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

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.

Developing a body of work

Maker Membership with Ruth Singer, for textile makers who want to be inspired, creative, imaginative and make work with meaning.

When I was starting out as a textile maker, I really struggled with the reality of making a consistent body of work. I made all sorts of things in all kinds of designs, textures, patterns, colours and materials. I just wanted to make what I wanted to make. I don’t have a textile degree or any formal education as an artist / maker and really hadn’t had to create a consistent style for myself. As things progressed I became more and more aware of this being a problem and that it was holding me back from making an impact with my work. Fabric manipulation became my trademark and that helped me refine my style quite a lot. I used one technique on each piece of work and mostly used the same fabric throughout which really simplified and toned down all my colourful and textural excesses. I also fixed on making pieces on frames / panels which again slowed down my need to make clothes, bags, cushions and ALL THE THINGS.

Even while making this work I had other creative outlets including designing for books and magazines, so I did get to use some of the extra ideas without confusing my actual exhibition work too much. I never really got the hang of a consistent colour palette though, using the excuse that I worked with recycled fabrics and had to use what I could get rather than buying within a colour range. It was a slow development from this kind of work to what I do now but there were two projects which really forced me (in a good way) to change the style of my work for good.

These pieces, Monumental Folly, were pivotal in changing the way I worked. I chose to work with fabric manipulation techniques but add in a few other materials and processes and work with a very subtle palette. Above all though, these pieces had a narrative and meaning for me and that was what really worked. It then took me years to show these to anyone and exhibit them as I struggled to know if they were good. I was lucky to get some amazing feedback from the brilliant Emma Daker (Craftspace) who encouraged me to show them and later awarded me a prize for this work. That really helped me press on with the idea of making narrative work with limited colour palettes and with a strong underlying thread of history, building on my previous career in museums.

Around the same time I also started on the first Criminal Quilts pieces, directly as a result of making the Monumental Folly pieces. It was a huge creative challenge to create work from a criminal justice building rather than purely textile inspiration but it was a steep learning curve that has set up my career for the last 10+ years and helped me find exactly the right niche in textile art where I belong.

This process of creative challenge, revision, limitation and experimentation has helped me find my unique creative voice and allowed me to be consistent and considered in my ongoing work. I diverge and do slightly different things, bring in new techniques and sometimes colour palettes, but I feel now that I have a recognisable style and theme which brings all my work together.

Maker Membership is my online programme which I hope will take makers (and aspiring makers) towards finding this special place themselves. Creating work which is meaningful, consistent and imaginative.

What is Maker Membership?

It’s about tapping into your own interests, researching, thinking, considering, editing, testing and rejecting lots of ideas until the right one filters out. My approach to teaching in Maker Membership is about growing your confidence in exploring and refining your ideas. It’s about seeding those ideas with research prompts and exercises in exploration and investigation and then refining your thoughts to filter out all the excess to get to the thing that’s important. 

This programme is not about learning to make what I make, it’s about learning to think like I do and applying textile skills that make sense with the meaning of your work. 

What will it be like?

Each month I will create resources (audio, video, written – it will vary) around a theme which fits into a quarterly over-arching topic. Members can then develop their own ideas, sketchbooks (if they want), samples and research in a way that works for them. There’s no testing, no right or wrong and no fixed outcome that you have to produce. Everything is digital so you can join from anywhere in the world. There will be a monthly live ‘thing’, probably on Zoom but I will tweak that as we get going and adapt to what suits the members best. You can fit it in around your commitments and make it part of your daily /regular studio practice. The membership runs through the established teaching platform Podia and you will get emails with all the content. You can find out more here.

Are you ready to learn and grow with me?

Membership is £25 per month and you can stay as long as you need.

Where do you get your ideas from?

Maker Membership with Ruth Singer, for textile makers who want to be inspired, creative, imaginative and make work with meaning.

I get asked this question all the time, as though people are looking for The Magic Answer or trying to understand how I do my research and develop original ideas for my creative work. It’s something I’ve pondered a lot and for years had an idea that I could share some of this process in a workshop or course. One of the things I always say is that ideas take a long time to filter, percolate and turn into the thing you see. This is a case in point. It’s probably 6 or 7 years since I wrote myself a note to create a course which helped others through this process. And finally in 2021, here it is. I’ve created Maker Membership, an online programme which I hope will take textile artists (and aspiring artists) towards The Magic Answer.

What is Maker Membership?

It’s about tapping into your own interests, researching, thinking, considering, editing, testing and rejecting lots of ideas until the right one filters out. My approach to teaching in Maker Membership is about growing your confidence in exploring and refining your ideas. It’s about seeding those ideas with research prompts and exercises in exploration and investigation and then refining your thoughts to filter out all the excess to get to the thing that’s important. 

This programme is not about learning to make what I make, it’s about learning to think like I do and applying textile skills that make sense with the meaning of your work. 

But where do you get your ideas from?

Mostly I develop new ideas through research which falls into three areas: learning (by reading, listening to documentaries and talks and chatting to interesting people), visual research (which is generally visiting museums) and experimentation (thinking through making). Then comes the refining and selecting, editing and dropping ideas and selecting the one that is right for you. That’s what Maker Membership will focus on: generating ideas, refining ideas and creating work which is true to your unique artistic voice. There will be some textile technique in there too, as a way of exploring and demonstrating processes but it’s very much a thinking programme.

What will it be like?

Each month I will create resources (audio, video, written – it will vary) around a theme which fits into a quarterly over-arching topic. Members can then develop their own ideas, sketchbooks (if they want), samples and research in a way that works for them. There’s no testing, no right or wrong and no fixed outcome that you have to produce. Everything is digital so you can join from anywhere in the world. There will be a monthly live event on Zoom, repeated so those in different time zones have the chance to attend. You can fit it in around your commitments and make it part of your daily /regular studio practice. The membership runs through the established teaching platform Podia. You can find out more here.

Are you ready to learn and grow with me?

Maker Membership is £25 per month and you can join for as long as you want. Membership is open now.

Fifteen Years

This summer I marked (but not really celebrated) 15 years of running my own creative business. I was hoping to bring out a new book this year covering what I’ve done in those years but this year has of course not gone remotely according to plan! I should have it ready next year. In the meantime, every month, I share a 10 page PDF letter / mini magazine with my Patreon supporters which covers a lot of the same behind-the-scenes studio insider stories as the book eventually will. The September issue is a focus on those 15 years of working as an artist /maker. I love writing my Patreon letters and twice-monthly blog posts as I selfishly get to focus on my own practice and share behind the scenes in my studio (and often my office) life. If you would like to delve more into my life and practice, Patreon is the place to do it. Over the last 6 months I’ve written about creative collaborations, fabric manipulation, my 2019 solo exhibition work, self-publishing, work in progress, behind the scenes at a photo shoot and much more. Every subscriber gets a discount for my online shop too and over the summer I gave away tickets to my online Criminal Quilts talk. All the previous content is free for new subscribers too, so there’s masses to explore which should keep you going until my new book is finally ready!