Janet Haigh : Her Work

Textiles: ideas, drawing, design, stitching….

Leave a comment

The W.I. Taster Sessions: Drawing + Batik

batik from anemone study

The Clifton, Bristol branch of Women’s Institute recently asked Heart Space Studios if we would organise a special series of textile classes for their members – so we have put together 3 classes to demonstrate how to develop drawings into designs for textiles.

drawing class for the Clifton W.I.

We chose to draw from flowers – very W.I. and to develop studies to take onto the Batik class – it didn’t quite work out that way – but the results are extremely promising.

glamorous bunches of flowers for drawing

The idea was to give the members tasters with a view to developing a whole series of evening classes built specifically for them. I taught the first drawing class and the results were really inspiring, large and luscious drawing emerged for the close studies…

pastel drawing of an anemone

I had chosen 2 types  flowers, those with full faces of interesting detail, Anemones – above, Daisies

sorting out the spiky daisy petals.

and Cabbages – as September roses were not really blousey enough for my purposes….

curiously coloured cabbage

the drawing below really captures the strange colours and growth patterns of the cabbage…

details study for cabbage petal/leaf

other flowers were chosen for their silhouettes, Lilies

a fully leaved lily stem

and long stemmed Anemones

long sinuous stemmed anemones

And because of the studio’s spot lights we were getting some wonderful shadows thrown onto the papers, perfect line drawings for the next class in Batik.

lovely line drawing from the cast shadow seen top left.

the same lights also caused the rapid wilting of the more elderly anemones but they, like tulips die very gracefully.

Anemone - wilting as it was being drawn

this drawing below really captured the quality of the flower, both the full faced and the silhouette.

pastel drawing full faced and silhouette Anemone.

So I was really looking forward to seeing how the group translated these studies into Batiks…..and they completely ignored them, choosing instead some (very attractive) flower photographs that the tutor, Debbie Bird, has brought with her “just in case”……….

group settling down to draw from photographs - and one chose a parrot...

linear drawing for wax outlines



however once Debbie had explained how to set about developing  a linear version of the images to enable drawing with a melted wax line, they soon got going to develop more interesting textile studies….

demonstrating Djantings for wax drawings


And the colours soon started to flow once the wax line was dry enough to contain the liquid, it is always fascinating to see the cclolour belled to the edge of the line, you wait with baited breath to see if it will escape your initial drawing with the djanting.


applying dye to wax drawing on stretched silk

Debbie showed various techniques to apply the dye to wet or dry silk.

dye application onto very wet silk

but the dry results are always fascinating to see –

dried version of above

and some of the Batiks did at least resemble the original flower studies of the previous drawing session or so I like to think!

The last class will be a “show and tell” by  3 Heart Space Tutors’  of their drawing/research books and folders that demonstrate how the process of drawing and sampling in many different media, results in finished textile based work that is both personal and original.


Drawing Club

I have started a drawing club at Heart Space Studios, the first workshop was at the weekend and as I have put up a small exhibition of the kimonos that I brought back from Japan, to advertise my kimono making courses, I decided that the first class would be drawing my collection of oriental costumes.

studying the ruined Chinese theatrical robe.

As you can see my collection is very old, very damaged but very beautifully coloured and embroidered. I have used the collection many times for drawing classes and students always find new ways to respond to these lovely old silk clothes.

studying the large embroidered Chinese court robe

The first drawings are often tentative as people are often really nervous when starting to draw, particularly as this group of students had only just met, but the responses were fluent and quick to emerge.

first drawing of the Chinese dragon

After the first critical overview I suggested that everyone concentrates on getting the colour is the priority for the next drawing of the same fabric, not so easy but still a searching is apparent in the drawing that gives it a life of its own.

second drawing using brush and water colour

This often results in a change of focus and makes the subsequent line drawings much cleaner and concise, and not necessarily in pencil. The dragons were very popular. The drawings below have such a curious mixture of terror and comedy, the gold line drawing looks like a piece of graffiti – such energy and character.

first dragon drawing in pencil.

Meanwhile in the front of the studios, where we have a wall as a gallery for hanging exhibitions to advertise our courses, other students were working from the displayed kimonos, the glamorous wedding robe got a lot of attention for the initial drawing session.

The resulting drawings are really, really tiny in comparison to the actual robes, but attention has been paid to interpreting the colours and giving direction to the stitching.
These intense drawings are really difficult to achieve in the small amounts of time I allow for each study – I make sure that to begin with no-one gets enough time to complete anything, I want people to react to what they are seeing, really look to draw in-depth.
The drawing above looks more like the real feathers of a crane than the gold embroidery it emulates. I particularly admire the directional drawing of the stitching, you can tell she is a textile artsist; and the subtlety of the erased pencil lines to describe figured silk is a really imaginative drawing technique.
A change of media often results in a change of scale – see below the difference between pencil crayons and pastels. I often get students to experiment with scale to find out if they naturally draw big or small –  oh and the change of coloured ground makes a big difference as well – colours glow off black.
and a change of scale can also be realised by standing to draw rather than sitting when you have only the arc of your wrist to make marks, the arc of an arm is much wider when standing.
 However, sometimes drawing large releases more than just your reach – below Drawing as Therapy.
this ‘jaunty, exhuberant flower’ is in response to this minute and exquisite embroidered flower on the tassel tag of a Chinese skirt. The artist assured me that she felt a lot better by the end of the day ….she was drawing for some other purpose than the one I had proposed – no problem, I’ll rein her in at the  next workshop.
And this is why I want to run a drawing club, not just individual classes – so that I can work with a group of people and get to know what they like and dislike, how they react to different stimuli, pull them out of their comfort zone to extend their experiences, let them play with lovely materials, fabrics and media  – and over the months  develop their range of drawing skills and experiences; to have the luxury to let them alone when they need space to think and really mess around, but then to push them to try something else when they feel they have finished.
Sometimes a piece of fabrics gets to everyone in completely different ways, above is a pastel drawing of a Chinese skirt, the artist is really trying hard to describe the colour of a soft and faded old pink silk lying next to its green lining….
The colours are completely wrong but the effect is ravishing…now what is this about? He had decided he had finished the drawing – I could tell this before he told me – as he was scraping in some black ground colour – where non existed. But I suggested he look again at the blue silk banding on the skirt to ground the drawing rather than invent a colour to surround it – the effect was immediate and I feel he has started on a journey of really working with colour, playing with the effects of broken/nuanced colour over solid ground colours…
However some fabrics are so simple, strong and vibrant that even in a bundle they cannot be denied their own character.
this vintage Art Deco dressing gown is truly inspired by kimono
But to return to drawing, observational fine line drawing. One of the last drawings of the day, inspired by a padded silk Chinese embroidered jacket, really shows true sensitivity to the garment.
and to finish where I started, here is a pastel study from a modern Chinese embroidered jacket, the student really had been having a bad drawing morning – trying to change the habits of a lifetime in one day – eventually she settled down to a whole afternoon of careful and precise study and here is the very satisfying result.

1 Comment

More Kimonos – drawing and embroidery

Detail of my kimono quilt made for the patchwork book Japanese Inspirations

Since my last post I have been immersed in Kimonos. I have rediscovered my early fascination for these wonderful garments; wonderful to me because they are the perfect fusion of textile and clothing. Hang them on a stand or against a wall and they work as strongly shaped art pieces – wear them and they both reveal and conceal themselves and the wearer, the patterns undulating across the body in slow movements – hard to run in a kimono.

drawing in my sketch book of a young girl in her festival kimono

I have been searching through my records for my Japanese inspired embroidery slides. I had an exhibition on my return and showed embroideries, drawings and screen prints evolved from my hundreds of photographs and the day book drawings. Above is a neighbour’s child in her typical young girls’ red and white kimono. Japanese clothing has strict colour and pattern codes, they could not tell my age because I wore such a divergent range of clothes in different colours. I liked the way colours were described –  purples and deep blues are said to be Noble.

silk embroidered panel appliqued with traditional fabrics and my only successful attempt at shibori – the red ground of the kimono

However the fabrics I was attracted to were the brilliant silks in reds, pinks, yellows and gold, these glamorous fabrics were what I had come to see and tried to emulate..

embroidered and appliqued screen using found, dyed and embroidered fabrics

This was hard as I had many techniques to master and I only had 5 weeks to assimilate the information…each Japanese textile apprentice takes 7 years to perfect their skill in one technique.

samll appliqued embroidery with my own version of gold woven braid

The only technique I came near to getting to grips with and which has stayed with me was silk embroidery in long and short stitch – see the Flora embroideries – and also I usually applique most of my embroideries together to make larger works out of different pieces of worked fabrics, this developed out of sheer necessity as I could never sustain any of the techniques to make more than a small sample.

small panel of a kimono hanging over a screen - it is made up of fragments of resist dyed, stencilled, gilded, and embroidered silks.

However what the precise and perfectly placed stitches of Japanese embroidery enabled me to do was to stitch lively and nuanced versions of my drawings…and I am surprised now looking at this old work how my drawings did not change but my embroideries did. Check out the early sketch book drawing of the little girl in the red kimono at the top of the post and this later drawing for exhibition on my return. They are essentially drawn and coloured in the same way, crayoned first with defining pencilled lines, I still draw like this today and not surprisingly my handwriting is exactly the same.

later drawing of No masks and their wrappings

Now look at the early canvas embroidery just prior to my visit. Here is my small scale, densely stitched canvas, enclosed space, rigid structures and very heavy stitching.

canvas embroidery before visit

Yes it’s still solid stitching but look at the space and movement and white exposed ground on my first embroidery on my return, below and it is 4 times the size of the canvas embroidery…..

first silk embroidery after visit

my scale, techniques and sense of space completely altered and suddenly nothing is centred…..it is flying around

Kimono Kites, silk embroidery on resist dyed silk ground

Even on the large variable edition silk screen prints of kimono on stands, the Kabuki kites are whirling around

silk screen and hand painted Kimono Kites.

The next kimono post will get me back to the present ideas for the workshops at Heart Space Studios. But because of writing and researching for the blog, things have changed from what I first imagined I would teach …but that’s what ‘Re-Searching’ does for you – takes you further than your first thought into territories new and uncharted.

1 Comment

Heart Space and Flower Drawing

the choice of flowers for the drawing class

I have just given my  first “Flower Drawing for Stitching” class at Heart Space Studios –  to just 2 people – still early days for the new textile workshops but I have committed to teaching everyone, regardless of numbers, for the taster days, ie. one day workshops to whet the appetite for the longer 6 and 10 week classes. But the first thing I had to do was to go and buy the flowers – always a treat. I asked the local florist, Barry Toogood, for some dying tulips and he didn’t look at all fazed but immediately went to the back of the shop and produced 2 lovely bunches of floppy stemmed tulips – for free.

The local flower shop with perky tulips

I also bought, ranunculas large pinks and whites, and a bunch of my favourite florists flowers ( on account that I cannot grow them myself) anemonies – in  MIXED COLOURS – these are difficult to find now as the style police seem to have gained control over anemone growers so that they are often sold in bunches of one single colour – what a ludicrous thing to do – surely what everyone loves about anemonies –  apart from the sooty black centres, the undulating stems and their ruff of brilliant green petals – is the wonderful mixture of glowing clashing colours; magenta, purple, crimson, palest mauve, softest pinks and whites suffused with lime and pistachio.

floppy tulips and mixed coloured anemones all ready to draw.

My two students had totally different attitudes to the flowers and the way they worked; but they both started off in exactly the same way when I asked them to choose one flower and just draw it for 10 minutes ( I always like to see just what people do when left alone, it tells me so much even though everyone is always very nervous when they start to draw in classes).

starting to draw

And 99% of people I teach always pick up a pencil, draw a shape and fill it in with colour, which is a waste of time and deadens the drawing by “filling in syndrome”

pencil drawing first - colour later

Occasionally, very occasionally, the colours are picked up first but I always start with the colours – I mean – what is your first response to most flowers, apart from scent which we aren’t dealing with here? So my first exercise in drawing classes is usually colour blocking then drawing outlines.

colour first for this pink and white anemone

I must admit they were both very diligent with my ‘strict mistress’ teaching style, and were soon developing lively studies to develop embroideries later.

looser and livelier drawings

pen and ink helps fluffy lines to calm down for this delicate leaf study

Choosing different media to suggest different surfaces also controls the scribbly or nervous “one of these lines must be correct”  type of drawing.

softer media used to describe ranunculus petals

In the afternoon each student had to choose a drawing to stitch…and put the flowers away….this really tests the observational studies.

taking some notes of petal formation for stitching

Ann White carefully made some line drawings and notes about petal sequences and the results of her studies carry her through to the applique stage where she was able to use her lovely marbled silk that she had brought with her from another course.

transposition from drawing to stitching

I learnt a lot from this class myself, timing is essential if students are to achieve a decent piece of work in a day…it proved impossible to finish such an intensive set of research and sampling in the time, even though these students were experienced before they came to the class –  so I need to adjust my way of working for the short classes but observational colurs and line drawing will always remain the starting point for flower embroidery.

Sue Pickering's enamel and beaded flowers trellis

But one of the real joys of teaching in this new studio, is meeting like-minded people, and to prove this point Sue brought a piece of vitreous enamel flowers on a trellis that she had made at another series of classes in Bristol.  I was so impressed and delighted and not a little envious of her work – as it seems much wittier  than my own enamel flowers – that they now hang in the Heart Space Studios window.


Drawing Class

drawing and embroidery for my pink shoes- Ann Rippin

Welcome to my new world – I am starting something completely different this year – opening a space in Bristol for  textile based workshops called – not surprisingly – Heart Space Studios. I have been asked so many times to conduct drawing and/or stitching workshops that I decided to take the plunge and with 2 other stitchers, Liz Hewitt and Jan Connett have committed to developing series of workshops and courses from complete beginners to master classes for all things textile.

complete concentration at the first workshop - drawing shoes. Jan and Liz are seen here at the bottom left hand side of the table

I conducted this first drawing class for a disparate group, most are established textile makers, some teach classes them selves, some had never been to a drawing class before and Liz Bishop, informed me that she was unteachable, she had tried and failed to draw at countless classes…I had a plan for her – but as you can see below it was totally un-necessary. I meet with this “I can’t draw” problem all the time by people who are perfectly capable of drawing but who  have at some time in their lives been told they can’t – by what standards they have been judged is hard to fathom – my response to them all is – if you can write your name the same way twice – you can be taught to draw. But this is such a sensitive drawing that I really was perplexed when I saw it.

first drawing by the woman who "couldn't draw"

I have taught design and drawing, usually observational drawing, for many years as a senior lecturer in textile design at UWE Bristol –  from life drawing through fashion illustration to drawing for design outcomes. I have worked with private clients, costume students at the Bristol Old Vic Theatre School as well as drawing practically every day in one form or another. I feel that drawing is my first language, English my second and stitching my third.

And what was my first drawing class about – shoes – well why not? Practically everyone I know has an attitude to shoes either their own or other peoples’ – I have been drawing and stitching them for the past few months and I had a lot of ideas about them to relay to anyone who would listen

shoe selection, from Chinese bound feet covers to Jan Connet's "staggers"

I called the first class How to Look, and I set about it in the usual way of quickly getting everyone relaxed for working by doing 2 minute studies of various shoes and being extremely strict about how they drew them – like not taking the pencil off the page for a continuous line drawing, how to use various angles of the pencils and crayons to create textured lines, pushing not pulling the pencils, drawing with an eraser….most people were amazed that I was teaching drawing skills, not just setting up poses – I was amazed they were amazed.

first simple drawings being used for stitched shoes - Janet Clarke

I have very few images of these early drawings – I was far too busy watching and teaching to remember to take photos…but happily several people returned to their simple line drawings for the stitched drawing later in the day. One of the most elegant drawing and embroidery transitions, below, was done by Sally Payne who “doesn’t stitch at all” and is a musician, she just came along with a friend.

an early drawing with transition into stitch - Sally Payne

Several people brought shoes, Jan Connett brought the most fascinating pair of all – a fabric and glitzy suede confection which almost everyone wanted to draw, but they would have taken the whole day to have done justice to them – the person who captured their spirit if not their fabrication was our only male student, Mike -who is just re-learning to draw after a very early retirement,

everyone's favourite fabric and leather shoes

coloured character drawing of the glitzy shoes, Mike Kersopp

But Jan’s own simple line drawing and embroidery caught something more refined which she could see in them – but then she has worn them and is very alive to their curious allure.

drawing and stitched transition drawing or her own shoe Jan Connett

Another shoe or rather boot, that proved to be the inspiration for several wonderful drawings, were Mike’s suede boots – their rugged rough exterior made everyone who saw them reach for oil pastels to draw really big – they turned quite a few people into confidant illustrators and their subsequent embroidered versions carried through the initial conviction.

work boot drawing, Ira Wood

work boots, Kirsten Hill-Nixon

However Mike really won the “bravery in face of the experts” award for his first attempt at stitching from his study of his own boot, I had to explain the rudiments of running, back and split stitches.  It is not surprising that such a rugged boot should elicit good drawings, there is a lot to record in them and the shape isn’t too refined!

But some of the most charming drawings of all were from a simple pink ballet -flat shoe,  their simplicity seemed to bring out careful and fairly accurate results which captured the spirit if never the quite the colour of the original shoes…

simple drawing of a simple shoe - Viv Young

and the header illustration by Anne Rippin is of these same shoes but she placed them perfectly in a shoe box to surround them with a pattern.

lively but simple drawing of my ballet flats - Ann Rippin

Anne has beaten me to blog this first, she sent me a link to her own post before I had even downloaded my images and she is extremely complimentary about the workshop.

The suede boots and shoes seem to bring out the most sensitive drawings from most people – maybe this is the ease with which you can apply pastels and soft crayons which suggests the texture of suede.

sensitive drawing and stitched painting of suede boot- Debby Bird

even my own difficult to draw, black suede shoes have been transposed into luscious deeply  textural studies by Sharne Lott – a knitter.

transitions from drawing to stitched images of a suede shoe - Sharne Lott

Even people who absolutely dreaded the day – like Liz Hewitt who organised the students for me, realised that if she didn’t worry so much about how the drawing looked but just concentrated on quickly recording just what she saw, not what she thought she saw (now I wonder why that helped?) her drawings were more accurate and looked convincing – but like many textile practitioners, she stitches a lot better than she draws.

sensitive stitching - Liz Hewitt.

killer heels quick drawing and transition stitching- Sally Sparks.

Being forced to draw quickly often brings about great changes in people’s work, when you are made to hurry up and just told to concentrate on the essentials, which are assessed before-hand,  the drawings are usually stronger by being more focused.  On the right can be seen 2 really strong drawings  of  killer heels by a dedicated machine – stitcher who was struggling to get any proper proportion in her slower and  more considered drawings. I often find that people who have taken a long time over a drawing and then realise it is out of proportion are loathe to change it – thinking that they will adjust it later ….better to erase the problem when you first recognise it .

Another thing that happens when you draw quickly is that it helps stop what I call feathery  or dithery drawing, where people make about 6 attempts at the line so it appears to be ghosted  – one of these lines must be right but which one? That is when I suggest drawing with an eraser…..choose the correct line and get rid of the rest – this advice worked wonders on one person at the class, who eventually made a sensitive if alternative coloured drawing and embroidery of the ballet- flats. – just look at that drawing of the bow!

fluid drawing after the de- feathering exercises-~Patricia Brownen



Dream Shoes

Just a very short post to say Da! Da! I have eventually finished my second pillow of dreams, the Shoes dream….and I have written another piece to accompany the recent post Slow Progress where I discussed the doubts and frustrations of making slow hand crafted work. At last it can be now be viewed in my pages for ‘Make It Through the Night’  as a the last section of  Ongoing Work which is found directly underneath the header image – which is an embroidered dream flower detail of another pillow from the same series

If you have not viewed this section it is set out in reverse order  so that you read/view my ideas as they unfold; this way you can follow the development of a personal set of work – with all its trials and frustrations over the months, and from this month the past year (I started this work in December 2009) so this section appears at the very end of the whole page and you will have to scroll down to it …. but anyone interested in the way someone’s mind works while working slowly through a whole series of interconnected and complex ideas which somehow are supposed to form a cohesive narrative or in this instance make for a comprehensive gallery exhibition, should find it of interest.


Slow Progress

hand embroidered boot

I wrote in the About page that I would show work in various stages of progress, successful or not; and as I have almost  finished the second dream embroidery for  my “Make it Through the Night” project, I thought I would show this at the “will it never ……. end”? stage.  This embroidery has been a real struggle to  make, which is so strange as I have had the drawing of my dream for over 10 years, have often looked at it and thought “one day”.

shoe dream drawing 1998




For several well considered reasons I decided to embroider it onto a bed sheet, therefor everything was life size – “a sheet of dreams” I started it in August and mention it in the blog “Samplers” and It took about one month of drawing, making patterns and sampling various techniques before I could start to make the work; then another month’s actual making before I gave it up – I thought that  if I shelved it I may eventually get the courage to continue the mammoth task of stitching it. I had made many samples and even got as far a printing an entire quilt onto the bed sheet, this took weeks so I was loathe to abandon it. But basically the sheer scale was just too daunting – I knew I had to hand stitch each shoe and there were about 10 0f them, and they were shoe sized and in a single thread, and I was losing the will to live at the thought of it. I didn’t blog about it at the time as I was unsure of why I was experiencing such difficulties and I certainly didn’t have the heart to write about it.

life size sample for sheet of dreams.

Meanwhile I made other works – some commissioned pieces which can’t be blogged until they are published….and so generally let the problem lie at a low level, to be absorbed knowing that eventually it would re-emerge…this is how work often resolves itself; you just have to be patient and let it suggest its own way forward…..then I made some handkerchieves for the same project, and realising how good it was to work small and quickly again – I thought I could maybe make the work smaller and embroider a” pillow of dreams” – after all, I reasoned, this is where you lay your head and where all the action stems from.

original drawings from August with revelation about how to progress in October

So I set to work again restitching the whole image onto a vintage linen Oxford pillowcase. The drawings remained exactly the same but now I used running stitches to make the quilt then padded it like a trapunto technique to emphasises the body shape that emerges from the distorted “patchwork”. This was all so really interesting to work, I was now on the right track and gone were the misgivings of “copping out” for a smaller scale.

I really wanted to get on with the shoes though, the drawings were taken from many old sketches and my own collection –

drawing of the my own shoes and embroidered pillow in progress.

Some shoes I cannot bear to throw away and have used them for years for drawing classes – if you can draw shoes you can draw most things put in front of you.

a collection of my own shoes, the high laced brown boots were bought in 1973 - a great expense but we enjoyed some very lively times together

shoes stitching still in progress last week

Eventually I got to embroidering the shoes, they are quite small about 10cms / 2 inches long and are stitched in one strand of  silk, cotton or metal threads, I love glitzy shoes.

gold shoe tramme

other gold shoe stitched












Of course the whole point of the dream was that I couldn’t wear the shoes any more, look closely at the lack of feet….yet  to be embroidered – I will address this issue later when I publish the finished work in the Ongoing Work pages. But meanwhile I set to to do the rest of the shoes – they take between 3 and 8 hours to work each one, but it is now driving me to distraction, I really dislike the days spent stitching these shoes……

Ironically I constantly bang on about how stitching is like meditation and I am presently running a project called “Stitching and Thinking” with a group of makers where we are considering the state of mind reached when the world goes away and its just you and your thoughts and the work; sometimes called a state of Flow, or old hippies used to say ” In the Zone” – wherever it is it is wonderful.



I loved the paler inside lining

embroidery of my old suede boots











I haven’t been there for a few weeks while battling with these embroidered shoes…and I blame an “acquaintance” of mine, Nigel Hurlstone, who is a tutor on a course where they still embroider –  Manchester Met (MMU). He gave me a much needed and requested  mentoring session on the whole ‘Make it Through the Night’ set of work whose progress he has been following – we have a reciprical arrangement where he crits my stitched work and I crit his new written story – telling work.

But he inadvertently said something that absolutely made me loose faith in how I have made this piece of work – “what is really fascinating and worth you considering is that these shoes LOOK as if they have been stitched on the multi – head machine – but they haven’t ” – and he was right! The long and short stitches are so neat and precise they look machine made – I have been overtaken by technology. So I now have to rethink for what and how I stitch by hand….. how will this machine – made perception affect the way people appreciate my work?

One of the ideas underpinning my current practice is the notion of time taken: to hand stitch something which is very slow and therefor valued means that the subject or concept is worth consideration……but meanwhile I have to finish this piece of work – but am I wasting precious time when I could just give it to some one to machine it for me – I am not about to learn how to use a multi -head. But it does make me wonder how I can change my whole way of working in cloth when anyone can “draw” with stitch.