Carol Ann Waugh shows the basics of her Stitch and Slash sewing technique, which creates wonderful texture and depth.

I spent today at a workshop revisiting a technique I'd not used for some time - faux chenille or stitch and slash work. I'd forgotten what a pleasure it could be - though one basic thing about it hit me fair and square as I was working. While colour choices are always central to the kind of textile work I do, in this case it seemed absolutely vital to work with a good colour palette since, in a way, that is what the whole thing is about - the juxtaposition of glimpses of colour against a textured top surface. Plenty of contrast was needed, both of colour hue and intensity. The idea was to work some samples, playing with the process - placing layers one on the other, mixing colours, varying fabric texture and pattern, and top-stitching the surface. I began dutifully, stitching a small cream on cream piece which had alternating layers of calico and cotton scrim using waving wandering lines (now there's a surprise). This was not exciting to do nor was the result worth a photo but I felt it was a warm up to the process. As I progressed, it proved useful to practice the technique again and later to experiment with top stitching. The thing I found most fiddly (I remember this from before) was cutting through the layers accurately and without cutting right through the whole thing. Our tutor, Sue Fereday, came up with a hint worth a million - a slim knitting needle to slide down the channels to separate them as I cut - what a great idea! The sample I include here was my most successful. By this time, I'd stopped following the rules, varying the width of the channels stitched, putting on some top stitching which spread over from one row to another ... and deliberately cutting right through all the layers to make lozenge-shaped holes. The detail left shows the stitching completed using some of the automatic patterns in my machine. It needs further work if it's to turn into anything but I was quite pleased with the colours and patterns I'd chosen to combine. If nothing else, I will need to give the whole piece a 'haircut' to remove all the untidy, shaggy ends - not so that it's too neat but just so that the eye is not distracted. Then of course, there is always the problem of what to do with the edge and how to mount it or use it ... or maybe it will just go into either my UFO or my sample box or into my current sketchbook. Time will tell.

Day 1 We started by delving into our stashes of fabric - we were told: don't be too selective, just pile on the layers of offcuts and remnants, using lots of colour. It was great fun!! Then we pinned on the top fabric, threaded up sewing machines and went for the curvy lines, spirals and grids .... We were making good progress by lunchtime, and in the afternoon, we completed the stitching and started slashing - cutting channels between the rows, taking care not to cut through the bottom fabric layer. This was much more difficult than anyone anticipated, and hard on the fingers! Evening - homework! We were to finish the slashing, then wash the whole piece and BASH it hard against a brick wall (careful not to wake the neighbours!). Day 2 The next step was to cut and fold back the layers in each grid square or diamond, and hand stitch to hold them in place. This was surprisingly time consuming. With all that completed, we could then start to line the bag. Fay had a good method for doing this, which would ensure that all the seams were neatly enclosed, but it took some getting the head around - origami but not for beginners! n.b. Don't forget to insert the magnetic fastener before making up. The end result : A stunning and original evening bag!

Carol Ann Waugh shows the basics of her Stitch and Slash sewing technique, which creates wonderful texture and depth.

Day 1 We started by delving into our stashes of fabric - we were told: don't be too selective, just pile on the layers of offcuts and remnants, using lots of colour. It was great fun!! Then we pinned on the top fabric, threaded up sewing machines and went for the curvy lines, spirals and grids .... We were making good progress by lunchtime, and in the afternoon, we completed the stitching and started slashing - cutting channels between the rows, taking care not to cut through the bottom fabric layer. This was much more difficult than anyone anticipated, and hard on the fingers! Evening - homework! We were to finish the slashing, then wash the whole piece and BASH it hard against a brick wall (careful not to wake the neighbours!). Day 2 The next step was to cut and fold back the layers in each grid square or diamond, and hand stitch to hold them in place. This was surprisingly time consuming. With all that completed, we could then start to line the bag. Fay had a good method for doing this, which would ensure that all the seams were neatly enclosed, but it took some getting the head around - origami but not for beginners! n.b. Don't forget to insert the magnetic fastener before making up. The end result : A stunning and original evening bag!

I first saw Tim Harding's work behind the reception desk at Discovery Cove in Orlando last year. The piece was a triptych commissioned from his Water Series. It was stunning. I loved the colours, the texture and the depth. It...

One of my samples based on Ruth's book One of my greatest pleasures in life, alongside art, is reading. Books have always played an important role in my life and I doubt there has been a day in almost 40 years when I haven’t had at least one book on the go. Actually these days I’m finding it harder and harder to finish books, so I think I currently have about ten on the go... Part of the joy of having children has been re-reading my old favourites with them and discovering new ones written more recently. As a child, my dream job was to be a second-hand bookshop owner or a librarian, but somewhere that got lost along the route and I became an accountant and finally a very happy artist. I wouldn’t swap my job now! Given I read so many books on art and textiles and occasionally, technique, I thought I would share some with you on this blog now and again. I hope you like my choices and if you have any others you think I should be reading, do let me know – I always love hearing about good books! Fabric Manipulation, 150 creative sewing techniques by Ruth Singer This book is only just out, published by David and Charles. It is amazingly comprehensive, dividing techniques into ‘Pleat & Fold’, ‘Stitch & Gather’ and ‘Apply & Layer’, along with a basic introduction to fabric, threads, tools and stitch techniques. Ruth encourages readers to experiment and make the techniques their own. Although there are some small projects in the book, its aim is definitely to impart some of Ruth’s huge technical ability to start readers on their fabric manipulation journey. That implies it is a book for beginners, it is, but there is also lots for more experienced stitchers as there cannot be many people with all these techniques in their repertoire. Many of the techniques come with ideas for further experimentation. In her samples, some have drawn illustrations to show how to make them as well as photographs and Ruth also gives advice of the fabrics she has used and what she thinks works well for that particular technique. Another of my samples using folding techniques from the book I had fun making some samples based on the book and it is also good for reminding you of things you have tried in the past but have forgotten. It is certainly a book I will return to many times, which, in my view, makes it a very good book indeed. Ruth runs workshops in Leicester and around the country and exhibits her work across the world. I think it is only fair to say that I have known Ruth for a number of years and it has been a great joy to watch her work develop and take off. She is a very hard working and talented stitch artist and teacher. But even if I didn’t know her, this book would be high on my wish list as it is so comprehensive.

I recently took an online class called “Stitch and Slash.” Taught by Carol Ann Waugh, it was extremely well done and tons of fun! As the name implies, the basic idea is to top stitch …

I recently took an online class called “Stitch and Slash.” Taught by Carol Ann Waugh, it was extremely well done and tons of fun! As the name implies, the basic idea is to top stitch …

Welcome to the Hoarder's Art Room, featuring the artworks of Helen O'Hara Explore textiles, printing and mixed-media in the galleries or find an in-person class in the workshops section. Visit the blog to see the latest creations.

Day 1 We started by delving into our stashes of fabric - we were told: don't be too selective, just pile on the layers of offcuts and remnants, using lots of colour. It was great fun!! Then we pinned on the top fabric, threaded up sewing machines and went for the curvy lines, spirals and grids .... We were making good progress by lunchtime, and in the afternoon, we completed the stitching and started slashing - cutting channels between the rows, taking care not to cut through the bottom fabric layer. This was much more difficult than anyone anticipated, and hard on the fingers! Evening - homework! We were to finish the slashing, then wash the whole piece and BASH it hard against a brick wall (careful not to wake the neighbours!). Day 2 The next step was to cut and fold back the layers in each grid square or diamond, and hand stitch to hold them in place. This was surprisingly time consuming. With all that completed, we could then start to line the bag. Fay had a good method for doing this, which would ensure that all the seams were neatly enclosed, but it took some getting the head around - origami but not for beginners! n.b. Don't forget to insert the magnetic fastener before making up. The end result : A stunning and original evening bag!

Layered Tyvek and polyester organza. We had a great day to day at Foredo wn Tower. I t was the f irst day of a two day workshop - Za...

A pillow made in my Stitch & Slash online class at Craftsy.com. Four layers of fabric are sewn together. The layers are then removed, one at a time, to reveal the bottom layer. Additonal decora…

As I continue to snip tiny slits into two sides of each square, I’ve been pondering the visual impact and wondering how I can refine it. At first I was trying to cut through all the layers bu…

Layers of newspaper and polyester organza stitched together and slashed and distressed to create faux chenille. One of the things we d...

After taking Carol Ann Waugh’s Stupendous Stitching class on Craftsy (which by the way I loved!) I was so excited to see that she was offering a new one, Stitch & Slash. Here is the class description: “Stitch & Slash is a fun way to create lots of wonderful textured fabric that you can use…

Carol Ann Waugh shows the basics of her Stitch and Slash sewing technique, which creates wonderful texture and depth.

A Stack N Slash quilt is the easiest way ever to make a quilt. It's a fun quilt to make when you just want to relax and play. Free printable.

We have imagined a Hand & Heart Warming Pillow which is a perfect use for our little fabric scraps and we hope yours too. It’s a small token of us to share with those who warm our hearts.

Day 1 We started by delving into our stashes of fabric - we were told: don't be too selective, just pile on the layers of offcuts and remnants, using lots of colour. It was great fun!! Then we pinned on the top fabric, threaded up sewing machines and went for the curvy lines, spirals and grids .... We were making good progress by lunchtime, and in the afternoon, we completed the stitching and started slashing - cutting channels between the rows, taking care not to cut through the bottom fabric layer. This was much more difficult than anyone anticipated, and hard on the fingers! Evening - homework! We were to finish the slashing, then wash the whole piece and BASH it hard against a brick wall (careful not to wake the neighbours!). Day 2 The next step was to cut and fold back the layers in each grid square or diamond, and hand stitch to hold them in place. This was surprisingly time consuming. With all that completed, we could then start to line the bag. Fay had a good method for doing this, which would ensure that all the seams were neatly enclosed, but it took some getting the head around - origami but not for beginners! n.b. Don't forget to insert the magnetic fastener before making up. The end result : A stunning and original evening bag!

The Sweatshort is made in the USA from 100% cotton fleece with a vintage wash to contribute depth and softness. The signature Fear of God fit is evident with the relaxed leg and dropped inseam. Additional details include slash pockets, an elongated drawcord, and a leather Fear of God label stitched at the center front.

Explore formitzymoo's 242 photos on Flickr!

Day 1 We started by delving into our stashes of fabric - we were told: don't be too selective, just pile on the layers of offcuts and re...

Explore variations in fabric chenille by changing the direction of the stitching lines and adding shapes and stripes. Discover great ways to incorporate slashed fabric into patchwork and applique projects.

Linking up (just under the wire) with Patti's Visible Monday! TOC Koos Van Den Akker Alterations and Modifications Conclusion More Pictures Pattern The seventh challenge was pretty straightforward: Using at least two prints, coordinate them to make an outfit. Use only the fabric prints you have chosen to make your pieces. Now this challenge is right up my alley! I love to mix prints. Almost immediately, I thought of a pattern that I've been wanting to make for years, Vogue 2971. It is a Koos Van Den Akker pattern released (I believe) in 2007. In fact, this pattern is now OOP. I didn't have a copy of the pattern in my current size, so Margy very kindly overnight'ed me her copy which is, ironically, no longer in her size. I had fun last Thursday at Stone Mountain & Daughter looking for fabrics for this ensemble - though it took awhile. The wrap top calls for a 2-way knit. The skirt calls for three woven fabrics, plus knit strips - on the envelope, the pattern uses strips from the same knit used in the top. This gives the outfit cohesion, and I followed suit. I used a striped ponte knit for the top and three quilting fabrics for the skirt. At first, I planned to use African fabrics for the skirt, but I couldn't find three that were quite right together. I then looked at the batiks and had the same problem. I finally found the black/white/red Alexander Henry print that I used for the central applique, and that became the focal point for the rest of the black and white fabrics. Koos Van Den Akker I love the work of designer Koos Van Den Akker! Born in the Netherlands (Dutch printed fabrics are some of the most beautiful in the world), Koos may well have absorbed his print mixing tendencies in utero. He has been living, and creating, in New York City for many years. In fact, he was famous for designing the wild sweaters that Bill Cosby favored in The Cosby Show back in the 80s. But that is old news. Koos is actively designing clothing that can be purchased at his NYC boutique and some of his designs make their way to Vogue patterns. I've been a fan of his Facebook page for a long time now and it is choc full of photos of his recent work. (He also has a website.) Koos is absolutely fearless about mixing prints and textures. He also loves to manipulate fabric to create new textures. Here are a few recent examples of his work: Two of my favorite makes are Koos patterns. (Clicking each picture takes you to the corresponding blog post.) Alterations and Modifications For the top, I made a size 16. The top is a bit over-sized and you might want to go down a size. I could definitely go down to a 14 and maybe even a 12 next time. (There will be a next time.) The boat neck is very deep and wide. When I held the pattern tissue to my body, I could see that once I narrowed the shoulder at the armscye, the resulting shoulder seam would be 1/2" wide. Far too wide a neckline for my narrow shoulders. I transferred a high jewel neckline from another pattern. After the shoulder seams were sewn, I then marked where I wanted the neckline to be (on the garment itself), and cut it down. I cut it down maybe 1-1/4" from the center front and center back. Changing the front and back neckline I narrowed by shoulders by 1-1/4". Since I changed the neckline, I didn't use the pattern piece for the neck binding. I use Sarah Veblen's neckline method and cut a 1-1/2" bias strip from the ponte. I do not have a tiny waist. I lengthened the ties by 8". If needed, I can always cut them down later. Lengthening the ties by 8" The pattern, which came out in 2007, instructs you to hem the bottom and the ties. I used a stable, non-raveling, ponte knit and didn't want that bulk, so I left the hems raw edged. I did hem the sleeves. They call for a 1/2" hem, but I hemmed them at 1". I did not do an FBA, as this pattern is generously cut and it was not necessary. For the skirt, I made a size 12. My hips, according to Vogue, are a size 10. My waist, according to Vogue, is a size 18. But I measured the finished waist on the size 12 and it was about 34", which is enough ease for my 32" waist. (The hips on the pattern are far more than 34", so I was fine there, too.) Given that there was enough ease for my waist and hips, I omitted the back zipper. I cut the back yoke on the fold. The pattern calls for an elasticized waist. I used my own pattern piece for that. I pinned the front yoke to the center front pattern piece and held it up to my body. It dragged on the floor. I am 5'5" and this skirt is *very* long. The pattern does not tell you how to lengthen or shorten it, and the pattern has a very shaped, very unusual hem, making it difficult to shorten after the fact, so I had to figure out how to shorten it before cutting it out. I first shortened the center front piece (#6) by 4". The yoke front (#5) is pinned to the front (#6). I have folded out 4" of length from the front. There is a little dot about 8-1/2" up from the hem on both sides of the center front (#6) piece. I had to remark that on the pattern (because it was in the area I had folded out). This is a *critical* dot, so make sure you remember to include it on the pattern, and to mark it on the fabric. (The most critical markings on this pattern are the large and small circles. Mark all of those.) I had folded out the small circle, so I remarked it (the little black dot). Next, I had to figure out how the rest of the pattern went together. It is *highly* non-intuitive: you are sewing straight lines around square corners six times during construction. I finally figured out that the other place I had to shorten was on the Lower Front and Back pattern piece (#12), in the long direction. However, you want to shorted 4" at the side seam, but the side seam is slightly curved. This translated to removing 3-7/8" from the vertical direction. Lower Front and Back (#12), shortened by 3-7/8" in the long direction I also had to shorten the front applique (#7). I had already cut it out, and I laid it on the skirt front, after attaching the front yoke to the center front. I decided to remove only 2" (despite shortening the skirt by 4"), and I removed it from the top of that pattern piece. Removing 2" from the top of the applique (#7), which I had already cut out Finally, I had to shorten the "spaghetti" strings, cut from the striped knit, that snake around on the front applique. I cut these to the original length of the pattern, laid them on the front in my designed design, and only trimmed them to length once I had positioned them and was sure of the desired length. Each of them ended up being slighty different lengths. The applique is designed to be cut on the bias. You attach it to the front after the yoke has been attached to the lower front with a gently curved seam. The bias makes it easier to work with the non-flat surface. However, I really wanted to cut the applique out on grain, so that I used the red print to its maximum effect. I managed to make it work, but it was more difficult and I don't recommend it. The only other modification I made was due to a slight cutting error. The largest pattern piece, Lower Front and Back (#12), is to be cut on the fold at CB. I didn't have enough fabric to do this, so I had to introduce a CB seam. This pattern is fairly quick to sew up. Once I had completed the alterations on the top, and matched the stripes on cutting it out, it sewed up lickety split. The skirt, while a bit mind bending on how it goes together, really isn't that time consuming either. I started this project on Saturday morning. I cut and sewed almost the entire skirt on Saturday. (I realized late Saturday, when everything was finished (including the long hem), except for the waistband, that I hadn't put on the little snakes on the front applique. That was lucky because you want to do that before attaching the waistband.) On Sunday, I completed the snakes, the waistband, the pattern alterations for the top, and made the top. The entire outfit in one weekend, though it was after dark when I finished. Not too shabby! (I had to wait until after work on Monday to take the pics.) Conclusion I love this outfit! I will definitely make the top again. I'd love it in solid black and maybe in a few other colors. I will have to play with a smaller size. When you put it on, it requires a bit of manipulation to get everything just so, but I think it will be fun to wear. Also, the skirt is fabulous. If you are concerned about it being too dramatic, it would still be wonderful without the front applique and snakes. In fact, it would still be wonderful made out of a single fabric. More Pictures Holding out the skirt. (My fingers are in the in-seam pockets.) Pattern Vogue 2971

I spent the whole morning stitching. The tiny squares are silk and were very hard to handle. It was worth it.