The weather in the UK has been awful for the last few days so I thought you might appreciate some eye candy! Last week I had the very great pleasure of welcoming Christine Chester to my studio. She taught her 5 day Poetry of Decay class and it was fabulous. It is a mixed media workshop in which students add layers and layers of texture and colour to paper and cloth. Christine worked the students hard but the results were worth it. My thanks to Christine and especially to the students - Inge, Pippa, Chris, Gill, Ruth, Judy and Lesley.

A very big thank you to Rosie James for teaching in my studio this week! I love her work and it was great to see her processes. The students loved it!

Here are just a few images of students work. In order: Jan, Janet, Ali, Tracey (x2), Sam, Kate and Sarah

Time has done that weird thing again. The four week gap I had between workshops looked so long and held so much potential for making art …. and it feels like it has gone by in a flash! Don’t you just hate it when that happens!

My studio is nearly ready for tomorrows and next weeks Breakdown Your Palette workshops. I just need to pack away my sewing machine which I can do in the morning. I am determined that before I go to bed tonight I will have finished the straight line quilting on my latest quilt. I had hoped to get this done and the two halves of the piece sewn together but that might be too much to ask. I have a gazillion ends to sew in which I can do in the evenings but I will have to wait two weeks before I can finish the quilt. It is exquisitely frustrating to be close; to know what you want to add to a piece to finish it and to know how you want to start the next piece in a series …… But such is life!

That said I will be spending the next two weeks breakdown printing with the added bonus of having students in my studio! I can live with that.

Leah x

Another week has passed and I’m feeling really positive about the piece I’m working on! Having got a lovely stack of breakdown printed fabric I spent a couple of hours cutting about half of the fabric into long strips. I cut them in three widths - 2.5inch, 1.5inch and 1inch - without thinking about where the cut landed on the fabric. I think I’ve mentioned before that I don’t cherry pick which fabrics to use. The beauty of breakdown printed fabric is the density of mark you get and the fabulous combinations of colour and mark you get when selecting fabric and using fabric in a random way.

I then divided my pile of cut strips into two groups - a darker value group and a lighter value group - albeit a few of the strips sort of sat in the middle and could have gone in either group. And then the real fun began! I took the pile of darker value fabrics, opened up the strips and jumbled them all together. I closed my eyes and started plucking strips from the pile at random. I pinned the strips to my design wall in the order I picked them. I wanted the finished quilt to be about three metres long so needed about 4.5 metres of strips - good job I have a big design wall.

Next I inserted paler sections of fabric of varying length into each strip. Although I selected the fabric pieces at random I based the length of each insertion on a short musical score of twelve notes. The earlier quilts in this new Cadence series were constructed using ‘pleasing’ shapes with no intent other than to enjoy the process of making. But having regained my creative confidence I wanted to link this new piece to ‘cadence’, in this case a musical cadence. Because the width of the strips varied the repeat pattern was not immediately obvious but I know its there.

It is always very tempting at this stage to do some ‘tweaking’; swapping out bits of fabric that maybe don’t have a lot of interesting marks on them or switching fabrics around to avoid two strips cut from the same fabric sitting side by side. But it is often these ‘imperfections’ that pop and create interest in the finished quilt so I resisted temptation and moved onto to constructing the quilt.

Because my sewing machine only has a 7 inch throat I construct large quilts in two halves and put them together as late in the stitching and quilting process as possible. I prepared two pieces of backing fabric and wadding, using basting spray to attach the wadding to the backing fabric. And then I used a stitch and flip method to add my strips, in order, to the wadding / backing. I love this method of construction because it eliminates the basting process .. I am making my ‘quilt sandwich’ as I join the strips. But also because it allows me to keep the long edges of all my strips parallel satisfying the control freak in me! In the photos below you can see that I use a sharpie to draw parallel lines, 2 inches apart, on my wadding. In my Ruins quilts all my strips were 2.5inches wide so each raw long edge lined up with a drawn line. In these Cadence quilts the strip width varies but I can still use the drawn lines as a guide. And so I have spent three days this week stitching and flipping! And as I’ve been sewing I’ve been thinking about the quilting and thinking about the orientation of the finished piece …. wondering what it would look like turned through 90 degrees?

I find myself in the envious position of having four weeks between teaching commitments with very few demands on my time. My online Breakdown Your Palette workshop is ticking along smoothly, there are no hints of impending crisis / distraction on the family front and my ‘bits and bobs’ to do list is pretty short.

So I am free to make ART! I have a ‘Cadence’ quilt in my head that is screaming to get out so the timing is good. This new series is inspired by the joy of process, the joy of making. And it certainly is joyous to be able to immerse myself in it. The fact that spring is here and we’re enjoying a spell of warm, sunny weather just adds to the sense of well-being that comes with making.

Now that I’ve cleared out the drain on my screen washing trough (it’s a glamourous life!) I have been able to spend this last week breakdown printing. I started by making and drying 25 embedded object type breakdown screens. I used the same set of objects over and over again so that there are common shapes and marks on my printed fabrics. I worked with seven of the darker value colours from a colour family and kept each colour separate so have printed a set of mostly monochromatic fabrics. And what a glorious collection of fabrics they are! Ranging from turquoise to a muted grey-purple these are definitely fabrics that make my heart sing. And I have plenty - I printed about 18 square metres this week and have lots of lighter value fabric in the same colourway left over from an earlier printing session.

Next up - cutting the fabrics up then ‘composing’ the quilt! One week down, three to go.

Whilst it is likely that there will be restrictions on my ability to open the studio early in the New Year I am very hopeful that life will get back to something near normal in the spring. The news about vaccines over recent days has felt like a glimmer of sunshine in what is a dark winter for many people around the world.

Looking ahead I am very pleased to tell you that I have developed a five day workshop Colour Your Palette based on my new book. In the workshop we will consider the differences between paints and dyes and what that means as we translate colour theory into colour practice when using dyes to add colour to cloth. We will look at the six types of colour references in the book and students will make a start on creating their own sets. We will explore various tools, including colour families, for creating different types of colour schemes. We will use those tools to work through multiple sources of inspiration, extracting individual colours and, if appropriate, blending those colours to create coherent collections, or palettes, of colour. And we will learn how to translate our colour choices into working practices, controlling colour within the confines of the surface design technique we prefer to use.

The workshop is aimed at those who already know how to dye or print fabric but want better control over colour in their work. The cost for the five days is £425 but this also includes ten squeezy bottles and an acrylic mixing plate so that students can continue their studies at home. The workshop will run four times next year on 12-16 April, 5-9 July, 13-17 September and 18-22 October. You can find out more here.

I have also added two new dates for my Breakdown Your Palette five day workshop. The new dates are 9th to 13th August 2021 and 23rd to 27th August 2021. Many of my 2020 Breakdown students moved their bookings to the 2021 workshops when I had to cancel the workshops this year so I will be teaching this workshop a lot next year. Which is wonderful as breakdown printing is my favourite thing! The workshops cost £400 and you can find out more here.

And finally, whilst I was loading these new workshops onto my website I noticed that the images of some of my Wonky Print Inspiration Packs in my shop were all the same. No idea how that happened but I have, hopefully, reset the images correctly.

Bye for now, Leah x

Although nothing can be certain it looks likely that recreational and leisure businesses, such as Urban Studio North, will be allowed to open up in July provided we comply with strict hygiene and social distancing rules. There are no longer restrictions on lengths of journey in England and local hotels are planning to open from 4th July.

In light of this, and after a great deal of thought, I am currently planning to start running workshops again from 20th July onwards. None of us know when life will return to the old normal. Instead we all need to adjust to a new normal. So, to ensure compliance with social distancing, and to reduce demand on shared facilities such as the bathroom and sinks, I will be restricting class size to a maximum of 4 students for the rest of 2020.  I have already contacted the students affected by this change. I am making lots of other changes in the studio and in how I run the workshops. I have written a detailed COVID-19 UPDATE which I urge students, and prospective students to read. This is, of course, all subject to change should government advice change in the coming weeks and months.

I have had to cancel and reschedule lots of workshops over the last few weeks and months which has meant slotting some additional workshops into 2020. I am continuing to take bookings for workshops this year and have the following spaces left:

Breakdown Your Palette, 7th to 11th September - 1 place left on this 5 day dive into breakdown printing - find out more here.

Introduction to Surface Design, a day a month for 10 months starting on Saturday 26th September - 3 places left. Aimed at absolute beginners and covering a really broad range of surface design techniques. Ideal if you live locally to Manchester, you can find out more here.

Books for Textile Artists with Ruth Brown on 10th to 13th October - 2 places left. Because of the class size we are running two workshops back to back. The original dates are full but there are two places available on the workshop running from Saturday 10th to Tuesday 13th October. Ruth is a great teacher and with a limit of 4 students per class you’ll get lots of her time. You can find out more here.

Simply Screen Printing, 7th and 8th November - 1 place left on this two day introduction to screen printing. You can find out more here.

Print, Stitch, Go!, 9th to 13th November - 1 place left. We spend the first half of this workshop screen printing and dyeing fabric and the second half using that fabric - yes, I will make you cut into your lovely printed and dyed fabrics! Aimed at people who have never printed or dyed fabric before this is a really fun five days. You can read more here.

Although I’m a little nervous about opening up again I am really, really looking forward to teaching again. The studio has been too quiet for too long!

My lovely husband is coming home this week after 12 weeks or so shielding with his dad. This feels like such a big step forward for us and we have all our fingers and toes crossed that the situation in the UK continues to improve. Every country has different levels of restrictions right now but I hope that many of you are now able to spend a little more time with family and friends.

Stay well, Leah

I think I’ve got my artistic mojo back! Time will tell if anybody else agrees but right now I am feeling in a good place. I have spent the last week or so trying to cut out all the distractions, trying to quiet all those negative, anxious thoughts and instead focus on creating. Of course the outside world has continued to be a source of anxiety and fear so I decided to be kind to myself and set aside pushing any boundaries until a happier time.

Instead I took two decisions upfront. Firstly I decided to work with a colour family I developed several years ago and used in my Dunure series of works. At the time our oldest son was in a very dark place and life was the hardest we have ever known. The colour palette was inspired by the scrubby beach at Dunure, Scotland on a grey, stormy November day and the series was a reflection of the effect of place on my mental well being. I had hoped that I would never return to this series and this colour palette but here we are.

Secondly I decided to work with circles and specifically broken or fragmented circles. I tend to call my work ‘abstract’ but the reality is that I like to make marks that relate to my inspiration. Inspiration seems like the wrong word in this case but of course this new work is a response to the virus. Small envelopes of protein that invade our bodies, multiple and corrupt our cells. That separate us from our loved ones.

Of course I have been using breakdown printing to create my fabrics - my studio equivalent of comfort eating. And I have been using bondaweb to fuse fabrics together as my patience levels are not high enough to be piecing curved edges right now. But I think I am getting somewhere. And I’m going to stick at it for a while.

Which means no new fabric packs on the website for another week - sorry.

Stay safe, stay well, Leah

Big box has been ticked today here at Urban Studio North! Yes, I have now added a range of thermofax screen designs to my website. I have added the designs that have proved most successful with my students over the last 18 months. There are 12 designs available as a large ‘A4’ screen. Eight of these designs are also available as small ‘A5’ screens as well. And I’ve added thermofax squeegees.

For those of you who don’t know thermofax screens use a fine polyester mesh that has a very thin polyester film on one side. The design is burnt onto that thin film using thermal imaging technology that was originally developed for use in the earliest photocopiers in the 1950’s. The thermal process only affects the film - the mesh is left intact but is now ‘open’ so that you can now print your design onto fabric or paper. To make life easier the mesh is mounted onto a sturdy perspex frame. Whilst not as robust as traditional silk screens, thermofax screens will last through many, many prints if used correctly. They need to be used with a special squeegee as the regular screen printing squeegees drag on the fine mesh and can stretch it. They also need to be cleaned very gently to protect the remaining polyester film on the back of the mesh.

I use thermofax a lot. The designs on my website are great for putting a layer of marks onto fabric before adding colour and shape on top using a regular screen. I use them with both thickened dye and with textile inks although you do need to wash your screen immediately after using them with textile inks (or fabric paints) as these will ruin a screen if left to dry.

Next on my ‘keep busy and try not to worry’ list is printing fabric to make up some of my Wonky Print Inspiration Packs.

Stay safe, stay well,

Leah