You might think such extensive mash-ups could lead to art that overwhelms, but that’s hardly the case. April expertly balances colour and composition to create cohesive works that are surprisingly neat at first glance. Even upon close inspection, April’s layers of texture and pattern seamlessly merge and often surprise the eye.

In addition to offering us a look into her process and favourite things, April also shares how renowned UK textile artists helped her discover the power of simple stitches and inspired her to let go of her need for control. She explains how Constance Howard and others have taught her that self-expression doesn’t have to be complicated when it comes to stitchwork. And we think you’ll agree.

Apron strings

April Sproule: My earliest memory of making something with textiles is making an apron with my maternal grandmother, Grandma Ollie, when I was seven years old. She was a tiny woman who lived in a small house filled with things she had made. She loved to sew, knit and paint.

I remember carefully cutting out the apron on her kitchen table and sewing it on her portable Singer sewing machine. Her patience was infinite as she taught me those brand-new skills. I was amazed we had made something useful out of seemingly nothing with a scrap of fabric and some thread.

Around the same time my paternal grandmother, Grandma Petersen, began teaching me to do hand sewing and stitching. She taught me how to cut old clothing into squares using a cardboard template. Those hand-pieced squares would later become a quilt top. She also taught me hand embroidery and lace making.

I have very fond memories of being sequestered away in one of their homes on rainy winter days happily stitching away for hours. It’s no wonder sewing and stitching are now like breathing to me. They are something I have always done, and those basic skills would go through many transformations in years to follow. Back then, I had no idea how those early experiences would impact my life.

Textile artist inspiration

During high school, I participated in a work study programme that involved writing a business plan and starting my first little business. I set about making a variety of leather goods, clothing and bags to sell at local shops and galleries.

After learning the technical skills I badly needed, at the San Francisco School of Fashion Design, I worked for several different US and Canadian manufacturers. My area of expertise was new product development and production management for companies making leather goods, accessories and clothing. Since 2001, I’ve been a full-time studio artist working as both a designer and workshop facilitator.

In 2011, I developed a commercial collection of 25 stencil designs inspired by Japanese Katagami stencils for painting on fabric. I began using the stencils for all sorts of things while teaching my painting techniques to others. I started making upcycled clothing for myself and linen bags to sell with the stencils, and then I added hand stitching to them. The stencilling and hand stitching worked well together. Next came a collection of hand embroidery patterns and kits in 2015.

Shortly after that, I started seeing online images from UK textile artists who were doing amazing work using hand stitching. I was especially inspired by Mandy Pattullo, Claire Wellesley-Smith, Louise Baldwin, Cas Holmes and Aideen Canning. These incredible women not only eradicated the notion of creating perfect little stitches, but they used stitching in such an expressive and expansive manner. Theirs was a much freer and innovative style of hand stitch that appealed to me on many levels.

I admired those artists’ ability to move away from the expected and express their own unique, wild and wonderful styles.

It was as if a door had opened, and anything was possible on the other side of that threshold.

April Sproule, Textile artist

Freestyle stitching

My new norm became letting go of the need for control and embracing the idea of self-expression.

Upon further investigation, everything led back to the work and influence of Constance Howard. I pored over her books, and my entire perspective on hand stitching changed tremendously. I didn’t necessarily change the stitches I used, but I became mindful of how those stitches were used. One simple stitch could be used in 20 or more different variations.

When I developed my collection of hand embroidery patterns, I thought using lots of different complex or unusual stitches added more interest.

Constance Howard took a different approach. It was more about starting with one simple stitch and then tweaking it, contorting it, and reimagining all its possibilities.

Now as I go back and look through Constance’s books, I especially love seeing her illustrations. These days I see hand stitching as another form of mark making. And as I switch back and forth between pen and ink illustration and my hand stitching, each medium provides inspiration for the other.

I studied Constance Howard’s approach and realised the complexity of stitches wasn’t as important as I’d first thought.

April Sproule, Textile artist

Natural inspirations

I am inspired by many things, but my greatest inspiration comes from nature. Nature provides me with a never-ending treasure trove of ideas. It could be insects, botanical specimens or even diatoms and other microscopic images that pique my interest and beg me to take a closer look.

I live in an astonishingly diverse beautiful area in northern California. In just a few minutes, I can be exploring tide pools along our rugged coastline or trek deep into a Redwood forest where rays of sunlight pierce the thick canopy of branches and illuminate the areas below in a spectacular display.

Things that are in a state of erosion or decomposition are much more interesting than a perfect specimen. And surface design with textiles, pen and ink illustration, printmaking, collage, and watercolour are all mediums that supply me with lots of ideas and inspiration.

I’m interested in capturing the essence of my subject matter, rather than in replicating it in a photorealistic way.

April Sproule, Textile artist

Creative sketches

My work is developed in different ways, but it usually begins with a feeling or mood I want to convey. Early in the morning, I often work in a little handmade book where I experiment with different ways of combining paper, fabric and stitch in new and interesting ways that can lead to larger projects. 

Often my work begins with what I call a production sketch. It’s just a vague idea and a starting point, but it’s a very important step because it takes what only exists in my mind into the physical world where it becomes tangible.

Introducing colour

Next comes colour, which is one of the most valuable design elements. Colour is what first attracts or repels viewers to our work. I usually start with white fabric or pieces on which I’ve applied some sort of surface design techniques.

Scale, the overall finished size of the piece, comes next. Are the details going to be lost if a person sees it from a distance? Those choices inform all my decisions on which mediums to use.

I’ve learned to worked much more intuitively. All I need is one idea to get started. It could be the colour green and then everything develops from there.

Every piece I make takes me on a journey of learning and exploration.

April Sproule, Textile artist

Figuring things out

I feel incredibly fortunate because I rarely get really stuck on a piece and give up on it. I am good at problem solving and figuring things out. It seems like a waste of time, energy and materials to give up on a piece and not finish it.

When I start a new project that is very involved, I clean up my studio and put everything in its place. Initially clutter can be a distraction, but that’s only in the beginning. Once my ideas start to flow, it is total chaos. I don’t clean up until the project is completely done.

Mixing things up

I use a wide variety of mixed media on fabric and paper. I especially enjoy working with dyes, paints, stencilling, printing, pen and ink, cyanotypes, and hand or machine stitch. Learning to do all of these things has been so much fun!

I’ve done lots of shibori dyeing with Procion dyes and indigo over the years. It’s so exciting to unwrap the cloth and see what has happened. And now I have all those fabrics to choose from and add to my textile art.

Using paints and inks on fabric and paper has been a great addition to my work. I use textile paints that don’t alter the hand of the fabric, and I’m pretty picky about that. I also love using walnut ink, sumi ink and India inks. Sometimes I just sit and draw stripes or dots with a pen or brush. Then it’s fun finding new ways to incorporate those pieces into my work.

I am also experimenting a lot with different papers. I won’t use papers that are either too delicate or too hard to stitch through. I still have a lot to learn about different types of paper, but that’s part of the research and excitement of learning something new.

Favourite fabrics

My absolute favourite fabrics to work with are linen, cotton sateen and silk. I use both vintage and new fabrics, but many of the vintage fabrics are just wonderful to work with. The linen is like butter to stitch through, and I love the texture of it. 

My next favourite fabric is cotton sateen, as the weave gives it a subtle sheen. It has a very nice hand, dyes beautifully and it is really easy to stitch through. And silk has long been a favourite of mine. I don’t ever use fusibles on it, as that would ruin the hand of the fabric. I have lots of silk left over from having a custom sewing business for 10 years. Now, I’m glad I saved all those fabrics.

Threads & stitches

For threads, I mostly use DMC cotton along with some hand-dyed threads. I‘d like to try linen thread but haven’t yet. My favourite stitches are the running stitch, stem stitch, straight stitches, rice stitch, couching, and the versatile blanket stitch. I also like the cretan stitch a lot, because it can be used in lots of different ways.

I took Sue Stone’s Exploring Texture and Pattern course in 2018. After finishing all the exercises, my style of stitching changed from using more complex decorative stitches to using very basic stitches in different forms and combinations.

My needle has become like my pen, and my hand stitching is now another form of mark making.

April Sproule, Textile artist

A few basic tools

I enjoy using good quality tools that last a long time, so I don’t have to replace them.

Really sharp scissors are very important. I have embroidery scissors, appliqué scissors, regular scissors, paper scissors and huge shears for cutting heavy fabrics. But mostly I just need a sharp little pair of embroidery scissors for cutting threads.

Fabric markers are also important. I use Frixion markers and have never had a problem with them. I like that I get nice clean lines with them. And of course, good needles make everything so much easier. I use mostly size 10 embroidery needles with a nice sharp point.

One of the greatest things about hand embroidery is you only need a few basic tools.

I do almost all of my actual stitching at night. I use a large floor model OttLite, and I could not sew without it. I usually do hand stitching for three hours or so every night. It’s become a daily practice I really enjoy.

My iPad is my favourite design tool. I use an app called Adobe Fresco for my illustrations. I start a piece, photograph it, and then draw mock up stitches on the photo to help with design options and decisions. I can add 10 layers of stitching, eliminate what I don’t like, AirDrop the image to my phone, and use it for reference as I stitch. It’s just like magic!

I think one of the best things you can do as an artist is try things outside of your comfort zone.

April Sproule, Textile artist

Silver linings

The biggest challenges I’ve faced as a professional artist were Covid related. From 2001-20, I operated a longarm quilting business, sold my wares online and as a vendor at shows, and I taught workshops on techniques I’d developed over the years. 2019 was an especially busy year for me. Then Covid reared its ugly head, and every single upcoming event I had scheduled was cancelled.

I decided to make the most of this unexpected free time by focusing on my art and volunteering for different textile art groups who support artists and textile art instructors. That gift of time gave me a chance to re-evaluate what I was doing and make some positive changes.

I closed my longarm quilting business and decided to stop vending at shows and started applying for grants. In 2019, I received a grant from a local arts foundation, and in 2020, I received a business grant from the state. Collectively, those funds made it possible for me to gain the technical training and equipment I needed to start teaching online.

I aim to spend half my time working and the other half creating art. I’m not there yet, but I will be some day. It’s also much easier to share what I do with others and help others achieve their creative goals.

I’ve found that pushing myself helps to grow my skills and proficiency.

My biggest artistic challenge was making the portraits in Sue Stone’s Stitch Your Story online course. I knew what a fabulous teacher Sue was, and it was really hard, but I learned so much along the way. I was really inspired by the work of the others in the course.

Designing my creative space

After leasing a commercial building for five years for my business and studio, I finally had a studio built behind my house in 2006. I needed room for my 14ft longarm quilting machine, space to teach my surface design workshops and a workspace for me to create my textile art.

I had lots of experience designing textile art projects, but designing a building was an entirely different experience. Luckily, I found a great designer and very good contractors to work with me.

The 24ft x 40ft (7.3m x 21.1m) two-story structure has nice high ceilings. Downstairs is my wet studio where I do my messy stuff like dyeing and fabric painting. I included a 6ft-wide stainless steel sink from a place that carried used restaurant equipment, and it has been a useful addition. There’s also lots of storage for art supplies and other stuff.

Upstairs is one large room where I sectioned off a full bathroom and walk-in closet. The kitchen area has cabinets that hold art supplies, and it was designed to accommodate appliances, but I would rather have the space.

One of my requests was to have lots of natural light. But I also needed wall space for art display and a large design wall. The designer was able to plan accordingly, so I have windows on three sides and plenty of wall space in between.

I had a 4ft x 8ft cutting table built with storage cabinets and shelving below. I knew my needs for this space would change over the years, so one of the best things I did was to outfit all my heavy equipment, like the cutting table and longarm machine, with heavy duty casters so I can easily move things around by myself. That has been a tremendous help.

The building is quite tall due to the high ceilings on each level, so I had a manual dumb waiter added to transport heavy items, like sewing machines, up to the second floor. We’ve had lots of great workshops and retreats here, and that dumb waiter has gotten a lot of use over the years.

Every morning I wake up really early, grab a strong cup of coffee, and head over to the studio. When time permits, I sit and draw for an hour in front of my big window before I start my day. I’m grateful for every moment I spend here. My family has always been very supportive of what I do, and none of this would’ve been possible without them.

The stitched surroundings in which Sue carefully places her figures add a hint of mystery or surreal humour. And through her distinctive use of mark-making, free machine embroidery and mixed media, her characters come to life.

Sue’s career as an artist is one of discovery: learning how to harness the expressive potential of thread, experimenting with materials and gradually shaping the unique style that she’s known for. Find out how Sue’s love of textiles developed from an early age and discover her journey to becoming the renowned artist she is today.

Surreal narratives

How would you describe your work?

Sue Stone: I am best known for figurative, textural, stitched compositions which often suggest journeys through life, shaped by memory, observation and imagination. 

We all need light and shade in our lives, so my work continues to swing from the serious to a slightly surreal sense of humour whenever it needs to. 

The techniques I use during the making process are straightforward; a deliberately limited colour palette and a small vocabulary of hand embroidery stitches combined with machine stitch, appliqué and sometimes acrylic paint.

Recurring themes

Tell us about the stories behind your work…

Nearly all my work fits into one of my recurring themes. My two works created for the Broderers’ exhibition The Art of Embroidery, held at Bankside Gallery, London in 2025, hold messages around mental health, the innocent victims of turbulent times and the state of the world today.

I returned to pure hand and machine stitch for these two pieces. The only criterion for the exhibition was to use hand embroidery or machine embroidery or a combination of the two. 

A Glimpse of Calm Amidst the Chaos contrasts a 1940s family’s air of innocence with the turmoil around them. The work invites viewers to consider how much – or how little – the world has truly changed between the 1940s and the present day.

The Stuff of Nightmares evokes conflict, loss and chaos through layered textures, confronting viewers with haunting truths while revealing humanity’s fragility and resilience.

What I learned from these two works was that it’s hard not to reach for the paintbrush when you are used to the freedom of mixed media, but I really enjoyed the challenge of sticking to appliqué to add colour to the background. 

Evolving ideas

Would you share a little about your process?

Most of my work evolves during a long, slow period with major pieces taking months, or even years, to come to fruition. There’s a lot of thinking, gathering images and sometimes making drawings. As I begin to develop an artwork, it often starts life on a computer screen. The computer helps me to experiment and save time; I can reduce a composition to a simple line drawing and print it out.

Other times, I’ll develop samples during the research stages of a project and often those become part of a final composition.

Then comes the exciting part, starting the stitching. My stitched drawings are done using free machine embroidery or hand stitch. And I use hand stitching to add details, pattern and texture.

Sketchbooks & samplers

How do you plan your work?

I use a sketchbook to record thoughts, images and ideas, as well as for drawing. Drawing becomes a means of problem-solving as well as a way to express ideas on paper. A sketchbook is also useful for working out colour schemes and making notes of fabrics and suppliers. And it’s the perfect place to store small stitched samplers that can be used or referred to in the future.

I sometimes show my sketchbooks alongside my finished work. Most people are interested to see the process behind the finished piece, and I hope it encourages others not to be too precious about the contents – a sketchbook is only a means to an end.

“I enjoy exploring displacement, a sense of belonging or not belonging…”

Sue Stone, Textile artist

Search out the unexpected

What inspires your work?

I look for the out-of-place, the unexpected and the bizarre. I am an avid photographer and use my photos to create a constant visual record, both at home and on my travels.

I enjoy exploring displacement, a sense of belonging or not belonging, often by taking figures from old family photographs and juxtaposed into a modern day scene such as beside the work of street artists in London’s East End.

A life story in portraits 

Tell us about your long-running self-portrait series… 

A Life Story began in 2015 when I was invited by my former tutor and mentor, Alf Ludlam, to create an unusual self-portrait for an exhibition at Grimsby Fishing Heritage Centre. With a six-metre wall to fill, I decided to make one portrait for each year of my life – then 63 in total.

My original plan was to pare everything back to simple line drawings, but my instinct for detail soon took over. By the exhibition deadline I had completed 42 portraits, each measuring 26cm x 30cm (10″ x12″), which were shown as a work-in-progress. I finished all 63 in 2016 and exhibited them at the Knitting & Stitching Shows in London, Dublin and Harrogate, before showing them again at several other venues. 

Finding reference material for some portraits was difficult. My Dad’s photographs helped with early years, but many portraits came from memory, often sparked by clothes and hairstyles I remembered wearing. 

For me, A Life Story has become a companion as much as a body of work. It is a stitched autobiography, a record of who I have been and who I continue to become. It is flawed, imperfect, and unfinished – just like life itself. And as long as I can, I will keep stitching, adding one portrait at a time to the story of a life.

“A Life Story is a stitched autobiography, a record of who I have been and who I continue to become.”

Sue Stone, Textile artist

Art & family

Who were your early influences?

My earliest influences were my Dad who gave me my work ethic and the determination to succeed and my Mum, who was a tailoress. She taught me to use her Singer treadle sewing machine at about the age of six. From a very early age all I ever wanted to do was design and make clothes, first for my dolls and then for myself.

Mum was unfaltering in her support when I wanted to study at art school during a period when ‘grammar school girls didn’t really do that sort of thing’. My Dad was a Grimsby fish merchant during the 1950s and 1960s.

My art always has a connection to my own life or environment. This might be family and friends, time spent in London and on my travels, both at home and abroad, or something I’ve heard or experienced.

Embroidery as art

What was your route to becoming an artist?

In the 1970s, I studied fashion at St Martin’s School of Art (now UAL Central St Martins) and then textiles and embroidery at Goldsmiths College in London (now Goldsmiths, University of London), where I was taught by the pioneer textile artists Constance Howard, Christine Risley, and Eirian Short.

Constance Howard was a small charismatic person with bright green hair and the first time I met her she introduced herself as Mrs Parker. I had no idea who she was at the time, or of her importance in establishing textiles as an art form in the 20th century. She was just Mrs P, an inspiration to all her students who gave me my lifelong love of stitching.

Christine Risley was an inspirational teacher who taught machine embroidery and opened my eyes to the versatility of the sewing machine and the spontaneity you can get with free machine stitch.

Eirian Short introduced me to the 62 Group of Textile Artists in 1975, when I was first a member for a few years until other commitments got in the way of my stitching.

After art college I went into business and made a living from designing womenswear for 28 years. But I always knew I would return to stitching eventually, which I did in 2002 at the age of 50.

Telling textured stories

How has your work evolved over time? 

When I returned to stitching in 2002, my work was purely decorative and mainly abstract. I eventually came to figurative, narrative work in 2005 when I made my first self-portraits. I got there via artworks featuring historic tiles, gargoyles and landscapes. My work soon became more figurative, humorous and surreal. 

In more recent years I have experimented with scale and different ways to present my work, like wall hangings, modular work, assemblages and stretched work.

Which direction would you like to explore in the future? 

In the future, I will definitely continue telling my stories and experiment with the layering of stitch and paint, which is a constant balancing act. I’ll use these simple techniques to find even more texture and pattern. I would also like to investigate using small stitched elements on larger soft backdrops. Maybe they will be easier to ship to exhibitions!

Nothing is impossible

What advice would you give to an aspiring textile artist?

Be true to yourself and use your own voice to say what you want to say.

Always strive to make your next piece better than your last. If you falter, turn up the next day and try again!

Be determined and persistent, and always remember my Dad’s maxim:  ‘Nothing is impossible, the impossible just takes a bit longer’.

Largely self-taught, Pat masterfully reduces her subjects to their necessary elements in ways that still tell big stories. She isn’t focused on the details, and that’s a good thing. Her use of strong shapes, colour and pattern lead to incredible fabric mashups that communicate rich shadows and textures. 

Pat is generously sharing her appliqué and fusing techniques that serve as the foundation for her quilts. You’ll be surprised at the variety of fabrics and other materials she uses. As long as something doesn’t melt under her trusty iron, it’s a worthy candidate.

She explains about her method for using watercolour on fabric, as well as offering her refreshing takes on planning and imperfection.

Welcome to Pat’s world of simple abstracted beauty.

A path to self-discovery

Pat Baum Bishop: I remember drawing simple images on white fabric with a pencil and then stitching them with embroidery floss. Other embroidery projects included pillowcases and a tablecloth. I also did many crewel work pieces and counted cross stitch projects.

I begged my mother to teach me to use her sewing machine when I was 10 and started to make my own clothing.

When my children were young, I spent many years making traditional quilts. I eventually moved on to art quilting and experimenting with fabric manipulation.

Although I am mostly a self-taught artist, numerous teachers and many workshops have helped me along the way. 

Laura Cater-Woods was inspirational for two reasons. Somehow, she got me to vocalise my lifelong desire to be an artist at the age of 50. Once I said it out loud, it seemed to materialise. 

She also instilled in me the motto ‘do what you know, and the rest will follow’. When I was overwhelmed by too many choices, she’d say: ‘Do what you know how to do right now, and after that, you’ll figure out the next step’.

Yvonne Porcella was the first to teach me how to abstract an image. And Sue Benner also taught me different methods for creating abstract art. 

Simple abstraction

I work mostly with textiles, though I love to paint with acrylics and watercolours on paper and fabric. My love of abstraction steers my work, and my approach to abstraction is largely through simplification. 

Much of my work is about preserving memories. 

Lately I’ve been painting my backgrounds using watered down acrylic paint on white whole cloth fabric. I really like gradated fabric for my backgrounds, but they’re hard to find. Painting my own is even better. And it’s a very intuitive process.

During the pandemic, I took an online abstract painting class with UK instructor Louise Fletcher, cohost of the podcast Art Juice. Her class gave me confidence to play with paint, and I love it.

While most of my work is abstract, I also enjoy creating more representational work through watercolour painting on white whole cloth fabric with added machine quilting. 

“Almost all my pieces have a very special meaning to me – I wouldn’t be able to do them successfully otherwise.”

Pat Baum Bishop, Textile artist

Creative process

I usually start a work with a personal photo. I sometimes use an app that converts photos into watercolour style images, called Waterlogue, which helps me see my images in a simplified view. 

If I’m creating a bird or animal, some research is also involved to familiarise myself with the subject. 

Starting with the photo, I see how it looks in Waterlogue. I make a very small value study, usually a Post-It note size. That study helps me determine how to work with my light, medium and dark tones. 

I simplify my image, but I still don’t have everything laid out at this stage. The most planning I do is what my finished size will be, depending on if it will be bound or framed. 

“I’m not one who has everything worked out ahead of time – I enjoy finding happy accidents and problem solving.”

Pat Baum Bishop, Textile artist 

I work on my subject first, using a full-size cartoon that is fused to parchment paper. I always take into consideration the elements of design and composition. 

After the subject is complete, I audition backgrounds by laying the fused cartoon on top of my backgrounds to see what does and doesn’t work. Once I choose the right background, I quilt it before fusing the subject on top of it. 

After fusing the subject, I machine quilt it down and add any other thread painting it needs. 

“My work is not perfect, and I really don’t want it to be.”

Pat Baum Bishop, Textile artist

The value of imperfection

All my work is machine quilted on a sit-down Capri Handi Quilter with an 18″ throat. I don’t use a stitch regulator or rulers.

My style is somewhat cubist, and all my cuts are choppy. If I’m making any rounded cuts with my scissors, that’s a clue to myself that I’m trying too hard and it’s just not me.

Despite my quilts not being perfectly quilted, people seem to think they’re well done. I can find the flaws, but they’re not noticeable to the casual observer.

I truly believe my work is more relatable because it’s not perfect. Perfection is overrated. My work is more from the heart, if that makes sense. 

A bit of advice I was given was you need to make a few ‘sacrificial’ quilts. It takes practice to get good at anything, so I made several practice quilts. You can always donate them or make them for animal shelters.

It’s also good to take breaks every 30 minutes when machine quilting.

Fabrics galore

My list of potential fabric choices is long. I’ve used many different, and sometimes surprising, materials, including recycled clothing, silk, linen, damask, velveteen, denim, paper bags, men’s ties, old silk kimonos, paper towels. 

As long as materials don’t melt under my iron or shred under my needle, they’re good possibilities.

I love using silk for added texture and interest, though it should mostly read as a solid colour. And my stock of hand-dyed fabrics is fairly bottomless. 

I’m also an avid thrifter, though I do buy some commercial fabrics.

My fabrics are organised by colour in bookcases with sliding glass doors. Bins hold a good supply of pre-fused fabrics that are also organised by colour. 

“When it comes to choosing fabrics, if it can be ironed and fused, it works.”

Pat Baum Bishop, Textile artist

An old red barn

Red Barn looks very much like the one on my grandparents’ farm. I have so many wonderful memories of playing on the farm. Sadly, it’s no longer standing after being gobbled up by urban sprawl. 

The main fabric on the light side of the barn is monoprinted. I don’t have any real plan when dyeing or printing fabric other than having fun and using colours I like. I haven’t dyed fabric for several years now, because I have so much from when I was dyeing more regularly. I dye in the summer when it can be done outside in our garage. That way it can dry in the heat of the sun.

Environmental warning

Harbinger was inspired by my love of birds, but also by my worries about saving the planet. I wanted to send a message of ‘beware and be aware’ of how you live your life, as it all matters and has consequences for the earth. I felt the raven was an appropriate harbinger to send that message.

The background is hand painted in acrylics with an ominous tone. Although the raven looks mostly black, it’s actually made with many different textures of black, dark navy silk, velveteen, wovens and more.

“There’s a saying ‘colour gets all the credit, but value does all the work’ – I kind of live by that rule or at least try to.”

Pat Baum Bishop, Textile artist

Contrast is more important than colour, and that is more my focus. I use colours I love and then contrast them by using light or bright against dark values. Everyone has their favorite colours. Mine are blue, especially turquoise, and there’s a lot of green in my work. 

Also, when working with textiles, it’s important to take advantage of their textures – that’s a bonus you don’t see so much in other art forms. Working with fabrics that all have the same texture, or the same line of fabric, can be very boring. I suggest using a variety of textures and a range of values in fabric choices. 

Watercolour on fabric

I painted watercolours on paper in the distant past, but within the last five years, I started up again using fabric. I had seen similar work by textile artist Donna Deaver and loved the watercolour effect.

Ford Abandoned was inspired by a photo of an old Ford truck that’s been sitting up north near our cabin. I had always wanted to do something with the image, and this was my first attempt. I’ve done many more since.

Andrew Wyeth is my favourite watercolour artist. I love the moodiness of his painting, and his settings are often farm-like. His paintings speak to me.

For my watercolour process, I draw the outline and details with pencil on tightly woven white fabric. Then I make a quilt sandwich with a backing, batting and the white fabric on top, drawn side up. I free-motion stitch the pencil drawing with black thread, not perfectly of course. 

I apply a combination of watercolour paints, water and clear aloe vera gel to paint selected areas. The aloe vera gel keeps the paint and water from creeping where it doesn’t belong. The piece is then finished with additional quilting in the open large expanses.

Watercolours often have a bit of white space from the white paper background that allows the viewer to fill in the blanks and finish the story. It’s what draws you in and makes you stay and ponder what is happening in the composition. And I believe that’s why I like simplified abstract art. It allows the viewer to fill in the unfinished parts. 

Maker’s space

My home studio is upstairs with lots of natural light and a great view of the lake we live on. It leads to a deck for reading, relaxing or just sitting.

I designed the space with a large walk-in closet to store many of my supplies. I also have a large drafting table where I work on my compositions, as opposed to a design wall. It can be tilted, and a doubled wool blanket covers at least half the table creating a large ironing surface.

It’s very adequate and I love my space. Although, since I’m doing more painting, I’d prefer having a wood floor instead of carpet. There is also a desk, TV, couch and lots of power outlets. I love my couch and my view.

I work with a Janome 6600 domestic sewing machine and a Capri 18″ throat HandiQuilter. My other must-have tools are my sharp shears and iron.

“Being away from the main living space allows for leaving a big mess, but mostly, it provides solitude.”

Pat Baum Bishop, Textile artist 

Dutch artist Mirjam had been put off textiles at school by critical teachers who insisted on following ‘the rules’. Even her own family taught her that there was a right and a wrong way to do embroidery. Instead, she became a children’s author. But, she was still intrigued with embroidery, and so her evenings were turned to experimenting with stitch, texture and pattern. 

Today, her nature-inspired crochet, felt works and embroideries – many worked on her own eco dyed and printed cloth – have led to large followings on Instagram, Etsy and Patreon, where she shares her knowledge via e-books and tutorials. 

Mirjam told us how the seasons are her inspiration, and that seeing Sue Stone tie a knot in her thread was the epiphany that freed her from decades of embroidery restrictions.

Creating with joy

Mirjam Gielen: It hasn’t been that long since I felt confident enough to call myself a textile artist. I learned many techniques in my youth, but I don’t have any formal training in the arts.

I love to combine my embroidery with eco printing and dyeing, crochet, felting and any other technique that helps to achieve the effect that I’m looking for.

Dyeing and printing with plants provides me with a stash of fabrics and threads. This makes me feel like a child in a room full of wonderful toys with endless possibilities!

I enjoy experimentation and that often leads to new discoveries of how to use a certain material or technique.

I create my art at home: our living room doubles as my workspace while our kitchen is frequently turned into a dye studio.

I try to limit dyeing to moments when my family members are out, or I’ll dye in the garden when the weather allows – the smells from the dye pot aren’t always appreciated. Otherwise, my family is very supportive: they help me by editing my tutorials or providing inspiration with photographs and research. In that way my work is very much embedded in family life.

My main platform is social media, especially Instagram, and I like to connect and share with people around the world. I’ve participated in a few exhibitions, but felt very much on display rather than connected to the visitors.

How did you become a textile artist?

My mother, grandmother and aunts always had some textile activity on the go. It could be knitting, embroidery, crochet or sewing, but also tatting or macramé. They invariably made things that were useful, like clothing, tablecloths or lampshades. They wanted to make them as beautiful as possible and were always on the lookout for a new pattern or pretty yarn.

They showed me the joy of needlework but were also quite obedient to what they called ‘the rules’.

At school I was often criticised for not working neatly enough. That might have been to do with the fact that I am left-handed, but was forced to do all the crafts right-handed. I was constantly chided and forced to undo my work. It left me with the idea that textile work could be great, but I just wasn’t good enough.

I kept creating on a modest scale, because the fun and satisfaction of making things with my own hands kept its appeal. The birth of my children stimulated that and I loved to craft for and with them.

I was an author of children’s books when my children were young and I started the habit of doing some stitching or crochet after a day spent juggling with words. I just played with colours and stitches as a relaxing downtime, without much thought about results. That was when the joy came back and I was able to create more freely. Slowly it grew into something more.

Did you have a particular turning point that influenced your art?

I had done some botanical dyeing with my mother, but that had been forgotten over the years. When I saw eco printed fabrics online and read a book by India Flint on the subject, something clicked and I started eco dyeing and printing myself. The fabrics I produced turned out to be the ideal basis for my stitches. 

Another pivotal moment came during a TextileArtist online course by Sue Stone. It was something really simple: she tied a knot in her thread before starting. I was aghast because I’d been taught that tying knots was more or less a deadly sin! My grandmother used to say that the back of the work should be as neat as the front – knots had no place there. 

Seeing a renowned textile artist like Sue Stone actually tying a knot was very freeing. It made me realise that I still had lots of rules in my head that were hampering my artistic freedom. 

Sue’s style is very different from mine, but she still is a role model for me in her approach to textile art. It encouraged me to get rid of the last remnants of my harsh inner critic and enjoy the creative force of exploration and experimentation.

“Eco prints feel like a magical world I can explore with my needle.”

Mirjam Gielen, Textile artist

Patterns, lines & structures

What is the ethos behind your work of creating organic embroidery on eco printed fabric?

Nature is important to me and provides a constant source of inspiration. Outdoors, I feel nourished and relaxed.

I feel that textile work has a lot in common with organic processes. I can make my stitches small or big, dense or wide apart. They can be grouped together like a herd or wander around. They colonise the fabric in an organic way, growing slowly, stitch by stitch.

Stitches have their own characteristics that are a bit like the DNA that provide code for the stitch process. A french knot looks distinctive and not like a seed stitch, just like a rose looks like a rose and not like a tulip. Then there are the influences that can steer the process in a multitude of directions, similar to the influences of soil, sun or rain in nature.

“There are so many fascinating and beautiful structures and phenomena in nature that provide inspiration.”

Mirjam Gielen, Textile artist

Eco printing helps to get rid of the ‘blank page’ problem. It immediately provides an environment that can be explored with stitches. It invites intuitive stitching and a dialogue with the fabric.

Embroidery gives me direct contact with the fabric and I think that is why it is my preferred technique. But I don’t like to limit myself: crochet, for instance, can provide interesting and organic looking structures too. Felting has also found a place in my practice, not only because it is such a delight to stitch on, but also because it can be three-dimensional.

How do you develop ideas for your work?

For inspiration, I use images that I take with my camera or that I find on the internet. I collect them on boards on Pinterest. My next step is often to draw in a sketchbook, not with the aim of designing my work in detail, but to get a hands-on feel for patterns, lines and structures. I also often make stitch samples before starting on an art work. 

These stitch explorations have led to several ‘sketchcloths’, as I like to call them; eco printed fabrics that get filled over time with all sorts of experiments. The free stitch play on those fabrics is appealing enough to blur the line between ‘sample’ and ‘art’. 

My focus is increasingly on the process rather than on the result. I can start out with a mix of inspiring images as a basis, but once I get stitching, I let my intuition lead me. I might end up with something different from what I envisioned beforehand. And, when that leads to a ‘blah’ result, I don’t see that as a failure, but as a valuable lesson and a stage in my process.

Botanical dyes, reclaimed materials

What materials do you especially like to use in your work?

I want to have a practice that doesn’t contribute to the environmental issues that we face. Industrial dyeing of fabrics is one of the most polluting industries, and I don’t want to add to that if I can help it.

Botanical dyeing is one of the solutions, but I also use reclaimed materials. I do sometimes buy new materials like goldwork threads though – I’m not looking to create a new inner critic that chides me for not being strict enough regarding my efforts to be sustainable.

There’s a lot that can be found online, from shops that sell botanical dyestuffs or organic linen, to online market places where people ask a small price for their grandmother’s leftover stash.

I once bought a large box of threads from a widower who proudly showed me all of his wife’s work. He was selling her stash to raise enough money to buy a piece of ceramic art for her grave. Every time I use her threads I remember how lovingly he talked about her. That’s the kind of added bonus that you don’t get with store bought items.

What’s been your biggest challenge in creating your art, and how did you overcome that challenge?

I think the biggest challenge was to overcome self-doubt and self-critique. I was held back by old beliefs and musty rules. My harsh inner critic was frantically trying to keep me safe, safe from disappointment, ridicule or failure – be perfect, it would say, or better still, don’t even try. It’s like an overprotective friend that hates to see you get hurt but also has a totally unrealistic estimate of the dangers. 

I have found that many of the things that I feared are in fact non-existent.

If a composition doesn’t work, I can undo things, add stitches, add an appliqué or simply try again. If I run out of steam, it’s okay to rest for a bit – my mojo won’t get lost. I can’t lose what truly belongs to me and if it doesn’t truly belong to me, it’s okay to lose it. I have started to trust in that, and it’s brought me lots of joy, through the work itself and in sharing it with others.

Time & teaching

How do you organise your working week?

Wouldn’t it be wonderful if there were more than 24 hours in a day? But then I’d probably still discover that I didn’t have a drop to drink all morning or that it’s way past lunchtime! I can get completely engrossed in my work.

On the other hand, working from home can lead to people thinking that you are always available. I’ve had to learn to let the phone ring and say no to invitations to go for a coffee when I’m working.

Creating classes and tutorials takes up a big part of my time. I love to teach, but I need to protect the amount of time spent on it.

Social media can be another distraction. I try to take regular pauses while stitching, so as not to overtax my body by sitting in one position for too long. But I tend to fill that time by scrolling on my phone and, before I know it, I’m answering a question on Instagram, clicking on interesting links and reading messages from friends.

Being self-employed means having a lot of freedom – I can take a walk whenever I feel like it – but it also requires quite a bit of self-management.

I have a lot of followers on Instagram and a growing number of patrons on Patreon – that can lead to a feeling that I have to create interesting content all the time for all those lovely people.

Textile work is often labour-intensive and progress can be slow, so I don’t always have something new to show. When I feel that pressure I take a deep breath and realise that those demands are just in my head. Nobody actually gets angry or hurt when I don’t produce constantly.

Taking time off to stare out of the window, go on a walk or do a simple chore is time well spent as it creates space for my brain to process inspiration and come up with new ideas.

This is also similar to natural processes: seeds need time to germinate and winter days are just as important as the abundance of summer.

How is your work evolving?

I find that I’m drawn more and more to working three-dimensionally. It poses challenges that I avoided for a long time. I started with stitching on felt balls, but there are so many more possibilities – I’m excited to see where it leads me.

Do you have one or two tips for makers?

My best tip would be to focus on the process. To enjoy the journey wherever it leads.

If you see all your works as steps in an ongoing process, you become less afraid of failing. Failure doesn’t even exist. If you discover, for instance, that appliqué is not your thing or that you really shouldn’t have combined those two fabrics, that’s a lesson that will fuel your creative development just as much as any ‘successes’ will.

Another tip is to feel free to learn from others. Being inspired to try something you see someone else doing is not stealing ideas but a way of finding your own voice.

In textiles, we’re interconnected by a long tradition that spans many ages and cultures, and that always was and is the property of everyone. That said, it’s only fair to honour your sources of inspiration and give credit where it’s due.

Christi also uses her needle and thread as an active pathway to mindfulness. She immerses herself in a meditative stitching process that allows her to remain in the present moment. Every stitch and thread carries intention, creating a calm and reflective ritual. 

Her portfolio is diverse, including clothing, traditional embroideries and stuffed sculptures – all her pieces are united through incredible artisanship. Simple stitches combine to suggest complex and interconnected themes that are colourful and engaging.

Enjoy this look into Christi’s magical world where the body, mind and soul truly come together through stitch.

Ripple effect

Christi Johnson: Born into piles of scrap fabrics and bottles of tie dye, garment design and construction has been my life path. I’m an artist, author and teacher, and my work focuses on how influential artmaking can be, in all areas of our lives.

Taking an idea, figuring out the steps to bring it into reality, then taking inspired action is how we learn to create change in our world. Initially, it’s on a small scale but then this power tends to ripple out into other areas of our life.

To encourage this experience in others, I make my style of teaching as easy to understand as possible. That way the student can quickly feel capable of their ability to turn my teachings into their own creations.

“Creative practice is liberating.” 

Christi Johnson, Textile artist

Meditative mindset

My work is an exploration of themes of spirituality, transcendence and evolution. This feeling really began to emerge after I started a meditation practice. 

Although I don’t have a consistent meditation practice now, I try to bring those same qualities to whatever I’m doing. By being present in everyday experiences – whether chopping vegetables or folding laundry – I can still connect with that cosmic feeling of transcendence.

This mindset has been supported by a shift in lifestyle from a busy fashion job in a big, glorious city, to a quiet home with a summer garden and a few sassy chickens. It isn’t any easier than a city life, but it does feel more authentic to my introverted personality.

After living in cities for my entire adult life, this move to a rural area allowed me the mental and physical space to explore artistic themes of mythology and its connection to the natural world. 

The cyclical nature of the seasons, witnessing the death and rebirth of plant life and the necessity of elements like fire and water allowed these ancient stories to exist in a context where they were suddenly more relevant. 

“When my needle and thread travel through the fabric, it’s as though I’m connected to the past, present and future all at once.”

Christi Johnson, Textile artist

Myths & legends

Moving to the mountains has had a huge impact on me and my artwork. Having grown up in Florida and then lived in Los Angeles, California for ten years, I was used to climates where winter doesn’t exist. 

Every year I witness how plants completely die down to the ground, only to be reborn – and this never gets old. Every year I ask, how long will it be before this transformation ceases to fascinate me? A decade on and it hasn’t happened yet.

Each year, I too get to go on my own underground journey and find my own myths and legends.

These stories of ancient mythology often have me recoiling in horror at the violence and injustice, the raw truth of our capabilities. However, this helps to frame life’s experiences in a larger picture – like feeling microscopic when surrounded by a vast, epic landscape – but in myth, the experience of awe runs the gamut from awesome to awful. 

“I have the chance to reflect on how the myths and legends of the past are a thread running through my own experience.”

Christi Johnson, Textile artist

We live in a cyclical world where pendulums swing and the end is always leaving us at the beginning. The beginning of what? That’s up for us to create.

One thing that continues to come up is humanity’s ability to create, no matter what has been destroyed. So, I keep on making art because that’s what feeds and fuels me – and keeps me writing new stories.

Enchanted stuffies

I recently got an itch to start making stuffed sculptures. It was simply for the fun of taking a dream and turning it into a reality. 

After months of studying my daughter’s stuffed animals, I started to see the similarities in techniques between sewing garments to fit a form and sewing animals to create a form. 

I became enchanted with the reduction required to express these animals on a much smaller scale as well as the potential for decoration these blank canvases possessed.

In my Stitch Club workshop, I show members  how to develop stuffed forms based on nature’s creatures. I use the project to explore how witnessing the lifestyles and rhythms of nature’s creatures allows us to better understand ourselves through the power of myth. 

The technique for making these flat stuffed creatures is very simple. However, the opportunity for decoration on a flat form provides a greater opportunity for learning new ways of stitching than an overly complex pattern would. 

It’s also an opportunity for learning new methods of expression through these animals and the stories we get to tell through them.

Mind wandering

I’m never without my sketchbook. I don’t have a great memory, so it serves as an external memory bank. I can frequently return to it to shape ideas or concepts that may still feel half-baked. 

However, while my sketchbook is where all these themes are recorded, my ideas actually arise in that mental space as I’m drifting off into dreamland. 

Despite proving this time and time again, I find it hilarious that I’ll still find myself staring at the blank page, pencil in hand, hoping to push ideas through. Usually this leads to a frustration that can only be resolved by closing my eyes, taking a walk in nature or making something to eat or drink. At this point I remember – that’s right, I was using my logical mind. 

The ideas that really light me up and take me to unexpected places always come from stepping away from the blank page – or any page for that matter. 

Once I have an idea, I sketch into it in as many ways as I can – trying to push the limits of the concept, seeing how it manifests in a variety of shapes and fashions. 

“Letting the mind wander, with eyes closed or focused on the natural world, is as integral to my process as a pen or pencil.”

Christi Johnson, Textile artist

Digital fine-tuning

After this stage, I generally bring in technology to refine my work. This might include scanning or photographing the drawing and playing with composition. Or if the drawing and imagery feel complete, I’ll move directly into planning colours. I’m always refining colour palettes in a digital format.

Despite being technologically resistant, the markup tool on my iPhone is my most valuable tool after mind wandering. It’s been transformative for my process and has probably saved me thousands of hours. It allows me to play with a variety of colour variations and quickly see what doesn’t work. No ripping out of stitches needed!

You don’t need a precise drawing to see if a certain colour combination is working. I prefer to spend my time reviewing options rather than painstakingly re-creating my drawing with a fingertip on a cell phone. I keep precision for my stitching.

“When using digital colour options, I recommend allowing them to be wildly imperfect.

My drawings often look like very loose scribbles.”

Christi Johnson, Textile artist

Zero-waste creativity

While working in the fashion industry I saw firsthand how much waste was created in the production of garments – however resourceful one tries to be, unfortunately it’s the reality of the process. 

This influenced my movement towards more sustainable, zero-waste options for my creations. 

I try to purchase natural materials – preferably re-used, off-cuts or deadstock – and from companies that are concerned with the health and livelihood of all the human hands that touch the materials on the way to my door. 

Reusing materials not only reduces the environmental impact but also provides a fun challenge. I enjoy the limitations of using just a few skeins of a vintage silk, or a half yard of some incredible linen.

Environmental impact is always at the forefront of my mind; however, I don’t obsess over everything needing to be upcycled. Sometimes I need a specific colour such as a perfect citrine yellow cotton to finish a project. I’m okay with grabbing a length from my local store and not worrying about my single purchase contributing to the downfall of our ecosystems. 

There’s no way I can produce work at a speed that could be considered unsustainable in the long run. My greatest advice would be to look at the materials you already have. Trade with a friend or see what offcuts your local fabric store has. The inspiration gained from these mystery materials is likely to trigger a whole new way of thinking about your work.

“I believe it’s all about balance. Besides, slow methods are inherently more ecologically minded.”

Christi Johnson, Textile artist

Must-have tools

If I can’t see it, it’s not there! This means I’m always searching for the best way to view materials that allows them to be seen but isn’t a chaotic mess. It’s important to me that all my colours be visible therefore I organise my materials accordingly. 

I store my fabric in open baskets, each stacked vertically with the folded edge up (like files in a filing cabinet). I store them in rainbow order and categorised by weight so I easily know what project any piece will suit.

For my threads, I have acrylic drawers. These are one of my exceptions to the ‘no plastic in the studio’ rule. Each drawer is about 5cm (2”) deep and the length of a skein of floss and contains a single hue or two. 

I can pull out all the drawers and view all of my floss at once or simply scan the front of the drawer for the colour I need. This has been transformative for keeping my embroidery threads organised. I use too many threads to wrap them all on the little cards, so I just let these drawers be a little chaotic and tidy them up every few months as needed.

Years ago, we had a clothing moth infestation, so we are religious about keeping wool under lock and key. The moths have left, but this rule hasn’t. 

For my wool yarns, I use clear Tupperware bins with a foam sealed gusset (another exception to ‘no plastics in the studio’). Honestly, these are one of the best studio investments I’ve ever made!

The cool sister

The most influential experiences for me were in the home. My mother’s textile art practice stretched throughout our house: stitching up wall hangings and cushions, knitting us all intarsia sweaters on her knitting machine. Although I’m not sure why we needed so many sweaters in tropical south Florida! 

At a very young age, my sister studied fashion design at the local community college. Since she was by far the coolest person I knew, I was obsessed with watching how she made clothes from scratch – the patterns, the books, the scraps – all of it was fascinating.

I went on to study fashion, and while working in the fashion industry had the pleasure of working for a designer who manufactured in-house. I worked in the fashion industry for about a decade, and while I truly love the creative aspect of making clothes, the manufacturing and production aspect felt all too much. 

In 2015, I founded Mixed Color, a textile studio in the Catskill Mountains of upstate New York. Here I create original garments as well as develop embroidered elements to add to vintage garments.

“There is no version of life I could have imagined that did not include handmade, vibrantly colourful designs everywhere.”

Christi Johnson, Textile artist

Play & explore

It’s important to make time to play with the materials, play with techniques and just explore without any expectations. 

This is something I’m working with myself right now. I have so little free time while taking care of a toddler. I can’t exactly take out a needle and do a little experimenting. I know so many people are in a similar position, whether that’s due to a toddler, a puppy, an aging parent or partner, a stressful living situation, or a job that requires a significant amount of time and brain space.

When we’re really busy and have a thousand immediate priorities, we can put the creative part of our practice on the backburner. I don’t just mean the production part of the process, which is also incredibly important, but the creativity that can only emerge from play and experimentation.

When we keep putting this off, it’s a great time to take stock and reflect. I ask myself which part of me thinks art is any less valuable than everything else I do, and why am I putting art to the end of the list? 

The longer you put off play and experimentation, the harder it gets. Those ‘new ideas’ muscles start to calcify and seize up. They’ll need to be warmed and stretched much more when finally, you do get back to them.

Getting unstuck

So often when we’re feeling stuck, it’s our logical mind trying to make sense of a process that is inherently nonsensical. So, I try to dive into that by bringing in elements of the unknown such as exploring the dream world or ancient mythology. 

For me it often looks like pulling out a tarot card or looking at the current astrological positions. Before you roll your eyes or feel a sense of constriction, I hope you’ll consider how these mysteries can be expansive rather than predictive or contradictory of free will.

The mystical and the spiritual and the woo can be so annoying, because we want to explain exactly why or how something happened. Yet these experiences quite often are flying in the face of logic and don’t make sense.

How does a tarot deck work? How does astrology affect us? 

These questions can’t be answered, yet we still sit here thinking we know everything – despite knowing what less than 10% of the brain is used for. 

Next time you feel stuck, let yourself be influenced by a bit of mystery. You don’t need an explanation for everything. 

Vintage tulle veils and laces feature strongly in Vinny’s art, perfectly expressing the transience of time and remembrance. Screen printing, digital imagery and other mixed media elements add dimension and texture. 

Vinny also has a passion for the impermanence of nature, especially the coastline plants on her beloved Mersea Island. She places the focus on intertidal flora, including sea holly, purslane, and shrubby and annual sea-blite – plants that take centre stage in the struggle to protect fragile beaches from erosion. 

Enjoy this look into Vinny’s dreamlike work. It gently reminds us that time waits for no one.

“Cloth, that old silent companion of the human race, has always kept special company with artists.”

Mildred Constantine & Laurel Reuter, Whole Cloth

Sheer emotions

Vinny Stapley: I mostly work with transparent or sheer fabrics. The familiar feel of the finest silk tulle veiling and antique lace reminds me of working for a wedding dress designer when I first came to London.

I also find that fabrics received from family become memory banks of my personal history. And found items of textiles and clothing make me wonder about the origins and lives of those who first had them. What stories do they tell me?

I especially enjoy using these vintage finds or making delicately constructed web-like veils. I’ll use a combination of layers of different processes and will sometimes add old photographs or text to develop the narrative of a piece.

Silk, cotton organdie and tulles are my go-to fabrics. For my seascapes, I have also used calico, linen and canvas. 

Veils are especially fascinating to me, as they can express a variety of contradictory concepts such as youthful innocence, alluring beauty and fading or blemished beauty.

Sheer fabrics can be very tricky to work with, so sometimes I’ll add a dissolvable embroidery stabiliser. Otherwise, it’s a matter of confidence. After years of working with delicate materials, I’ve learned how to use a firm, yet gentle hand, smoothing and stretching as I go.

“Veils can be intriguing, secretive, feminine, mournful, hopeful and respectful.”

Vinny Stapley, Textile artist

Memento Mori

I’m fascinated by the concept of memento mori, a Latin phrase that reminds us about death’s inevitability and the fleeting nature of earthly pleasures. To that end, fragility and delicacy play key roles in my work. I especially admire the brittle beauty of age-distressed vintage laces and delicate tulles. 

I remember watching Great Expectations as a young girl and being intrigued by Miss Havisham’s faded beauty and grandeur. I began to see a correlation between those fabrics, the fragility of memory, and human nature. 

I’m also intrigued by perceptions of women’s fragility and the vulnerable and darker sides of femininity. For example, my installation Arachne’s Metaphor was inspired by the Greek myth of Arachne who was turned into a spider and doomed to weave for eternity by the jealous goddess Athena.

This research led to my investigations of the extraordinary stories of ordinary women and the threads of life that connect them. I collected stories of female relatives who struggled to survive and further their families in the face of what society, governments and the patriarchy expected of and imposed upon them. 

Those ordinary women metamorphosed into stronger beings who survived by their wits and talents, weaving their own webs and creating foundations for their lives. 

Family secrets

In addition to notions of fragility, much of my work explores the link between family history and the legacy it can have on the living.   

We not only acquire physical attributes, talents and skills from our ancestors, but we also inherit our family’s tragedies, heartbreaks and hardships. Those events can leave their own genetic imprint on our personality.

I explore the impact that family secrets can have on subsequent generations. I’m both horrified and fascinated by the way previous generations have behaved. The perceived shame brought upon the family, according to social customs at the time, caused people to bury truths and treat their loved ones most cruelly, in the name of respectability. 

To represent the burying of family secrets and their shame, I layer delicate materials (often family fabrics or lace) and incorporate faded imagery and mixed media. The various textures become distressed and more fragile, representing how our memories become harder to read and more difficult to recall over time.

“Subsequent generations can find themselves shocked by the discovery of these secrets and their effect on family dynamics.” 

Vinny Stapley, Textile artist

Creative sampling

Inspiration can be varied. Sometimes I’ll have a bit of a vision and work backwards from there. Other times I start with a topic or theme for an exhibition, and then research and write down concepts and ideas. Mind mapping helps, and observational drawing is an essential part of my practice. 

Once I have a topic in mind, I’ll widely research that idea and document what I discover as a visual language in my sketchbooks. I then gather or dye up all the fabrics, threads and components I think I’ll use. 

I create samples by screen printing, machine stitch and hand embroidery. I’m also increasingly using Photoshop to develop imagery and design visualisations. Responding to these samples, I’ll sketch out some compositional studies and then go on to develop slightly larger prototypes before making the final piece.

“I explore and interrogate materials, techniques and concepts through sampling.”

Vinny Stapley, Textile artist

Tulle memory discs

In my Stitch Club workshop, I teach some of my techniques so that members create an atmospheric and personal embroidered memory disc on tulle. 

Choosing a special moment in time, memory, person or place, they can incorporate delicate distressed fabrics and memento mori such as old family photos, paper, fabrics and embroidered motifs that connect to their theme. Stitching is also used as embellishment. 

Importance of a colour palette

Creating a colour palette is fundamental to everything. It sets the mood, feel and emotion which helps link to the concept behind the piece.

At the moment, my favourite colour palette is very desaturated and chalk-coloured. It’s mostly naturals and neutrals, to present a vintage feel and help describe the passage of time, women’s stories and femininity.

My advice for learning how to choose a colour palette is to find a painting or a page from a garden or fashion magazine that you think expresses a certain feeling or particular mood. Then get a paint chart from a DIY store and pick out six colours from that image: one deep, two mid, two light, as well as one colour that will pop.

You can then create a mood board using fabrics, threads and paint, mixed and matched to the shades you selected. You might also incorporate found materials. 

“I always like to throw in a colour pop – it can be minimal but it performs the important task of creating balance.”

Vinny Stapley, Textile artist

Mindful stitching

Stitch is such an emotive medium. It can echo the rhythmic nature of the sea’s ebb and flow or mimic a range of emotions. Stitching is a meditative, immersive and mindful process where ideas evolve as the work progresses. 

Machine embroidery is my go-to passion. I love the contrast of edginess and the linear fluidity of the stitched line. 

I can easily become lost and mesmerised as my body connects to the machine. There’s a kind of ‘syncretism’ (an attempted reconciliation or union of) different or opposing principles. 

When it comes to hand stitching, I prefer the authenticity of using simple stitches, such as the running and seed stitch. I’m also very partial to traditional tailors’ tacking stitches, and I really love a French knot.  

I mainly use vintage threads for hand stitching. 

“My screen printed fabrics serve as a great stimulus to get my creative juices flowing.”

Vinny Stapley, Textile artist

Blue Peter & Bunsen burners

Vinny Stapley: I’ve always sewn and used fabrics to make things from a very young age. We had plenty of fabric and dressing-up clothes around our house, as my mother made and knitted nearly everything we wore. There was very little available to buy, growing up in the Highlands.

I also adored the BBC children’s TV show Blue Peter, especially the ‘makes’, and was always trying to copy them. But I had to use what we had to hand, which made me experiment and invent (not always successfully). 

I was lucky to have inspiring art teachers in high school. They viewed textiles as a fine art medium. One teacher saw that I naturally gravitated to textiles. She encouraged me to experiment with a range of embroidery stitches to create final exam pieces. And she taught me how to create natural dyes in the art department’s stock cupboard using a Bunsen burner! 

Another wonderful teacher taught me to screen print, and I was immediately hooked. I loved the process and how I could achieve a range of very different outcomes.

Music & fashion

I took up a place at Edinburgh School of Art after leaving high school, but I decided to leave and move to London. I joined various bands, and after gaining practical experience working in a small, bespoke wedding dress design studio, I had the opportunity to become a wardrobe technician for touring bands.

Later, I became a production assistant for touring recording artists. I travelled extensively and gained lots of experience working with a whole range of different materials, from studded leather to beaded Bob Mackie gowns.

I stopped travelling when my family came along and I began making bespoke special occasion wear and costumes.

“I had a sense of unfinished business and missed art, so I started taking some art courses.”

Vinny Stapley, Textile artist

Creativity & life balance

While attending some art courses, tutors encouraged me to complete an Art Foundation. Following this, I gained a place in the Printed Textiles degree course at Middlesex University (London, UK), continuing to combine my screen printing with embroidery.

After my degree, a large London studio offered me a job as a textile designer specialising in embroidery. Following this, I went on to work freelance for a textile agent.

I loved the creativity, but as a parent, I found it hard to create a successful work-life balance. I decided to complete a teacher-training degree and went on to teach art in large London comprehensive schools.

It wasn’t until the children left home, and my husband and I moved to Mersea Island in Essex, that I decided to take the plunge and develop my career as an artist. I started with open studios, public and private commissions, and artist residencies in schools. I eventually built up to having a larger studio and offering workshops.

Print inspiration

I love direct screen printing techniques, where you place the pigments directly on the screen. It’s like painting, and I use these printed pieces as a base for adding further layers of appliqué, as well as machine and hand embroidery. I may also add photo stencil printing in layers.

Wax resist is also a technique that lends itself well to working with textiles. I’ll maybe start with some drawing with a candle or oil pastel and then add dyes or inks. Sometimes I let layers of paint or gesso dry before adding drawing inks or fabric dyes.

I also work with charcoal or graphite or even a fine line pen, before adding inks, dyes or watercolours.

Mersea Florilegium

I created Mersea Florilegium in response to my concern about Mersea Island’s eroding coastlines. I see daily evidence of rising sea levels that wash away whole chunks of coastline. My work highlights the importance of the plants within the intertidal zone, such as sea purslane and shrubby sea-blite, that help mesh the delicate coastline. 

This collection started by studying the flora on the shores of Mersea Island during the various lockdowns. I made observational drawings and learned about the ecology of the salt marsh. I charted all the locations of sea holly on the island. A year later, I discovered that many had disappeared.

I also made sketches exploring the fine root networks of the plants. These help to stabilise the fragile coastline against the incursions of the sea.

“My research inspired an installation featuring a collection of semi-transparent hanging disks focusing on plants I observed on my lockdown walks.” 

Vinny Stapley, Textile artist

In this installation, the ethereal, lens-like discs move kinetically, reflecting my thoughts and occasionally zooming in on abstracted moments in time. It’s meant to be a celebration of the visual, cerebral and the cellular. 

I focused on purslane and sea holly and developed delicate web-like hanging gossamer veils. I became aware of the commonality between the plant roots and the digital connections forged among family and friends that sustain us through times of separation. 

Within the layers, I incorporated strips of binary code symbolising these connections, and I embroidered words representing the locations of the sea holly plants on the island. 

Intertidal ecosystems

In keeping with my fascination with memento mori, Sea Holly Memento Mori II features the sea holly plant that lines our coastline and collected fragments of lace; forgotten pieces of women’s painstaking handiwork found in my collection. They symbolise the fragility of life and ecology.

The sea holly’s ability to thrive amidst coastal erosion and human intervention is powerful. Historically it was harvested for its sweet root, an important commodity in the time of James I. 

Machine-embroidered layers of mixed media webs with fragments of old lace symbolise the delicately balanced ecosystem of flora in the intertidal zone.

Mythical stitching

Arachne’s Metaphor and the Dark Island hanging are part of a single installation that was initially inspired by the Greek myth about Athena and Arachne. The jealous goddess Athena turns Arachne into a spider who is doomed to weave for eternity. 

That myth led me to consider stories of ordinary women, including my mother, who struggled to survive and nurture their families in the wake of patriarchal systems imposed upon them.

After posting about my mother’s story on Instagram, I received similar stories from family and friends, which inspired a series of filigree lace-framed icon pictures commemorating the women. 

The imagery connects to the women’s sometimes painful stories through the use of desaturated, delicate sheer layers and hangings. The icons also incorporate archive photography, vintage textiles, and stitch techniques relating to the women’s stories, such as sashiko and carrickmacross. 

The framed icon pictures are connected by delicate webs that stretch out and connect the women’s lives across time and space. Fragments of old clothes and household linens symbolise the strands of their lives, interwoven with silk fibres and printed extracts of their stories. 

These treasured journals, first published in the 1930s, became a catalyst for Darren’s creative journey, their images of so-called ‘women’s work’ sparking his imagination.

He turned to textiles and, working intuitively, began to embroider and embellish rich, jewel-like vignettes, incorporating found and repurposed fabrics, or vintage items such as old handkerchiefs.

Years later he’s still inspired by those magazines. The domestic scale of his work resonates with the traditional domestic pastimes they championed, and reflects his interest in the relationship between making and well-being.

Although Darren looks to bygone times for inspiration, his artworks couldn’t be more contemporary. Find out how he developed a unique approach to exploring narratives through textile art.

Darren Ball: I love exploring textile surface qualities and bringing them together – silk, satin, velvet, sequins, beads and other embellishments – to create a play of light on the materials. I think it is this, rather than a tactile response to textiles, that I particularly enjoy.

My work is domestic and intimate in scale. It encourages closer inspection and consideration. Created on a domestic sewing machine, I use vintage handkerchiefs or textiles as the canvas, and my narratives are fed by their textile qualities.

My collection of magazines and ephemera is central to my work and adds greatly to its individuality. My pieces reference the domestic making of the 1930s and 40s and the current recognition of the importance of well-being and making.

I am particularly interested in the knitting, hand embroidery and fashion found in magazines of that period.

“I exploit these images to create my own narratives from imagination or memory.”

Darren Ball, Textile artist

Vintage inspiration

My artwork is populated by figures taken from my collection of vintage Stitchcraft magazines given to me by a friend and fellow teacher. They were published from the 1930s onwards and cover all aspects of women’s domestic life.

I had never seen knitting magazines of that age before. I was amazed that they had survived and been treasured for so long. I discovered that they had been kept because there were so many memories tied up in them – hours spent sewing with mothers, sisters and grandmothers – and the intimacy of that shared time.

The draw of domestic life

As a knitter, I loved the beautiful, fitted garments of the period. The magazines provided a window into the everyday lives of women at home in that era.

The magazines and their content formed an intriguing link, bringing me back to the knit that I had studied previously and a new way of using that knowledge.

I found I was much more interested in domestic life and what was often known as ‘women’s work’, and the way it related to my life, rather than any more grandiose subject matter.

A full-time practice

After many years teaching fine art and textiles, having trained in fashion textiles, specialising in hand knit, I now work as a full-time artist. My practice is underpinned by meticulous craftsmanship.

I explore hand knit, appliqué and machine embroidery techniques to achieve my imagery – bringing together methods of making learned over many years. I don’t use any digital embroidery, rather I control the sewing machine with artistry to create completely bespoke pieces. I respond strongly to the materiality of textiles.

“Through my use of vintage magazines, I have found a new visual language – referencing the past in a contemporary way.”

Darren Ball, Textile artist

Stylistically, I am influenced by the fashion drawings of the 1930s and 40s and their economical use of line, their relationship to free embroidery and their relevance to the Stitchcraft magazines.

I am particularly inspired by the illustrations of Carl Erickson, Christian Bérard and René Gruau. I also love the domestic interior paintings of the artist Edouard Vuillard for his use of colour, pattern and the intimacy of his work.

Tools of my trade

I use a basic Janome domestic sewing machine. It’s the same one that I previously used in school with my textile students. The other must-have is my fabrics.

I source fabrics from my stash, often salvaged from fabric bins in school or from discontinued fabric sample books. I also use vintage materials as these often suggest a narrative for my work.

My use of handkerchiefs references past domestic life and imposes a scale at which to work. Handkerchiefs were still commonly used during my childhood. I transform them thereby adding relevance to the present and the future.

I’m really interested in exploring and contrasting textile surface qualities in my work.

I don’t use any paints or dyes but exploit a collected palette of fabrics and threads that I’ve gathered over the years. These provide rich contrasts of surface as well as a uniquely personal colour palette.

“I try to buy as little new material as possible, to be as sustainable as I can.”

Darren Ball, Textile artist

Stitch Club embroidery tips

In my Stitch Club workshop, I demonstrate my approach to appliqué and machine embroidery. With the free machine embroidery, I encourage Stitch Club members to consider how detail can be edited and to explore the use of different weights of line for emphasis. If you work by hand, lines can be created using back stitch or something similar.

I have made the workshop as inclusive as possible, keeping the domestic starting points broad, including suggestions of family photos, gardening, food, outings and so on.

I hope that it will give those members new to the processes the confidence to have a go. For those who have some experience of appliqué and machine embroidery, I’m hoping it will encourage them to explore my crisp, graphic approach.

How I work

Everything starts with an idea. I keep a note of these on my phone so I don’t forget them – and they can be saved for a long time before I start on them. I may make work for a particular show or to make use of a handkerchief or fabric that I’ve found.

I’ll look through my collection of Stitchcraft magazines, my vintage French seed pack labels from the 1920s, or whatever subject matter may be appropriate. I choose a selection of images and then narrow them down.

I’ll consider scale and the fabrics I want to use. Then, I simplify the images and bring them together. I hand cut, layer and appliqué the fabrics and add embroidery.

Then I’ll think about how to complete the piece. Usually, I’ll include areas of machine satin stitch to add emphasis and heavier weights of line. Sometimes if a fabric has frayed on the edge, I may use satin stitch to crisp it up.

I don’t do any preliminary drawing but work intuitively into the piece until I feel that it’s complete. I may use beads or sequins for embellishment, enriching the surface further.

Presentation & framing

How I present my work has developed over the years. I view it as art so I frame and mount it in a contemporary way.

Framing also protects the work and emphasises its precious quality, and it also enhances it aesthetically. Mounting a piece behind glass also draws attention to the textiles.

I emphasise the textile quality by leaving the work unstretched with ripples.

I go to an excellent framer who has a really good eye. She makes sensitive suggestions and is more aware of contemporary approaches than me.

Driven by curiosity

I was initially attracted to textiles through a desire to experiment. I remember being inspired by something I’d seen in a magazine, and experimenting with batik and very simple stitch when I was doing A Level art. We didn’t have lots of textiles at home but we did have those craft magazines in the 1980s that you could collect to make a set.

My mum and dad were interested in crafts and making but not in the usual way. I never saw my mum sew anything but she would French polish or paint models. My dad knitted, did macramé and made pin art in the 1980s and later cross-stitched. Like my parents, I enjoyed making.

“I began to see that working with textiles was a way of achieving results that couldn’t be produced in paint.”

Darren Ball, Textile artist

Pictorial potential

I loved exploring ceramics, jewellery, textiles and painting during my art foundation course. I was always interested in colour, pattern and texture but for me, textiles had the greatest possibilities. I experimented with weave, simple dyeing and embellishment.

I began looking at degree courses and particularly Middlesex Polytechnic (now Middlesex University). It offered a BA Hons Fashion Textiles focusing on knit, weave and woven tapestry but, unlike most textile degrees it didn’t include printed textiles.

When I visited Middlesex, I was stunned by the tapestry work being woven on scaffolding poles. It was bold, ambitious and impressive.

“I discovered the pictorial potential of textiles and using imagery rather than repeated patterns. This was a pivotal point that influenced the art that I make.”

Darren Ball, Textile artist

Making for myself

After a number of years teaching full time, I wanted to make my own work again. I completed an MA in Textile Culture at Norwich School of Art and Design (now Norwich University of the Arts). It was an art-based course as I wanted to exhibit with galleries rather than design for knit. It was there that I began to make textile art.

“I could see the potential of textiles as an expressive medium and how it could be used conceptually.”

Darren Ball, Textile artist

Another important turning point was the decision to start showing and selling my embroidered work. This came about through the same friend, Janis, who had given me the Stitchcraft magazines.

We both taught art full time but decided that if we shared a stand at an art fair we’d have enough work for it. She made hand-built ceramics and I had framed textiles. We both sold pieces and it was the starting point for all my embroidery to date.

I have much to thank Janis for and it was an alliance very much in the spirit of Stitchcraft.

“Judge your artwork’s success by your intentions. Are you pleased with the final result? How can it be developed in the next piece?”

Darren Ball, Textile artist

Giving yourself time

Make work which is individual to you. Everyone is informed by the work that they see around them. Think about how you absorb those influences whilst making your work your own.

Be passionate about your subject matter. It may be completely individual to you or it may be a subject matter that lots of people explore, but tackle it in your own way. You are making work for yourself. It can look any way you want.

I recommend working on several pieces at the same time. They don’t all need to be large scale. This creates a little distance between yourself and the work to allow you to consider the next steps.

Giving yourself time to consider possible developments in a piece is really important. It can also reduce the feeling that you’ve made a wrong decision or spoiled something.

Have pieces of work out or pinned up where you do your making so that you can come across them afresh. This lessens the pressure of feeling that you must finish something before starting a new piece.

It’s also worth keeping work if you think it has gone wrong. You can look back at it to make sure you recognize the problem areas and avoid them next time.

Consider how you want to present your work and explore different options.

During that time, the definition of ‘fine art’ was being critically examined: what made something ‘fine art’ versus ‘fine craft’? Could something functional also be considered fine art?

Textile artists weighed in with a resounding ‘yes’ by reimagining quilts in ways that emphasized design over function. They deviated from traditional, historical blocks and patterns to create abstract works, landscape designs, portraiture and more.

Then those quilters displayed their works by hanging them on walls rather than spreading them across a bed. Ultimately, fine art galleries started paying attention, and as the saying goes, the rest is history.

The possibilities for designing and creating art quilts have exploded since then, and we’ve compiled a list of books that can help you tap into the excitement. Each book features clear instruction complemented by gorgeous illustrations and photos.

Most importantly, all of the books are authored by a well-known art quilter. Each of them approaches art quilting differently, but they all celebrate the possibilities.

It’s time to start adding some quilt art books to your bookshelf.

Art quilt collage

Looking to dip your toes into the art quilting world? Here’s a great book to start your journey.

You’re first introduced to eight design guides presented in simple diagrams. These basic layouts can then be applied to the book’s engaging work-along projects.

Design checklists help readers analyse their artistic choices and change layouts accordingly. And See what happens next exercises offer a more prescribed method for trying new approaches.

Deborah Boschert also gives you a look into her signature technique of incorporating meaningful symbols into her art quilts. You’ll learn how to create shapes and symbols that are special to you, as well as how to work in a series and finish small art pieces.

Deborah’s step-by-step imagery and clear instruction will help you unlock your own artistic vision.

Art quilt collage: A creative journey in fabric, paint & stitch by Deborah Boschert (2016)
^{ISBN  9781617452840}

Quilt out loud

Have something to say? Tap into the power of embedding stitched letters, numbers, words and sentences into your art quilts.

Quilt artist Thomas Knauer’s quilts follow the craftivism movement, and his art quilts emphasise social justice issues. Thomas knows the power of stitched text, and in his book, he gives you a look into his creative process. You’ll not only learn unique quilting techniques, but you’ll also discover how to choose and embed text in ways that have impact.

Each chapter focuses on a particular approach, including raw-edge appliqué, quilted text, binary numbers and Morse Code. Whether your theme is serious or whimsical, this book shows you how to combine aesthetics with powerful messaging using fabric and thread.

Quilt out loud: Activism, language & the art of quilting by Thomas Knauer (2023)
^{ISBN 9781644033227}

Stitching stolen lives

The Social Justice Sewing Academy (US) works with students to amplify voices, empower youth and build empathy through quilting.

Students learn to create quilt blocks that help them examine and express the systemic problems that plague their everyday lives. Stitching Stolen Lives offers an in-depth look into a special remembrance project. Youth designed quilt blocks that memorialise family and friends they lost due to social injustices.

You’ll learn about the remarkable journey each student took to find their voice through the art of quilting. You’ll be amazed and moved by the students’ extraordinary quilt portraits and reading about the personal stories that inspired them.

This book also includes a resource section on how to talk about racial equity and how to use art as a tool to aid self-expression.

Stitching stolen lives: Amplifying voices, empowering youth & building empathy through quilts by Sara Trail and Teresa Duryea Wong (2021)
^{ISBN 9781644031384}

Create landscape quilts

It’s time to pull out those travel pictures and start quilting!

Learn how to create unique art quilts featuring your favourite places. Meri Henriques Vahl shares a simple method for designing realistic quilted nature scenes and villages. Using photographs from her travels, Meri explains how she achieves stunning scenery with lifelike details in her art quilts.

Various techniques, including fabric collage and tulle overlay, help quilters of all levels learn to quilt majestic mountainscapes, charming buildings and realistic people. Easy-to-follow instructions complemented by a stunning gallery of quilts will inspire you to turn your travel photos into lovely art quilts.

Create landscape quilts by Meri Henriques Vahl (2021)
^{ISBN 9781644030127}

Creating art quilts with panels

Discover how to transform fabric panels and thread into one-of-a-kind art quilts.

Award-winning quilter Joyce Hughes demonstrates dimensional thread painting, raw edge applique, and a variety of embellishments to make seasonal panels, beautiful florals, and panel replicas like Van Gogh’s Starry Nights.

From simple beading to more advanced three-dimensional pieces, Joyce presents her techniques across six projects that feature detailed photographs and a step-by-step format.

Discover how to make your quilt pop and explore endless options for creativity with free-motion quilting, thread painting, trapunto, overlay, three-dimensional effects, machine techniques, raw edge applique, and a variety of embellishments.

Creating art quilts with panels by Joyce Hughes (2019)
^{ISBN 9781947163164}

Capture your own life with collage quilting

It’s time to get personal.

Whether you’re celebrating your pet’s personality, preserving a memory from a family holiday or recreating your favourite flower, this book teaches you a simple technique to create a stunning and personal art quilt.

Jane Haworth shares her fun, easy, and addictive quilting method that doesn’t require hundreds of pattern pieces. That’s why it’s perfect for quilters of all skill levels.

Twelve different project ideas feature a variety of styles and themes, including animals, flowers, houses, musical instruments and landscapes. You’ll start by learning how to choose a photograph or image and make enlargements to create a pattern.

Then Jane explains how to choose the right background fabrics, master some free-motion quilting techniques, and finish and display your quilt.

Capture your own life with collage quilting by Jane Haworth (2023)
^{ISBN 9781639810222}

At play in the garden of stitch

This book is all about free-motion fun in art quilting.

Paula Kovarik shares approaches to free-motion stitching that are approachable, engaging and multi-layered. You’ll be encouraged to explore how stitching can bring depth to composition, texture to emotions and line to ideas.

In addition to simple stitching and drawing exercises, Paula shares examples and inspirations for how to approach this art form. Pictures of her award-winning art quilts illustrate her techniques and clarify her process.

Close-up photos of stitching also inspire readers to try their hand at Paula’s techniques. And her technical tips and stories of her successes and failures make this a wonderful read.

At play in the garden of stitch by Paula Kovarik (2021)
^{ISBN 9780578920047}

And finally…

Here’s a list of additional older books that may just become your new firm favourites (although could be a little more difficult to find). Check thrift shops, libraries, second-hand bookstores, and other online book sites to source these titles.

• Inspired by design: Seven steps to successful art quilting by Elizabeth Barton (2013) ISBN 9781607056348
• Visual guide to working in a series: Next steps in inspired design by Elizabeth Barton (2014) ISBN 9781607056614
• Point, click, quilt! by Susan Knapp (2011) ISBN 9781607052265
• Journey to inspired art quilting: More intuitive color and design by Jean Wells (2012) ISBN 9781607055808

Featured picks

• Art quilt collage by Deborah Boschert (2016)
• Quilt out loud: activism, language & the art of quilting by Thomas Knauer (2023)
• Stitching stolen lives by Sara Trail and Teresa Duryea Wong (2021)
• Create landscape quilts by Meri Henriques Vahl (2021)
• Creating art quilts with panels by Joyce Hughes (2019)
• Capture your own life with collage quilting by Jane Haworth (2023)
• At play in the garden of stitch by Paula Kovarik (2021)

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

Interested in more great books for learning textile techniques? Check out our list of books in which expert textile artists share their processes.

Do you have a favourite book about art quilting you can add to our list? Please share by leaving a comment below.

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?

Since then, she has evolved into an award-winning textile artist, moving beyond the glue stick to craft fabric forms, wearable art and captivating installations. Alice’s work emphasises the significance of the natural world. Her practice is centred around creating immersive experiences that encourage tactile exploration with the soothing embrace of nature.

At the heart of her practice is the desire to share these benefits with others. Not only does working with others enhance her own mental well being, but she also finds joy in imparting her skills to diverse communities.

Using recycled materials, her workshops focus on skill sharing, storytelling and co-creating, with a dose of nature and the power of connection mixed in. She intertwines art and nature to ignite the senses and nourish the soul, giving marginalised communities a voice and enhancing their overall well-being.

Ultimately, her goal is to harness the healing power of textiles and the natural world.

Alice Burnhope: My practice focuses on community engagement and skill sharing, to empower and amplify marginalised voices. I’m aiming to recreate the sense of awe and therapeutic qualities of nature through textiles.

Using traditional craft skills and waste materials, I create wearable art, tactile sculptural forms, and installations inspired by the aesthetics and textures of nature.

My artwork is designed to be activated through touch or interaction. I adore creating pieces where the individual shapes the artwork and vice versa. This reciprocal relationship fascinates me deeply, illustrating our interdependence with the natural world for sustenance and survival.

“My work promotes connectivity to the natural world, fostering environmental stewardship and enhancing well-being through participatory art.”

Alice Burnhope, Textile artist & artist educator

Empowering stitch

Community engagement is a cornerstone of my artistic practice. I work with a diverse array of groups including schools, community centres, charities and marginalised communities.

My approach is deeply collaborative, focusing on co-creating artworks that amplify the voices of participants and foster a sense of belonging and empowerment.

“Overall, my aim is to create art that not only beautifies spaces but also enriches lives and fosters community spirit through the power of textiles.”

Alice Burnhope, Textile artist & artist educator

In my community workshops, we play with traditional craft techniques such as embroidery, natural dyeing and patchwork, often utilising recycled or waste materials.

Participants contribute by sharing their stories and skills, which we then integrate into the final artwork. For example, in one project community members embroidered personal symbols and messages onto recycled fabric pieces that were later assembled into a large, wearable art piece and sculptural installation.

The benefits for participants are multifaceted. Engaging in these creative processes helps to boost their well-being, provides a platform for self-expression, and strengthens their connection to nature and each other.

Additionally, these projects offer a sense of accomplishment and visibility, as the artworks are often exhibited in public spaces such as galleries, allowing their voices and stories to reach a wider audience.

Healing plants

I am a Creative Practitioner for the Royal Horticultural Society’s ‘Gardens of Imagination’ programme (2024-2026). This national co-creation project explores modern-day herbalism through gardens, gardening, plants and their healing powers.

I work alongside individuals from multicultural backgrounds, some experiencing mental or physical ill-health, and volunteers from seven local Lewisham green space growing communities. We aim to connect people with nature and each other.

Together, we created a tactile sensory installation that reflected their collective visual identity and therapeutic experiences within nature. It was showcased at hARTSlane gallery in Lewisham, London, UK.

Transforming textiles

Despite being severely dyslexic, I found my passion in the arts. A foundation course introduced me to textiles and I was awarded a scholarship to study Textiles: Innovation & Design at degree level.

Textiles captivated me from the moment I realised their transformative potential. The ability to take a single piece of fabric and shape it into garments, sculptures or installations fascinated me deeply.

The unparalleled versatility and creative freedom of textiles allow me to explore endless possibilities in form and function. I was drawn to the profound emotional connection we have with textiles throughout our lives.

From the day we are born until our last breath textiles envelop us, providing comfort, warmth and a means of self-expression. They are integral to our daily existence, reflecting our identities and histories.

I am constantly exploring new ways to harness the tactile and expressive qualities of textiles to create meaningful, evocative artwork that resonates with others.

“This intimate relationship with textiles ignited my imagination and continues to inspire my artistic journey.”

Alice Burnhope, Textile artist & artist educator

Igniting creativity

Geology is a significant inspiration for me. The forms, textures and colours found in geological structures are visually captivating. Beyond their aesthetic appeal, the origins of these formations are incredibly grounding and humbling.

Understanding that they were created over hundreds of millions of years through the Earth’s movements and natural processes reminds me of our small place within the vast timeline of the Earth’s history.

This perspective fuels my creative process, illustrating the profound and intricate beauty of the natural world.

Becoming inspired

My creative process typically begins with immersive experiences in nature, where I absorb the tactile and visual qualities of my surroundings.

I start by sketching and documenting forms and textures that resonate with me. This initial research informs my exploration of textile techniques that will enable me to translate these experiences into tangible artworks.

Refining these techniques to achieve the desired effect is often a process of trial and error. Once satisfied, I methodically plan the steps required to bring the artwork to fruition.

“Hand stitching is pivotal for adding texture and nuance, while machine stitching plays a crucial role in the structural integrity of the work.”

Alice Burnhope, Textile artist & artist educator

Stitching ecologically

Sustainability and environmental awareness are fundamental principles in my artistic practice. I believe deeply in our interconnectedness with nature: our well being and survival depend on the health of the planet.

This conviction drives me to minimise my ecological footprint through conscientious choices in materials and processes. I prioritise using secondhand fabrics, deadstock and offcut cottons and linens.

These materials reduce waste and also offer unique textures and histories to my pieces. They also align with my commitment to sustainability. I enjoy sourcing these fabrics through charity shops or from friends, as this process adds a personal and community-driven element to my art.

By repurposing materials, I hope to inspire others to reconsider the value of discarded textiles and to embrace sustainable alternatives. Additionally, I advocate for the use of certified sustainable fabrics and encourage brands to adopt more environmentally responsible practices.

Ultimately, my goal is to create art that not only engages and inspires but also fosters a deeper respect for our natural world.

“I aim to contribute positively to environmental stewardship and promote a more sustainable future for textile artistry and beyond.”

Alice Burnhope, Textile artist & artist educator

Observational skills

In my Stitch Club workshop, my aim for members is to develop a keen eye for observing the intricate forms, textures, and colours of nature. By honing these observational skills, members will be inspired to create beautiful, tactile artworks that reflect the natural world around them.

My hope is that participants gain confidence in using these natural elements as a rich source of artistic inspiration, transforming their observations into unique and expressive textile pieces.

Dyeing naturally

Dyeing with natural dyes is a great way to begin reconnecting with nature through textiles. If you are new to this process, I recommend starting with an onion dye bath. Collect 50 per cent of the weight of your textile fibre in onion skins. For example, if you have 100g (3½ oz) of cotton, use 50g (1¾ oz) of onion skins.

Simmer the skins for 30 minutes to one hour. Sieve the liquid to remove the skins. Pre-wet your fibre and then pop it in the liquid and simmer or boil for another 30 minutes to one hour depending how strong you want the colour to be. You can also take it off the heat and leave it to steep overnight. Just go for it and enjoy!

‘Natural dyes have a mind of their own, so every outcome is a beautiful surprise.’

Alice Burnhope, Textile artist & artist educator