Nina's Textile Trail

My OCA Textile Tales

Leave a comment

Supplementary work to Assignment 3 in response to Tutor Report

Tutor Report from Assignment 3

Nina O’Connor (1)

There were many helpful pointers in this report which have influenced that way i have worked since its receipt.

As suggested by the tutor, in preparation for assessment, I have improved the presentation by sewing down all the samples and making a book of the pages.  Also included is a fourth A5 booklet of drawings, explorations and research undertaken during Assignment 3, but not submitted to the tutor.


1 Comment

Textiles 1 A Creative Approach – Assignment 3 Feedback – Reflection & Comment

Tutor report

Student name Nina O’Connor Student number 513049
Course/Module Textiles 1 : A creative approach Assignment number three

Overall Comments

First, congratulations on completing this assignment, which asks you to undertake a good many ‘mini’ practical and research projects’, which obviously leaves you little time for ‘in depth’ development of ideas.

One of your strengths is that you can clearly see where you need to improve. You also have some well developed technical skills with stitch and fabric. You show that you are learning fast to follow a clear line of enquiry through experiment with materials, letting several options and designs develop from your original source material. Where you need to improve is to spend more time extracting and developing visual information from actual objects and organic material.

 Response: Thank you and note areas for improvement

Note: You did not receive the following advice with Part 2

 Assignment potential (after Assignments 2 and 4)

I understand your aim is to go for the Textiles Degree and that you plan to submit your work for assessment at the end of this course. From the work you have shown in this assignment, providing you commit yourself to the course, I believe you have the potential to succeed at assessment. In order to meet all the assessment criteria, there are certain areas you will need to focus on, which I will outline in my feedback.


Feedback on assignment

Demonstration of technical and Visual Skills,  Quality of Outcome,  Demonstration of Creativity

Part three : Creating shapes and three dimensional forms

In this assignment, You are asked to manipulate fabric in different ways :

In Stage 2 you were asked to work from your own source material, abstract out colours, patterns textures and shapes; radically develop these through cutting, cropping, collage into designs. In Stage 3 and 4 you were asked to amass a quantity of experimental samples- the final sample developed from drawings

Response: I am interested to note that my interpretation of Stage 2 Developing ideas didn’t match yours.   I didn’t grasp that I was being asked to abstract out colours, patterns, textures and shapes and radically develop these through cutting, cropping and collaging into designs. I thought I was merely being asked to consider how I might develop or change them and to choose from my drawings bearing the contrasts in shape, proportion, colour and texture etc. in mind.

Experimental samples

There were a great many thoughtful explorations of all the techniques. I particularly liked the presentation of the first group (stage 3) in booklet form. They were easy to look through, and created a good resource for yourself. They also indicate that they are simply explorations in process and technique. I think it is appropriate to keep them separate. The second group (stage 4) were equally effective in showing how meticulous your investigation of technique is, but less successful in presentation. (See suggestions for presentation below)

Source Material/development work:

I can see, from reports from your former tutor, that you are making great efforts to improve the quality of your developmental work.

There was a real sense of investigation in solving practical problems – e.g. Sheet 20, you show that you are learning how to let several designs evolve from one drawing, and that you are researching in books to find solutions and to help you develop your creativity. However, source material – one drawing from a photo, from one angle – seems thin. Through the 10 sheets of development through stitch, the drawing is little changed.

Similarly, e.g. sheet 33 : In many ways it was much looser and experimental in the small sample scraps. You combined your colours and materials thoughtfully through these small samples, adding unusual materials using ‘scribbly stitches’ – with an effective final outcome. I would have liked to see some more paper trials, rather than you going straight away to stitch.


Try to draw more from actual objects and, organic material. e.g.

  • visual analysis/matching of colours;
  • suface texture – drawings which are suggestive of the surface – also try to re-create actual surfaces
  • the pattern of lines; underlying linear structure of a plant.
  • Try to verbalise what is happening with the marks in drawings. (ask why you like an effect). I saw some interesting textural effects through your use of marks; also directional lines which can create dynamic energy in a piece. (sheet 16). Build on these and add more – see what happens. Don’t limit yourself to photos. Go to the source. )
  • If you are using photos as source material, take several photos, from different viewpoints, different sides, close ups, etc., then jot down the colours you see. This will begin the translation on to the 2d surface
  • Do more in the development stage before reaching for a needle – e.g. paper collage or cropping into an image.
  • Think about scale. Could any of the samples be developed larger

Response: I agree with your comments regarding more drawing and more paper trials and thank you for the drawing suggestions, which are very helpful.

Suggestions for presentation:

Presentation was clear, (groups of pages temporarily clipped together) although I assume you will find a more permanent solution before assessment.

The pins you use for attaching to the paper sheets are fine as a temporary measure – and for sending to me. Thinking about assessment – Have you tried sewing, or knotting items to the paper. It is a more permanent way of attaching textiles to paper and cloth. It is particularly good when the textile is highly textured, and for more resolved mounted samples.


1) When the work is presented for assessment, are there any recommendations on how it should be presented?

2) Should each assessment be presented in a similar style?

3) Does a creative approach like making booklets affect the mark? (on the understanding that the work is still presented clearly).

Project 7 : Your theme book is a book of visual information based around a theme of your choice which will provide you with the starting point for part 5 of the module, in which you will design and make a piece of your own.


You have chosen a theme of ‘flowers’. You are right – it could be seen as a bit safe. The thing is to show any alternative, subversive side of a theme like this. You watch the way flowers open, blook, die.(E.g. Sam Taylor Wood’s video of fruit putrifing.

Look at how flowers have been used – and subverted in art in the past. The sensuality of Georgia O Keefe paintings; What about Blake’s ‘Oh Rose Thou art Sick’ poem ; and Orphelia, drowning in flowers!…/flowers-as-art-historys-messengers…/the-language-of-flowers-in-art

Thinking about your final ‘piece of your own’ – forget what you want to make and concentrate on the theme book – let the theme dictate what you make – and it need not be an object. It could be a wall based piece or sculpture.

Response: I was looking at the Theme book as a drawing opportunity but is the learning objective of creating the theme book to research something inspiring? If that is the case, I should consider another theme. – I have looked at the recommended links, which were interesting, but the ‘subversive side’ of flowers doesn’t inspire me at all and I would have difficulty responding with excitement and involvement as suggested in the course notes.


Demonstration of technical and Visual Skills,  Demonstration of Creativity

Don’t forget, you need to be regularly collecting, drawing, reflecting on your source material in a location sketchbook and using your A3 workbook to develop your ideas and samples of work.

You should also show in your workbook, location sketchbook – or in your log – that you are looking regularly at the work of textile designers and artists – referencing and using visuals where appropriate..

One of the things you say in your blog under ‘Sketchbooks’ was Textile workers sketchbooks are to accumulate material for potential use in textiles so they focus on texture, colour and structure.

What do you think about this statement? What about line! Line is how we create movement in an image Your eye always follows a line, whether it is a stitched line or drawn line, or gesture in the air. And one definition of ‘texture’ is ‘small marks (or lines) massed together’

Response: I think you have a valid point and that was a broad statement made out of context as part of an attempt to find the motivation to work confidently and regularly in a sketchbook, an area I’m still struggling with.

Learning Logs or Blogs/Critical essays       Context

As a background to the work in this assignment you were asked in Research point 1 to start a collection of examples of furnishing or fashion fabrics of any technique to illustrate diversity of fabrics which are popular and available – contemporary or traditional.

I liked the way you created two separate ‘book’ resources for this.

In Research point 2 You were asked to survey craft based techniques – from individual designer makers who concentrating on small production runs to those who make art based textiles. You are also asked to look at the the relationship of the crafts to industry – consider how new technology has influenced the crafts, and how crafts have inspired those designing for industry.

You researched this adequately, but could have gone further – questioned more. You might also think about whether those making craft based textiles are earning a living; How have they fared in the recession? Can people afford the premium for the ‘hand made’.

What about new technologies such as digital and 3d printing. How have they affected the hand made market?

Response: Noted. This highlights oversight in my interpretation of the question. I considered the first two paragraphs as background information and the question to be “Consider why craft- produced textiles maintain a place in our society”.

Suggested reading/viewing                                                      


 Check out Susie Freeman, who weaves and traps objects between translucent fabric.

Dorothy Cauldwell : in good repair

Also…/index.htm have a look at Roanna Wells in particular and her online portfolio,above. Prize winning artist in the Jerwood Makers Prize – her embroideries were also accepted into the Jerwood Drawing Prize. Stunning translation of mark to stitch on transparent textiles.

Response: These are very interesting recommendations which I will follow up in my learning log. I am particularly excited by Roanna Wells’ work, thank you.

Pointers for the next assignment

The next assignment is about combining fibres, colours and textures to create tactile surfaces. The accent is on experimental construction forms using processes such as interlacing, weaving, plaiting and or knotting of yarns, ribbons, torn strips of paper or fabric, plant fibre, wire, etc.

Project 9 in particular is important and involves developing visual design ideas into sample pieces with the objective of reinforcing good practice in working method, enable you to develop personal design ideas around organization and colour.

 Noted, thank you.


Tutor name: Pat Hodson
Date 06/02/2015
Next assignment due 06/04/2015

Thank you for your review, which is very helpful

Leave a comment

Part 3 Creating Shapes and Three-Dimensional Forms – Reflective Commentary

I enjoyed the Applique, found manipulating fabric less exciting, was challenged by the Research Points and continue to find the psychology of how I work frustrating but fascinating.

Applique – I loved working with fabric and stitch, pored over numerous books and expanded my skills.  I was very pleased with my final piece and felt I was challenged creatively.

Manipulating Fabric – I thumbed The Art of Manipulating Fabric by Colette Wolff numerous times hoping for inspiration but this book just didn’t do it for me.  It is a comprehensive collection of techniques and photographs but there must be more exciting books to add to the reading list.   (I wasn’t able to find copies of Nancy Crow’s Transitions or Alison Reid’s Sculpting with Stitch, so apologies if these had a more contemporary approach.)  Once I got going, I did enjoy aspects of the hand sewing and was pleased with the final sample.

Research Points –

Initially, these were a stumbling block for me, I love books and reading and am happy to gather information but I struggle with where to start and how to structure the writing.   However once started both points were very interesting.  Exploring fabric was enlightening, I was amazed by the array of fabrics out there, particularly at the high-end and looking at fashion in Vogue was a whole new area.  Overwhelming and exciting at the same time.

Looking at the Crafts Council website and reading the recently launched education manifesto Our Future is in the Making was also very interesting, I was reminded of how strongly I feel that art & craft should be valued, have a higher profile in schools and how important it is that the basic skills are passed on.

Theme book – I’m excited to work on the theme book and will be focusing on developing my sketchbook and drawing skills.

Psychology of my working practice – I find it so frustrating that any area of the coursework that concerns me, either because I don’t quite understand what’s required or feel I lack skill or confidence can create such a block that I struggle to move forward.  I have also found that once I get into the coursework, I find it difficult to remember to sketchbook or anything else related, so both of these are areas to focus on during the next assignment.

Creative Process – I feel I have made progress with the creative process, I can see that recording lots of interesting & exciting visual information is vital and then working with some of the drawings, reflecting on them, refining the ideas, reflecting, creating samples, reflecting and refining those are all important to the design process.

Reflecting on the Assessment criteria, I think I have shown development in all areas. My strengths include working with colour, free machine stitch and hand stitch, researching and exploring practical techniques.  My weaknesses, drawing and working in my sketchbook, developing design ideas and managing my time to include a balance of coursework, gathering source material and research.

Leave a comment

Part 3 Creating Shapes and Three-dimensional Forms – Project 7 Theme Book

I deliberated for some time over my theme, trying to think of something I’m passionate about that might make a suitable subject.  Alongside the next assignment, my priority is to focus on developing good sketchbook habits and skills and have decided to use Flowers as my theme.  I wonder if its a bit ‘safe’ but have concluded that its a really accessible subject, maximising the opportunity for working visually.  I enjoy flowers and am excited by the colour combinations and detail and the prospect of developing a theme book.

At this stage I have gathered information in a loose leaf approach as its easier to send and layout to view but I think a book is better.  I worked best and most creatively when I made a booklet for my printing samples because it sat on my desk and I dipped in and out every day as I worked.  This is a habit I need to adopt for sketchbooks and Theme books!

Some preparatory work including drawings, magazine cuttings, my photographs and postcards:

DSCF4241 DSCF4243 DSCF4242 DSCF4244 DSCF4245 DSCF4247 DSCF4248 DSCF4249 DSCF4250

Part 5 : A Piece of your Own

My thoughts:  Having read this section several times before, with a better understanding of the creative process and increased skills, I am less daunted.  Techniques which interest me most include printing, applique, hand and machine stitch.  I would tend to lean towards bag, cushion, wall hanging rather than collar or waistcoat but probably because ‘clothing’ is out of my comfort zone – will try not to “let this limit the inventive capability of my imagination to conceive new forms“.

Leave a comment

Research Point – Consider why craft-produced textiles maintain a place in our society.

There are many different contributory factors as to why craft-produced textiles maintain a place in our society.

In Surrey, where I live, people are affluent and indulge in their passion for beautiful things, hand-crafted items are attractive, unique and often crafted from high-quality materials.   The artistry of a craft-produced textile is respected and admired and some support the local craftsperson for the simple reason that they love the pieces produced, but there are other factors to consider.

Many people are becoming increasingly conscious of the environmental impact of consumerism so consideration for sustainable living is a big factor. Craft-produced textiles help us manage our natural resources.   For example, to sustain british sheep farming it is important to buy and use british wool.  Local enterprises like The Little Grey Sheep at Well Manor Farm are passionate about british farming and traditional crafts and all their products are made from 100% natural british wool.

Ethical practice is another influence.  In her company, Izzy Lane, Eco fashion designer Isobel Davis uses british wool from wensleydale and shetland sheep that she has saved from slaughter.

In the same way that the Food industry has benefitted from consumer demand for organic and ethically produced goods, people are looking for the same standards in other merchandise.  Buying british hand-crafted textiles and supporting the local workforce is promoting craft-produced textiles in our communities.

Lifestyle choices like those reflected in slow food, slow sewing and slow design are important to people in today’s society.

More importantly, it is vital that the history and heritage of craft skills are protected.  The makers of craft-produced textiles are doing this by retaining traditions, valuing, promoting and transferring skills.

The Craft Council and partners launched an Education Manifesto for Craft and Making on 10th November, 2014 in the House of Commons which champions the need to secure the future of craft education.

In Edmund de Vaal’s speech at the launch of the manifesto, he says craft is “about being embedded in material, embedded in encounters with people and about being embedded in time” He feels that craft is central, absolutely central.’   I think this passion in people who create, their need to work with their hands and their commitment to their craft also helps to maintain hand-crafted goods in our communities.

The Manifesto also indicates that “Craft generates £3.4bn for the economy and 150,000 people are employed in businesses driven by craft skills.  Craft enriches our society and economy in may ways…”

The above points illustrate why craft-produced textiles maintain a place in society, but it is a fragile economy and the work of the Crafts Council in pushing for change to secure the future of craft education is absolutely vital in my opinion.


Crafts Magazine Issue 252

Leave a comment

Project 6 Manipulating fabric – Stage 4 Raised and structured surface textures – Reflection

How does working with fabric in this way compare with working directly with stitch?

It can complement working with stitch and some interesting effects can be achieved.

Are you pleased with the shapes and movements that you have created in both applique and fabric manipulation?  What would you do differently?

Yes, I am pleased.   I thoroughly enjoyed the applique and making the final piece was really beneficial.  It pushed me creatively and proved to me that I have grown as an artist since I started the course and have the capability to produce my own work.  If I were to do it again, I might make some small adjustments, but overall it was good to be challenged.

It was harder to be motivated with the fabric manipulation.  With the applique I found it helped to make samples relating to my drawings, but found it difficult to relate the techniques covered in The Art of Manipulating Fabric by Colette Wolff to a more contemporary setting.  However, I did enjoy hand sewing the samples and was pleased with my final sample in this section, although as mentioned earlier I found it difficult working with a plain piece of fabric. (no colour, no texture).

How did the pieces work in relation to your drawings?  Were the final results very different from the drawings?  Did the fabric manipulation technique take over and dictate the final result?

Both pieces worked well in relation to my drawings.  I felt I had to improvise more with the fabric manipulation technique to try and capture some of the qualities of the bark.  I was delighted with the applique interpretation of the drawing.

Was it helpful to work from the  drawings in the applique exercise?  Would you have preferred to play directly with cut shapes and materials?

It was beneficial to work from the drawings, it helped me to focus and challenged me creatively, resulting in a more complex piece.

How do you feel about working with stitch in general?  Is it an area you would like to pursue in more depth?  Do you find it limiting in any way?

I love working with stitch, both hand and machine and will absolutely have to pursue it in more depth!  I don’t consider it limiting.

Leave a comment

Part 3 Creating Shapes and Three-dimensional Forms – Stage 4 Raised and structured surface textures – FINAL SAMPLE

To produce the drawing used for this piece, I enlarged my photograph of some bark, increased the contrast and printed it in black and white. I then tore it into strips, stuck some to a piece of paper and extended the picture, drawing with a conte pencil and inktense pencils.


Before enlarging a section for the final sample, I tried moulding.  Using a 30cm square of calico, torn pieces of card were laid on the fabric and enclosed in gathers.


The cloth was sprayed with water and left to dry and the cardboard removed.


The moulding was quite successful but they weren’t well planned and once a few patterned tucks were added, it seemed chaotic and didn’t quite capture the essence of the original drawing.


Taking an enlarged section of the original drawing, using a 30cm square piece of calico, I hand sewed some tucks, referring to the sectioned off area in the middle of the picture.  Once the main lines were represented with a variety of tucks, the background was worked to produce soft folds and shadows to mimic the original drawing.


I am pleased with the outcome.  Initially I found it difficult to motivate myself to work with a plain piece of fabric and really wanted to use colour, but once I had enlarged the image to a point where I had a manageable goal, I enjoyed the hand stitching and allowing the background to evolve by manipulating the fabric as I went was satisfying.

I can see the merits of drawing on a wealth of traditional techniques to manipulate fabric and I am happy with a needle in my hand but there was definitely something missing for me without the colour and texture of fabric and thread to work with.


Part 3 Creating Shapes and Three-dimensional Forms – Stage 2 Developing ideas and Stage 3 Applied fabric techniques – FINAL SAMPLE

This drawing of bark is the inspiration for my final sample in this section.  (Drawn from my photograph which was also used to produce the drawing for the final sample in the next post)


I worked on some samples to chose the right fabric and techniques.


Having decided which elements worked, I started with an A4 sized piece of calico.  Whilst selecting fabric, I was struggling to capture the texture of the background, and a sample in Gwen Hedley’s book, Drawn to Stitch inspired me to use some painted newsprint.

I am very pleased with the outcome but learned a lot in the process which was very time consuming and sometimes frustrating.  Unfortunately I didn’t photograph the stages which would have made it easier to illustrate my point.

It became rather a complex project – it would have been wise to select a small portion of the drawing with a viewfinder.  (That too would have shown development of drawing!)

Part way through, I felt the piece wasn’t really showing much relation to the inspiration.   It took me sometime to work out why.  Referring back to my preferred samples (bottom two in left hand drawing above), I realised the overall effect of the longways strips which echoed the qualities of the bark was lost.  In the applique, I was using two or three pieces of different fabric for each ‘stripe’ whereas the same fabric or one piece would have been better.

To recapture the stripe effect, I added linen scrim over some fabrics, more thin strips of hessian and couched some twisted muslin.  Once appliqued, I added stitch to achieve the desired effect.



Part 3 Creating Shapes and Three-dimensional Forms – Stage 4 Raised and structured surface textures

I wasn’t very inspired at the prospect of this section, although it grew on me a little.   I started with  some gathering:


which wasn’t at all inspiring. I stitched one with wire which was interesting as it could be manipulated in different ways. As I was lacking enthusiasm, I chose to try out other techniques on a piece of hessian which was more enjoyable.  I particularly liked softness of the hand dyed muslin and the scrim and the turquoise linen meandering in folds across the centre.


I quite like the surface tied tucks, but think I like the texture of the thread, particularly the buttonhole thread, rather than the tucks.


I was inspired to try blind tucks undulated with top stitching by the work of Anne Kyrro Quinn who sculps felt into amazing creations and I was keen to see if I could create the same look.  An example of a cushion in that style can be found here

and my attempt at a similar look:


I was quite pleased with this although was surprised at how long it took, how much fabric was required and have learnt the importance of being accurate with measuring and neat with the sewing.  The wider the tucks, the wider the space needed between the rows to keep the fabric flat.

Some more tucks:


I tried narrower blind tucks, undulated by top stitching but they weren’t as successful as the ones above.  The tucks weren’t as evenly spaced as they could have been and I think each third needed to be a little wider for the best effect.  Also, the sample may have benefitted from being stitched to a foundation fabric to keep it flat.  I think the snip fringed tucks would look good on a bigger piece, distressed by washing.  I think the randomly stitched tucks have potential and are more suited to my less than mathematical approach!

I enjoyed hand stitching the pattern tucking with running stitch and overcast stitching:


I stitched the following during the last assignment on some old curtain lining and tested inktense pencils on it.  They weren’t very dynamic so I coloured it with some left over oil paint on a roller.  I have included it here as I think it shows the interesting surface texture quilting can produce.


Leave a comment

Bibliography – Assignment 3

During this assignment, I have read extensively and made notes from some of the books.  They have all been of interest but, for the practical work, Contemporary Applique by Julia Triston and Rachel Lombard was indispensable and inspirational.  Fusing Fabric by Margaret Beal and Layered Textiles by Kim Thittichai were also very useful as I had no previous knowledge of heat tools.

Beal, M (2007) Fusing Fabric (Batsford) – A comprehensive, easy to follow introduction to working with a soldering iron.

Beaney J and Littlejohn J (2000) Complete Guide to Creative Embroidery (Page 94  Rediscovering Applique) – Interesting samples of textural applique work.

Beaney J (1997) Vanishing Act (Double Trouble Enterprises) – as above

Dodson B ((1985) Keys to Drawing (North Light) – helping me try different approaches to drawing

Campbell-Harding V & Grey M (2006) Stitch Dissolve Distort with Machine Embroidery (Batsford) – lots of useful information in here, of particular interest to me – dragging and experimenting with machine stitch.

Cole, Drusilla (2008) Textiles Now (Laurence King Publishing Ltd) – interesting collection of work and information on some of todays textile designers. 

Edmonds J (2009) three-dimensional Embroidery (Batsford) – Some contemporary examples of manipulating fabric.

Greenlees, Kay ( 2005) Creating Sketchbooks for Embroiderers and Textile Artists – A reminder of what to gather and differing approaches to sketchbooks

Grey M (2006) Raising the Surface with Machine Embroidery (Batsford) – not much for this assignment but a bit about bondaweb and heat tools.

Hedley, Gwen (2004) Surfaces for Stitch – a bit about Tyvek and heat tools.

Holmes C (2010) The Found Object in Textile Art (Batsford) – Considering re-cycling theme and good section on sketchbooks

Holmes, Val (2003) The Encyclopaedia of Machine Embroidery (Batsford) – reminding myself of a few techniques

Issett R (2007) Print Pattern & Colour (Batsford) – fantastic book I couldn’t get hold of during last assignment, love her use of colour.

Issett Ruth (2009) Colour on Cloth (Batsford) – as above

Leland, Nita (2011) New Creative Collage Techniques  (North Light Books) – a few ideas, read it on a kindle on a train,

Meech Sandra (2009) Connecting Art to Stitch (Batsford) – Looks interesting, borrowed to look at for ideas for theme book.

Parrott Helen (2013) Mark Making (Batsford) – Loved this book, also one I couldn’t get hold of for last assignment, lots of ideas for exploring with hand stitch.  Will be returning to it to look in more detail.

Perrin M (1999) Magnificent Molas The Arts of the Kuna Indians – lovely examples of reverse applique 

Quinn Bradley (2009) Textile Designers at the Cutting Edge Laurence King – fascinating insight to some of the designer textiles available today. 

Tellier-loumagne, Francoise (2006) The Art of Embroidery (Thames & Hudson) – Adored this book, wish it was in my collection – beautiful examples of embroidery, accompanied by photographs of inspiration. Another I couldn’t get hold of during last assignment.

Thittichai K (2011) Layered Textiles (Batsford) – very helpful information on tyvek, lutrador and evolon and heat tools.

Thittichai, K (2009) Experimental Textiles (Batsford) – useful section on developing design ideas.

Thorne, D (2009) Transparency in Textiles (Batsford) – useful section on shadow applique.

Triston J & Lombard R. (2014) Contemporary Applique (Batsford) – fantastic book, should be on the reading list.

Wolff C (1996) The Art of Manipulating Fabric (Chilton) – very informative but traditional. 

Embroidery Magazine, Sept/Oct 2014, The Photographer’s eye.  Melissa Zexter – embroidered photographs.

Selvedge Issue 62

Crafts Magazine Issue 252