Making Meaning Podcast Episode 19 with Alice Fox

Alice’s practice is deeply embedded in land and place. She makes with found and natural materials using textile processes and others drawn from basketry and bookmaking. Alice and I met some years ago through exhibiting in the same places and having a shared understanding of making a living as an artist and in particular, writing books about our work. Alice is well-known in textiles for her book Natural Processes in Textile Art and her new book Wild Textiles comes out this September. In this podcast we talk about her journey to the materials and engagement with the land which guides her work and the many complexities of being a working professional artist who wears many hats. We share having textiles as a second career too and talk about the many positive aspects of this in the work we do now. This is a great conversation full of stories and details about Alice’s life and work.

The desire to take an ethical approach has driven a shift from using conventional art and textile materials into exploring found objects, gathered materials and natural processes. The work that I makes is process led. I gather the materials that are available to me, testing, sampling and exploring them to find possibilities using my textiles-based skill set and techniques borrowed from soft basketry. I make sculptural works, often on a small scale and bringing different materials together to form tactile surfaces and structures.

Alice Fox

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Alice’s books


Further info

Alice is represented by Jaggedart


Making Meaning Live Gathering

Craft telling stories

Let’s get together to talk about craft and narratives. Making Meaning Live is an online event full of creativity, connection, conversation and the stories behind what and why we make.  It’s for artists and makers, teachers, curators, and collectors, anyone with an interest in craft and storytelling. I’ll be bringing together makers to talk about and share their work in a sociable online space.  It’s open for bookings now, and it’s completely free!

It’s not a standard online conference where you just sit and listen. It’s much more active. There will be different kinds of sessions including discussions, films and small groups to meet and talk to others. There will be things to do and take part in or you can just listen if you prefer. You can meet like-minded people and be part of fascinating conversations to spark your creativity and learn new things. And it’s free. Book your place here.


Maker Membership

My Maker Membership is now open for all makers wanting to explore their motivations and to build meaning and research into their practice and be part of a supportive creative community. We meet once a month and I share resources, tips and research to help you develop your own work. Find out more here.

Making Meaning Podcast Episode 18 Textiles In Lockdown

Textiles in Lockdown was a wonderful project I worked on in 2020. Gawthorpe Textiles Collection commissioned me to research textile making practice during the 2020 lockdowns and to create a digital resource for their museum collection. I chose to make a podcast and ebook for them, sharing your stories of stitching and sewing during the first few months of the pandemic. It was such a wonderful project for me and I know it meant a lot to so many to have their work and story captured in this podcast and ebook. In this episode I introduce the podcast and afterwards talk to Gawthorpe Textiles Collection Director Charlotte Steels about the project and its impact.

About Gawthorpe Textiles Collection.

Gawthorpe Textiles Collection was founded as an educational charity for the teaching of practical craft skills by the Honourable Rachel Kay-Shuttleworth MBE, inspired by the ethos of the Arts and Crafts Movement. As an accredited museum today we continue to preserve this rich craft heritage and to share it with the public through exhibitions, artist collaborations, formal and informal learning opportunities and outreach, working with diverse communities.

Further information

The survey is still open if you want to contribute your story

Textiles in Lockdown is still available to buy in paperback here

We are currently working in collaboration with the University of Central Lancashire and Super Slow Way to create an online digital resource linked to the textile heritage of Lancashire. We will be producing cross collection curations from heritage venues across the region and there are opportunities for public interaction contributing towards curation and research. The first version of the website will be launched in June 2022, to receive project updates you can subscribe here

Textiles in Lockdown was funded by Arts Council England.


Play here




Making Meaning Live Gathering

Craft telling stories

Let’s get together to talk about craft and narratives. Making Meaning Live is an online event full of creativity, connection, conversation and the stories behind what and why we make. 

It’s for artists and makers, teachers, curators, and collectors, anyone with an interest in craft and storytelling. I’ll be bringing together makers to talk about and share their work in a sociable online space. 

It’s not a standard online conference where you just sit and listen. It’s much more active. There will be different kinds of sessions including discussions, films and small groups to meet and talk to others. There will be things to do and take part in or you can just listen if you prefer. You can meet like-minded people and be part of fascinating conversations to spark your creativity and learn new things. And it’s free. Find out more here.


Maker Membership

My Maker Membership is now open for all makers wanting to explore their motivations and to build meaning and research into their practice and be part of a supportive creative community. We meet once a month and I share resources, tips and research to help you develop your own work. Find out more here.

I run Maker Membership through Podia which is an online school platform. If you are thinking of creating an online workshop website or similar online community through podia, please use my affiliate link below to sign up. Thank you ! https://www.podia.com/?via=ruth-singer

Making Meaning Podcast Episode 17 Maker Membership

I truly believe that connection and community are vital to creativity. It’s hard to be making work on your own without conversations, feedback and inspiration from others. I created Maker Membership, my online community, during the pandemic to bring makers together to share, talk and be inspired. This podcast episode is based around one of our Membership Live group sessions with three long-standing members Alison Foster, Cheryl Hewitt and Lucie Bea Dutton discussing their work, development and the support they receive from Maker Membership.

Maker Membership is an online community for makers who want to build more meaning, research and connection into their creative practice. It’s a wonderful creative space that I am so proud of creating during the pandemic to enable connection and creativity to flourish. We have members from across the world, involved in all kinds of different making practice. As well as monthly resources, reflections and blog posts from me, I host a monthly group mentoring session for anyone who wants to talk about and get feedback on their work in progress. I’ve re-created one of those sessions for this podcast so you can share the fascinating stories and thinking about creative practice from our members.

You can hear more from members about their creative practice in Making Meaning Live Gathering in July, an online social event to talk about craft and narratives as well as from other professional makers and creatives, all for free. This episode has been supported by Nicola Thomas through my crowdfunder. Thank you Nicola!

The Members in this podcast are

Alison Foster: I am drawn to the past and inspired by how people used to live, the unspoken, forgotten & hidden, as well as literature, science and natural history. I am fascinated by historical clothing for the intimate connections to the wearer and the memory and stories that garments may hold – what they tell us about the past and how this links to the present and future. I greatly enjoy working with old textiles and papers and I’m developing my practice to include historical stitching techniques, cameraless photography and printing. I have no professional training in textiles but I love learning and connecting with other creative people who inspire me.

Cheryl Hewitt: I am a Herefordshire based hand stitcher, storyteller and maker of curious things. I happened upon my practice after being a stay at home mum and returned to my studies at Hereford College of Arts, where I achieved a Masters degree in Contemporary Crafts. My practice involves repurposing and responding to materials that have had a previous life, making and stitching new, sometimes playful stories with them. I often make dolls and 3D objects that communicate themes of childhood memories, absence, loss and repair. I like the idea that my objects have been rediscovered after being lost or forgotten and I like them to have an ancient or old feel to them. Another part to my creative practice is that I work at About Face puppet theatre company where the actors have learning difficulties, I work with the actors and director, I maintain and I am also learning to make puppets of different sizes. I am also the co-founder of Laughing Betsy, creative workshops run by myself and another artist within our local community.

Lucie Bea Dutton: I am a handstitcher – I have focused on quilting in the past but am also producing flatter embroidered work at present as part of my large Cromwell Trillogy project. This long-term project was inspired by Hilary Mantel’s Cromwell trilogy; I worked on a 46 feet long stitched and quilted interpretation of Wolf Hall during lockdown, and am currently working on The Mirror and the Light, which is rather more fluid in format.


Play here





Making Meaning Live Gathering

Craft telling stories

Let’s get together to talk about craft and narratives. Making Meaning Live is an online event full of creativity, connection, conversation and the stories behind what and why we make. 

It’s for artists and makers, teachers, curators, and collectors, anyone with an interest in craft and storytelling. I’ll be bringing together makers to talk about and share their work in a sociable online space. 

It’s not a standard online conference where you just sit and listen. It’s much more active. There will be different kinds of sessions including discussions, films and small groups to meet and talk to others. There will be things to do and take part in or you can just listen if you prefer. You can meet like-minded people and be part of fascinating conversations to spark your creativity and learn new things. And it’s free. Find out more here.


Maker Membership

My Maker Membership is now open for all makers wanting to explore their motivations and to build meaning and research into their practice and be part of a supportive creative community. We meet once a month and I share resources, tips and research to help you develop your own work. Find out more here.

I run Maker Membership through Podia which is an online school platform. If you are thinking of creating an online workshop website or similar online community through podia, please use my affiliate link below to sign up. Thank you ! https://www.podia.com/?via=ruth-singer

Making Meaning Podcast Episode 16 with Claire Wellesley-Smith

Wellbeing through stitch and communal creative practice runs through Claire’s practice, writing and projects. She’s just completed a PhD exploring this subject in depth and we both love talking about the importance of community making practice, about textile and local heritage and about the power of textiles to change lives in all kinds of subtle ways. This conversation ranges across all these areas of interest and we talk about how our work in communities is so important yet so often overlooked in the wider art world. I was honoured to be included in Claire’s recent book Resilient Stitch – more about this below and also grateful to her for sharing her thoughts on textiles and community making for Textiles in Lockdown podcast which I made in 2020 with Gawthorpe Textiles Collection. That’s coming out on this podcast very soon so you can catch up with it right here. Claire has just relaunched her incredibly popular online teaching sessions, again links below. Claire will also be part of Making Meaning Live Gathering in July, an online social event to talk about craft and narratives. I hope you enjoy this conversation and our delve into textiles and community.

Claire Wellesley-Smith is an artist, writer and researcher based in Bradford. Her practice includes long-term community-based projects and residencies that use textile making to explore textile heritage. Her PhD research with The Open University is multi-site ethnographic research into community resilience through engagement with textile heritage and craft and is based in post-industrial textile areas in West Yorkshire and East Lancashire. Her most recent book ‘Resilient Stitch: Wellbeing and Connection in Textile Art’ was published by Batsford in 2021. She teaches and lectures internationally.


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Claire’s Books


Resilient Stitch

Claire asked me to suggest some pieces of my work for inclusion in the book and write about what resilience means to me. I sent her a selection of my work, mostly from my 2018 Emotional Repair exhibition. She chose this piece, Forget.


Making Meaning Live Gathering

Craft telling stories

Let’s get together to talk about craft and narratives. Making Meaning Live is an online event full of creativity, connection, conversation and the stories behind what and why we make. 

It’s for artists and makers, teachers, curators, and collectors, anyone with an interest in craft and storytelling. I’ll be bringing together makers to talk about and share their work in a sociable online space. 

It’s not a standard online conference where you just sit and listen. It’s much more active. There will be different kinds of sessions including discussions, films and small groups to meet and talk to others. There will be things to do and take part in or you can just listen if you prefer. You can meet like-minded people and be part of fascinating conversations to spark your creativity and learn new things. And it’s free. Find out more here.


This episode is sponsored by Beyond Measure, a shop of beautiful things for folk who make.

Maker Membership

My Maker Membership is now open for all makers wanting to explore their motivations and to build meaning and research into their practice and be part of a supportive creative community. We meet once a month and I share resources, tips and research to help you develop your own work. Find out more here.

Making Meaning Podcast Episode 15 with Louise Jones-Williams

I’ve been enormously lucky over the last 10 years or so to work with Louise at Llantarnam Grange on both group and solo exhibitions. In this conversation we talk about how she creates and curates exhibitions, finds artists to work with and shares stories through craft. We also talk about the importance of the artist-curator relationship, about my work with her and the gallery and how important exhibitions are for both artist and visitor. This was recorded in person at the gallery in March 2022.

Louise has worked in the arts in South East Wales for over 25 years and became Director of Llantarnam Grange Arts Centre in 2019. She is part of a committed and talented team and leads on the strategic business and creative direction of the organisation, liaising with partners and networks to develop relationships and projects. Louise is an experienced curator whose exhibitions have focused on ideas of domestic heritage, the role of women’s work in society and storytelling. Louise has been a selector for several guilds and craft festivals including Makers Guild in Wales and the Contemporary Craft Festival.

Square image with swirl circle logo including portrait photo of Louise Jones-Williams, a white woman with white blond hair. Text says Making Meaning Podcast with Louise Jones-Williams. Hashtag Making Meaning Podcast. @llantarnam-grange (instagram link)

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Images show in-conversation and preview events with me at Llantarnam Grange. There is a recording of my Textile Traces 2019 exhibition launch conversation with me and Polly Leonard, Editor of Selvedge here.

The current exhibition at Llantarnam Grange is The Sketchbook, curated by Louise and Exhibitions Officer Savanna Dumelow continues until 11th June


Maker Membership

My Maker Membership is now open for all makers wanting to explore their motivations and to build meaning and research into their practice and be part of a supportive creative community. We meet once a month and I share resources, tips and research to help you develop your own work. Find out more here.

Making Meaning Live Gathering

Craft telling stories

Let’s get together to talk about craft and narratives. Making Meaning Live is an online event full of creativity, connection, conversation and the stories behind what and why we make. 

It’s for artists and makers, teachers, curators, and collectors, anyone with an interest in craft and storytelling. I’ll be bringing together makers to talk about and share their work in a sociable online space. 

It’s not a standard online conference where you just sit and listen. It’s much more active. There will be different kinds of sessions including discussions, films and small groups to meet and talk to others. There will be things to do and take part in or you can just listen if you prefer. You can meet like-minded people and be part of fascinating conversations to spark your creativity and learn new things. And it’s free. Find out more here.

English Smocking

It’s been fascinating recently seeing smocking pop up in my Instagram feed. It feels like there’s been a flurry of new interest in this old technique recently.

Traditional English smocking has a very fine history from farming smocks of the mid-19th century to to Aesthetic Liberty gowns of the late 19th century as well as a revival in the 1970s.

I first experimented with traditional English smocking for my book Fabric Manipulation, and of course, being me, did quite a bit of research too. With most of my textile history research, my focus is on learning the technique, seeing historical examples and then experimenting to understand it myself. I love to then break the rules, try new approaches and see where the technique takes me. A few years ago I was involved in an academic research project to explore how smocking might be revived in contemporary practice, could it be mechanised, how could it be adapted to make it easier. It was fascinating.

I used smocked fabric to create these two experimental pieces in concrete during my collaboration with Bethany Walker which remain some of my favourite works we created. We went on to use the ideas from this to create Urban Growth with a group of young people.

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A short history of smocking

Smocking, like so many textile techniques, has a rather secretive history. From what I can find out, the technique of smocking is often confused with the garment called a smock. For centuries, women’s main undergarment was a nightdress-like linen smock, which could be decorated, were she wealthy enough, but often was not, and there’s not much evidence of this garment being decorated with actual smocking. There are a number of Tudor portraits which appear to show smocking on smocks necks and cuffs but it is impossible to say for sure if they really are made by smocking – which is a decorative stitching on top of previously pleated or gathered fabric.

This Spanish child’s smock, dating somewhere between 1700-1800 has what looks like proto-smocking; gathers overstitched with black thread for decorative effect. The garment most commonly called a smock nowadays used to be called a smock frock, which sort-of helps distinguish it. This practical, although decorated, garment developed during the 18th century as a protective, enveloping apron-like shirt worn by manual and agricultural workers to keep their clothes clean. It may well have developed from the voluminous, washable, linen undergarments that men and women continued to wear to keep their outer clothes clean from body odour and sweat.

Smock-frocks as we know them now, are made from rectangular pieces of cloth (no curves so no fabric waste) with gathering to create shape. Gathering pulls in the fabric which is then released below, to create an easy-to-wear and practical smock. Smocking itself allows the fabric to stretch a little which would also increase wearing comfort. In addition, smocking creates a thick, dense fabric full of small air pockets which act as insulation – a welcome benefit in outdoor work, as well as the protection of thicker layers.

As with many other practical garments, they could be embellished and embroidered. When smocks first began to have decorative stitching is unknown, but those that survive from the early 19th century can be stunning. Of course, the finest ones that were looked after are the ones that survive, and the every day ones, worn out and threadbare, would have been recycled rather than preserved, so we tend to see only the best examples.

By the end of the 19th century, the smock was out of favour – many agricultural workers having had to move to cities and work in factories, for which a flowing garment was impractical. Just as the farmers’ smock goes out of style, the technique of decorative smocking starts to come intostyle in fashionable circles.

The women of the aesthetic movement (closely associated with the Pre-Raphaelites) took to wearing loose-fitting, ‘healthy’ garments which didn’t require the wearing of a corset. The style of flowing and comfortable garments were heavily-influenced by smocks, along with other styles of dress, and it was unsurprising that smocking was also used to create shaping and decorative effects. This velvet example at FIT is stunning.

Smocks were also popular for aesthetic children’s wear, judging by this Liberty of London child’s smock, a fancy silk version of the traditional rural garment. Patterns using the techniques appear in women’s magazines too, such as this smocked bag from a 19th century magazine.

Part-worked smocking on light wool fabric, mid-Twentieth century

In the early 20th century, smocking appears in women’s magazines and sewing manuals on garments, domestic textiles and children’s wear, such as this example from the Women’s Home Companion, 1916. The 1930s and 1940s were the heyday of patterns and innovative stitch development along with some stunning uses of the simplest honeycomb stitch pattern such as this velvet dress by Maggie Rouff. As with many crafts, smocking was revived in the 1970s when such delights as the smocked plunge-neckline swimming costume was created….alongside Victorian-esque party dresses for women and girls, made popular by Laura Ashley. It is also sometimes seen on folk or traditional costume from Europe. This 19th century Russian blouse makes beautiful use of shaped smocking on the cuff.

True smocking is hand stitched, and incredibly time-consuming to prepare. The reverse fabric is marked with regular dots (for which embroidery transfers were produced) or marked with a grid, then regular stitches are made right across the piece to create completely even rows of gathers. The decorative stitches are worked from the front side and can be as simple as honeycomb stitch (my personal favourite) or covered with complex and varied designs.

Faux smocking using shirring elastic came in during the smocking craze in the 1970s, and it is this much-faster technique that became most commonly used for women’s and girl’s dresses, including many of the Laura Ashley classics.

American or Canadian smocking is a different technique altogether. This type of smocking is all worked from the back, with the gathering and decorative pattern-making all rolled up into one. The earliest example of this technique that I have ever seen is on an 18th century French dress, now in the Metropolitan Museum of Art.

Ruth Singer smocking

Sewing manuals of the 19th and 20th century don’t seem to include reverse / American smocking, so it may be that it was fairly unknown to the amateur sewer, and only occasionally used by the professional. It became very fashionable in the 1930s and 40s and had a renaissance in the 70s.  The most popular use of this technique was on cushions square, bolster and round cushions in synthetic velvet from the 60s and 70s.  There’s no shortage of brilliant patterns for products using American smocking, some of which I have gathered on my Smocking Pinterest board, along with other historic and contemporary forms of smocking.

As English smocking is such a time-consuming technique, it doesn’t seem to be used that much in clothing, but it does sometimes still appear in couture, like this Versace piece, which is glorious at odds with agricultural smocks! If you are intrigued by these gorgeous techniques, please have a look at my book Fabric Manipulation which explains the basic technique. Do join my mailing list to hear about any workshops or online classes in this technique, and also have a look at my Textile Study Space where I share textile technique snippets.

Words about Women co-creation artwork

Would you like to stitch part of a collaborative artwork for my Criminal Quilts project? Throughout the years I’ve research women in Stafford Prison, I’ve noticed the words used to label women. The nature of the prison documents means the words are quite judgemental and absolute.

With this project I want to reflect on the words used to describe and label women then and now. The artwork will be made of stitched words, both positive and negative, created by women participants through community workshops and women working on them at home. Being part of a collective project about women’s lives and the perception of women is really powerful. I’d love to hear your voice in this work. Find out more and how to contribute your stitched words on my website here.

I’ll be running free drop-in sessions at Llantarnam Grange on International’s Women’s Day 8th March, stitching words for the artwork. You can book yourself a space here.

Criminal Quilts talks & workshops

I’ve got a short series of Criminal Quilts talks coming up in March. These are online live talks on Wednesday lunchtimes at 1pm, but they will all be recorded so you can watch later too. Each talk is £8 or you can book the series for £20. There’s also a discount for the Embroidered Images workshop when you book any of the talks or you can get a bigger discount if you book all talks and the workshop together. Book here.

Wednesday 2nd March Introduction to prison photographs and my research for this project

Wednesday 16th March. I’ll be talking about the textiles I have made in detail including the techniques and materials of my pieces

Wednesday 30th March. This talk is about my research into the clothing worn by the women in the photographs including prison uniform

Online workshops

I’ve got two workshops coming up in March and April.

In the Shadows teaches the technique I used to create my Fine Art Textiles Prize winning piece Criminal Quilts Hanging.

In the Shadows, reverse appliqué in sheer fabrics, 19th March. £75

Take applique and layering to the next level with this exciting technique of using transparent fabrics layered and cut away. Using sheer fabrics, you will learn how to prepare and hand stitch a design by hand and create the subtle shadow effects by removing layers of fabric. This is a one-day equivalent workshop with pre-recorded videos for you to watch from 10am GMT and a live Zoom at 4pm GMT to share with others.


Embroidered Images workshop includes a digital printed image of one of the prison photographs, ready for you to stitch into.

Criminal Quilts Embroidered Images 23rd April £80

The prisoner photographs from Stafford Prison are both moving and inspiring. In this workshop you will have the opportunity to stitch your own embroidered image using a digital print which will be sent to you in advance of the workshop (additional £8 postage for outside the UK) This includes: – 6 video lessons – Live Zoom introduction – Digital printed fabric posted to you – Colour palettes & stitch suggestions.

Introducing Textile Study Space

One of the things I have missed during the pandemic is getting together with others in the same room and sharing textile techniques, ideas, seeing samples and threads, textile treasures and books. In 2022 I’m starting to run a lot more online textile workshops but I wanted to also do something more modest and accessible alongside. I wanted a space where I could share my love of textile techniques in a smaller way. From late January I will host a Textile Study Space on Patreon, a subscription site where I will gather and share fragments of textile. There will be mini tutorials, technique ideas, historical examples, pieces from my work, sketchbooks, samples and also from my historical museum of old and usually damaged textiles collection .

I want this space to be low-key and unpressured, somewhere you can explore textiles at your own pace, pick the things that interest you and explore. There’s no fixed outcome, you don’t have to make anything, it’s just there to inspire. There will be very low minimum price per month of subscription but if you find it valuable and can afford a bit more, the amount you pay will be flexible. I hope that will be nice and democratic, allowing textile enthusiasts who love what I do to be part of my creative world without the cost and commitment of other online programmes.

To find out when Textile Study Space opens, sign up to my mailing list here and I’ll let you know. I hope you will join me, I can’t wait to share some of the textile treasures in my studio.

Project Books

In my Maker Membership group, sketchbooks come up a lot. Some love them, some are terrified by them and some are just not sure. I thought I would write about my own use of sketchbooks or project books as I prefer to call them. Using books to collect ideas, information, images, notes and samples is something I’ve come to later in my practice but I am so grateful for it now. I love making books about the work I am developing and find them enjoyable and inspiring to make and endlessly useful and fascinating to revisit. 

I don’t like the term sketchbooks as it implies drawing and like many textile makers, drawing is not part of my process. I sometimes do annotated simple drawings but I don’t sketch. I struggled through my A-Level art aged 18 with some additional drawing tuition and have done very little representational drawing since. It’s just not a process I enjoy. I love mark making and creating patterns with pens, pencils and crayons and created a book of patchwork-inspired designs for colouring a few years back. 

My ‘sketchbooks’ are usually created for a specific project. The first one I properly worked on was for a commission called Metamorphosis . The people who commissioned the work were keen to show sketchbooks as well so it was a good exercise for me in creating something I was happy to share. 

I didn’t fill the small sketchbook for this project so it became a more general studio book instead. Studio books are where I keep samples, ideas, notes, fragments and other inspiring things that are otherwise loose in my head or in my studio. I go through phases of keeping these but I never regret it. 

Since that project / studio book, I have created many others. I usually have a very general studio book on the go which has measurements, calculations, lists, sums, designs and working notes for whatever I am working on at the time. I don’t have one at the moment, it has tended to be when I am doing a lot of design work and exhibition planning and that’s not what I am doing these days. 

What I have kept up is the project books. For the Leicester University genetics residency in 2017, I used an A3 book which gave me space for lots of drawing, notes, images and mind maps. 

For the first part of Criminal Quilts, I had notes and sketches and ideas in a lot of different notebooks and studio books and really regretting not keeping it all in one place. When I started the 2017-18 Criminal Quilts residency, I knew I needed to keep a project book which I would share as part of the project. It has been to many workshops, talks, events and open days. Although I started making it as a public resource, it is also my working sketchbook or planning book. I have notes of pieces that I have since made or since abandoned, and things that are parked for the future. It has a lot of notes, lists, scribbles, mind-maps and drawings as well as the collected materials of inspiration. It helped me to have all this in one place while I was doing the residency as so little of the project happened in my studio. I was able to carry it all around with me. Having said that, the huge heavy hardback book I chose, whilst being perfect for display, was a pain to carry around on the train / on foot! I used a wheelie suitcase a lot for that project as my sketchbook was too big for a rucksack. 

For the Libraries Live commission in 2019 I made a quilted book and a series of activity kits for library visitors. Throughout the residency I kept a decorative sketchbook intended as a record of my workshops and to inspire workshop participants. I decided to include the sketchbook as part of my commission as I felt it belonged with the other elements. As this was a commission, it was very different to my own work and has quite an unique identity. These photos are professional shots taken for the project and a nice record of the work for me to look back on. 

My current studio books and project books are quite experimental including collage and print work and some gathering of inspirational materials. Before I packed away my studio to move over the summer I started working on a book of things that were lying around but worked well together. Postcards, samples, fragments, old paper and cloth, images and notes. This is not about a specific project but a process for me of making use and sense of the inspirational things I have around which might otherwise be on the walls or getting in the way in my studio. I refer back to this a lot – I simply enjoy looking at it and letting my ideas flow. 

I have also got one which is purely for experimental collage and print work which I have just re-found after moving. 

For my textile projects I have two ongoing project books, one about quilts which I started when I did my Fragments exhibition in 2017 and another which I don’t have a name for which is about my long-term research about damage and decay. 

Writing this has made me think more about sharing some of my sketchbooks in a digital form which may or may not happen, but either way it has made me excited about getting back to my project books and adding more to them. Do you use sketchbooks or research books to gather your thoughts and inspiration? I’d love to hear about them. 

There’s more about creating and using project books within my Maker Membership site. Membership is open now for anyone who makes and wants to build more depth and meaning to their craft practice, connect with a like-minded community and work with me. It costs £25 a month and you can join for as long as you need to. Find out more here or use the button below to join.