Textile Artist: Sculptural Textile Art

Priscilla Edwards

Informations

• Publié par: Search Press
• Date de parution: 30 juin 2022
• Nombre de lectures: 1
• EAN13: 9781781269046
• Langue: English
• Poids de l'ouvrage: 259 Mo

Extrait

Sculptural Textile Art A practical guide to mixed media wire sculpture

SEARCH PRESS

Priscilla Edwards

This series showcases the techniques and talents of some of the most brilliant and innovative textile artists, who use a huge variety of methods, materials and design ideas. It covers all kinds of creative fabric embellishment, from creating decorated patchwork items to incorporating mixed media into art or functional pieces. The books are packed with stepbystep instruction, inspiration and ideas.

Layered Cloth 9781782213345

Small Art Quilts 9781782214502

Layer,Paint and Stitch 9781782210740

Expressive Stitches 9781782217503

Priscilla Edwards has been making mixed media pieces in 2D and 3D since completing her degree in Embroidery at Manchester Metropolitan University. Exploring identity, memory and nostalgia, Priscilla creates whimsical pieces that reflect her love of collecting ceramics, textiles and ephemera. Priscilla is continuously exhibiting her work both nationally and internationally and lectures in Higher Education. She also delivers a programme of independent workshops and talks in galleries, museums and schools. www.priscillaedwards.co.uk

Sculptural Textile Art

DEDICATION This book is dedicated to my husband Phil and my family, for their constant support and encouragement on my creative journey.

Sculptural Textile Art A practical guide to mixed media wire sculpture

SEARCH PRESS

Priscilla Edwards

First published in Great Britain 2022

Search Press Limited Wellwood, North Farm Road, Tunbridge Wells, Kent TN2 3DR

Illustrations, templates and text copyright © Priscilla Edwards, 2022

Photographs by Mark Davison at Search Press Studios, except for pages 2–3, 27, 29, 39, 40, 43, 47, 55, 61, 63, 71, 92–93 (main image), 94, 114, 115, 127, by Stacy Grant, and page 126, by Prue Edwards.

Photographs and design copyright © Search Press Ltd. 2022

All rights reserved. No part of this book, text, photographs or illustrations may be reproduced or transmitted in any form or by any means by print, photoprint, microfilm, microfiche, photocopier, internet or in any way known or as yet unknown, or stored in a retrieval system, without written permission obtained beforehand from Search Press.

ISBN: 9781782219002 ebook ISBN: 9781781269046

The Publishers and author can accept no responsibility for any consequences arising from the information, advice or instructions given in this publication.

Readers are permitted to reproduce any of the artworks in this book for their personal use, or for the purpose of selling for charity, free of charge and without the prior permission of the Publishers. Any use of the artwork for commercial purposes is not permitted without the prior permission of the Publishers.

Suppliers If you have difficulty in obtaining any of the materials and equipment mentioned in this book, then please visit the Search Press website for details of suppliers: www.searchpress.com

Extra copies of the templates are available from www.bookmarkedhub.com

You are invited to visit the author’s website: www.priscillaedwards.co.uk

Page 1 Polly Put te Kettle On 34 x 45cm (13½ x 17¾in)

Pages 2–3 Left to rigt: Lost and Found 9 x 13cm (3½ x 5in) Carlotte 7 x 17cm (2¾ x 6¾in)

Cream Jug 12 x 17cm (4¾ x 6¾in) Souvenir Spoon 4 x 28cm (1½ x 11in)

Opposite Time for Tea! 18 x 13cm (7 x 5in)

ACKNOWLEDGEMENTS

I would like to thank Roz Dace for asking me to create this book and my editor, Edward Ralph, for his encouragement and guidance.

My thanks to Mark Davidson, Stacy Grant and Prue Edwards for their truly stunning photography, bringing my work to life through their amazing photographic and styling skills.

A huge thank you to my Mum who taught me to sew and for sharing her love of all things unusual.

A special thank you my dearest Popa who taught me to embroider.

Thank you, Auntie Alice, for giving me so much including your love of all things textile; bless you for your drawers full of wonderful treasures.

My thanks to Sally E. Payne who has been the most marvellous mentor and tutor, who has taught and encouraged me since I was seventeen, and continues to teach me new things all the time. I can never thank you enough for all the years of support for my practice.

My thanks to my tutor Judy Barry who, at university, was always reminding me ‘youcanmake a silk purse out of a sow’s ear’, something I remember every day!

My thanks to my dear friends Helen Belbin, Nicki Smith and Christine Stanford for all their words of encouragement while creating this book.

Many thanks to Dawn Boulton on her eye for detail and thrashing out ideas.

I’d also like to thank all the creative students I’ve had the pleasure of working with over the last twenty years – you have been an inspiration!

Contents Introduction 6 Materials and equipment 8 Inspiration 20 Tecniques 30 Colour and style 64

SCULPTURAL TEXTILE PROJECTS 72 Souvenir Spoon 74 Fly Away Home 84 A Pocket Full of Posies 94 Time for Tea! 104 Angel Deligt 116 Moving on 126 Index and template 128

Introduction ere can be a varîety o begînnîngs în any creatîve journey – peraps an îdea strîkes you, or you want to experîment wît a new materîaL. Eac w T ays; just te way tat works or you. My aîm îs or tîs book to reveaL a one o us starts în a dîferent pLace and tere are no rîgt or wrong new begînnîng or you, and peraps sow you ow to deveLop your work în a new way or to try sometîng a LîttLe dîferent. I Love workîng în tree dîmensîons and, wîLe compLetîng my degree în Embroîdery, I dîscovered tat workîng wît wîre în tîs way proved to be a naturaL pat to brîng my îdeas togeter. TackLîng te compLexîtîes o makîng textîLes înto sometîng scuLpturaL can sound întîmîdatîng, but I encourage you to gîve ît a go. It îs bot caLLengîng and ugeLy satîsyîng at te same tîme, makîng ît a specîaL and unîque way o workîng. I ave iLLed tîs book wît a varîety o my îdeas, tecnîques and processes, and ow I combîne tem. It îs a LîttLe wîndow înto te way I work. Eac pîece îs made rom a basîc wîre structure, created usîng a combînatîon o pLîers and and manîpuLatîon to orm a sape. PersonaL înterpretatîon îs key to te process, so your pîeces wîLL ave your sîgnature woven înto teîr very core. It’s an organîc way o workîng tat unLocks a weaLt o excîtîng possîbîLîtîes, so be open to te structure deveLopîng în ways tat may be unexpected. I ope te îdeas în tîs book wîLL înspîre you to dîscover te joy o makîng scuLpturaL textîLes or yourseL. he un o coLLectîng ound materîaLs and te trîLL o usîng tese eLements togeter îs quîte addîctîve. here are no Lîmîts to tîs ascînatîng process and you can Let you îmagînatîon take your îdeas în any dîrectîon. he journey îs organîc, so I urge you to embrace te ebb and low o te makîng as you progress wît a pîece and Lîsten to wat ît îs sayîng to you. I’ve Loved creatîng aLL te step-by-step projects or you to try, and I ope you enjoy avîng a go. Agaîn, tere îs no rîgt or wrong way to do anytîng – just be yourseL and aLways trust your înstîncts!

6

7

Materials and equipment

You don’t need Lots o specîaLîst equîpment to create te projects în tîs book, muc o wat îs needed you wîLL ave în your art and textîLe suppLîes. ALL o te pîeces are created în tree broad stages. Fîrst you make te wîre structure, ten add te abrîc and wax, and inaLLy you embeLLîs te pîece. hese stages requîre a ew sîmpLe tooLs, but notîng too outLandîs. I Lîke to work wît Lots o dîferent materîaLs and irmLy beLîeve în usîng every scrap and ragment în my stas. Start to buîLd your own coLLectîon by reguLarLy ceckîng out te LocaL carîty and trît sops, car boot saLes and jumbLe saLes or materîaLs. hîs way you can pîck up reaLLy înexpensîve abrîcs and aberdasery, sourcîng Lots o unîque îtems tat ave teîr own patîna and are just perect or creatîng sometîng tat’s personaL to you.

Wire Wire is measured by gauge. The lower the gauge number, the thicker the wire. I use 20–28 gauge, white papercovered wire because it’s not so harsh as working with a noncovered wire. The covering has a really nice feel to it when manipulating with your fingers, making working with it a pleasure. I frequently add paint to parts of my structures with acrylics and I find the paper takes these paints well; it also absorbs hot wax helping to bond added fabrics. Another reason I find this product so useful is that it is available in convenient packs of 36cm (14in) lengths of wire in a variety of gauges. I tend to

20 gauge

22 gauge

24 gauge

use 24 and 26 gauge most of the time, and it is these two gauges we will be using for the projects later on in Coil of iron wire. the book. Occasionally I supplement the paper covered wire with a coil of 24 gauge black iron wire when I need to create a strong contrast in a piece of work. This is more of an aesthetic choice than a practical one to achieve a different look.

26 gauge

28 gauge

Grip pliers

Long-nosed pliers

Pliers and wire cutters

Bent-nosed pliers

Grip pliers Known as ‘grip pliers’ throughout this book to distinguish them from the other, more specialized types below, these familiar household pliers are really useful for shaping your structures and can take the pressure off your fingers when doing fiddly joins and finishing off ends.

Longnosed pliers Also called needlenosed pliers, these have longer, thinner jaws than grip pliers. This makes them wonderful for getting into those hardto reach areas that your grip pliers are not quite able to access.

Bentnosed pliers These have angled jaws that can be really useful if you have to make adjustments at a tricky angle that’s hard to reach.

Wire cutters Always cut your wire with a pair of wire cutters. Don’t be tempted to use household scissors, as it will quickly blunt the blades – or worse, cause a burr that will ruin the scissors completely.

Wire cutters