Good news! We’ve lined up nine textile artists who are sharing their go-to display methods. You’ll be surprised by each technique’s simplicity, as well as the fact they don’t require expensive equipment or professional support. Each artist generously provides step-by-step instructions and tips that will help ensure your success. 

No matter what type of textile art you create, we’re confident at least one of these strategies will help you display your work in all its glory.

Shadow box & floating mount

Mary Beth Schwartzenberger: Because my art is a combination of paper and fibre, I find an enclosed shadow box frame to be the most archival and effective way to display my work. I never glue my art to any surface. Instead, I float my work using foam core and fishing line which allows the paper’s uneven edges to become a design element. 

First, choose a shadow box frame with an appropriate depth to allow your art to float without touching the frame’s back, sides or the glazing. The box’s sides can be made of mat board, foam core or plastic strips. 

Next, cut a piece of foam core that’s at least 3cm (1″) smaller than the artwork’s perimeter. Then stitch the artwork to the foam core using fishing line. Because the art is stitched rather than glued, you can safely remove it by simply cutting the fishing line stitches. 

The foam core is then glued to the float board that fits inside the frame. The proper fitting sequence is glazing, shadow box sides, float board with media and then close.

I always encourage artists to work with a professional framer. While it may cost more, it will pay dividends in quality and longevity. I also suggest letting a framer know you’re a willing partner in the process. Most will respect your interest and offer suggestions for various techniques. 

For smaller works, many frames with built-in shadow box sides or matting are sold online. But again, if your project is particularly important, I think using a framer is your best route. You’ll have a high-quality frame and a wider choice of matting and glazing. A beautiful work of art deserves a beautiful presentation. 

Mary Beth Schwartzenberger is based in Los Angeles, California (US). Her work has been featured in galleries and museums throughout the US. She has also been featured in a variety of publications, including Fiber Arts Design Books 6 and 7 and Cloth Paper Scissors magazine.

Bobbin & scroll

Gwen Hedley: I enjoy the flexibility of scrolls, which can be used with a spool, bobbin or other tubular item. They can be displayed as a freeform relief work or hung on the wall by passing a small rod through the spool holes, protruding just enough to carry a short hanging thread. 

The height of your spool determines the width of your scroll. Your spool should be a bit longer than your stitched scroll. This makes it easy to wrap the scroll around the spool. In my example, my spool is 9cm tall, and my scroll is 6cm tall.

You’ll also need a short length of 2cm (1″) Velcro to attach the scroll to the spool. Cut the Velcro to fit across the end of your stitched scroll and then sew the hooked side at the very end of your scroll on the right side. If you don’t want to stitch it onto your scroll, sew a small fabric extension at the end of the scroll (as shown in the first image below) and stitch the Velcro onto this instead. 

Place the fuzzy piece of Velcro onto your sewn-on Velcro strip. Next, wrap the scroll just once around the spool and mark a line on the reverse side where the Velcro now sits invisibly on the back of your work (marked by a pin in the image below). 

Peel off the fuzzy half of the Velcro and stitch it firmly into place on the reverse of the scroll, just inside your marked line. Stitch around all sides of the Velcro. 

You’re now ready to wrap the end of the work tightly around the spool, pressing the Velcro strips firmly together to hold the end securely in place. Then you can wind the rest of your scroll onto the bobbin.  

 To display your scroll on the wall, fix the spool to the wall at a jaunty angle using a picture hook and thread. Then arrange your unwinding scroll in any way you wish, remembering to keep the dimensional quality. Sticky fixers or the like can be added to the back parts that touch the wall.

Alternatively, you could sew a thin wire at each side of the scroll and manipulate it into interesting undulations. 

My favourite method is to stand the spool on a small plinth, allowing it to unwind and tumble across the table. The longer the scroll, the better. I have a small box to contain each spool for storage and transportation, and this, in turn, can become a plinth for the piece. 

Gwen Hedley is based on the Kent coast in the UK. She teaches and exhibits across the globe and is a long-standing member of the Textile Study Group. She has also written Drawn to Stitch (2010) and Surfaces for Stitch (2000). Photo of Restoring by Melanie Chalk.

Hoop in a shadow box 

Cassandra Dias: This shadow box technique allows me to display and protect an entire embroidered hoop without having to mount, glue or sew anything into place. All that’s needed is a completed and hooped artwork, backing felt and a shadow box. 

Choose a shadow box with a width that allows at least a 1.5cm (½”) space around your embroidery hoop. The inner depth of the shadow box (the space between the glass panel and the backing board) should be around 2cm (¾”), so your hoop can be sandwiched between the glass and the felt before the backing board of the frame is set in place to hold it all together. 

Once you’ve selected your shadow box, wipe down the inside of the box and glass with a damp paper towel and let it dry. Place your finished embroidery face down on the centre of the glass. 

Cut some strips of felt and scrunch them up to fill the spaces surrounding the embroidery. This gives the effect of having the hoop nestled into a bed of fabric. Place a square piece of matching felt over the felt strips and your hoop. Lastly, add the backing board and close the frame. 

This technique works best for embroideries that have a level surface. If your work has a lot of raised stitching, the glass panel will flatten the stitches. But for flatter works, this technique is a great way to protect your art from dust and other environmental elements. You can choose to hang your work on the wall or prop it up on a flat surface. 

Cassandra Dias is based in Southern California, USA. She started to embroider in 2020 as a hobby, but that quickly grew into an artistic career. Cassandra’s work has been featured in various online textile and art publications, as well as in Love Embroidery magazine (September 2021).

Hanging hoop 

Vinny Stapley: This display technique is especially wonderful for works created with sheer translucent fabrics, as well as opaque fabrics. It gives a nice clean finish that looks lovely from both the front and back. 

You’ll need your artwork, an embroidery hoop, scissors and double-sided tape that matches the depth of your hoop. A small butter knife or something with a rounded flat blunt tip is useful to tuck under any excess fabric, and you’ll need some invisible thread or fishing line to hang the hoop.

First, secure your embroidery in the hoop. Tighten the screw, so your work is taut like a drum. I locate the screw fixing at the top of the artwork to make it easy to hang. Trim the excess fabric leaving an allowance of 2cm (¾”). Position the double-sided tape around the inside frame edge, pressing it firmly to the inside hoop edge.

Peel off the paper backing of the double-sided tape, and then carefully stretch and fold the extra fabric to the inside of the hoop onto the sticky tape. Use a flat-edged knife to tuck in any extra material at the base of the inner hoop edge. Attach some invisible thread or fishing line to hang the hoop.

The key to success is making sure your work is tightly secured in the hoop. This will help prevent it from looking loose and baggy.

Vinny Stapley is based on Mersea Island in Essex, UK. She is a member of the group East Anglian Stitch Textiles, which was featured in Embroidery magazine in 2024. Her work was selected for The Broderer’s Exhibition: The Art of Embroidery, 2025.

Sleeve & slat 

Pat Baum Bishop: The sleeve and slat system is my preferred method for larger art quilts and those that don’t match standard sizes of wrapped canvases. It works great for all sizes of textile art that has more than one layer, including those that have decorative or intentionally unfinished edges.

First, measure and cut a fabric strip that is 10-15cm (4-6″) less than the width of the quilt and about 25-30cm (10-12″) deep. For smaller quilts, you could make your sleeve about 10cm (4″) deep. 

To create a sleeve, fold the fabric in half lengthwise and stitch along the long edge. Press this flat and then cut it into two equal sections. Evenly shorten each half section, enough to leave a 15cm (6″) gap in the centre of the artwork. Finish the shortened edges by turning them under by 1cm (½”) and stitching. Pin each sleeve about 1cm (½”) down from the top of the quilt and 2cm (1″) in from the outer edges, then hand stitch into place. 

For the insert slats, I use wooden firring strips from a DIY/home improvement store that are 0.64cm x 122cm x 4cm (¼” x 48″ x 1½”). I cut the strip to 2.5cm (1″) less than the width of the finished quilt and sand down the edges. 

I cut about 30cm (12″) of hanging wire and make a loop at each end. With the wire centred, I staple each of the looped ends to the slat with a household stapler.

Pat Baum Bishop is an artist and teacher based in Wisconsin, USA. She has exhibited across the globe and won numerous awards in fine art venues and prestigious fiber art exhibits. She has also been on the cover of Quilting Arts Magazine and appeared on The Quilt Show in 2024.

Pat Baum Bishop’s alternative option for small textile art quilts uses machine-stitched facings. 

Wrapped canvas

Pat Baum Bishop: The wrapped canvas method can be used for both framed and unframed display. I think this technique gives the artwork more presence, substance and importance. It also prevents the art from sagging or hanging unevenly. 

You want to first make sure your textile art overlaps your canvas by at least a 5cm (2″) on all four sides (a larger overlap may be needed for thicker frames).

Lay your quilt face down and then place the frame in the middle. Using a household stapler or staple gun, wrap and staple the art at the top and bottom centres of the back of the frame. Then wrap and staple the left and right centres of the frame. Continue to staple around the frame every 5-8cm (2-3″). 

For neat corners, pull each corner of fabric up diagonally toward the centre of the canvas and staple it down. Then tuck and staple each side of the corner. If your artwork is too thick, try trimming excess material to achieve a nice look. You can also tap the corners with a hammer to encourage them to lie flatter.

To hang the work, I attach D-rings a third of the way down from the top on the left and right sides and thread through some picture frame wire. 

Pat Baum Bishop, wrapping a canvas

Attached wire hanger

Jo Morphett: This technique is perfect for small to medium sized textile art that doesn’t weigh much. It uses a simple 22- or 24-gauge wire that can be found at hardware or craft stores. Depending on where you place the wire, it can be almost hidden or openly serve as a decorative element. 

Start with a length of wire approximately triple the width of your project. To create a triangle, first fold the wire in half without pinching. Then bend each cut end toward each other and overlap to create a triangle shape. Twist the overlapped wire ends around each other to secure, then trim any excess wire.

The base of the triangle, the edge with the twisted ends, should be about 1cm (¼”) shorter on each side than the width of the art. Once the triangle is the size you want, pinch the top of the wire slightly to create an oblong shape at the top. 

Folding a perfect wire triangle can be challenging, but don’t worry. Some wonkiness is ok. And if the wire that shows above the top of the art is centred and uniform in shape, it’ll look great.

To attach the wire to the art, centre the wire on the back of the piece, allowing it to show as above the top of the artwork. Holding the wire in place with your non-dominant hand, secure it using a whip stitch with embroidery thread (floss), making sure your stitches don’t appear on the front of the piece. 

Once the wire is stitched in place, cover the back of the whole piece with fabric and use a blanket stitch to stitch it all together. 

Jo Morphett is based in Northern BC, Canada on the unceded ancestral lands of the Lheidli T’enneh Peoples. She creates video tutorials and provides inspiration for starting or expanding a Slow Stitching practice. Jo also relies upon a low impact, no waste approach by using recycled or deadstock fabrics.

Fabric book with pages

Mandy Pattullo: I enjoy the flexibility of using fabric books. Using buttons for the side binding allows pages to be easily removed or worked on at a later stage. It’s also easy to attach a backing to the pages since they are separate.

I start by pinning all my collage elements onto a linen page and then attach a backing piece of linen using a small overstitch or stab stitch. I use matching thread and very small stitches, so they are almost invisible. It’s important the attaching stitches aren’t really seen.

I then add whatever stitch or other embellishment I want to my page, and once everything is complete, I add another same-sized linen backing piece and attach that with tiny running stitches. 

To assemble the book and bind one side with a few buttons, I stack the pages together and make pencil marks on the front where each button will go. I use a strong knotted thread such as cotton perlé to stitch on the buttons. 

I bring the needle up from the back of the book, through a button, and then stitch down through the button to the back. If necessary, I stitch through the button a second time. 

Mandy Pattullo is based in Northumberland, UK. Her work is based on historical textiles and traditional techniques. She teaches workshops across the globe and is a member of the Textile Study Group. 

Concertina book

Mandy Pattullo: I like to use metis fabric to make concertina books. It’s a stiff mix of linen and cotton that creates a sharp concertina fold. I assemble my collage elements into colour stories and pin them onto the metis. It’s important to be careful with any elements covering the valley and mountain folds. 

I’ll then stitch everything together using ordinary Gütermann sewing thread in a matching colour. I use almost invisible stitches or what some might call a whip stitch.

A challenge with this technique is that the stitches I use to attach the elements are visible on the back of the book. I’ve never found an effective way to put a second concertina on the back to hide those stitches, as doing so makes the book less pliable.

Still, I like how when the book is folded, you can ‘read’ it as double page spreads which can have their own colour story. And then when you pull the whole thing open, it gives yet another viewpoint. 

This technique is also an excellent way to present very small scraps of fabric. 

Stretch-mounted & framed

Heidi Ingram: I use a traditional damp-stretch method for preparing my heavily stitched work ready for mounting. By presenting my art in a glazed frame it’s protected from dust build-up.

I pin out my composition on an old cork board using lots of drawing pins (thumb tacks) and then lightly spray it with water, while trying to make sure the grain of the background fabric is straight. As I use colourfast fabrics and threads there is no risk of the dye colours bleeding into the fabric during this process. You can also use a staple gun and a piece of plywood for damp-stretching. 

When the artwork is dry, I centre it over a piece of acid-free mountboard that’s several centimetres smaller than the background fabric on each side. I insert dressmaker pins into the mountboard core to temporarily fix the artwork in place. 

Next, I fold over the fabric at the back, making neat folds at the corners. With long lengths of doubled-up strong thread, I lace up the back. I make long stitches, starting at the centre of each edge then moving towards the corners. I find that a small curved upholstery needle makes this job a bit easier. 

After removing the pins, I use acid-free framer’s tape to attach the work to a window mount. I tend to use a deep box frame for most of my artworks. But for flatter pieces, I can get away with using a standard frame combined with a double-layer mount to make sure the textiles aren’t touching the glass. 

Framing services can be expensive so I often order bespoke frames online and then frame the work myself. This also gives me full control on how the artwork is presented. Depending on the destination of the artwork, I use either standard float glass or art glass (either TrueView UltraView or Groglass AR70), which is more expensive but is non-reflective.

Heidi Ingram is based in Scotland and makes hand stitched textile landscapes. She is a member of EDGE Textile Artists Scotland and is the learning and workshop development lead for TextileArtist’s Stitch Club. 

Double-sided tape float 

Mary Carson: I always stretch my art because I don’t want faces and body parts puckering. I also want the manipulated fabrics to stand proud on the surface. But for Benjamin’s New Hat, I wanted to surround the work with a fabric binding so it would look like an art quilt when hung. 

I didn’t add a fabric backing, so some of my stitchwork can be seen on the back. I was concerned a loose backing fabric would allow the stitched work to ripple and buckle. But seeing the threads on the reverse side doesn’t bother me, as I enjoy seeing the backs of stitched works. 

I first thought about tacking the work to the canvas with thread, but I’d need too many stitches to keep it taut. So, I scoured the internet to see if there was a double-sided tape made for textiles, and discovered Stitchery Tape. It’s acid and solvent free, and it works like a charm!

I evenly distributed four full-length horizontal strips of tape across the canvas and then attached the art, working from the top down. I stretched the artwork taut as I laid it across each strip. It held remarkably well and has stayed secure to this day. 

The Stitchery Tape product information suggests art can be removed or repositioned without damage. I haven’t tried that, but online reviewers said they did so with success. 

In the future, I’m going to consider painting the edges of the canvas. I don’t mind the basic white finish for this piece, but a complementary colour could add to the display effect.

Mary Carson  is based in Wisconsin, US. She is a storyteller at heart in both stitch and word, and she enjoys being a writer for TextileArtist.

Another way to display your art is by taking photographs, especially when you share them on social media. Check out these tips for taking professional pictures of your work with your smartphone. 

Without a sound knowledge of photography techniques or access to professional equipment, getting fantastic photographs of your art can be tough. And textile art poses its own distinct challenges as artworks can come in a wide range of sizes, shapes and forms.

Here are some quick tips to help you take great photos of your creations using the camera app on your smartphone.

“Bright, indirect lighting is the key to a great textile photo.”

Choose a bright location

Lighting is the most important factor. It’s best to take your photos on a bright but cloudy day, inside or outside. Avoid direct sunlight as it will cause harsh shadows.

If you opt to shoot indoors, make sure the light source isn’t behind you, or you’ll cast a shadow over your artwork. Ideally, try to work in a space with pale, neutral-coloured walls, such as white or off-white tones.

Don’t use the camera’s flash as it will flatten the textile’s texture. It will also cause glare and uneven distribution of light across the piece.

Aim for even, indirect lighting across the work, with minimal shadows. If it’s darker on one side, prop up a piece of white card on the shady side. This will reflect some light across the work and balance out the darker areas.

Setting up the shot

It’s a good idea to remove nearby clutter or anything that might cast a colour over the work.

If you are going to frame the work using a glazed frame, make sure you take the photo before framing it to avoid problems with reflections.

Hang the work on the wall – this is great for quilts or larger works. If you don’t have a handy wall space available, you could use a board covered with a pale, neutral cloth or sheet and pin your textile art to it. Or attach smaller works to a piece of white card propped up vertically.

Alternatively, lay the work flat on a piece of white card and take the photo from above.

Move the artwork around to find the best lighting location for capturing the texture of your textile art. Watch out for reflective surfaces on your artwork – adjust the position and lighting of the artwork to minimise reflections and glare.

Composing the shot

Hold up the smartphone directly in front of the centre of the artwork. Move forwards or backwards, or use your smartphone’s zoom function. You want the artwork to fill most of the image frame, but do leave some space around the outside so you can crop the photo to different dimensions later.

Check that the whole artwork is in focus, not just the central area. If the centre of the image is the only part that’s in focus, try moving further away and zooming in a little using your camera zoom. A sharp focus is important for giving you the best quality image of the stitches and textures.

“Make sure the focus is sharp when you take the photo, rather than trying to fix it later using software.”

Get things straight

Avoid distorted images, a condition known as keystoning. Check that the artwork appears straight, not skewed. Position the smartphone square on and make sure you’re not shooting at an angle with the camera tilted too far up or down. Your phone may have a grid function to help with this.

Taking the photo

Keep your smartphone super steady – use a tripod or stand firmly and brace your arms, holding your elbows tightly against your body to ensure as much stability as possible.

Take the photo, then zoom in and check all areas of the image for sharpness and clarity. Take several photos so you have lots to choose from.

If possible, after you’ve taken a few photos, preview them on a bigger screen, like a laptop or tablet. You can then make any final adjustments to your setup in order to capture the best quality photos of your work.

Cropping & editing

Use your phone’s photo app or computer software to crop or rotate the image. If necessary, adjust the brightness, contrast or colour saturation. Make sure the colours are accurate – white areas should appear white. Try tweaking the white balance settings and/or the colour settings to improve the colour accuracy. The image should be as true to life as possible.

Avoid using sharpening tools when editing your photo, as they can negatively affect the quality of the image. Instead, aim to get the sharpest possible image when you take the photo.

Save your images at your device’s highest-quality JPG setting. A high-resolution and larger file size will be needed for any photos you want to print.

You may need to create smaller files for emailing or to use online on a website – an image size of around 1800 pixels wide (giving a file size of 1-2Mb) is perfect for this.

If the textural details are particularly important in your artwork, take a separate set of close-up (macro) shots.

For three-dimensional textile sculptures, choose the best place to focus on to get as much of the piece in focus as possible. Then, take some detail shots from different angles to capture the sculptural shape of the work and show any interesting folds or layers in the fabric.

“Take whole artwork photos, as well as detail shots to highlight interesting areas of texture.”

More tips & tricks

Seeking that perfect photo of your art? Good lighting and a sharply focused image are key. Here are some extra ideas to try.

If lighting is a problem and you find you have to use artificial lights, look for some daylight bulbs. You could also try to diffuse any harsh lighting using a white sheet or a piece of white plastic placed in front of the light source. With safety in mind, take care to avoid the light overheating.

If you’re using a tripod, set the timer function to take the photo a few seconds after pressing the button – this can help to further reduce camera shake and ensure really sharp images.

You can also adjust the exposure brightness and the white balance in your smartphone camera settings before taking the photo. This can help you capture the colours so that they look true to life. Remember to aim for an accurate reproduction of your work.

These aren’t just photographs. They’re moments of connection frozen in time.

But, although the memories bring joy, the idea of creating the faces of your loved ones in stitch can feel scary.

Lose the fear & find the fun in stitching faces

“Portraits usually terrify me,” confesses Stitch Club member Joanne Moorey. Maybe you feel the same way? Yet after discovering textile artist Susie Vickery’s unique and fun approach, Joanne found herself “brave enough to keep practising,” discovering that stitching faces can feel both natural and enjoyable.

This shift from fear to freedom is at the heart of Susie’s philosophy. “I like that connection with people,” she explains. “When you choose the image, I like the person to be looking at you because then you’re making that connection with the eyes.”

The fear behind the thread

Maybe you’ve been drawn to the idea of creating portraits in stitch. You’ve seen others capture personality and emotion with just fabric and thread, making pieces that feel alive with character. But something holds you back.

“I’ll never capture their likeness.“

“My stitching needs to be perfect.”

“I wouldn’t know where to begin.”

These were exactly the thoughts that held back countless stitchers before they discovered a more liberating approach. “Portraits have never been my thing,” admits Lois Standish, “but this quick technique made it really fun.”

Breaking free: The “Sketchy stitch” revolution

Susie Vickery’s approach to portraits turns traditional assumptions upside down. “Don’t worry,” she encourages. “These are just sketches. Think of them as practice pieces and you might surprise yourself.”

This shift in mindset – from seeking perfection to embracing experimentation – is revolutionary. “Although before this workshop, portraits were something I thought I would never consider as a concept for my art… ‘never say never’ and ‘always learning!'” reflects Jan Virgo, capturing the transformation that happens when we let go of our preconceptions.

When Susie creates a portrait, she’s not trying to make a continuous, perfect line. Instead, she’s sketching with thread, allowing each stitch to contribute to the character of the piece. This freedom has led to unexpected joy for many participants.

“I am completely addicted and am now persuading people in the village to have their photos taken for sketchy samples!”

Sue Forey, Stitch Club Member

Finding your voice through faces

Just as everyone’s handwriting is unique, Susie believes every stitcher develops their own distinctive approach. “Like your handwriting, you’ll develop your own individual style,” she assures. “It’s always amazing in the workshops how different everyone’s outcome is… You can clearly see the style that carries across no matter what the subject is.”

This personal approach resonates deeply with participants. “My first attempt at a portrait is my father-in-law in 1940,” shares Mary Bertholf. “He always smiled a lot, and always had dark circles around his eyes and folds in his face.” It’s these personal observations, these intimate details that make each portrait unique to its creator.

Susie’s top tips for creating characters in stitch

1. Start with someone you don’t know

“You might find it easier for your first attempt not to do someone that you know,” Susie advises. “Often it’s harder when it’s a face you know really well and you spend all your time trying to get the likeness rather than looking at the picture in front of you as something to work from.”

One Stitch Club member discovered the freedom in this approach. After starting with unfamiliar faces, she gained the confidence to tackle more personal subjects, even feeling empowered to “redo the mouth on my son’s portrait” when it wasn’t quite right. The process became about exploration rather than perfection.

2. Think sketches, not masterpieces

“I’m doing some quite long stitches, and I’m overlapping them. I’m not trying to make a continuous line. I’m just sketching in,” Susie explains. This liberating approach resonates deeply with participants.

“I really enjoyed stitching this. Even though I don’t feel I achieved a great likeness, it doesn’t matter. I know I’ll get better the more I practice,” shares Jess Richardson, who found joy in the process by using fabrics inherited from her mother. The material connection became more important than photographic accuracy.

3. Let the lines lead you

Rather than trying to create perfect features, look for the defining lines that give character to a face. “The lines that we’re putting in are just a guide,” Susie emphasises.

This approach led to beautiful discoveries for Melissa Emerson, who shares, “I’ve really enjoyed developing this piece further using colour on a small section of the face.”

“I’ve deliberately caused some of the threads to knot around the hair to add to the meaning of the piece – accepting physical change as we get older.”

“The acceptance that our perceived imperfections make us who we are and that there is a strength and beauty in this.”

“I loved the thread drawing element of this workshop, especially the freedom to be playful with the placement of stitches. Thanks again Susie, this was lots of fun!”

Melissa Emerson, Stitch Club Member

4. Build in layers

Susie’s technique of layering fabrics and then building up stitches creates depth naturally.

Catherine Walker found this transformative: “This workshop felt very special. I am not able to see my Mother often as she lives on the other side of the country. It felt like I was sharing time with her as I studied her photo, adding colour and depth. It reminded me of what a strong woman she is and how much I love her smile.”

Each layer brings new opportunities for character and connection.

5. Embrace the process

“Like your handwriting, you’ll develop your own individual style,” Susie encourages.

Angela Sparkman discovered this truth firsthand: “Oh. I really enjoyed this one. I did all of the stitching in one sitting! Learning to capture my dad’s likeness has brought so much joy and experimentation to my art.”

The journey begins: Getting started

The beauty of Susie’s approach to stitching portraits is that you can begin with just basic materials:

• A simple photo reference
• Three pieces of fabric (Susie often uses calico and old clothing)
• Basic embroidery threads
• A needle and hoop

For many participants, using meaningful materials adds an extra layer of connection. As Jess Richardson discovered, using inherited fabrics creates a deeper bond with the subject and the process itself.

From sketch to story

When Susie creates a portrait, she’s doing more than capturing a likeness – she’s telling a story. “I’ve loved spending time with her getting to know her face in detail as I embroider it which I think is really wonderful,” she says of a portrait of her mother-in-law.

This deeper connection through stitch resonates with many participants. Richard Tremelling used Susie’s technique to create his first stitched portrait of his mother-in-law, noting the quick yet striking results in capturing her “characterful” face in just an hour.

Taking the first stitch

Remember: every accomplished portrait artist started exactly where you are now – with a simple needle and thread, and a willingness to try. As Susie puts it, “I prefer to actually sketch with a needle and thread because I absolutely love sewing.”

The joy isn’t in achieving perfection – it’s in the process of discovery, in developing your own unique voice, and in creating something deeply personal and meaningful.

Ready to start your portrait journey? Take Susie’s advice: choose a face that intrigues you, gather some simple materials, and give yourself permission to sketch with thread.

After all, as countless Stitch Club members have discovered, you might just find that creating portraits is less about perfect technique and more about joyful exploration of the faces and stories that matter to you.

Interested in learning these techniques? Join the waitlist.

Finally, you decide that today’s the day! You’re going to start that creative project you’ve been dreaming about.

You gather some fabric scraps you’ve been saving. You find your old sewing box. You clear a space at the kitchen table and…

And then what?

You realise you’re not sure where to begin. So you think maybe you should look up some techniques first. You open your laptop to do some research.

But there’s so much information… Your inbox needs checking while you’re here. Oh, and you should probably put another load of washing on. And didn’t you promise to call your friend? And it’s almost time to start dinner anyway…

Another day slips by without creating anything.

You tell yourself you will make a start tomorrow, when you have more time. When you’ve researched a bit more. When you’re a bit more more organised. When life is less busy.

But you’re not alone. In fact, you’re in excellent company. Every accomplished textile artist started exactly where you are now, with a desire to create and uncertainty about how to begin.

The difference between you and them? They found a way to start. And today, we’re going to show you how you can too.

The time trap

“I’ll create when I have more time,” you tell yourself. But here’s the painful truth: That mythical expanse of free time will never arrive. Life has a way of filling every available moment – unless you decide to claim some for yourself.

Every day you put off starting is another day of creativity lost forever. Another day without discovering the joy that comes from working with your hands to make something meaningful and personal.

Laura Otten, a Stitch Club member, told us: “Before, I thought I had to have big chunks of time to put into making art.”

“Now I understand that’s not the case and I am working far more regularly because of it. I can get something done in 30 minutes or less, and then tomorrow, I can spend another 30 minutes.”

“And eventually, I’m going to have something to show for it.”

“Doing workshops online that I can revisit in my own time, helps me break things into manageable chunks.”

Laura Otten, Stitch Club Member

The overwhelm obstacle

You stare at blank fabric, paralysed by the fear of starting.

Or maybe your mind buzzes with too many possibilities about which technique to choose. Raw-edge or turned-under appliqué? Paint the background fabric first? Print photos on fabric? Finish the piece with hand stitching or machine stitching?

The questions keep lining up, until the weight of choices crushes your creative spark entirely.

6 simple ways to unleash your creativity (in small pockets of time)

1. Embrace the power of tiny

Forget masterpieces. Start with moments.

Celebrated textile artist Clarissa Callesen puts it perfectly: “When a child learns how to play the piano, we don’t expect them to compose an original symphony. They play Mary Had A Little Lamb over and over again, and then progress to more challenging tunes as they go.”

Try one of these ideas:

• A single experimental stitch during your coffee break
• Fifteen minutes of playing with stitch techniques or collaging colourful fabrics, first thing in the morning
• Make one small sample square per week

Your artistic journey begins with a single stitch – so why not pick up some fabric and thread and give it a go?

2. Fall in love with the process

The magic isn’t just in the completion of an art piece – it’s in the moments of creation.

And textile artist Monica Bennett discovered how even small creative moments can be productive: “Making samples gives me the confidence to tackle larger or more intricate pieces. I can try out a concept or thought beforehand, and then see how and where I could develop it.”

Try to imagine:

• The meditative rhythm of needle through fabric
• Asking yourself “What if I do this…?” instead of “What should I do next…?”
• The satisfaction of seeing your unique vision emerge, experiment by experiment, stitch by stitch

3. Use limits as launchpads

Complete freedom can be paralysing. Instead, why not try:

• Choosing just three colours 
• Working with only one type of stitch
• Using only the materials you already have

Watch how these boundaries can spark, rather than stifle, your creativity.

Sue Stone’s three-fabric, three-thread, three-colour Stitch Club workshop helps members avoid decision fatigue and unleash creativity.

Just look at the diverse, beautiful pieces created by Stitch Club members Linda Florio (above), Ruth Atkinson (below left) and Debbie Greene (below right) using these simple constraints.

4. The journey of discovery

Every perceived “mistake” is an invitation to:

• Let your “wrong turns” lead to new techniques
• Work with imperfections to develop your unique style
• Turn missteps into creative opportunities

Wendy Kirwood explains her breakthrough moment: “I wasn’t happy with the look that my pale threads were giving my piece.“

“So I started cutting the stitches to remove them, and things started fraying. But, actually, this looked really appealing, so I embraced my mistake, and kept the cut threads.”

5. Let structure set you free

Having a clear path forward doesn’t mean being inflexible or not instinctive, but it eliminates the energy-draining question of “What next?”. Your path could be:

• Following a workshop structure
• Creating your own step-by-step plan
• Setting simple daily goals

When you know what to do next, you spend less time thinking and more time creating. Your subconscious mind keeps working on ideas between sessions, leading to unexpected breakthroughs. 

6. On the shoulders of giants

Give yourself permission to:

• Learn from artists you admire
• Practice techniques that inspire you
• Combine influences to find your voice

Textile artist Sabine Kaner reassures us: “Being influenced by other people’s work is quite normal and it’s all part of the process of discovering more about yourself.”

“You will eventually pull away from that and start introducing things into your work that are unique to you.”

Clarissa Callesen adds: “Originality is a concept that we’ve put up on a pedestal as the ultimate.”

“But I think that when we concentrate too much on originality it stops us from following our own curiosity. Copying is normal as a starting point.”

“When you combine inspirations and techniques from different artists, you create the thing that is yours.”

Clarissa Callesen, Textile Artist

Your creative awakening awaits

That creative energy inside you? It’s not just a whim. It’s not just a hobby. It’s a vital part of who you are, waiting to emerge.

Every day you wait is another day of creative expression lost forever. But here’s the beautiful truth: You can start right now. Not when you have more time, or when you’ve mastered every technique. Now!

Think of it this way:

• Every textile artist you admire started exactly where you are
• Every stunning piece began with a single stitch
• Every creative journey starts with one small step

Take that step. Make that stitch. Join a community that understands and supports your creative journey.

Your artistic voice is waiting. Isn’t it time you let it speak?

Here’s another fact: we can overwhelm our spaces and ourselves with all that we collect. Piles of fabric, boxes of beads, overflowing bobbins, and pins and needles everywhere can make for a chaotic maker space. 

Fear not! We’ve asked some well-known textile artists and some of our Stitch Club members to share their best tips for organising their creative spaces. Some of these makers have separate studios while others create art in their homes, but all of their strategies could work well in almost any space.

We feature tips from Elisabeth Rutt, Jennifer Collier, Jeannie Holler, Lauren Austin, Jess Richardson, Isobel Currie, Rosalind Byass and Deborah Boschert.

Their overarching goals are to know what they have to hand and how to easily find what they need. What more could you ask for?

It’s time to get organised!

Elisabeth Rutt

Elisabeth Rutt, Textile artist: Keeping my materials organised first by type and then by colour makes it so much easier to find something when needed. It’s a filing system of sorts that helps prevent wasted time. 

I use clear plastic sweetie jars to house cotton perlé threads which I then sort and group together by colour in each jar. I keep machine threads, sorted by colour, in clear plastic shoe boxes.

My fabrics are grouped by type, such as cottons, sheers, silks, velvets, weaves, textured and ‘specials’. I use wire baskets on a frame that works as drawers, and if I have enough, I’ll group them by colour as well.

Colour coded threads

Space is limited in my studio, so for my threads, I use a set of coloured plastic drawers on castors for any extra threads of whatever type. The red drawer has a glorious mixture of red threads of all weights, as does the green, blue and other colours. 

I also use microwave food containers to hold buttons sorted by colour and then nestle them in with the threads. And I have a smaller set of very similar drawers for seed beads organised by colour.

Organise tools by technique

I have years and years worth of collected fabrics, threads, art and design materials, books and tools, so I’ve had to learn what to keep near me and what to archive elsewhere when not in use. 

I have clear plastic crates on warehousing shelves in our garage and shed. They’re organised by technique. For example, mono-printing tools and equipment are in one, while transfer printing equipment with suitable fabrics and papers are in another.

“My biggest challenge is deciding what to archive out of my room to make space for making new work!”

Elisabeth Rutt, Textile artist

Elisabeth Rutt works from her home studio in Bury St Edmunds, Suffolk. She tutors and mentors design and textile students in schools and adult education. In 2022, she was accepted as a member of the Society of Designer Craftsmen.

Artist website: elisabethrutt.co.uk
Instagram: @elisabethrutt
Facebook: elisabethruttstitchedtextiles

Lauren Austin

Lauren Austen, Quilt artist: I don’t have a system for storage, more a system for easy making. My creative space is a work in progress. It isn’t and shouldn’t be perfect. I work on many pieces at once, switching back and forth when I want something different. 

I used to put unfinished works in a closet or drawer, and they’d often be forgotten. So, I now pin unfinished work on big design walls in my living space. 

This allows me to study them when doing other things and think about what to do next. And because I create images of people, they’re always watching me. It’s like they’re saying ‘Lauren, stop playing that video game. The vacuuming can wait. Get busy and finish me!’ 

I also stopped hiding my fabric stash. I now use clear plastic bins, but I don’t spend a lot of time organising by colour or type. I like to open the bins and discover useful colours and textures. The search is part of the process.

Wall storage

My tools are also stored on the wall. I used to put them in toolboxes, and of course, they became ‘out of sight, out of mind’. Now I use magnetic strips for my scissors and metal tools, along with a wooden holder for my linoleum and wood block pieces. Keeping my tools in sight gives me the nudge to use them more frequently.

Workspaces everywhere

My workspace is my apartment, and every room except the kitchen, one bedroom and one bathroom is considered a workspace. But it’s not chaotic, because I try to put things back in their place when done. 

I like working on art as much as possible, so it’s pleasing to see my tools and unfinished pieces on display. 

Lauren Austin is based in Florida, USA. Formerly a human rights lawyer and lecturer, she became a full-time artist, storyteller and instructor in 2004. Her work is held in collections at the Smithsonian Museum of American Art (Washington, DC, US) and the International Quilt Museum in Lincoln, Nebraska, US.

Artist website: thatblackgirlart.com
Instagram: @blackgirlart1959

Rosalind Byass

Rosalind Byass, Stitch Club member: From the outset of participating in Stitch Club, I didn’t want my sample pieces stored in boxes. I wanted them to be easily accessible, arranged in a practical manner and visually appealing. So, I decided to design and construct a decorative textile journal.

It’s a working journal in which I can display completed workshop pieces as well as add and subtract samples. I made it large enough to hold the ever-growing number of pieces I’ve created and will continue to create.  

“Every bit of my journal is made from recycled materials.”

Rosalind Byass, Stitch Club member

I’m passionate about recycling, reusing and reinventing, and it’s reflected within my textile art.

The journal’s cover is a visually striking original design hand stitched in wool on hessian with some hand appliqué. The durable cover is reinforced and lined with a large felt insert.

The smaller decorative ‘tiles’ on the cover began life as lockdown stitch meditations. Each day, I stitched for a half hour without any pre-planned intent. I just mindfully focused on the task at hand.

The journal’s pages are made from offcuts of heavy upholstery fabric bound with hand stitching. The hand stitching adds weight to the edges as well as gives a more finished look. 

Pinned samples

I pin my sample pieces on the pages with ordinary dressmaking pins, making it easy to remove or rearrange them. Some pages also have large deep pockets to accommodate bulkier items such as fabric books.

I don’t include any written information, drawings or works in progress. It’s designed purely as a repository for completed samples. 

My greatest challenge was how to turn the heavy and bulky pages. I needed something that allowed for stretching, so I used threaded elastic and added knots between the pages. It works perfectly. 

Rosalind Byass lives in Melbourne, Australia. She is a textile artist creating original work often centred around memory, indulging her passions for pattern, colour and using recycled materials. Rosalind joined Stitch Club in 2020.

Deborah Boschert

Deborah Boschert, Textile artist: A few years ago, I decided to work with just one notebook at a time. I had been writing ideas on random sheets of paper or whatever was handy and, no surprise, they’d get mixed up or lost. I now keep everything in a single notebook: to-do lists, sketches, podcast recommendations, project ideas, workshop notes and other items as they come up.

I settled on a size and style I like, and I only use that same type of notebook. It’s a Strathmore 400 Series Sketch Pad, measuring 14cm x 21.6cm (5½” x 8½”).  

When I finish a notebook, I go back through it and make tabs on the pages I might want to refer to in the future. Honestly, I could do a better job with this part of the process. And I mark the start and end dates on the cover of each notebook. The dates can help me refer back to a special project or event if I know the timeframe to consider.

Project boxes

I also use a ‘project box’ when creating a new art quilt collage. After selecting fabrics reflecting my chosen colour palette, I keep the scraps and small pieces of fabric I don’t use in a plastic bin. I love how it keeps all those fabrics in one place, and if I need to add or patch something along the way, it’s all right there.

I often grow attached to the colours or ideas I’ve used, and I use the project box leftovers to make something similar or smaller. 

Selecting a cohesive, inspiring colour palette is one of the most important and challenging parts of the creative process for me. Using project box fabrics allows me to skip that part of the process since they’ve already been selected and finessed during the last project. 

Deborah Boschert is based in Texas, USA. She creates art quilts, teaches and is the author of Art Quilt Collage: A Creative Journey in Fabric Paint and Stitch. Deborah’s work is installed as a mural in the Dallas Arts District.

Artist website: deborahsstudio.com
Instagram: @deborahboschert
Facebook: DeborahBoschertArtist

Isobel Currie

Isobel Currie, Textile artist: My studio is a small room in my home, so it needs to be versatile because I use it for all stages of my creative practice. I have an electric desk with an adjustable height. And my storage cupboards and drawers are behind me as I sit at my desk by the window. I use a swivel chair to easily gain access to all areas of my workspace.

I have always been someone who prefers order, so my main organising strategy is to keep my creative space clear by storing tools and materials. They’re still accessible when needed but storing them prevents distraction when working. I also prefer having my materials displayed by colour and type, making it easier to see what I have available. 

Planning your storage

I spent a considerable amount of time planning how to organise everything in an efficient way and then invested in appropriate furniture. I have a large purpose-built cupboard fitted with drawers, shelves and containers to house my threads, beads and tools. Fabrics are kept nearby in a group of Muji stackable drawers.  

I also have to keep my desk area clear when stitching because I use long lengths of threads. So, a flexible Prym tool holder holds my pliers and cleaning brushes neatly away. I also have an Ikea desktop container close at hand that houses my essential tools, including scissors, tweezers, pencils and rulers. 

I designed and made a pincushion that has marked areas for different types of pins and needles. A Hemline magnetic needle holder also helps keep my very tiny needles and clips safe. And I keep bobbins of thread and other materials on a DoCrafts Anita’s Clear Away Tray so that they can be easily moved around.

Isobel Currie is based in Greater Manchester, UK. She is an exhibiting member of the 62 Group of Textile Artists and is the winner of the 2023 Fine Art Textile Award for the most innovative use of textiles. 

Artist website: isobelcurrie.com
Instagram: @isobel_currie_artist
Facebook: Isobel Currie, Embroidery Artist

Jeannie Holler 

Jeannie Holler, Stitch Club member: My primary goal is to use tools that bring clarity to my work. Organising those tools also helps me focus my ideas, thoughts and creativity. 

Plastic bins and boxes allow me to categorise and sort both my tools and fabrics. These bins were my ‘first aid’ when it came to organising my studio. Another important addition is a shelf and cabinet system, which allows me to store those bins in ways that give me easy reference and access to my supplies.

Easy access sewing machine

My greatest challenge was the fact I personified my sewing machine. I didn’t want to ‘hurt its feelings’ by putting it away under a table or in a closet. I did have a sewing cabinet, but my sewing machine was too large. 

Fortunately, my husband was able to adjust the cabinet’s opening using a jigsaw and white paint. Now I can lower the machine when not in use and have an additional flat workspace. And my sewing machine hasn’t complained once!

Even better, the old dining table on which my sewing machine had sat was now free to reuse as a large work and cutting table. The studio became more open and user friendly, and I can now see out my window as I sew. 

Jeannie Holler is based in northern California, USA, and joined Stitch Club in 2020. She especially enjoys hand embroidery and crewel work. Jeannie also machine quilts and then adds hand embellishments.

Jennifer Collier

Jennifer Collier, Textile artist: After 25 years of never being able to find the perfect paper that I knew was hidden somewhere in my stash, I created an effective filing system. 

I have all my vintage papers in clear plastic boxes under my desk. Each box contains papers grouped by a similar theme or other shared feature. I’ve even organised my stationary the same way.

“Having all my materials and equipment close to hand and easy to find reduces frustration and allows more time for making.”

Jennifer Collier, Textile artist

Hiding the clutter 

I work from my own gallery, so because my space is open to the public, everything is neatly stashed away behind my counter. You’d be amazed at how much I have stored there! 

The retail area also doubles as storage. I have different sized recycled drawers for my sewing machine and haberdashery, that not only hide my stored equipment but also allow me to beautifully display my work on the front edge of my desk. 

Hooks & hangers

I have some S hooks hanging on the backs of the drawers to hold scissors, punches and tape. I even hang my orders and postal receipts to help streamline the making and posting of orders. And I made a pull-out packaging shelf that has tissue paper, stickers, postage labels and return address stickers. This means I can now package my work without having to clear my desk.

Lastly, I set up a shelved area at the back of the space to house all my workshop resources, examples and materials. It also houses my maps (arranged by region) and books (arranged by colour) which can be reached by a perfectly-sized vintage library ladder. It’s my favourite part of the space, as I can instantly find the paper I need when an order comes in.

Jennifer Collier is based near Stafford, UK. Her work has been featured in over 100 magazines and in many books. Jennifer’s work has been shown internationally and is stocked in galleries at The Museum of Art and Design (New York), Liberty, and the Victoria and Albert Museum. 

Artist website: jennifercollier.co.uk/
Instagram: @paperjennifer
Facebook: paperjennifer

Jess Richardson 

Jess Richardson, Stitch Club member: When the pandemic hit, I worked from home. After a few months sitting among bags and boxes of my stash, I knew I had to get organised. 

Fortunately, I had space for a deep double wardrobe, but I needed one with attractive doors as the wardrobe would be my backdrop for on-camera work meetings. Online meetings definitely forced me to be tidy!

I purchased a wardrobe from IKEA and then set myself a ‘cupboard rule’: I could only have materials and supplies that fit behind the wardrobe’s doors. Nothing else! 

I’m happy to report I’m still sticking to that rule, but it’s been challenging at times. 

“My cupboard rule does make me consider whether I need anything new.”

Jess Richardson, Stitch Club member

I can easily pull out what I need since everything is organised in one place. It also keeps my husband happy because my stuff isn’t taking over the house!

I also use other IKEA storage solutions, including big square see-through cubes for small pieces of fabric (one for patterned and one for plain). Pull-out wire baskets are great for tools, paper and art materials. Small clip-lock boxes hold beads, and large storage boxes hold yarns, ribbons and card embellishments. Larger pieces of fabric are sorted by colour, folded and put on shelves.

I usually make things at the dining table or on my lap, so I also put everything I’m using in a box lid or tray so I can set it aside at the end of the day. But when I retire, I’ll be able to use my large sit-stand work desk as my new making space. I’ll blissfully be able to leave my projects out.

Jess Richardson lives in Hampshire, UK. She loves mixed media, especially using paper or printing with stitch. Jess joined Stitch Club in 2020.

Now that you’ve learned tips for organising your workspace, is it time to stop adding to your stash? Learn creative tips for working with what you already have and more.

Featured stitchers

• Elisabeth Rutt is based in Suffolk, UK and is a member of the Society of Designer Craftsmen.
• Lauren Austin is based in Florida, USA and is known for her story quilts.
• Deborah Boschert is based in Texas, USA and is the author of Art Quilt Collage: A Creative Journey in Fabric Paint and Stitch. 
• Isobel Currie is based in Greater Manchester, UK and is a member of the 62 Group of Textile Artists.
• Jennifer Collier is based near Stafford, UK and is known for her stitched paper artworks using recycled materials.
• Rosalind Byass is based in Melbourne, Australia and joined Stitch Club in 2020.
• Jeannie Holler is based in northern California, USA, and joined Stitch Club in 2020. 
• Jess Richardson is based in Hampshire, UK and joined Stitch Club in 2020.

There’s nothing like the thrill of learning from the most innovative and skilled textile artists in the world – inspirational tutors you might never have the chance to meet in person. Or the joy of discovering an array of innovative processes, techniques and styles that could transform your approach to making art. And the beauty of doing it all online is that it’s far more cost efficient, time efficient, comfortable and convenient.

Imagine breathing new life into your process by immersing yourself in the world of felted textiles with Maggie Scott, or unleashing the power of collage and imperfect memories with Cas Holmes.

How would it feel to discover unexpected and unusual ways to express yourself with humble blanket stitching, guided by the expertise of Mirjam Gielen, or unlock endless possibilities for your art with thread colour-mixing studies with Katherine Diuguid?

Perhaps the idea of sculpting exquisite scrap thread bowls with Meredith Woolnough, or diving into the realm of watery paints on fabric under Monique Day Wilde’s guiding hand gets you excited about bringing depth and beauty to the art you create?

The TextileArtist.org Stitch Club gives you access to these innovative artists and many more. It’s a place we’re proud to call our creative home, where you can come together, learn and share your creative adventure with like-minded embroidery enthusiasts – online learning, without compromising the interaction and personal touch you experience through in-person classes.

In this article, we’ll share a glimpse inside a handful of Stitch Club workshops and share some key creative takeaways to inspire you to experiment in your own practice, whether you’re a Stitch Club member or not!

Experimental blanket stitch with Mirjam Gielen

Mirjam Gielen’s artwork references the colours, patterns and textures found in nature. She uses her favourite processes beautifully, including eco-dyeing, crochet and hand embroidery.

‘For me, the stitch process is an organic process. I enjoy the slow development of the stitches and the way they adapt and respond to their environment, the fabric, and to each other.’

Mirjam Gielen

Mirjam’s workshop explores an experimental and intuitive use of buttonhole stitch along with some simple appliqué, to create organic-inspired forms. When the result is displayed in an embroidery hoop, it resembles the effect of looking through a microscope at cell structures.

Stitch Club member Christina Buehrer describes buttonhole stitch as one of her favourites. She ended up making several works in response to Mirjam’s workshop, including one which incorporated a dried and pressed leaf.

‘There are so many possibilities! Yesterday an autumn leaf fell into my hands and I realised something can also be done here with buttonhole stitch…’

Christina Buehrer

Luza Lema created a beautiful and delicate cell-like structure surrounded by french knots: ‘I loved this exercise, and the possibility of playing with colour and stitch sizes generates very beautiful effects. Looking for a fabric in the centre I found some blue waxed tissue paper, and when I crumpled it I saw that it integrated well. I want to continue trying different shapes and textures with other fibres and threads.’

Gopika Nath chose a colour scheme to complement her background fabric. She relished watching Mirjam’s process: ‘I always knew the ubiquitous blanket stitch had a lot of potential but Mirjam has taken it to an altogether different level. I couldn’t wait until I got back to the studio to try this out, so grabbed whatever I could – limited fabrics and palette – but I had such fun. Such a deep sense of serenity washed over me as I engaged with my imaginary organism.’

Mirjam thoroughly enjoyed the experience of teaching in Stitch Club: ‘I was quite overwhelmed with the response to my workshop. So many people joined in and posted such amazingly creative and beautiful pieces. It was very inspiring! I loved how supportive everybody was towards each other. It felt like a warm bath being able to share, to inspire and be inspired in this community of fellow textile enthusiasts.’

Workshop takeaway

In this workshop, Mirjam Gielen explores a simple stitch in an unexpected way. By placing rows of blanket stitches around an appliquéd shape, and by adjusting her stitch sizes and lengths, she was able to build an imaginary organism. Why not try a similar experiment using your own favourite stitch?

Felt and stitch textiles with Maggie Scott

Maggie Scott’s workshop demonstrates how to make a unique tactile wall hanging using the wet-felting technique. Her design is inspired by the appliqué shapes found in the woven raffia Kuba textiles from Central Africa. Kantha-style embroidery adds a pop of colour and a touch of texture to the artwork.

For this exercise, Stitch Club member Jenny van der Gaag produced a beautifully balanced design with a pop of blue stitching: ‘What a great workshop! I have quite a bit of experience in felting, but this method was new to me. I enjoyed using the African design inspiration and the coarse wool. I was fascinated by the effect the circle has on the whole piece and I am very happy with the end result of my project.’

Marion Carroll, a fibre artist and maker, injected a personal approach for her abstract artwork, The Gathering: ‘I used symbols from my Aboriginal culture, depicting two mobs coming together under protection of a spirit being. The symbols represent man, woman and human, and the hand stitching is representative of the spirit being that guides them. The wool I used was Jacob, Icelandic, Welsh and Shetland, a gift from a Scottish friend. The embroidery thread I used belonged to my late mother. I always incorporate her threads in my work.’

Maggie commented on Marion’s work: ‘It’s so lovely to see your piece and the way you have personalised the symbols so that it references your cultural heritage. The stitching style really adds another layer of interest and, of course, connection.’

Suzanne Russell based her abstract design on Arabic letters and used materials that she had in her stash. She thought that the deep blue colour was lost after felting, so she added lots of tiny stitches and a splash of hot pink, producing a cohesive result that draws the viewer’s eye.

Maggie was pleased to see how much the workshop inspired Stitch Club members and how many people adapted the composition ideas using colours, shapes and symbols that were significant to them: ‘It was intriguing to see the experiments with adding extra elements, and the personalising of the colour choices for the symbols and Kantha stitch – I really enjoyed looking at the strong colour combinations!’

Workshop takeaway

Maggie Scott draws inspiration for this workshop from the bold patterns on Kuba woven raffia cloth from Central Africa, which is often appliquéd with shapes and symbols. And her circular stitched motifs are inspired by Kantha fabrics, which are made using an ancient upcycling handicraft technique of layered fabrics joined together with stitch. It’s good to spend some time researching patterns and shapes from the world around you, or from your own cultural heritage – they can provide valuable ideas for your next textile project.

Colour mixing studies with Katherine Diuguid

Have you ever chosen a thread colour only to run out of it, or find that it is unavailable in your favourite store? Katherine Diuguid treats Stitch Club members to a technical but playful colour-mixing exercise. She reveals how to stretch colour usage by mixing threads in the needle, almost like working with a set of watercolour paints. 

Starting with a dab of stitched colour, threads are combined in a methodical way to examine the colour effects they could create – producing some surprising results! 

Armed with this knowledge members can use thread mixing to achieve a more painterly look within their embroideries, just like the Impressionist paintings Katherine adores. After completing this workshop, Stitch Club members began to view their threads from a new perspective – as a palette of infinite possibilities.

Esther Montero liked the systematic approach of the exercise – which allowed her to analyse her colour-mixing results as she went along – and loved all Katherine’s tips on how to handle embroidery threads. 

Taking a linear approach, Hyosook Lee really enjoyed blending colours with fine threads, using white thread as her base colour.

Debbie Rose-Lewis started with a base colour of mossy olive green: ‘Adding the blue surprised me – it looked very pale, almost white, as a single strand, but really popped out next to the other colours. I stitched an extra blob of each colour at the end of each direct line to the centre base colour, for reference. This was a fun and interesting workshop, and it will definitely help with colour blending in future projects.’

Anne Crowther chose Aida cloth to stitch on, and red for her base colour: ‘I realised that the red and orange I chose are very close in colour to the base thread, after I started stitching, so I continued with them. I was surprised to find what subtle changes in colour I ended up with.’

Katherine Diuguid relished sharing her knowledge with Stitch Club’s members: ‘Seeing the enthusiasm members channelled into their work was exciting, creating a fantastic group of colour maps that displayed our ability to stretch colour in stitch. The camaraderie and encouragement of the group struck me.’

Workshop takeaway

Katherine Diuguid is keen on making samples. She recommends testing out colour and stitch options before bringing them into your work. In this workshop, members mix different colours of threads in the needle to find out what effect they have on one another. So, if you’re struggling to find that perfect colour, grab some threads and a small piece of fabric, and make a quick sample. Choose a couple of thread colours, take one or two strands of each colour and thread your needle with them. Then create small areas of stitches using different thread mixes – you might be surprised with the results.

Imperfect memories with Cas Holmes

Do you use photographs to inspire your work? In Cas Holmes’ workshop, members consider the conceptual processes behind the use of images, and how using images as a source material can inform your creative process. 

Memories are never completely sharp and accurate – they always become hazy over time – and this workshop leans into the idea of imperfect memories. Cas shares a low-tech way to include printed text or personal photographs in a collaged and stitched fabric composition. The quality of the transferred image varies and is not intended to be perfect, but they help to capture a sense of time and place, becoming ‘imperfect snapshots’ of memories.

Cas Holmes: ‘Members embraced imperfection as part of the process of learning about media usage in image transfer. Combined with stitch I was able to see a growing confidence in each individual developing their own narratives and response to the processes. We worked together, shared and exchanged ideas in an open and safe community of stitch artists.’

Heléne Forsberg took her cue from a photo of the horses she encounters on her local daily walk, creating an atmospheric winter scene.

‘I really liked taking my time with the pieces of fabric – looking at them carefully while assembling them and deciding where to place them, like how Cas showed us in her video. The slow process is satisfying to me.’

Heléne Forsberg

Nancy Luna-Walker based her serene and cohesive collage on her morning ritual of coffee while watching the garden birds: ‘My main intention was to experiment with blending the different fabrics and the black and white print into the collage, by extending patterns and stitches across the fabrics. I put a light yellow watercolour wash on the mug. This piece will go in my sample book with lots of notes on what I learned from this workshop.’ 

Gill Tyson found inspiration in her family’s photo album, as well as from personal stories about her great aunt Marjorie and the work she did during the First World War. Gill used a picture taken at The Barbour Institute, Tattenhall’s village hall since 1898, a building requisitioned as a military hospital during the conflict. Rust-dyed fabrics and cotton scrim added to the strength of this composition.

‘This workshop has finally spurred me on to start Marjorie’s story in a series of stitched works. She was one of a whole army of women who supported the war effort at home, all with their own stories to be told.’

Gill Tyson

Workshop takeaway

In her workshop, Cas Holmes reveals that successful collages take some effort to get right. After she transfers her images using an intriguing low-tech method, Cas allows herself a good chunk of time to play around with the balance of her composition. She considers her colour and pattern choices, and how the materials work together as a whole. 

The next time you’re building up layers of different fabrics into a collage, allow yourself the time to keep moving things around and trying out different options. View the work from a distance to see if the balance of the composition works. Step away from the collage and return to it later – you might find you’ve changed your mind. During this process, take photographs of combinations that you like, so that you can recreate them later.

Making a sculptural vessel with Meredith Woolnough

What do you do with your offcuts of thread when you’ve finished stitching? Do you throw them away, or collect them in a jar to use in other projects? 

In Meredith Woolnough’s workshop, Stitch Club members are asked to turn those thread snippings into a stunning collection of moulded bowls and flowers, unlocking some of the sculptural possibilities of working with embroidery and water-soluble fabric. The process is quick and easy, with limitless outcomes. This workshop became addictive for many!

Meredith loved seeing the amazing, varied and imaginative creations posted in Stitch Club, and marvelled at the creative and supportive community she encountered. She was delighted that Stitch Club members were open to trying this unusual form of sculptural embroidery.

Stitch Club member Zane Shumeiko was curious to take this idea further by incorporating alternative materials.

Zane Shumeiko: ‘Before starting this work I questioned myself about what materials are leftovers or waste materials that I encounter daily. The answer was my hair. Human hair is considered a waste material generally. I decided to incorporate it into these experimental small 3D objects. I enclosed white and black threads that represent my good and bad days. The red, golden and metallic threads represent life force, friendships and connections.’

And Maggie Rastall decided to experiment with hand stitching on the water-soluble fabric, rather than using her sewing machine: ‘I’ve made a few before but never with hand stitching. Thanks to Stitch Club for giving me joy in hand stitching – I would never have spent a whole afternoon hand stitching when I could use a machine. It is made with waste silk thread that I use in felt making. The joy is that you can really see the hand stitching.’

Workshop takeaway

In this workshop, Meredith Woolnough encourages us to think about sustainability. She incorporates waste thread snippets into stitched bowls made using her signature technique of machine stitching on water-soluble fabric. Waste threads and leftover fabric snippets can be included in almost any project. How can you use up waste materials in your own projects?

Painting on fabric with Monique Day-Wilde

In her workshop, Monique Day-Wilde invites Stitch Club members to play with watery paints, showing ways to create a variety of effects. Painting on fabric can have unpredictable results, so the challenge is to embrace these. 

Members are encouraged to enhance the fabric by experimenting with their embroidery stitches and thread colours, to create a cohesive finished work. This project bears similarities to the mindful ‘colouring in’ graphic design illustrations that Monique also creates, and the act of relaxed experimentation and play is the ultimate aim of this workshop.

Catherine Dewhurst was unsure when to stop with her stitching, but with the support and encouragement of Monique and other Stitch Club members she added a few more embroidered adornments to the hair and running stitch details on the dress, creating a beautiful and whimsical scene using her painted fabric.

Grace Megnet also sought advice: ‘At Monique’s suggestion, I stitched some more on my artwork (including backstitch, seed stitch, buttonhole stitch, stem stitch, french knots, and trellis stitch). I think she was right.’ 

Richard Tremelling wasn’t happy with the muddy look of his painted fabric: ‘The base fabric was as old bed sheet that I had buried in my compost bin a year ago. I was wishing for some interesting marks but it just turned out a dirty grey, so I decided to paint over it.’

Using Promarkers to add more intensity to the colours, Richard then stitched the lower part of the composition, creating a horizon effect and the sense of dark dystopian landscape.

Tammy Vanderbur created a striking work and Monique particularly liked the strong graphic approach with its bold straight stitching and layers of colour. 

Monique Day-Wilde loved the response to her workshop: ‘I was hoping for different ideas and creative interpretations, and the members certainly delivered – I am delighted with the wonderful work they have produced.’

Workshop takeaway

There are lots of ways to use acrylic paints on fabric. Monique demonstrates how to wet the whole fabric so that the paints blend together. Or for a more controlled effect, how to paint small areas of fabric with water before adding paint. She also paints on dry fabric, and on patchworks made using different fabrics. 

When paint is added to fabric it can take on a life of its own, leaving the end result a little unpredictable – every result will be different. That’s what is so exciting about this technique. It’s a great way to start a project when you’re feeling uninspired. Simply paint some fabric, choose some threads and start stitching.

How to join Stitch Club

We only open registration for Stitch Club occasionally – this means we can spend the majority of our time creating the best experience possible for everyone in the Stitch Club community. All members can really get to know each other and share what they’re discovering, in a supportive and thriving community-driven environment. 

Our members often share with us the immense satisfaction and thrill they experience as active participants in a vibrant global community, able to learn from a diverse range of some of the world’s most exciting textile art practitioners – and each other.

If you’re keen to join the waiting list or find out more about Stitch Club, sign up here.

If you’re interested in learning how Stitch Club came about and you want to discover more about some of the workshops we’ve featured in the past, check out Stitch Club: The story so far.

You may be happy stitching, knitting, collaging, cutting and creating, whether that’s in a structured or more intuitive way. You might make art for your own amusement, for gifts, to exhibit or to sell. But, what if there’s an urge to take it further? What if you’d quite like to make a statement piece that conveys a message, or share your work with the wider world? 

If you’ve ever thought about turning your passion for textile art into a more serious occupation, the first step is to find the right mindset. We asked five professional textile artists, Shelley Rhodes, Danny Mansmith, Woo Jin Joo, Molly Kent and Trish Burr, about their own paths to success and for their tips on getting there.

Find your ‘why’

‘If we want to feel an undying passion for our work, if we want to feel we are contributing to something bigger than ourselves, we all need to know our WHY.’ – Simon Sinek, Find Your Why: A Practical Guide for Discovering Purpose for You and Your Team.

First, ask yourself why you want to step up with your art. Are you looking to feed your need for creativity, perhaps after retiring from another career or to support your own mental or physical health? Do you want to earn a living from it? Are you keen to exhibit your work? Or craving the buzz and satisfaction of creating your own unique work but struggling to gain focus?

Once you’ve worked out your aims, you need to find the willpower to fulfil them. Adopting a professional mindset is quite different to choosing to do your art as a part-time hobby.

Danny Mansmith

Danny Mansmith began his art career in childhood. He was nurtured by his mum, his great aunt and his grandma who instilled in him the ability to see the creative possibilities in the things around them. Danny’s path wasn’t straightforward, but his self-motivation was key.

Teach yourself

Danny Mansmith: ‘I’m an artist who’s kept a conversation going with my sewing machine since the early 1990s. I spent a year at a small art school but I wasn’t very good at following instructions and so I left to teach myself instead. I became inspired to make my own clothes: the idea of looking and dressing in my own style felt important somehow. In the first month, I took apart almost all of my store bought clothes to try to follow the patterns and teach myself about garment construction.

‘Through the years I continued to teach myself how to use the sewing machine. When I finally felt confident, I got my first job sewing for an artist who made baby blankets and accessories. 

‘My boss encouraged me to apply for some local art fairs and that was a turning point for me, helping me realise that I could make my way in the world as a working artist.’

‘Making things makes me happy – working with my hands and creating a space where ideas are free to come out and manifest in front of me. The sewing machine is both an inspiration and the tool I use. My home studio is both a sanctuary and workspace, where I keep my love of drawing alive with my daily practice.’ 

Danny Mansmith is based in Burien, Washington, US and has a strong connection to the midwest and Chicago, Illinois. His solo show ‘We All Become Myth’ exhibited at The Highline Heritage Museum in Burien, Washington, March-April 2023. 

Artist website shop: dannymansmith.bigcartel.com

Facebook: facebook.com/danny.mansmith

Instagram: @dannymansmith

Take action daily

Making time each day to create is the secret to a committed and regular practice. Set yourself some boundaries and rules to guide you. This could be 20 minutes a day, or free play, daily sketchbooking, journaling or daily mindful stitching. Be realistic about the time you have available. Small daily actions will help you to overcome resistance and continual action will lead to inspiration and progress. 

Your creativity is likely to flow more readily if you can allow yourself space and time without any pressure. Unless you’re working on commissions, don’t try to make art to order, or pressurise yourself to be creating exhibition-worthy art at all times. Every action related to your art is part of your practice – just make sure you treat it with a professional mind-set.

Shelley Rhodes

Shelley Rhodes: ‘My daily Instagram posts began as a challenge to make me draw regularly. However, over the years I have shifted slightly, so my post might be a collage, assemblage, printing or mark-making, exploration of materials, a stitch sample, or ongoing work. This habit encourages me to notice and respond, then explore ideas and materials more fully. Some ideas feed into my work, but not always. 

‘Sometimes I simply take pleasure in drawing and recording what I see. In 2022, these posts led to an exhibition of my sketchbook pages The Sketchbook at Llantarnam Grange Arts Centre in South Wales. A few years ago, I was asked if I would sell my daily artwork and this has become a great additional source of income. When I post my work online, I never know who is going to see it, or what it might lead to. My daily posts have increased interest in my work, which has led to sales of artwork and books, exhibitions and teaching opportunities.’

Shelley Rhodes is based on the border between Lancashire and Cumbria, England. She makes mixed media work focusing on fragmentation, reconstruction and repair. 

Artist website: shelleyrhodes.co.uk

Facebook: facebook.com/shelleyrhodesmixedmediaartist

Instagram: @shelleyrhodesartist

Stay curious

Having a professional attitude means developing the positive attributes of discipline, persistence and determination. Both Danny and Shelley maintain their commitment with a daily art practice. If you’re feeling an urge to be creative, then allow yourself the time to satisfy it. Set aside time to focus on making art – no matter what. If you make it a priority, rather than an occasional pleasurable activity, then you’ll create a regular practice through your discipline and determination. 

But how do you focus? With the plethora of information available on the internet, it’s easy to get bogged down with learning yet more techniques, rather than developing those you know. Guard against this temptation and concentrate on what you’re really interested in.

Trish Burr

Embroidery artist, educator and author Trish Burr started her craft when she was a young mother in Zimbabwe. She found cross stitch too limiting and so she began to experiment with thread painting. Because patterns and materials were not available and there were drastic foreign currency restrictions, Trish had to use whatever she could find. She chose pictures from books, postcards and calendars, trying her best to replicate them with needle and thread.

Trish Burr: ‘I had no formal training so I created my own style of needle painting – a new form of long and short stitch was born. This simple method, which I have honed and crafted over the years, is what I still use today.

‘When I moved to Cape Town I was asked to teach at some local conventions. My students struggled with the technique and were generally very nervous of it, so I made it my mission to simplify, simplify. I tried to put myself in the shoes of my students – I spent many months with a doodle cloth and notebook, making notes and thinking of different approaches which would make my instructions clear.

‘I think this was a turning point in my career – as my instructions improved, my patterns became more popular, and the demand for my work increased.’

Determination and focus

‘Another watershed moment was when I began to explore how colour affected my embroidery. Needle painting is known for its beautiful, shaded appearance, and I wondered why some works looked flat and dull while others had a radiant glow. I spent years researching and experimenting with how colours interacted with each other. I realised that there was a whole world of colour combinations – it was time to break free from traditional limitations.

‘Once, I was trying to recreate the vibrant greens of a bird’s feathers, when a man came to fix our television. It turned out he was an artist. He helped me to understand that you don’t need to use brighter shades of green, but if you create a contrast in the greens it will bring vibrancy. My explorations eventually led me to write the book Colour Confidence In Embroidery.’

Trish’s success can be put down to her determination and focus, which in turn brought about fortuitous events that she could not have made happen. The moral is – begin it!

Embracing technology

Trish’s challenges did not, however, end there. Trish had to overcome the era of technological revolution, which without determination could have been another cause for procrastination.

‘When I began embroidery, there was no internet, no websites and no online sales. Over the years I had to learn how to manage my own website, produce patterns in different formats for print and PDF, and ship my products worldwide.

‘I purchased the first version of the graphics software CorelDRAW and began to explore drawing my own diagrams and outlines for embroidery. This was life changing for me. I still use the same software program for my designs – I’ve become adept at drawing with a mouse, in fact it now feels awkward to draw with a pencil. I had to get to grips with social media and marketing. When I published my first book I pasted pictures into a spiral bound notebook and manually wrote out the text, but now it is done with computer software and digital photography.

‘It was a constant challenge to juggle my home life with my ever evolving embroidery business, as well as find time to sit quietly and stitch. There came a time when the increased demand was such that I had to choose whether to expand and employ staff, or stay small and personal. I decided on the latter because I wanted time to do what I love, which is to design, stitch and teach. However, I did need some help. The solution came when I attended a talk where the speaker mentioned the benefits of virtual assistants – they handle all the admin, which frees me up to focus on the core work. My assistants in India are always available to help, and I could not do without them!’

Trish Burr is based in Cape Town, South Africa. She is an embroidery artist specialising in needle painting and whitework embroidery. In the last two decades she has published 11 books, created embroidery patterns, tutorials and videos, and has taught both at home and abroad.

Artist website:  trishbembroidery.com

Facebook: facebook.com/needlepainting

Instagram: @trishburrembroidery

Overcome the negative voice

Much has been written about how to deal with the negative voice in your head. 

On her website, artist and author SARK talks about procrastination, as well as the inspiration, motivation and synchronicities that propelled her to success as an artist. 

SARK: ‘As someone who has sold over two million books in the last 30 years, it may surprise you to know that I too have experienced procrastination, perfectionism and fears about writing or ever sharing my unique gifts with the world.’ 

But SARK overcame that to go on to sell her art products and write many inspirational books, including Make Your Creative Dreams Real.

Author Steven Pressfield has written several motivational books including The War of Art: Winning the Inner Creative Battle and Do The Work: Overcome Resistance and Get Out of Your Own Way. He is quoted as saying: ‘Most of us have two lives. The life we live and the unlived life within us. Between the two stands resistance.’ 

If you struggle with inner blocks, then this idea is worth exploring. As artists and many others have shown, it really is possible to put a stop to resistance. 

Internet addiction is a form of procrastination, distracting us from our own work. Do you ever scroll through Instagram while feeling like your work isn’t good enough to share? A great way to overcome perfectionism is by sharing your work, whether that’s on Instagram, Facebook or, like Shelley Rhodes and Sue Stone when they started off, by taking part in a small local exhibition.

Fighting fear and self-criticism

Keeping busy with other things and making excuses is a form of fear that’s often kept under the radar. Do you fear criticism and have low self-esteem, resulting in a feeling of imposter syndrome? Fear can be associated with doing something new, and can stop us in our tracks. But you can use fear as an ally – if you make a start, you will improve and your fears will recede. So take action in spite of fear. As Susan Jeffers wrote in her famous book, feel the fear and do it anyway!

In her motivational book Big Magic: Creative Living Beyond Fear, Elizabeth Gilbert says: ‘Fear is always triggered by creativity, because creativity asks you to enter into realms of uncertain outcome, and fear hates uncertain outcome. This is nothing to be ashamed of. It is, however, something to be dealt with.’ 

One sure-fire way of overcoming self criticism is to self validate. If you’re not happy with your artwork, figure out what worked, and what would make it better next time. If your attitude towards your practice needs improving, consider what’s holding you back. If you’re not creating enough time, look at what’s stopping you from making your art a priority. Examine your practice and find ways to overcome your blocks. For a quick start to your work sessions, finish each day by preparing for the next. Choose a thread and thread up your needle – then all you need to do is sit down and begin. What could be simpler?

Negative comments can knock your confidence and make you question the validity of your work. Do you fear negative comments from others? If so, try looking at it from another point of view. The people doing the judging may just be trying to provide well-meaning advice, or they could be envious of your work and want to protect themselves. Artists experience many rejections to exhibitions and galleries, so believe in what you’re doing and recognise that selection can be a subjective process. The key is not to over identify with your work – do keep telling yourself ‘you are more than just your art’. If you receive negative feedback, act like a pro and carry on regardless. This attitude will help you to keep going – soon you’ll find that ideas will start to flow.

Make your art your own

Making art is not a competition, it’s a form of expression, and you should never feel you have to be better than others. We can all make art, and there’s no sense in trying to work your way up an imaginary ‘hierarchy’ of artists. 

Remember, making art is unique to you, so create your art for YOU and YOU alone. If you choose to share it on social media, always create the work for its own sake, not for attention or applause.

Shelley Rhodes: ‘It takes a while to develop your own style and way of working, rather than an imitation of others. I always encourage my students to investigate, test materials and explore their own ideas.

‘I try not to make work just because I think it will sell or please others. Rather, I make from

the heart and to please my own artistic values. Having said that, another challenge when starting out on the path to becoming a professional artist can be the lack of money. I gave up full-time teaching to concentrate on my own work, but worked part-time in an administration role while developing my work, as well as teaching my workshops.’

Molly Kent

One textile artist who has overcome many challenges is Molly Kent. Molly’s work is concerned with representing issues around mental and physical health through rug tufting and weaving. She focuses on our contemporary existence regarding social media and internet living, and how this affects our perception of self. 

In 2018, while at university, Molly had a fall which led to a flashback and a return to ill mental health that had begun when she was 10. She was diagnosed as having complex post-traumatic stress disorder (CPTSD), due to previous trauma.

Molly had experienced bouts of bad nightmares and strange cryptic dreams. As she researched the condition and understood her struggles, she looked into dream psychology. She was able to use these dreams as a visual vocabulary, to construct narratives within her work that allude to the traumas she suffered and her emotional responses to them.

Epiphanies and dreams

In 2019, her final year of university, Molly produced a body of work Doubt in the Digital Age, which represented her personal doubts within an increasingly digital realm. As the pandemic ensued, her work took on a greater meaning as channels of communication and connection were mostly online. Molly completed her degree and was then furloughed by her employer, so she had more time to focus on making artworks. 

It was then that she created Dream Weaving to record her CPTSD-related dreams and nightmares. She developed her tapestry weaving skills, not only to expand her methods of making, but also as a calm and meditative process, compared to the noisy and anxiety-inducing rug tufting process she’d used before.

Molly has a down-to-earth approach to her status as a professional artist – it mirrors the imposter syndrome or sense of fraudulence that some artists feel. 

Molly Kent: ‘In all honesty, I still find the label of professional artist to be a strange one, I don’t really know what I’m doing most of the time, and feel like I haven’t really got the hang of being a career artist yet. But, from the outside, I suppose it does look like I’m a professional. 

‘My journey hasn’t been linear or even consistent in many ways, most probably due to my mental health. But my CPTSD diagnosis, researching dream psychology and realising the effects of lockdown have propelled my work forwards in terms of the development of the digital aspects of my works.

‘I’m somewhat passive at going out and trying to seize opportunities first hand, so I’m grateful to many others for helping my development as an artist, including award bodies, private and public collectors, and fellow artists who have nominated me for awards or opportunities.’

‘I think the main thing that has helped my progress is simply continuing to create work in the face of multiple adversities, and making work that feels true to me.’

Molly Kent is based in Edinburgh, UK and has a MA from Edinburgh College of Art. Molly has exhibited at the Venice Biennale (2019), and her work has toured with exhibitions in Australia, Scotland and the UK. Her work is held in the University of Edinburgh’s art collection and the National Museum of Australia.

Artist website: mollyhkent.com

Instagram: @mollyhkent

Pay attention to the practicalities

Creating is central to your practice, but artists also have to spend time doing other things to support their work, whether it’s research, testing out techniques, sketchbooking, communicating with others, making applications, administration and accounting, or framing and hanging their work. So it is essential to figure out how to get organised and learn the technical skills you need. 

Though these are all important, don’t forget that your key task is to place the focus on your art practice – give your art a high priority, every day.

Woo Jin Joo

Woo Jin Joo is an award-winning mixed media artist specialising in soft sculpture. Her work challenges the value that humanity endows on objects in a materialist and consumerist society.

When she graduated in 2021 Woo Jin decided to become a professional artist. She felt some trepidation as she faced the responsibilities of balancing time, finances and the other practicalities that go with a career.

Woo Jin Joo: ‘I had initial uncertainties when deciding to be a freelance artist. Throughout my studies, I was completely absorbed in the medium and making – I knew wholeheartedly that my art brings me the most fulfilment. I was unsure about the financial viability of the move and having to navigate a career after being in formal education for so long.

‘However, I was really lucky to be awarded the Janome Fine Art Textiles Award at the Festival of Quilts in 2021, just a few months after graduating – it was exactly what I needed at that moment. It not only showed me that my work is appreciated in the professional world, but also gave me financial support to invest in my own free-hand embroidery machine and studio fees, giving me the extra courage I needed to make the transition.’

Part-time jobs

Initially, Woo Jin kept on her part-time job as a gallery assistant. She applied for opportunities to lead workshops and fulfil her desire to work in education. After a year or so she was able to leave her part-time job and now works as a freelance workshop facilitator, which helps to support her art practice. 

Woo Jin Joo: ‘I always try to prioritise my studio practice but it’s a constant balancing act, with the added task of searching and applying for exhibitions, residencies, commissions and funding opportunities. There are a lot of administrative and miscellaneous tasks taking place behind the scenes to make a studio practice happen, but in the end I’m excited and energised by the fact that I can bring my ideas to life as an artist.’

Woo Jin Joo is originally from Seoul, Korea, and moved to London in 2014 to complete a BA Textiles at Central Saint Martins, and an MA in Textiles at Royal College of Art. In 2021, she won the Janome Fine Art Textiles Award, and was shortlisted for Hari Art Prize and East London Art Prize. 

Artist website: woojinstudio.com

Instagram: @woojinstudio

Get support

Going it alone isn’t always easy, especially if procrastination has been a habit of yours – it can be hard to ditch. You may need encouragement to find the motivation to stick to a routine or get the discipline to put down your phone and stitch. 

This is where the benefits of joining a group can be enormous, whether that’s online or in person. When you interact with like minded artists, you begin to feel at home, motivated and supported.

Textile clubs and groups

Woo Jin was accepted into the 62 Group as an Associate Member, and Shelley Rhodes joined the Textile Study Group, which bolstered her path to becoming a professional artist. 

Shelley Rhodes: ‘Being part of such a respected, national group has helped me to raise the level of my work and to be seen by a national audience. It is a very special textile group, as we work alongside each other on two weekends each year, led by a renowned artist. So I continually learn and develop skills within my practice. Not everything is relevant to what I do, but I think it’s always good to be open to learning and resolving ideas in a new way.

‘The group also requires its artists to teach, which continues to stimulate me and feed into my work. Also, thanks to the generosity of my students, I often learn things when I teach.’

Our artists’ top tips

If you want to scale up your textile art practice, then adopting the mindset of a professional artist is a step in the right direction. The artists we’ve interviewed have shared some of their best insights into practical actions you can make.

Danny Mansmith: ‘Use the internet for simple things, like sharing images on Instagram or joining an art group or co-op gallery. Look for like minded people to connect with and share ideas. It takes time to develop all the skills necessary to be a working artist, just keep at it.’

Shelley Rhodes: ‘I believe that one thing often leads to another, so get your work seen and have a presence on the internet, whether that’s through a website or social media. I was first invited to teach in Australia because the organiser saw my work on Pinterest, which subsequently led onto other things. And when I first started out, I had some work in a small local exhibition. A gallery manager saw it, which led to a solo exhibition. I like to let things develop organically over time. Sometimes you have to pursue opportunities, but often they come to you when you least expect it!’

Trish Burr: ‘Don’t hide your light under a bushel! Set aside your self doubts and think about how much pleasure you are giving others by sharing your work. We’re all capable of much more than we realise. We all have a creative sense; it is just a matter of honing our specific craft. Creating something original is one of the most satisfying and rewarding things you can do. No matter how difficult your customers or followers are, always be kind and helpful. They will appreciate it and become your most loyal supporters. Read the book Delivering Happiness by Tony Hsieh. It shows you how to live a life of passion and purpose, while literally delivering happiness to others.’

Molly Kent: ‘Try to consistently make and share what you’re doing, be it via social media, or by talking to fellow artists or curators. I find that people reach out when they’ve seen a new work on my Instagram feed, or through my website, which I update regularly. Also, have a sense of balance – despite being known as a professional artist, I don’t make a living wage from my art. It’s a balancing act: working enough to pay the bills, while leaving enough time to work consistently on my art practice.’

Woo Jin Joo: ‘Find a core narrative, interest and passion to drive and inspire your practice. Take time to rest, reflect and research – it’s not always about constantly producing. If you are looking to make your art your business, then register yourself as a sole trader, get a business bank account, keep a good record of your income and costs, and get public liability insurance. Maintain good working relationships with organisations, galleries, and people you work with. Don’t be afraid to put your work out there, you never know what could come of it.’

The power is within you

Many artists talk about finding a narrative. Reported as being one of the greatest films of all time, The Wizard of Oz is a fantasy containing many metaphors that may be worth remembering as we all tread our paths through life. 

When Dorothy reached the end of the yellow brick road she discovered that the wizard she’d sought was an ordinary man who didn’t really hold the power to send her home. Along the way she learnt that she’d already got all the intelligence, heart and courage she needed – the power was within her.

You have that too. So, are you ready to follow your own yellow brick road…?

‘My formula for success was very simple: Do whatever is put in front of you with all your heart and soul without regard for personal results. Do the work as though it were given to you by the universe itself – because it was.’

Michael A. Singer, The Surrender Experiment: My Journey into Life’s Perfection.

We hope you feel inspired to approach your textile art practice with new vigour and that reading the trials, successes and tips from our professional artists has given you some useful pointers. If you’re still wondering where to begin, read our article Getting started with a new piece of work.

If you buy books linked to our site, we may earn a commission from Bookshop.org, whose fees support independent bookshops.

If you feel motivated to take your first step towards a more professional textile art practice, tell us more in the comments below.

We’ve all been there. But have no fear! Help is at hand. 

To help get your creative juices flowing, we’ve enlisted the help of artists Cas Holmes, Nigel Cheney, Emily Jo Gibbs, Sabine Kaner and Sue Stone. In this article, we’ll look at some of their artworks and find out the inspiration behind them. 

These artists have generously shared their tips to help you get started on your next artwork. Read on to discover a treasure trove of useful ideas, ranging from research and observation to playing with materials, taking an intuitive approach and allowing your compositions to evolve.

Emily Jo Gibbs

External motivators are a useful way to trigger new work. This might be a brief from a textiles group or community project, a project commission, or a new theme you want to explore. Emily Jo Gibbs made Oil Pastel Sketch in response to ‘Essence’, a 62 Group project brief. 

Emily is known for her delicate still life and portraiture work, using layers of coloured silk organza combined with hand stitch. Her compositions have a considered, graphic quality, using appliqué shapes and simple stitches. The layered organza shapes allow her to create depth, adding life to her subjects.

Optical illusions in stitch

Increasingly, Emily has become more interested in making work from her own drawings, whereas in the past she always based her work on photographic references.

Emily made an oil pastel drawing of her son during lockdown but hadn’t done anything with it, other than take a reference photograph with the oil pastels still resting on the sketchbook page. When she was thinking about the essence of her practice for the 62 Group brief, this image seemed to be the perfect culmination of all the things that excited her about her art practice.

‘It combines all the elements that I enjoy: a portrait of a loved one, hand cut overlapping pieces of silk organza, colourful stab stitches, shadows, and the surprise element of trompe l’oeil.’

The photograph of the drawn image alongside the drawing materials themselves, the oil pastels, became the template for her composition. 

Emily cut out pieces of coloured organza to correspond with the marks she had drawn. She really enjoyed making the shadows of the pastels – knowing that organza lends itself perfectly to create the properties of shade. Despite this, she found the pastels and their shadows to be the trickiest part of the composition. Although they are relatively simple in shape, many layered pieces of different coloured organza were needed to create the realistic effect.

Tips from Emily for getting started

• Try working with translucent fabrics, like silk organza, taking time to explore their unique properties. If you want to cut out crisp, accurate shapes, pin the organza to a paper pattern and cut out the paper and fabric together.

• Play with an organic approach to your work. Cut out some shapes, perhaps related to a drawing you’ve made or simply draw around an object that you have to hand. Build a picture using these cut shapes. Where they overlap, new colours and tones will emerge.

Read about Emily’s alternative portraits in Emily Jo Gibbs: Stitching the tools of the trade.

Emily Jo Gibbs is based in London, UK. Her exhibition The Boat Builders was shown at St Barbe Museum and Gallery, Lymington (2022). Emily is a member of The 62 Group of Textile Artists and a Fellow of the Royal Society of Arts. Her work is featured in The Victoria and Albert Museum, The Crafts Council Collection and the Museum of Fine Art in Houston, TX (USA).

Artist website: emilyjogibbs.co.uk
Facebook: facebook.com/emilyjogibbs
Instagram: @emilyjogibbs

Sabine Kaner

A long-time lover of symbolism, Sabine Kaner uses symbols and colour to tell stories and express emotions, explore heritage, identity and mental health. 

The Long Long Life of the Tree is a perfect example of Sabine’s warm, tactile combinations of recycled textiles, wool and felt, combined with printed and painted backgrounds. Layers of materials are connected using hand stitch with thick textured threads, a slow process which allows her to work through memories and knit together a narrative into a tapestry-like form.

The evolution of a tree

In 2022, Sabine was commissioned to create an artwork for the music director of a well-known choral society. The inspiration was a new piece of music inspired by the crucial role of trees as part of the earth’s ecosystem. 

With this in mind, and following discussions with the person who commissioned her, Sabine started to do some research and make initial sketches. She went for walks in the countryside, taking reference photos and looking at the way various trees were growing. Then she dug out other photographs she had taken previously. She gathered reference images showing tree bark, acorns and chestnuts, and intertwined, moss-covered roots reaching out through layers of fallen leaves. 

Sabine then started to plan the composition by reviewing her fabric supplies.

‘I collected together some felt and repurposed fabric. I used an old cushion cover with a strong texture to represent the tree bark. This became the centre of the work, around which I could build up the image.‘

To create the work, Sabine painted the background cotton fabric with diluted watercolour paint. On this base, she attached the ‘tree bark’ fabric. She nestled pieces of appliquéd felt between the roots of the tree, and completed the design with embroidered images of leaves and seeds using thick, textured, looping threads.

Tips from Sabine for getting started

• A piece of fabric can often spark off ideas and inspiration. Sabine starts by sorting through scraps of fabrics in her collection and picking out the colours and textures that she’s drawn to.

• Create a moodboard and play with combinations of materials – lay out your fabric pieces and imagine how they might fit with your ideas, photos, sketches or a project brief. Move them around and add different threads to see how they work together.

• Allow the work time to breathe and evolve. Transfer some of your chosen images and shapes onto a plain fabric and use the fabric scraps to build up the picture. Work gradually, adding hand stitch to slowly connect the work together.

Read about Sabine’s work in Sabine Kaner: Stitching life experiences.

Sabine Kaner’s Hand-Stitched Stories exhibition was held at Museum in the Park, Stroud (2022). Other solo exhibitions were held at Stapleford Granary (2021-22) and 78 Derngate, Northampton (2021). She has also exhibited with @SEAS Brighton to celebrate the Windrush Generation’s contributions to the UK and @wellspace in London to coincide with Mental Health Awareness Day. Sabine is a member of the artist group @Outsidein. 

Artist website: sabinekaner.com
Facebook: facebook.com/sabinekaner
Instagram: @sabinemake

Sue Stone

Sue Stone is an avid photographer, and she uses her collection of photos to help her create textile stories. Her compositions are often a mixture of fact and fiction, combining real and invented people and places, and often merging the past with the present. Sue’s mixed media and stitched work explores imagined journeys and creates narratives about family, history and life. 

A major source of inspiration for Sue is her family photo album, but she also takes hundreds of photos of the details, textures and patterns that surround her. She is drawn to the overlooked details like the textures and patterns found on buildings or in the street, as well as brickwork, signs and colourful splashes of bold, but often transient, graffiti art. By including these details in her work, she brings to life the locations she depicts.

An expression of inner turmoil

Which Way Now? was made in 2020 during the pandemic, when Madrid was in the news as it was one of the places hard hit by the virus. Sue visited this beautiful, vibrant place for the first time in autumn 2019 when her work was included in the World Textile Association’s Invited Artists Salon exhibition, The Essence of Textile. She fell in love with the city during this idyllic trip.

Sue’s starting point was a photo she’d taken of an isolated crumbling and ruined building in Madrid, with graffiti on its walls and on the fence surrounding it. 

When she first started it, Sue wasn’t sure which direction the artwork was going. She just needed to keep her hands busy at the time. For this work, she adopted a new, immediate way of working – drawing freehand with a Pilot Frixion pen, directly onto the fabric.

‘Amid the confusion and chaos created by the Covid-19 virus, there were occasional glimpses of hope, swiftly followed by fear and dread. The slow hand stitching of the graffitied fence in the foreground proved to be therapeutic.’

Stitching gave Sue some quiet thinking time, and she realised that the crumbling building was a reflection of her state of mind – the conversation she was having with herself in a time of turmoil – and this led to a depiction of herself within this crumbling and confused environment, with flashes of hope hidden within.

Tips from Sue for getting started

• Never dismiss any of your ideas. Jot them all down in a notebook and they can become a reference library for you to dip into for inspiration if you get stuck.

• Take photos of anything and everything around you. If something catches your attention, photograph it. Make sure you organise your photo collection, perhaps into themes, so you can locate images easily when you need to.

• Simplify your starting images into a simple line drawing. This will stop you from getting overwhelmed by detail at the outset – you can always add more detail later.

Discover more about how Sue’s work comes together in Sue Stone: Where top textile artists look for inspiration.

Sue Stone is based in the UK. Her work has been exhibited worldwide, including at her solo show Shifts and Allusions, at The Hub, Sleaford (2023), at the 12th From Lausanne to Beijing International Fibre Art Biennial Exhibition (2022), and as part of the 62 Group’s exhibition at the Knitting & Stitching Show (2022). She is a member of the 62 Group of Textile Artists, and a Fellow of the Society of Designer Craftsmen. 

Artist website: womanwithafish.com
Facebook: facebook.com/suestone.womanwithafish
Instagram: @womanwithafish

Nigel Cheney

The sculptural textile work Corporal William Holman grew from the curiosity Nigel Cheney had about his great grandfather, and what it meant to serve your country in the First World War. 

Corporal William Holman was born in 1882 and died at the age of 35 in France, making the ultimate sacrifice in the First World War. The artwork was first created for Nigel Cheney’s solo show, Decorated, at the Hub in Sleaford, in 2017, and has since undergone many reincarnations. 

Starting all his projects with a period of in-depth study, Nigel likes to collect a mountain of source materials. As part of this process, he gathers objects, archival images, family documents, ephemera and associated literature, poems or novels. And he finds that eBay is the perfect place to collect items linked to his theme. 

Nigel began by exploring what little he knew of Corporal William Holman’s life, and the widow and children he left behind. Immersive research helps him to decide what lens to examine his theme through, and in this case, it soon became apparent that he was interested in memory.

‘All my research implied that his widow, the incredible Nellie Holman, did not dwell in the past. The photograph of him in uniform was always in pride of place on the mantle, even though her sadness was not dwelt on and certainly never spoken about.’

Research, collect, collage

Nigel began by digitally recording military records, the few surviving family photos, and images of medals, medal ribbons and correspondence. Then he collaged paper prints and scans, allowing an intuitive response to overtake historical accuracy. 

Interested by the residual and collective grief left behind after so much loss, and how small scraps of history become distorted and incomplete as time passes, Nigel realised that most of what he knew about his great grandfather was factually incorrect. He didn’t understand what the medals signified or how William Holman’s life story could be contextualised amidst his regiment or his hometown, Market Harborough.

‘For me, memory isn’t linear but there are elements that repeat like a musical refrain, often at the most inopportune moments.’

Nigel enjoys experimenting with a variety of techniques including drawing, digital printing and low tech image transfer methods. But fabric and stitch allow him to be at his most expressive, so he manipulated the collected imagery using a computer and printed them onto fabric, ready to stitch into using hand stitch and digital stitch techniques. He had no interest in using genuine uniforms from the First World War, so he sourced and dissected new ex-army stock uniforms. The difference in cut and construction became a test – would the viewers be aware of the historical inaccuracies? 

He had gathered the ingredients. Now it became a matter of moving the composition’s elements around to achieve a balance.

‘I felt the making needed to be somewhat crude – function came foremost over couture techniques.’

While seeming like a straightforward task, fighting with a small domestic sewing machine to put back together the parts of the uniform, along with the stitched fragments, became exhausting. 

Once the work was assembled, the final task was to stencil Corporal William Holman’s service number over all the precious elements of this ‘body bag’. A uniform is not a delicate piece of cloth, and Nigel wanted to show that the scars that deface the depictions of nostalgia are as important as the medals that decorate them. 

Tips from Nigel for getting started

• Working with memories is powerful. Just looking at a family photo or touching a favourite old garment can be overwhelming. So be kind to yourself. Sometimes you can work around a problem – are there similar second-hand fabrics that remind you of something, without having to work with a precious heirloom?

• It’s vital to set a lens through which to view your work. What is your intention? Does it need to be factually correct? Or are you expressing your own interpretation? Decide who the work is for and how you want those related to it, biologically or emotionally, to respond to it. It can be tricky to work with personal information, so be inclusive in how you gather information. You may be able to use official historical documents, data and text within your narratives while taking care not to publicise the data of living people. But if you are using archive sources, get permission to include them in your work.

• Colour can be the most effective communicator. It can help set the tone for what you want to convey. If the work isn’t how you expected – whether delightful, sombre, brooding, playful or nostalgic – then try changing the colour balance.

• Above all, make mistakes. This is the true path to creativity. And sometimes cutting up your work can be the best approach. Nigel has never found a ‘disastrous sample’ that couldn’t be improved with some pruning!

To find out more about his practice, read Nigel Cheney’s interview.

Nigel Cheney is an embroiderer based in Market Harborough, Leicestershire, UK. He was a finalist in the Hand and Lock Embroidery Prize, Open Textile Art category, 2022. He held the position of Lecturer in Embroidered Textiles at National College of Art and Design, Ireland, for over 20 years before retiring to live in his native Harborough.

Artist website: nigelcheney.com
Facebook: facebook.com/nigel.cheney
Instagram: @nigelcheney

Cas Holmes

In her work, Cas Holmes seeks to capture the memory or atmosphere of a place or a moment. She gathers materials, drawings and written references during her travels. And by interacting with these collections, she can evolve the meanings and stories behind her work. 

Travel has always been an important part of her creative inspiration, however, just as Cas was starting to move again after the pandemic lockdowns, her partner, Derek, had a stroke. 

She had to find a new balance, as both artist and carer, and so she began to adapt her work to a smaller landscape – her home surroundings. However, her process remained the same: Cas still sketches and makes notes to record her travels, even within this smaller environment. In the quieter times, she stitches or spends an hour marking and layering her collections of cloth and paper. 

During this time, Cas has gained a new-found respect for the often-overlooked aspects of everyday life, like the edges of the footpath on her daily walks in the park, and the places where the home and garden meet the outside world.

The Garden

The Garden is one of a series of pieces made during her transition from watcher to worker in the garden. She took the time to witness the garden in all its glory and began to notice the gardening activities that needed her attention. These observations became the source of inspiration for her artwork.

‘In that lovely summer of 2022, I sat and sketched in the sunshine as we healed and found a new way of being in the garden together. As Derek began to recover he talked about the things that needed to be done in the garden (and those I should leave alone).’

Cas often uses the methods of deconstruction and reconstruction, which have become a vital part of her creative process both physically and mentally. Working on two or three projects at once, she used offcuts from old gardening books, a section from a tray cloth and colour image transfers of the plants growing in her garden. 

Her work has always been informed by the simple things, like drawing, talking, observing, and then threading these connections with stitch. Cas finds poetic solace in the minutiae of the everyday things she explores, connecting hand, eye and mind through sketch, paint and stitch.

‘When I look at The Garden it takes me back to that healing moment in time. Exploring and recording a local patch of land, a garden or a small space in depth can be a rich resource for your investigations.’

Tips from Cas for getting started

• Take the time to record the atmosphere of a place – draw, make notes, focus and be present

• Observe the small details. Try using a magnifier or the zoom function on your camera or smartphone.

• Make a collection of ‘finds’ from the place. Perhaps you could record the changes you observe through the year. Create a storyboard or a diary of the things you discover, and note down your thoughts including the visual qualities, colours and shapes.

For more about Cas’ work, and how she used found and vintage items read Cas Holmes: Found objects in textile art.

Cas Holmes is based in Kent, UK. She is the author of several Batsford books, including Embroidering the Everyday (2021), and a member of Art Textiles: Made in Britain textile group and the Society for Embroidered Work. Her exhibitions include Gypsy Maker 4: Places, Spaces, Traces, which was exhibited in Belgium and toured the UK in 2020-23.

Artist website: www.casholmes.co.uk
Facebook: facebook.com/casholmestextiles
Instagram: @casholmestextiles

Fortunately, I found a doctor who understood both my disease and artistic heartache, and together we figured out a plan to regain the use of my hands. Today, I stitch more slowly, and I can’t last as long, but I’m thrilled to say I’m still stitching.

I also have a new-found appreciation for my fingers and joints and the dexterity I still possess. As they push a needle through fabric, knot a thread or snip a frayed edge, I’m grateful for their continued partnership in helping me tell my stories in stitch.

We’ve gathered five textile artists who have also experienced illness challenges, and they’re sharing the works they created in response to those journeys. They describe how stitching helped support them during and after difficult times, as well as the physical and emotional impact stitching had in their recoveries.

Sonja Hillen starts us off with her stitched response to her husband’s cancer journey. Michelle Ligthart then shares her stitched book chronicling her decision to have her breast implants removed. Haf Weighton follows with her scary and ironic experience of becoming ill while working on a textile commission for a hospital. Linda Langley next describes picking up needle and thread to process her mom’s breast cancer diagnosis. And Jane Axell closes by sharing how mindful stitching helps keep illness at bay.

We’re grateful to each of these artists for sharing their stories and work in such candid and inspiring ways.

Sonja Hillen – A caregiver’s view

When a life-threatening diagnosis comes out of nowhere, it’s not just the patient who’s tossed about. Caregivers also experience their own challenges. Such was the case for Sonja Hillen when her husband was diagnosed with cancer and given about eight years to live. Their children were 12, 10 and 6 at the time, and it would be a five-year odyssey for them all. Fortunately, a stem cell transplant was successful, and Sonja’s husband is cancer-free today.

Countless doctor appointments and scary hospital stays happened across those five long years. And Sonja turned to stitch to help process her and her husband’s unfolding story.

‘We processed all the doctor conversations and treatments while trying to keep the family going as best possible. I felt like I was living on adrenaline, so I started stitching to help me rest a bit while sitting by my husband’s bed. For me, embroidery means working with the human dimension, and when I’m stitching, I’m in a bubble where time slows down.’

For better or for worse is a collection of five pieces showcasing pivotal times and places across what Sonja calls ‘our cancer rollercoaster’. Though each panel features simple black embroidery on a white linen background, the stories are massively poignant. Especially her depiction of her husband’s knit hat.   

‘I wanted the images about being sick to be as clear as possible and to embroider what needed the most attention. Every night when my husband went to bed, he threw his knit hat at the corner of the bed. He was bald from chemotherapy and very thin, so he got cold quickly. In the morning, he’d put the hat right back on. It touched me very deeply, and I knew I had to capture it in stitch.’

Sonja’s attention to detail and purposeful exclusion of people makes her work poetic and recognisable. For example, she chose the sofa and personal items to emphasise how small one’s world becomes when sick. The exam table paper accentuates the importance of a correct diagnosis and treatment plan. The tangle of hoses and pumps in a hospital room demonstrates the severity of treatment.

‘The last work is a waiting room filled with chairs, and one chair stands out. That’s my husband’s chair, as it’s his story. Still, all the other seats show how many other people are sick and dealing with their own stories.’

Sonja’s husband says her work was more about her cancer experience than his. He only served as ‘the occasion’ and seeing events through her eyes was ‘beautiful, powerful and impressive’.

Sonja is based in Nijmegen in The Netherlands. After working as a nurse for years, she attended the Nieuwe Akademie Utrecht (art academy) and graduated five years later. She is most proud of her group exhibition called Kwaadaardig Mooi (Viciously Beautiful) at the Tot Zover Museum (Amsterdam) chronicling their collective cancer journeys.

Website: www.sonjahillen.nl

Facebook: facebook.com/sonja.hillen/

Instagram: @sonja.hillen1

Michelle Ligthart – A woman’s choice

At age 60, Michelle Ligthart made a big decision: to voluntarily have her breast implants removed. She wasn’t ill, but Michelle didn’t want to worry about becoming ill in the future. To be sure, it wasn’t an easy decision. So, she chronicled her physical and emotional journey by creating a textile book called Book of Breasts.  

The book’s pages are filled with imagery bearing unique meanings and varied textile art techniques that Michelle learned in TextileArtist.org’s Stitch Club. For example, the book’s cover features a trapunto technique featured in Julie Booth’s workshop. Many breasts in varying sizes are featured, and some have a scar.

‘When I started the project, I was obsessed with breasts. I’d even stare at other women’s breasts. I tried to reflect that obsession across three pages of text. The first page features a neutral definition of breast, and the second and third are filled with every synonym of breast I could find in alphabetical order. Some are funny, and some not so much. I stitched the synonyms for “tiny breasts” in red because that would be me after surgery.’

Michele also used rust printing techniques learned in Alice Fox’s workshop. That page features two breasts with scar stitches reflecting Michelle’s need to prepare herself for the stitches she would have after surgery. She also attached her first bra across two pages.

‘I got my first bra when I was 37, and I’ve treasured it for more than 20 years. My partner gave it to me, after telling the salesperson he needed a bra that fit “a handful”. It has some holes to reflect my saying goodbye to my dear breasts and bras.’

Michelle also included the bag in which she brought the implants home with her. She sewed a red cross onto the storage bag, and then she created stitched covers for the implants themselves that had emoticons on both sides to reflect her mixed emotions about the surgery. The book ends with a colourful page on which she stitched the words ‘proudly flat again’.

A week after her surgery, Michelle hesitantly shared her work in the Stitch Club members’ area. She worried members who were recovering from breast cancer might be hurt, since she wasn’t ill and had chosen to have implants in the first place. But the community’s response was overwhelmingly positive.

‘My decision really affected me, so making the book helped me process my emotions. It wasn’t just something to keep my hands busy. It was an artistic way to create meaning, and the slow stitching helped me reflect on the stages I went through preparing for my operation. I also wanted to create something beautiful out of my sadness.’

Michelle lives part of the year in the Netherlands, and the other part is spent touring South America with her husband in an offroad camper. She started stitching when she joined TextileArtist.org’s Stitch Club, and now enjoys collecting old linens for her work. She plans to create a new textile book in the future.

Haf Weighton – When the artist gets sick

Imagine being commissioned to create a commemorative work for a hospital, only to find yourself hospitalised with an unknown illness during its creation. That’s what happened to Haf Weighton when the Rookwood Hospital in Cardiff, UK, asked her to design a work celebrating its history.

Haf’s symptoms stumped doctors, and ironically, she spent a month in a hospital run by the same trust that runs Rookwood. Eventually, she was diagnosed with a rare form of pneumonia that took over a year’s recovery. She stitched throughout that entire illness journey.

A tiled floor mosaic in Rookwood’s entryway bearing the word ‘Salve’ served as Haf’s starting point. Haf researched its meaning and discovered it roughly translated as ‘heal’ in most languages.

‘I mainly used hand stitch because I was working from my hospital bed. I decided I needed to find a way to heal that didn’t solely rely on modern medicine. This is how I learned the true meaning of “salve” in my illness journey. Stitching kept me strong through it all, and my creativity truly helped me recover.’

The background fabric in Rookwood is recycled cotton sheets. Haf thought sheets were particularly significant for a hospital where patients spend days, months or even years in their beds. Haf first painted the sheets with acrylic paints and then heat transferred her drawings onto the fabric. She then machine-stitched pieces together, followed by detailed hand stitching embellishment.

‘Recovering from an illness isn’t about taking medicine. It’s about finding ways to look after and be kind to yourself. So, for me, “salve” is about stitching. And I literally used that commission to stitch my health back together.’

While Haf beat the odds with pneumonia, she tested positive for Covid in 2022. It was frightening having already battled respiratory issues. But she again turned to making art, including an online daily drawing challenge that challenged her to sketch what she could see from her home.

‘We spent so much time in our homes during the pandemic. So, when I was sick with Covid, I reflected on the comfort of our homes. I used my creativity to help me recover by turning those sketches into stitched pieces. That body of work has now grown into an upcoming solo exhibition called “Cysur” which is the Welsh word for “comfort.”

Haf is a Welsh-speaking artist living in Penarth, South Wales. She has exhibited her work globally, and she also runs workshops for both Cardiff and Vale University Health Boards and the National Museum of Wales at Oasis, a centre for refugees and asylum seekers. Haf is a juried member of the Society for Embroidered Work and The Society for Designer Crafts.  

​​Website: www.hafanhaf.com

Facebook: facebook.com/hafanhaf

Instagram: @hafweightonartist

Linda Langley – Diagnostic layering

Linda Langley was working as a radiographer when her mother was first diagnosed with breast cancer. Having much experience in mammography, Linda knew her mum faced a serious battle.

Sadly, despite treatment, her mum’s cancer ultimately spread, resulting in bone cancer and brain secondaries. Linda’s mom passed away in 1984.

‘I was very aware of the journey most breast cancer patients take. She was only 67, and while it was a long time ago, I still remember her dearly.’

Linda joined TextileArtist.org’s Stitch Club during the height of Covid. She was enjoying the various workshops, but when she saw artist Jenny McHatton’s presentation, Linda knew she wanted to use Jenny’s creative challenge to memorialise her mum.

The workshop instructed members to gather a variety of materials and then shared techniques for gathering and twisting those materials in different ways. Boro stitching was then used to help secure the fabrics, as well as add additional surface design. Linda chose a variety of natural fabrics from her collection to twist and stitch. And the base was from an old linen napkin she had received from a Canadian friend.

‘I have learnt to love layers, and therefore, lace and sheers are prominent in my collection. I thought they were especially useful in depicting breast tissue. I knew very little about Boro stitching, so that was a challenge. ’Linda’s piece My Mum’s Breast includes a lateral view of the breast akin to what a mammographer would see. Linda says lateral views are especially important as they visualise the lymph system at the breast axillary area which can sometimes show if cancer cells have spread to other areas. Linda sought to create the breast’s complexity using twisted fabric layers and stitch to recreate its many layers, blood vessels and nerves that go in all directions.

‘I loved making this, especially thinking it could encourage women to have mammograms. And I was thrilled by other members’ positive feedback. I hadn’t worked with textiles for a long time due to life’s challenges. And my education was incomplete due to financial restrictions. Members’ feedback gave me the confidence I needed.’

Linda is retired and resides in Croxley Green, Hertfordshire. She especially enjoys the research aspect of embroidery, as well as detail and texture. Other hobbies include cooking and gardening.

Jane Axell – Stitching to heal

Jane Axell experienced a variety of illnesses throughout her childhood, including recurrent chest infections, psoriasis, and some anxiety and depression. Traditional medical treatments were sought over the years, but none seemed to have lasting effects. So as an adult, Jane turned to natural therapies, including courses in reiki and crystal healing. She also explored Christianity, Buddhism and other healing modalities.

In 2007, Jane started working with The Sanctuary of Healing (Lancashire, UK), which delivers a variety of healing frequencies, such as crystal energy and light and colour frequencies. Her health started to improve dramatically, and she hasn’t had a chest infection since 2009. Other ailments have also healed.

‘I learned how stress plays a major role in illness. Stress hormones create an invisible field of energy that surrounds your body and turns off natural self-repair mechanisms. So, you need something to trigger a relaxation response in your mind so your body can heal itself. For me, one of my main triggers is creating textile art.’

Jane is a member of TextileArtist.org’s Stitch Club where she participates in as many workshops as possible. She also attends a monthly stitching workshop, a monthly felting group and a weekly crafting group.

Soft, red rose started as a contribution to an upcoming exhibit for Jane’s local stitching group. Artists were asked to create a red rose (the emblem of Lancashire) in a hoop for an exhibition at Astley Hall. Shortly after Jane started composing her work, she viewed Jenny McIlhatton’s Stitch Club workshop, which featured folding, rolling, twisting and loosely stitching different fabrics. It was exactly what she had been attempting to do!

‘The techniques gave my work texture, loft and character. I used all kinds of scraps from my fabric stash – from curtain samples to fine cottons and scrims. I love their soft fraying. I also adore silk velvet and used that for the soft folds of the rose. A piece of hand-dyed red silk is in the centre.’

The stem and leaves were created from a piece of printed cotton covered with loop stitches, and red French knots also added texture. In addition to being pleased with the result, Jane said it also boosted her creative confidence.

‘I think by indulging in any kind of creative practice, you can forget your cares, and enter into a sense of wonder and playfulness that can be very healing. Honouring your creativity is your way of bringing love into the world. The secret is to carry that lovely feeling back into your life once your play session is over!’

Jane lives in the picturesque Ribble Valley in Lancashire, UK. She is a writer for TextileArtist.org where she loves interviewing and writing about a wide variety of textile artists. Jane participated in her first exhibition called Colours, Textures and Heritage of Lancashire (2022) with Ribble Creative Stitchers and the Bolton Stitch Group.

Instagram: @jaxtextiles

Do you put up barriers to starting and if so, where do you find that helping hand to get you off the ground?

‘A journey of a thousand miles begins with one small step’, said Dao De Jing.

If you’ve lost confidence and haven’t picked up a needle or sat at a sewing machine for a while, taking that step can feel momentous.

But, even the most experienced artists had to start somewhere. No one was born with a needle and thread in their hand. Perhaps you grew up in a creative family, had encouraging teachers or felt a pull to attend art college? Or maybe you’re only finding the time or confidence to pursue your passion after parenthood or retirement?

Is creativity born or bred? Can anyone become a textile artist? We asked one of the most dedicated Stitch Club members to share her story in a quest to find out.

Heléne Forsberg: finding happiness in making

Despite having had a love of art since childhood and an interest in stitch since 2009, Heléne Forsberg, who lives in Stockholm, Sweden, would often find herself gripped by indecision. She would deliberate over her choice of fabric and threads and, in particular, which techniques to use to achieve the quality of textile art she aspired to.

In fact, though she had dabbled in textile art for a decade, she didn’t feel she had the skills to fully immerse herself in her practice and produce top quality textile art.

Heléne told us how she boosted her knowledge of techniques and was able to make art that satisfied her soul, and gave her the confidence to exhibit and enjoy a community of like-minded stitchers. All of which elevated her skills and happiness to new heights. She has seen her confidence and her stitch skills soar over the last two years. Here she shares her story with us.

Heléne Forsberg: ‘I spent over a decade working in an office with papers and numbers, and being very organised. When I turned 30, I started painting as a hobby and had my first small exhibition in 2001. 

When I started stitching in 2009, I made a decision to challenge myself. I became really hooked on stitching from the start, and I can honestly say I have stitched almost every day since 2010, although I’m still making up my mind about which kind of textile art practice I would like to focus on.

Starting with TextileArtist.org

My first encounter with TextileArtist.org was at the start of 2019 when I started a one-year-long online course ‘Stitch your Story with Sue Stone’. This turned out to be the most fantastic experience!

A year later the pandemic had started and, at a time when many people were confined to their homes, TextileArtist.org offered seven free online Community Stitch Challenges on Facebook. I took part in those and loved the professionalism of the workshops and the contact with people from around the world. When they followed up with Stitch Club, I didn’t hesitate to sign up as one of their founding members.

Progressing with Stitch Club

As the pandemic continued, the members formed a happy community online. My other stitching groups in real life in Stockholm were, of course, cancelled.

The members in Stitch Club are like a modern kind of pen pal to me. But instead of writing letters to each other in the post, we have the immediacy of online communication, sharing photos of our work in the members area.

It’s such a generous and inspiring place. As it’s a global community, there’s always someone active when you’re sharing your own work or commenting on somebody else’s. I also love the sharing of things like culture and nature motifs with my global stitching friends. My English has improved greatly these past couple of years too.

Friendships and connection

For me, there are two great benefits to being a member of Stitch Club. I love the pen pal feeling – that camaraderie between the members. Right from the start, I decided that I wanted to contribute towards creating and maintaining this positive environment. In real life I like to inspire people to be creative, to enjoy life and find their true passion which, for many of us, is creating something of our own, working with our hands.

I find it extraordinarily special to have connected with others around the globe through our love of stitch, even though we live so far apart. I now have stitching friends in Australia, USA and all over Europe.

I first met Irene Curren from Scotland in April 2021 via Zoom. We are both founding members of Stitch Club and also meet in an online sub-group fortnightly with five others. We’d love to meet up in person and we’re all based in Europe so it might actually work!

We always discuss the current or previous workshop. But as we’ve got to know each other we talk about all kinds of things. We have become online friends.

Photobook record

We’ve shown each other our sketchbooks and Irene’s are fantastic. Made for Ali Ferguson´s workshop, they’re now filled with notes and examples of many Stitch Club workshops. Once, she held up a printed photo book of her textile art and I was inspired to develop one as a record of my Stitch Club pieces. I’ve made one for each workshop interpretation I did in 2020 and 2021, and plan to make one for 2022 at the end of the year. I’ve listed all the workshops by their name and the name of the workshop leader. The online versions can be viewed via my website. 

I feel really happy about having documented my work this way. I’ve received lots of lovely compliments and it also helps me to take a step back and view all my pieces from a new perspective: I always learn more about myself and my textile journey whilst putting them together and then looking through them. 

In real life they are sitting in my studio, some mounted and some still waiting. It would be nice to show them in an exhibition someday – perhaps together with other Club members? That would be so much fun!

Gaining self belief

One of the greatest transformations I’ve made is in my new-found ability to make quick decisions. Prior to Stitch Club, I was incredibly slow – very ambivalent – and I would agonise over this and that. I’d take so long to decide what to stitch or which one of the 100 ideas popping out of my head to follow through with.

Now, I nearly always go with the very first idea that pops into my head after seeing the new workshop video. That’s also helped me to refine my sketching habits. 

Naturally, I’ve improved my stitching a great deal since starting Stitch Club too. It’s no wonder, with all the practice I get.

Becoming structured, consistent and no longer agonising over all the decisions (I literally spent hours deliberating before) has turned me into a person who believes in myself.

Let’s face it, there just isn’t the time to execute all the ideas in my head. So now I just go with the first one. It’s so much easier, and I can always adjust that idea while in the process of making the piece.

Gaining new skills from experts is phenomenal. I’ve learned so many new interesting techniques that, combined with the skills and knowledge I already had, I’ve now got the ability to work on my projects much more creatively. The experts inspire me and enable me to believe it’s possible to make such marvellous pieces of art. It’s definitely taken me to heights I hadn’t dreamed of before.

The scope of the Stitch Club workshop leaders´ practices is huge. They all show that the possibilities for creativity are endless. Being creative is fun and we should all have a try at it!

Once you have learned the language of stitch it’s easier to speak and express what you truly feel or want.

Making and taking time

I’m also driven by my passion, enjoyment, curiosity and determination to learn and improve.

The motivation I get from interacting with the other members, seeing how they interpret the workshops and getting feedback and support for my own interpretations is truly inspiring.

The online community is so encouraging that I don’t find it at all difficult to make the time to do the workshops.

I have a routine that’s very clear to me and my family. Every Friday night, after having our traditional pizza, I watch the new video before going to bed. Then I sleep on it. In the morning I choose my material and generally go with the very first idea. If there is time I start stitching Saturday morning. If not, I do it at the beginning of the following week. 

I go with the flow, and I feel no pressure. If it has to be a really small piece, so it is. That’s my way of giving myself a fun treat. I give myself the permission to spend a few hours on my number one hobby and it helps me with my daily routines.

Motivation to make – the why?

Mostly, what drives me is curiosity! I want to realise my ideas and make them work. I find it very satisfying to develop my own adaptation and altering of techniques and materials. I also like to surprise myself when I create and not be too repetitive with predictable outcomes. 

Making is an adventure to me. I love to experiment and constantly develop my knowledge and skill through practice. Cross-referencing techniques, choosing the colour combinations for my new projects and exploring the possibilities of various materials – I love all of that. 

I can be a neat stitcher and be super detailed, organised, thorough and patient. Or I can go in quickly, boldly and make crazy-looking things. Then I’ll finish by balancing the piece up at the end, adding that final stitch or piece of colour. 

The reward is my satisfaction when I look at my new piece and think: ‘I made it, I could make it work!’ It’s like creating my own mini universe, making something that didn’t previously exist completely from scratch out of my materials, through my eyes and hands and my newly gained knowledge.

I love to create and see unique things emerge through my hands, not following ready made patterns. It’s a freedom I value immensely.

Creativity and flow

I have never had any troubles with my creativity. More trouble with discipline, motivation and energy. For 10 years I had experienced an increasing state of fatigue, which was finally diagnosed as hypothyroidism and low iron levels. I started on medication in 2019, so when Stitch Club started I had regained some of my energy, though I was still lacking a bit of that daily motivation.

The workshops have helped me to keep up the tempo, which I love because I’m back to my former level of motivation. Doing all the workshops and chatting with my Stitch Club friends has become a very comfortable habit, and it’s easy to do from home.

The variety and abundance of all the workshops has helped me to be able to say ‘you are ok’. I am not alone in being a creative and eccentric person! 

I think I’d previously felt different and somewhat alone in spending time on creating textile art, not even being too bothered about selling any of it. Now I’m in a group of dedicated stitchers, and for that I’m truly grateful.

A new favourite technique

One textile technique I just LOVE and didn’t do much of before Stitch Club, is textile collage. I see myself making lots of those in the future! I am currently gathering and sorting my material for that, having fun combining various colours, fabric and threads just the way I like them.

As my local groups start up again in the autumn of 2022 I am looking forward to telling them about the huge leaps in my textile practice since 2020 and to show them my 2020 and 2021 Stitch Club photobooks.

And, last but not least, simply the fact that I’m being interviewed for TextileArtist.org about my experiences makes me feel honoured and happy. Who would have expected that two years ago? I appreciate this opportunity and hope people will be inspired and motivated to follow their passion like I have.

Embracing your curiosity, stepping forward

Whether you’re looking for success in your art or in your work, is there a common ingredient – perhaps one that Heléne has described – that can take you there? Many have studied the nature versus nurture question and the conclusion is – it’s commitment that works. 

In his book Outliers: The Story of Success Malcolm Gladwell concludes that practice isn’t the thing you do once you’re good: it’s the thing that makes you good. He gives as an example the years of long nights played in German clubs by the Beatles before their big break came along.

This article tells the story of Giorgio Armani, who abandoned his medical studies to pursue a fashion career, starting at the bottom as a window dresser. As he took opportunities to learn new skills and practise them, he developed what appeared to be a natural ability – another word for talent.

For some practical advice, creatives can take inspiration from Elizabeth Gilbert, the writer who started by taking jobs in diners by day while writing by night, to reach international acclaim as an author with her book Eat Pray Love. Her book Big Magic encourages us to embrace our curiosity and move forward. It describes how to tackle what we most love, and how to confront what we most fear.