- Not just for quilters! Review by Patricia G
I don't quilt, but that's the beauty of this book: It's content is just as applicable to the beading, painting and mixed media I do as it is to quilters. If there's a fault, it's in the subtitle because it's value definitely isn't limited to textile art. Ms. Hedley's focus is on seeing useful patterns and interesting designs in the world around us. While she transforms and translates those ideas into textile art, her technique is just as applicable and useful to those of us in other media.
(Posted on 6/12/14)
- Jumbled and not very cohesive. Review by Susan
I have looked at this book for a long time and decided to finally order it, but now I regret the latter. I found the flow of the book/projects to be stilted, incomplete, and some just plain ugly.
The concept of taking inspiration from everyday, drawing them and translating into stitch is a good on. I found the drawn parts of the design process far more interesting than the sewed ones. The color combinations are drab and only one--a red one--was good because of the contrast.
(Posted on 7/13/13)
- fresh innovative approach to interpreting line in textile art Review by Susan Bleiweiss
This book is a must have for textile artists who are looking for a fresh innovative approach to interpreting line in their work. This book is about is an exploration of one of the fundamentals of art and design: line. You''ll learn how to observe and document the lines that you see around you in nature, architecture etc and then learn how to interpret those into embroidery and textile art. Broken into 4 major sections the book begins with an extensive overview of tools, materials and backgrounds. The types of drawing tools for making marks on whatever grounds you work with are followed by a discussion of how to alter your backgrounds by layering, collage, piecing, weaving and several coloring options. These backgrounds are the base for the second section of the book entitled Line Drawing and Textile Processes. This second chapter guides you in adding marks to your backgrounds using techniques such as mono-printing, printing blocks made from erasers, lifting and removing color using chalks, crayons discharge, and frisket and then moves into a discussion of several transfer techniques. Creating lines is not limited to just printing techniques though, the author also includes a section on creating needle felted lines and marks as well as making fibrous surfaces with silk tops and cocoon strippings. The first two chapters of this book are really the groundwork for the books main focus which is found in chapter three: Interpreting Line Quality - Drawing and Stitching. It''s in this chapter where you''ll find examples of actual design interpretations by the author as well as other artists. Each piece of the authors artwork is accompanied by a image of the original design reference and the approach she took with interpreting or drawing the line and then what stitch techniques were used. This section is an absolute feast for the eyes! Full page images of the artwork as well as clear crisp closeups allow you to see the intricate details of the pieces. Detailed explanation of how each piece was created give the reader a good understanding of the artists approach as well as a road map for the reader to consider when creating their own work. The book closes with a chapter on Using Line. Here is where you''ll learn how to use stitch to interpret the textural quality of lines and marks on a surface. As in the third chapter an image is accompanied by the resulting artwork that it inspired along with a description of how the piece was created. The difference here is that the focus is on the types of stitching used; hand stitching or machine and the type of stitch used.
(Posted on 9/29/10)