazzy occasion) 1 small courgette, grated with the peel (or 200grams) 225 grams self-raising flour 50 ml good vegetable oil (I blended olive with rapeseed- 1/3 to 2/3 ratio) 175 ml lactose free milk (again ordinary milk is just as good) 100 grams of sugar (Demerara, of course) 1 egg A generous grate of nutmeg

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Ÿ teaspoon of black pepper 1 & ½ tablespoon of Dijon mustard 2 or 3 teaspoons of baking powder depending on the number of options you added

Optional extras A few sprigs of chives, finely chopped, you can be as bold to try up to 10 or so sprigs 1 grated shallot A tiny slice of chilli pepper, finely chopped 50- 80 grams of finely cut sweet pepper Heat your oven to 200 degrees

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Method Simply combine all of your ingredients in a bowl and fold until everything is all mixed. Spoon the mixture into muffin cases.

Check after about 30 minutes to work out whether you will need to reduce the temperature and increase the time.

Once baked and cooled a little place these on a wire rack to continue cooling.

This recipe deliberately does not add any salt.

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You can choose to eat these as they are or to add a topping.

These toppings were a hit with the muffins and they are also a welcome treat to have alongside cheese crackers, vegetable crisps or flat bread snacks.

Topping 1: Cheese Dash A generous spoon of lactose free cheese, chopped chive and a pinch of garam masala. Combine these and add a dollop on the top of each muffin. (I had used cases so they had a little well in the centre to fill). Sprinkle over a few pieces of finely chopped sweet pepper

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Topping 2: Cucumber Relish Finely dice some cucumber, about 2 inches 1 tablespoon of caramelised onion chutney 1 teaspoon of Lactose free soft cheese A few sprigs of fresh coriander leaves, finely chopped ½ teaspoon of garam masala Combine all in a bowl, then spoon teaspoonfuls into the little wells – serve!

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ONLINE COURSES WITH THE EMBROIDERERS’ GUILD The courses are presented in a methodical yet unique way, so that the practitioner is guided step by step through a series of practical exercises without the stress of deadlines and ticking boxes.

The current courses on offer are: Inspired to Create hand embroidery – 1 Moving On Inspired to Create machine embroidery – 2 Moving On Inspired to Create hand embroidery – 3 Another Dimension Inspired to Create machine embroidery – 4 Another Dimension There are various short courses which can be taken singly. They are: Short Course 1- Skeletal Sea Holly Short Course 2- Free Motion Embroidery Short Course 3- Goldwork Acorns Short Course 4- Stencil and paste and many others, See the Embroiderers’ Guild website for more details about courses available The Embroiderers’ Guild Workshops

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Books Corinne Lapierre studied Fine Art in France before moving to England to become a fashion designer. She became increasingly interested in traditional textile crafts and experimented with various techniques. Her felt kits are manufactured in Britain and now sold worldwide Corinne is a regular guest presenter on Create and Craft TV.

Auth0r: Corinne Lapierre Publisher: Search Press ISBN No: 9781782216988 Order: Search Press Ltd www.searchpress.com Price: ÂŁ9.99

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FOLK EMBROIDERED FELT BIRDS

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The square format of this beautiful book make it feel different and inside it is filled with the enthusiasm of the author for her felt birds.

There are twenty very attractive birds to make. Each of them a pleasing mix of well chosen felt colours and embroidery stitches.

Techniques and stitches used are illustrated with excellent photographs and easy to follow instructions. The hand drawn illustrations add a personal touch to the book. Full size templates are included for each project.

This is a book to make you smile. A clever use of simple embroidery stitches such as fly, seed, chain and French knots are used effectively to give each of the birds their individual characters.

whose comforting shape and embroidery really epitomises ‘folk art’ Carol Winter

I very much liked the proud peacock, a pheasant with attitude and the trendy flamingo.

Making felt birds is not my usual thing but I could be tempted by my favourite, the hen,

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Books Katrina Witten trained as a teacher and then taught textiles. She is the embroiderer, designer and inspiration behind Rowandean Embroidery, a small family company designing and making kits which are inspired by the countryside and nature.

Forgive me, because until I turned the first page it had not Auth0r: Katrina Witten Publisher: Search Press ISBN No: 9781782214519 Order: Search Press Ltd www.searchpress.com Price: ÂŁ17.99

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dawned on me that this book is written by the founder of Rowandean Embroidery and is an insight into the structure and stitching of the many beautiful kits found on the market.

HAND-STITCHED LANDSCAPES AND FLOWERS

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I myself am the owner of a

develop your own landscapes

Rowandean landscape kit but,

using the amazing Rowandean

as of yet, have not ventured

style. Well here is our answer.

inside the packet! There may be

This lovely book gives you an

some of you out there

enjoyable insight into the

confessing the same and if you

thought process and stitching

are anything like me perhaps

behind the recognisable brand

feel you may not do the kits

of embroidery.

justice or wished you could

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Books stitch can be used in a miniature embroidery scene; gems in their own right.

I eagerly continued reading through onto the techniques pages and before my eyes were stone walls being created from simple The start of many embroidery books takes steps through different stitches and generally I tend to pass by these really

ideas, trees coming out of the page with the three D effects and organza and other materials turning into meadows and flowers.

quickly. However I found myself lingering on the choice of fabrics and the stitch detail pages in this book which had colourful little extracts on how the

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The finale of the book walked you through 10 charming projects with all the templates and tips needed to achieve these,

B projects together with taking a more simple approach with the use of only six stitches!

Teresa Phillips

my favourite being the oriental poppies using organza and stitching to form a three D flower which I hope to try soon, This book would suit any level of embroiderer wishing to delve into a riot of colour and add some mixed media to their

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Books Elena Vilar taught herself to weave, She is the daughter and great-granddaughter of weavers living in Nantes, France. Influenced by her family's craft and impressed by how easily yarn could be made at home from old Tshirts and other materials, not a day goes by when she isn't weaving.

Auth0r: Elena Vilar

I was intrigued to read this book

Publisher:Search Press

following the huge revival of

ISBN No: 9781782217015

weaving and macramĂŠ and my

Order: Search Press Ltd

recent re-sparked interest after

www.searchpress.com

attending a day’s workshop

Price:

weaving a simple panel.

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WOVEN ART

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having a sudden urge to clean the oven!!

Well…………. I still have a dirty oven because this book is packed to the rafters with information, techniques and troubleshooting.

‘Woven Art’ enables anyone, I personally found the cover a little minimal and uninspiring which has led me to drag my feet opening up the book and delving inside.

with or without a loom, specific materials and/or any expertise to make a woven creation for their home by following detailed instructions. This book delivers huge content on the

I also confess I had a quick flick through and found initially little to spark my interest and wondered whether I was actually going to be able to read

choosing/making of a loom, threads to use and even covers some basic dyeing techniques with the use of recycled materials.

through the 160 pages without

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Books You will be encouraged to use

woven chocolate! , sorry , not

your own colour palette, tassels

true, got carried away on the last

and weaving shapes to

one!! But it did leave me slightly

experiment with making mixed

hungry to weave something for

media woven panels with various

myself.

style fringes, round weaving, weaven hanging vases, woven necklaces, woven dreamcatchers, woven bags, woven rugs and

This book claims to have 15 projects to try but really a number of them are variations of what I consider a similar theme so was a little disappointed that there were not more ideas for those of us that are good followers, rather than makers, of fashion. That being said the book is designed to encourage you to be bespoke and to discover your own flair.

This book is for the beginner to weaving and is a one stop shop, I

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B don’t believe you would need any others on the subject to create enough projects to satisfy your starting interest – clearly we won’t be telling the husband that as my lovely collection of craft books swells again with this Woven Art must-have.

Teresa Phillips

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Books Tatiana Popova was born in 1974 in Kiev, Ukraine. Her embroidery interests are crewel work and silk ribbon. Her first book “Silk Ribbon and Embroidery� was published Russian in Kiev. The book became a best seller in Ukraine. Besides, Tatiana also teaches classes and workshops both at her own studio and internationally, attending craft show in Japan, the UK and the USA.

Auth0r: Tatiana Popova

If you only have one book on

Publisher: Search Press

ribbon embroidery, this is the one

ISBN No: 9781782216551

to have. It is full of techniques and

Order: Search Press Ltd

inspiration. The section on

www.searchpress.com

stitches is clearly explained with

Price:

clear examples. Some of these will be new to many exponents of this type of work.

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THE SEASONS IN RIBBON EMBROIDERY

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Each are accompanied by numerous step-by-step photos, diagrams and instructions. I particularly like the designs for cards for special days, They would brighten up any occasion.

Anne Walden-Mills

The second part of the book is devoted to stunning projects inspired by the seasons, They are graded from “Beginner” through “Intermediate” to ”Advanced”.

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Books Shelagh Amor now lives in Australia.

A member of the Embroiderers’ Guild of Victoria and President from 19841986 she has used her skills to coordinate classes for the Guild and to promote embroidery in her local community. In twenty years of teaching, Shelagh has established a reputation for her meticulous attention to detail and finish.

Auth0r: Shelagh Amor Publisher: Sally Milner Publishing ISBN No: 9781863514996 Order: Search Press Ltd www.searchpress.com Price: ÂŁ16.99

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B

CREWEL EMBROIDERY A PRACTICAL GUIDE Shelagh says the aim of her book is to give confidence to the novice embroiderer and to provide a design source for the more experienced embroiderer. As she has conducted many embroidery classes many students found that they needed help and guidance after their class came to an end.

Therefore this book is well laid out with excellent photographs and designs.

Shelagh starts with the history

of crewel embroidery explaining the materials and tools required.

How to transfer designs , how to frame your material ready for stitching and colour principles.

There are 11 crewel designs. Each one fully explained with requirements, method of working and the stitches used.

Shelagh provides design sheets and a glossary of stitches.

The book also explains how to block/finish your embroidery.

I think this is an excellent book with clear precise instructions and designs and I would thoroughly recommend it.

Sally Wilkinson

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Newbury Branch of the Embroiderers’ Guild Mair Edwards

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Newbury Embroiderers’ Guild was started in October 1976 at Newbury Museum. Valerie Campbell Harding gave the first talk on Embroidery Techniques illustrated by examples of her own work. She also took the Chair and offered

to run the first day school at her home entitled ‘Playing with Stitches ‘

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since 1997. We have a varied programme of speakers and practical evenings, we also hold Saturday day schools, with a tutor to learn a new technique and also workshops with our own members.

After using various venues all meetings have been have been held at St Frances de Sale Church Hall Wash Common, 173

We hosted the SEW Regional Day in 1998 with Julia Caprara as our main speaker and also hosted the SEW AGM in 2016. This was the year of our 40th Anniversary so we made this our celebration with an

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In 2001, The Canal Project (based on the flora and fauna of the Kennet and Avon Canal) was exhibited in the Watermill Restaurant and in 2003 we exhibited our 3D project in the Corn Exchange. exhibition and Jan Beaney as our speaker and Ruby Anniversary cakes.

We have always enjoyed showing our work to others and have been involved in many major local exhibitions and group projects.

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They generated so much interest that the hospital commissioned their own embroidery.

In 2010 Newbury Embroiderers’ Guild completed the five panels now exhibited in West Berkshire Community

In 2007, inspired by one of our members, we made four large banners depicting native flowers of the British Isles as a gift for a sewing school in Mozambique. Before these were taken to Africa they were exhibited in the main corridor of the Community Hospital.

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Hospital. Hospital staff, patients and visitors were encouraged to come and stitch. The embroidery marked the opening of the new hospital and depicts the buildings of the old and new hospital and the people that make up the hospital community.

We still continue to enjoy group projects; in 2010 we completed ‘Music in Stitches’; in 2016 our project ‘Divine Inspiration’ was based on churches, and in 2018 ‘Novel Stitches’ inspired by favourite novels and exhibited in Newbury Library.

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We support the National Guild projects too and we were delighted to be part of the Capability Brown exhibition at Blenheim Place in 2015 and the 100 Hearts project.

We continue to try to attract new members with local publicity and now have a website and a Facebook page. Visitors are always welcome to come to our meetings.

Jen Purslow

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Newbury Branch of the Embroiderers’ Guild meets at ‘St Francis de Sales’ Church Hall, Warren Road, Newbury RG14 6NH on the second Monday of the month (except August) Contact jenpurslow2013@gmail.com http://www.newbury-embroiderers.co.uk See a video of Newbury

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Swing Bridge on the Kennet and Avon Canal

Newbury Circular 6½ Miles / 10¾ Km Start and Finish Car Park at the end of Bury’s Bank Road 51.384677, -1.306579 SU 48351 65298 RG19 8SL Newbury Station and Newbury Racecourse Station.

Free Car Park at Start.

Various Pubs, Restaurants and Shops in Newbury Town Paths, Dirt Paths and Canal Paths.

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Newbury has been in existence since the late 11th Century and was a major manufacturing area for cloth. With the building of the Kennet and Avon Canal it became a major trading town. The walk starts in Greenham and makes it’s way past the Racecourse then along the canal through the

heart of Newbury, Then around the area where the First Battle of Newbury was fought before heading back to Greenham.

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Starting with your back to the entrance to Greenham Common, turn right and walk down Bury’s Bank Road until you reach the first road on your left. (236 yd/ 216 m) (51.385428, -1.303660) Turn left and walk down New Road, passing Water Lane on your left, Pigeons Farm Road on your right, Draytons View on your left and Wormersley Road on your right, until the path turns away from New Road where you will have a small green on your left and some houses on your right. (131 yd/ 120 m) (51.386389, -1.303251) Follow the path a short distance until it joins Greyberry Road. Turn right and walk down Greyberry Road until you see a sign on your left marking a public footpath on your left.

(180 yd/ 165 m) (51.387675, -1.302103) Turn left and enter the grounds of St Mary’s Church. Follow the path that leads down the left hand side of the church buildings until you see the main entrance to the church yard on your left. Turn left and exit the church yard onto New Road.

(132 yd/ 121 m) St Mary’s was only built in 1876 but there was a mention of a church here in the Doomsday Book. In 1199 the land around Greenham was given to the Knights Hospitallers and it’s believed that they built their preceptory and other buildings in the general vicinity of the church.

(51.455725, -0.959479) Turn right and walk down New Road. New Road turns into a footpath a short distance from the church then further along back into a normal road.

Keep going until you reach Stroud Green, which has a small green area on your right with a larger green a bit further 182along the road on your left. (450 yd/ 412 m)

(51.394601, -1.311002) Turn right and follow the marked public footpath with some houses on your right and The Green on your left. A short distance along you will pass one of the entrances to Newbury Racecourse.

Keep going straight ahead along Racecourse Road until the end where you will reach a gate. Go to the right of the gate and cross the railway bridge in front of you. Walk straight ahead to the cross roads. (558 yd/ 510 m) Newbury Racecourse opened in 1905, with the ďŹ rst meeting on the 26 and 27 September. There had been a two day annual race meeting at Newbury from 1805 to 1811. Newbury has both Flat and National Hunt events and also hosts two music nights.

(51.399150, -1.310490) Turn left and walk down Mambridge Road, passing Arnhem Road on your right, until you reach Boundary Road the second road on your right. The Old London Apprentice is on the corner. (271 yd/ 248 m) (51.399435, -1.313972) Turn right and walk down Boundary Road until you reach the end. Continue straight ahead until you reach the Kennet and Avon Canal.

(351 yd/ 321 m) The Kennet and Avon Canal connects the Kennet at Newbury to the Avon at Bath. It is 57 miles long and was built between 1794 to 1810.

The Kennet and Avon Canal

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Just before you reach the canal you will see on your left Greenham Mills.

On the right’ now a housing estate, there used to be another mill. This mill is presumed to have been the mill where the Newbury Coat was made.

The coat was made because of a bet by Sir John Throckmorton for 1000 Guineas in 1811 that you could not make a coat between sunrise and sunset on a summers day from wool still on the sheep. John Coxeter and his workers managed to make the coat in time. This record would stand until a replica was made in 1991, which is now in the West Berkshire Museum.

(51.402261, -1.314747) Just to your left is a foot bridge over the canal. Cross over to the path on the other side of the canal and turn to your left and follow the footpath beside the canal, so that the canal is on your left hand side. Keep following the path, passing Victoria Park on your right, until you reach the end of the path. On your right is a path leading up to Northbrook Street, follow this path up to Nothbrook Street. (837 yd/ 765 m) As you walk past Victoria Park on the other side of the canal you will see Newbury Library and a short distance from that are some very old buildings where the West Berkshire Museum is situated. The Cloth Hall was built in 1627 for the Newbury Corporation as a cloth factory. It has been used as a Workhouse, School, Hospital and Corn Store until its use as a museum in 1904.

The bridge in front of you at the end of the path on the canal is Newbury Bridge. There had been a bridge here since the Middle ages, the present bridge replaced a wooden bridge in 1769. There is no tow path here as the bridge pre-dates the canal.

Newbury Bridge

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(51.401779, -1.324142) Cross over Northbrook Street where you will see a sign pointing to Newbury Lock.

Follow the path towards the lock. A short distance ahead of you is the Lock, Stock and Barrel pub. Just before the pub on your left is a path going under the buildings, follow this path back to the canal. Turn right and walk beside the canal, past Newbury Lock, until the end where you will see a swing bridge on your left called the West Mills Swing Bridge.

(301 yd/ 275 m) On the other side of the canal you will see St Nicolas church built some time between 1509 and 1533, possibly by John Winchcombe and his son also called John but better known as Jack of Newbury.

(51.401019, -1.328085) Cross over the bridge and turn to your right and continue straight ahead along the canal. Keep walking beside the canal, past a footbridge until you see a hump back bridge with a lock. A short distance before the bridge you will see a marked wide footpath on your left with hedges and ďŹ elds on both sides of it. (1343 Yd/ 1228 m) (51.399614, -1.345521) Turn left and follow the dirt track until you reach a dirt road with some houses in front of you.

(421 Yd/ 385 m) (51.397513, -1.343161) Turn right and follow the dirt/ gravel road over the railway bridge. Keep going straight ahead until you reach the end where you will reach the Enbourne Road.

(316 Yd/ 289 m)

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(51.394921, -1.342785) Turn left and walk a short distance up the Enbourne Road until you see a marked footpath on your right.

(44 Yd/ 40 m) (51.394821, -1.342174) Turn right and follow the dirt path with some houses on your left and Enbourne Gate Farm on your right. Keep following the path as it turns to your right then left until you reach some houses at a cross roads. (439 Yd/ 401 m) (51.391600, -1.343059) Turn left and walk along Fifth Road, a dirt road, until you reach Oaken Grove, the first road on your right.

(145 Yd/ 132 m) (51.391584, -1.341129) Turn right and walk along Oaken Grove until it turns to the right. On your left you will see a marked footpath.

(155 Yd/ 142 m) (51.390232, -1.341140) Turn left and follow the path, which turns right a short distance along, with the grounds of John Rankin Infant and Nursery school on your right. Keep following the path, passing Henshaw Crescent and Garford Crescent on your left, until you reach a marked dirt path on your right just past where the school grounds finish. (326 Yd/ 298 m) (51.390232, -1.341140) Turn right and follow the dirt footpath which turns left a short distance along and runs up the edge of a large field. Keep following the path until you see a sign saying Public Right of Way West Berkshire Route and Recreational Route West Berkshire with a path going off 186 to your left. (326 Yd/ 298 m)

The field which you are now walking along the edge of, was where a large part of the First Battle of Newbury was fought on the 20th September 1643 during the English Civil War. The Royalists were commanded by Charles I who was trying to block the main Parliament army commanded by the Earl of Essex who was trying to reach London after he had relieved the siege of Gloucester. Charles saw this as his chance to defeat Parliament on a battlefield of his own choosing and finish the war in his favour. Even though Charles outnumbered the Parliament army he failed to break the Parliament infantry which held their line. By the end of the day Charles decided to retreat back to Oxford as he had used up most of his gunpowder allowing the Earl of Essex to continue to London.

(51.383048, -1.347334) Turn left and walk the short distance to Essex Road, (37 Yd/ 34 m) (51.383048, -1.347334) Turn left and walk down Essex Road until the end where you will come to a roundabout. Cross over the roundabout and walk along Monks Lane, passing the Falklands Memorial on your right, until you reach two roundabouts just past Newbury College which is on your right.

Cross straight ahead over the two roundabouts and walk down Pinchington Lane. Keep following Pichington Lane until you reach the car park where you started. (37 Yd/ 34 m) The Falklands Memorial was erected 1878 as a memorial to the Royalist who died in the First Battle of Newbury. The original idea was for a monument to be erected to commemorate everybody who died in the battle but the Earl of Carnarvon, who probably put up most of the money and the land. wanted the monument only for the Royalists. The memorial is named after Lucius Cary, the Vicount of Falkland, who died fighting on the Royalist side.

Newbury Racecourse

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For Further Information mymagazinesub.co.uk/embroidery

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Our thanks to all the people who made this magazine Contents Anne Beckingham Alison Hulme Karen Nicol Sarah Waters Caroline Hyde-Brown Mair Edwards

Sarah Maddison Carol Winter Teresa Phillips Sally Wilkinson Sophie Sheffield Sue Crook

Terri Berry Pam Henry Alison Holland Catherine Kaufman Paul Walden-Mills Mary Ellingham Pat Tempest

Photographs Karen Nicol Sarah Waters Sarah Maddison Anne Beckingham Caroline Hyde-Brown

Sophie Sheffield Sue Crook Pam Henry Alison Holland

Sue Pettifor Catherine Haufman Paul Walden-Mills Lee Parkinson John Marcar

Videos Karen Nicol Chinon Classic Mike Day 25@23 Sew Region Exhibition

In conversation - A Fascinating Journey Grand Prix de Tours - A flavour of the Classic Weekend Newbury - A One Day Trip in memory of James Askworth Regional Exhibition 2019

Editors Anne Walden-Mills (Editor) Amanda Smith (Proof Reader) All articles and photographs used in this magazine are the copyright of their authors. The magazine's content is for private viewing only and must not be reproduced in part or full for commercial gain in any form.

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