Priscilla Jones has been producing mixed media pieces since completing her degree in Embroidery at Manchester Metropolitan University in 1997. Her practice focuses on themes of identity, memory and nostalgia, exploring embellishment and stitch techniques that use fabric, wire, wax and porcelain.

Priscilla’s work is exhibited across the UK, Europe and USA, with many pieces held in public and private collections, including the Embroiders Guild Educational Archive. She has received various accolades including Award for Excellence, British Craft Trade Fair 2002, Best Product at Flair, Belfast 2006, Best Stand at The Art Market in Holmfirth 2009.

She has taught in FE, HE and Adult Education for 20 years and is currently a Unit Leader and Tutor on the BA Textile Programme at the Open College of the Arts. Priscilla also runs independent workshops for schools, colleges, museums and galleries.

In this final edition of our Tool kit series, Priscilla tells us about the products which are essential to her practice. We learn precisely how each item is utilised and where to find them; from Manchester to Meerut!

Priscilla Jones, Sewing Machine

Item 1 – Sewing Machine

Brand: Bernina
Model: 1000 – Special
Year: 1995

How do you use this item in your practice?

My Bernina sewing machine is my most important piece of equipment and I can’t imagine life without it. I use a darning foot attachment to stitch across a fabric surface in any direction I choose.

It is a liberating experience taking the needle and thread on a journey and just like drawing with a pencil it allows me to create a range of different marks and textures. I’ve been working this way for over 25 years, it’s a fantastic way to draw, the possibilities are truly endless.

Priscilla Jones, Sewing Machine (detail)

Why do you use this specific item?

Bernina’s are the best sewing machines around when it comes to free machine embroidery. The quality of the machine is second to none and has always been considered the Rolls Royce of the sewing machine. I wouldn’t use anything else.

And where did you buy it from?

I bought the sewing machine from a friend at University in1996 a year before I graduated. It was originally from Bambers on Oldham St in Manchester.

Priscilla Jones, Fabric Scissors

Item 2 – Fabric Scissors

Brand: Passion
Year: 2015

How do you use this item in your practice?

I chop up a lot of cloth during my working day; these scissors are great for cutting giving you a clean accurate edge. I bought them because they had a comfortable handle and they have proved to be a great purchase. I use them all the time, particularly when cutting a long length of fabric.

Why do you use this specific item?

These scissors are lovely to hold and are very sharp – perfect for all cutting all types of cloth.

And where did you buy it from?

The scissors came from the Cloth House on Berwick Street in Soho, I fell in love with the packaging at first they came in a beautiful triangular shaped box held together with fine string and a brightly coloured label.

The scissors were made in Meerut, India and so the packaging has a lovely hand-made quality. I was delighted when I opened the box to find these attractive steel scissors with gold handles, I just had to have them.

Priscilla Jones, Embroidery Needles

Item 3 – Embroidery Needles

How do you use this item in your practice?

I hand stitch into my textile pieces to add decoration and embellishments, including buttons.

Why do you use this specific item?

I’ve always preferred to use twisted vintage silk and rayon threads and because embroidery needles have bigger eyes these are the most suitable for these particular threads.

And where did you buy it from?

Fabrix, North Road Lancaster

Priscilla Jones, Pliers

Item 4 – Pliers

Model: Jewellery Pliers
Year: 1997

How do you use this item in your practice?

I create sculptures in fine lightweight wire using my fingertips. When more intricate manipulation is required I use pliers to shape the wire and also twist and finish off the ends. I also sometimes use bent nose pliers, as these are fantastic at getting into hard to reach areas.

Why do you use this specific item?

Jewellery pliers are smaller and more suited to working with finer weights of wire.

And where did you buy it from?

Fred Aldous, Lever Street Manchester

Priscilla Jones, Batik Pot

Item 5 – Batik Pot

Brand: Hive
Model: Wax Heater 500cc
Year: 2014

How do you use this item in your practice?

I create 3D textile and wire sculptures and while forming a surface I apply a thin layer of hot wax to the inside and outside of the piece. This produces a lovely hard opaque surface as the wax cools down. Once the wax is completely cold it is still soft enough to stitch into by hand.

Why do you use this specific item?

The heat the wax to a temperature that is high enough to melt the wax.

And where did you buy it from?

Salons Direct

For more information visit: www.priscillajones.co.uk

Give us your thoughts on this series by leaving a comment below. We’d also love to hear what you have hidden in your tool kit!

Ann Brauer has been combining the traditions of quilt making and contemporary concepts of art to create her abstract landscapes for the last 34 years.

In this article, Ann selects 5 tools that she uses to make her beautiful designs. We learn about their place and importance in her practice, where to purchase them and Ann gives her insight into the benefits of each item.

Ann Brauer, Sewing machine

Item 1 – Sewing Machine

Item description: Singer Industrial Sewing Machine
Brand: Singer
Model: 281-3
Year: about 1965

How do you use this item in your practice?

Although I have a Bernina at home I do almost all of my machine sewing on this machine and indeed I design my quilts around this machine.

Why do you use this specific item? 

I love my sewing machine. It is an industrial machine I purchased reconditioned in 1983. My machine only goes straight. Indeed it does not even go in reverse, that would have cost me an additional $100 which I did not have in 1983. However, it is delightfully heavy-duty with a wonderful very sturdy table and a large throat.

The machine as currently set up will go up to 3500 stitches per minute and will sew through almost anything. In addition, it has a knee lift which means my hands are always free to manipulate the fabric.

When my studio floated down the river as a result of Tropical Storm Irene, this machine was inside. Luckily the studio stopped just before going over the dam and my DH was able to rescue it. A friend flushed out the system with silicone and the machine was good to go although I did have to get a new motor about six months later.

The machine had come with a clutched motor so that when you turned it on, there was a loud hum. The new motor by XXXXX is a clutchless motor that is silent so I can leave it on all the time.

I also have the industrial table that came with it. This is a large sturdy table that conveniently has a ruler along the edge which lets me measure when I need to without getting up.

I do have to occasionally replace the bobbin winder which I can purchase on-line from Wawaks and the belt which I buy from my local automotive store.

Although the 281-3 is the standard model, they made the same design from about 1940 into the 1980’s and indeed you can still get new industrials that are substantially similar to this one. There are lots of them in use, think of your tailor shops, upholstery shops, sail makers and other places that need fast sewing.

And where did you buy it from?

I purchased my machine from Newman’s Sewing Machine in West Springfield, MA. Because these machines can be used in so many different ways, they suggested that I bring samples of the sewing I intended to do so they could adjust the machine to fit my needs.

Ann Brauer, Thimble

Item 2 – Thimble

Item description: Thimble with magnetic top

How do you use this item in your practice?

I love this thimble for the hand sewing I do. I use it mainly for hand finishing bindings and attaching the looped tape I use for hanging my quilts.

Why do you use this specific item?

For a long time, I used a thimble that I had purchased from Woolworth’s before it went out of business. When I finally wore through the dimples, I was devastated and went searching for a new thimble. The commercial ones I bought had rims around the top which I found to interfere with the rhythm of my sewing. The antique ones I inherited from my mother worked but were not quite the right size.

When I chanced upon these thimbles in Amish country, they were just right and have the rounded top that I find most comfortable. The needles I use are size 10 betweens which are small. I find the magnetic top is very useful.

If I drop the needle when sewing I can pick it up easily. If I need to put the sewing aside for the moment, I just rest the needle on top of the thimble. I even use the thimble to help me pry reluctant needles out of my pincushion.

The only drawback is that the magnetic top will become unglued and eventually it gets lost so I do try to keep a spare on hand.

And where did you buy it from? 

I now buy them from Tooltron although there are also others available on the internet.

Ann Brauer, Design board

Item 3 – Design board

Item description: Design board
Brand: Self-made

How do you use this item in your practice?

I find that a design board is so crucial to a quilt artist. I pin my work up all the time to see if the quilt is progressing as planned. Sometimes I will pin up test fabrics to see which one works better or to remind myself what I plan to do next.

My quilts can be large and so in my new studio, I have one board that is 8 feet by 8 feet in my work area. This lets me study the quilt from a distance and contemplate it when I come into the studio in the morning. If the quilt is being particularly ornery, it may remain on the board while I try to resolve the issues.

Why do you use this specific item?

When I lost my studio, I needed a new design wall that would inspire me to work again and would not be too costly.

After doing some research I found that many people recommended using the sheets of pink foam board that are readily available from most home supply stores. They can easily be glued together. We covered them with a white flannel sheet which we taped to the back and then mounted them onto the wall with screws and bolts.

Eventually, they will wear out where I pin constantly and will need to be replaced but so far they have lasted for almost three years. I do use a lint roller to remove the threads that accumulate on the flannel.

I have heard of people who make temporary boards using a similar method that they cut to size and even store in a closet or under your bed when not in use. Because my quilts are quilt as you go, I use pins to attach the work in progress although I have heard that if you are just playing with single layers of fabric you can just press onto the flannel.

And where did you buy it from? 

The pink foam board came from a home supply store. I purchased a good quality king size white flannel sheet which I cut to size on-line. I used white duct tape to join the sections together.

Ann Brauer, Green Circle, 40 x 40 inches, 2015, Photo by John Polak

Item 4 – Hanging display

Item description: Hanging display
Brand: Self-made

How do you use this item in your practice?

When I first started making quilts, as soon as I finished one, I would put it away and only get to see it when I did a craft show. I was always a bit surprised as to the final statement that all of my recent quilts made when I finally got to see them as a group.

One of the benefits of having a studio with wall space is to be able to hang up my most recent quilts and study what I have accomplished. It also allows me to question what I can do differently. Frequently as I look at a recently finished quilt, I will see something in it that I did not anticipate. This can help inspire the next quilt in the series and push my work even further.

Why do you use this specific item? 

I am not fond of using a hanging sleeve and slat unless there is a security reason to do so. I find the slat can often add a significant ridge to the quilt that I feel looks awkward and detracts from the quilt.

Instead I stitch a strip of looped tape onto a piece of cloth that I can easily needle. When doing this, I use my sewing machine and increase the tension so you get a nice even stitch. If you don’t frequently adjust your tension, try to make a note of where it was before so you can return it to the proper setting for most of your work.

I then purchase Venetian blinds from a home supply store and cut them apart. The faux wood is already finished and can be cut to size using kitchen shears. I attach these to my wall with nails or little screws and apply self-adhesive looped tape to the faux wood. This means that when I choose to move the wood, I am only left with a few holes in my wall. This method also works well when I do a fine craft show. Customers appreciate the ease of hanging and I can replace sold work easily.

For a more formal presentation I will repeat on the bottom of the quilt. Occasionally the hooked tape does not stick to the faux wood in which case I use a couple of little nails to keep it in place.

For a more elegant solution, Plexiglass can be cut to size. Walker Display systems also sells aluminum slats with hooked tape which can be attached to your wall several different ways.

And where did you buy it from?

I purchase the tape by the roll from U-Line which is on line. I purchase the venetian blinds from my local home supply store.

Ann Brauer, Vacuum cleaner

Item 5 – Vacuum cleaner

Item description: Vacuum cleaner
Brand: Shop-Vac Ultra Plus

How do you use this item in your practice?

When I lost my studio, one of things I did before I even had a new space was purchase a new shop vacuum buying the last one in my local store. I use it all the time. It is a lot quicker to sew and let the scraps and threads fall where they may. Then I can just vacuum it clean. I also use it to clean around the bobbin and to get all the little areas where dust accumulates in the studio.

Why do you use this specific item?

While any model and make will do, I consider it important to get one that can handle threads, scraps of fabric and the dust bunnies that working with fabric always generates. I suggest getting one with a bag, otherwise you will create dust as you empty it. I do have a broom and sweep up many of the scraps before vacuuming so they don’t fill the bag as fast.

And where did you buy it from?

I purchased it from my local hardware store—Aubuchon’s in Shelburne, MA although they are readily available. Shop Vacs can be noisy so I try to use it on a timely basis.

For more information visit: www.annbrauer.com

Let us know what your favourite tool is by leaving a comment below.

Judy trained in Textiles and Fine Art at Canterbury College of Art in the 60s and 70s and after qualifying as an art teacher, her career took her away from her art practice.

Ten years ago she returned to developing her own work and has exhibited regularly ever since. After such a long break Judy had to catch up with all the new products, techniques and equipment which are now essential items in her studio.

Judy Merchant: 64 x 70 cms Fabric, paint, gesso and machine stitch

Judy creates abstract pieces using a combination of paint, gesso, fabric and machine stitch.

In this article, Judy reveals her five must-have items she keeps in her tool kit. She shares some handy tips on how to use them and we discover where to buy, or not to buy them!

Judy Merchant, Bernia sewing machine

Item 1 –  Sewing machine

Brand: Bernina
Model: 1008
Year: 2008

How do you use this item in your practice?

Although my work could be described as painting, I always start with several layers of material which will be attached to each other either with bondaweb or stitch and probably both.

I also use the machine to ‘draw’ onto the material to create lines or blocks of colour. I only ever use the straight stitch, with or without a foot, and the zigzag. When I do use a foot it is usually the Freehand embroidery Foot 24 which is open at the front so it enables you to see where you are going with your stitching.

I also have a sewtable attached to the machine to support the work I am sewing.

Why do you use this specific item?

I used to have a Toyota which I loved and which had lasted forty years until it broke down just as I was preparing work for an exhibition. I was expecting the engineer to mend it but he more or less refused and recommended the Bernina machine as one which ‘all the art colleges have’.

I understood this meant that it was strong enough to cope with a lot of use and maybe abuse! Because I often stitch through several layers and paint or gesso he knew I needed a robust machine and it has turned out to be ideal. It is metal and therefore has some weight and It is reliable, efficient and easy to use. I absolutely love it.

And where did you buy it from?

I bought it from MKC Services, Leeds. They also service it for me.

Judy Merchant, Thread

Item 2 – Thread

Brand: Madeira Polyneon 40 Multicolour

How do you use this item in your practice?

I use this in my sewing machine to attach pieces of fabric and to draw into the work to create lines, textures and areas of colour.

Why do you use this specific item?

Because they are beautiful colours, lovely quality and they don’t ever break!

Their whole range of colours is amazing but my favourites are the multicolour threads which change colour. This means that when used to stitch a variety of colours show and the area stitched doesn’t look flat.

And where did you buy it from?

Barnyarns in Ripon, North Yorkshire who have an excellent range of different sizes, colours and type. They usually have a stall at the Knitting and Stitching shows and they do mail order.

Judy Merchant, Heat Craft tool

Item 3 – Heat Craft tool

Brand: Ranger Industries
Model: Heat It Craft tool
Year: 1996

How do you use this item in your practice?

I use this tool every day and without it, my practice would be very different. I use it to heat fabric to create texture and to dry paint which I can then stitch into. The heat changes the quality of the fabric and paint.

Why do you use this specific item?

Although it looks similar to a hair dryer it is different and it is specifically designed for the task of applying heat to a specific area of fabric. It is suitable for anything which needs heat applied including embossing powders.

And where did you buy it from?

I’ve had it so long that I can’t remember but a similar tool can be bought on the web through Amazon or other sellers.

Judy Merchant, Soldering iron

Item 4 – Soldering iron

Brand: Antex
Model: M 230V – 12W
Year: 2014

How do you use this item in your practice?

Instead of cutting with scissors I use it to burn through man-made fabric which has bondaweb stuck to it. I work in layers and I use it to cut shapes or create textures.

Why do you use this specific item?

I use this particular model of soldering iron because it is small, light and has a very fine point so I can use it like a pencil. Antex also sells a range of alternative sized and shaped bits for the iron.

When it’s switched on I keep it in an upside down clay flower pot for safety.

Judy Merchant, Soldering iron in clay flower pot

And where did you buy it from?

Antex (app. £34)

Judy Merchant, Card mount

Item 5 – Card Mount

Brand: My own

How do you use this item in your practice?

I use card mounts of all sorts of sizes and shapes from tiny 3 x 3 cms to 100 x 100 cms.

The smallest one is useful when I am drawing and I want to choose an area to focus on to perhaps enlarge. In this case, I would hold the frame in front of the view to find a pleasing composition a bit like taking a photo.

I might also use a frame to focus on a small area of a drawing to perhaps enlarge that area and create a new drawing.

I could also use a small one to help balance a miniature piece of work.

I use the larger frames to provide a temporary frame to my work during the process of working out the size, composition and balance of a piece and this can be continually changing as a piece grows and develops.

Why do you use this specific item?

Because it helps in my development of a piece as it creates a boundary within which I am creating a composition. As I move my mount around I can try different compositions and assess the different elements within.

The large mounts I make in two pieces so that I can be flexible with where the boundary lies. The piece will either be square or rectangular and so I can slide the two pieces until I find a satisfying overall size. I never have a clear idea of how a piece will finally look because it will go through so many changes, of colour, shape and size as I develop it.

And where did you buy it from?

I don’t buy them; I make my own cut with a Stanley knife, ruler and card.

For more information visit: www.judymerchant.com

Let us know what’s in your Tool kit by leaving a comment below.

Welcome to another edition of Tool kit, a series of articles where we take a look at some of the favourite tools used by professional textile artists.

Sue Hotchkis looks at the relationship between natural elements and those man-made, such as the results from erosion and human use. Whilst being aesthetically pleasing, her work can also act as a metaphor for deterioration and ruin, associated with urban decay and ultimately death and loss.

Her art evolves organically, built up with layers of print, cloth, paper, and stitch into three-dimensional abstract forms that hover between object and image which create a unique, visual and tactile landscape of form and texture. Challenging traditional understandings of the division between the visible and the unseen.

In this article, Sue shares her expertise on where to find some essential items for everyday making and reveals where two of her most useful items were discovered.

Sue Hotchkis, Pins

Item 1 – Pins

Brand: Various
Model: Heart shaped (other styles are available, leaves, flowers)

How do you use this item in your practice?

When I’m working on my pieces I do a lot of pinning and arrange fabric on a design board before I actually stitch it; so I use these pins to hold the fabric together and to attach the work to the board while I decide what’s happening.

Why do you use this specific item?

I couldn’t make my work without these pins. I find the large quilters pins which I do use occasionally are not as strong and frequently bend, or worst still the glass head comes off leaving a nasty sharp piece of metal that can be difficult to remove without the head. These pins are strong and long enough to enable me to hold several layers together at one time.

I also like the bright large head so there is no danger of me leaving one in a piece of work by mistake and they are easy to find if dropped on the floor.

The pin cushion in the photo I don’t use but I do love it, my mum found it in the charity shop where she works. The powers that be thought it worthless and we’re going to throw it away, but my mum saved it as she knew I’d love it.

I wonder about the person who took the time to decorate it with the braid and beads and I’m sure they’d be pleased to see it gain another life. It makes the perfect nest for my gold bird that was a decoration at my wedding. It’s placed on top of my thread drawers where she sits and watches me sew.

And where did you buy it from?

I buy the pins whenever I see them, usually from small haberdashery shops or market stalls as I like to try and keep small businesses like those going by buying something. You can get them online though from Amazon and eBay and they are very inexpensive.

Sue Hotchkis, Thread drawers

Item 2 – Thread storage drawers

Year: A long, long, time ago

How do you use this item in your practice?

This is where I house the majority of my sewing threads. I like to have it close to where I’m sewing so I can just turn to my left and reach for a thread very easily by just pulling open a drawer. If I need a particular shade I can pull the drawer out completely and have a good rummage.

Sometimes I use an empty drawer so that I can just put threads in it that I’m using for one specific project. Then there is no confusion over which thread I’ve used if I need to go back to an area to stitch it again. It helps to keep the area around the machine tidy too.

It isn’t perfect though as it can get a little dusty being open at the front. Organising and reorganising my threads inside it is also a pleasant way to procrastinate.

Why do you use this specific item?

Whilst I do also have a lovely new drawer set from IKEA as well, it couldn’t replace this one completely as it has sentimental value. From a practical point of view, I also like the shallowness of the drawers, it’s just over two reels high when laid down. I find the drawers on the IKEA chest are too deep and so I’m wasting space.

And where did you buy it from?

I found it hiding in the back of my husbands’ garage just after we’d first met. It used to belong to his grandmother. I knew exactly what I wanted to do with it so I cleaned and painted it. It could do with another makeover now though.

Sue Hotchkis, Extension table

Item 3 – Perspex Extension table

Brand: Sew Steady 24” x 24”
Model: Made to fit a Bernina 1001 &1008

How do you use this item in your practice?

If you don’t have the luxury of having your machine set into a table this is the next best thing. It gives your work more support when stitching. If it’s heavy, it doesn’t pull down. If you are free motion stitching or quilting, you need the area which your fabric sits on to be smooth and level so it just glides and doesn’t interfere with the motion of the stitching.

It’s also good because it doubles your workspace. You are able to put pins and scissors underneath within reach without them getting in the way.

Why do you use this specific item?

It’s bigger and cheaper than buying the actual Bernina extension table. Plus, it’s clear Perspex so you can see what’s underneath.

And where did you buy it from?

I bought it from The Cotton Patch. If you contact them with the make and model of your machine they can order the correct fit for you.

Sue Hotchkis, Camera

Item 4 – Camera

Brand: Panasonic Lumix
Model: DMC-TZ60EB-K (There are newer models of this now)
Year: 2014

How do you use this item in your practice?

I constantly take photos of surfaces and textures to use as inspiration in my work, at home and abroad.

Why do you use this specific item?

Even though my phone has a fairly decent camera on it I still prefer to use an actual camera because it takes larger file sizes than the phone, so if I want to enlarge an image for printing purposes I can.

It’s compact, so doesn’t take up much room when traveling but has a long zoom and takes amazing images. As it has a Leica lens.

I also like the size of the camera, it’s small enough to fit into a pocket whilst still being a reasonable size to hold. It has a slightly old-fashioned look and feel to it, which I like. You also have a choice of using the manual controls or the touch screen, which I prefer.

In the past I’ve bought various Canon ixus, however, they became smaller and smaller and more rounded almost like a bar of soap and as a consequence slipped from my hands, something I wish to avoid. This is my third LUMIX and I’m very happy with.

And where did you buy it from?

Sue Hotchkis, Amazing Tape

Item 5 – Tape

Item name: Amazing Tape
Brand: Hugo’s Amazing Tape
Model: 2” wide 50’ 5cm X 15m (£16.94)

How do you use this item in your practice?

It helps to keep all my threads clean and tidy. It’s just a clear plastic that adheres to itself. So you just cut a strip off and wrap around the thread. It’s reusable too.

Why do you use this specific item?

Unlike using masking tape or sticky tape the plastic doesn’t actually have glue on it so you’re not left with a residue on your thread which can cause problems when sewing. Thread is expensive and the shiny Rayon thread which I use a lot has a nasty habit of unraveling and knotting up when not in use. It’s an expensive product but a little goes a long way. You can use it for other nonsewing things too.

And where did you buy it from?

You can buy it online if you google it but I bought mine from Barnyarns

For more information visit: www.suehotchkis.com

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Welcome to another edition of Tool kit, a series of articles where we take a look at some of the favourite tools used by professional textile artists.

Lindsay Olson is an artist and teacher at Columbia College Chicago. She is known for her unusual residencies including being named Fermi National Accelerator’s first Artist in Residence. Her love of science grew out of her work with Chicago’s Metropolitan Water Reclamation District, the world’s largest wastewater treatment facility.  Her work has been featured in Scientific American and the Chicago Tribune.

She is an accomplished speaker and has presented at CERN, the European Organization for Nuclear Research, the International High Energy Physics Conference, the Water Environment Federation’s International Conference, Fermilab, and numerous colleges and universities in the USA and Europe.

Lindsay uses her work to help others learn about the science and engineering that underpins modern culture.

In this edition, Lindsay Olson invites us to think outside the tool box. Rather than a sewing machine and scissors, Lindsay asks what else there is around that can inspire us to create. She reveals what gets her mind whirring and creative juices flowing.

Lindsay Olson, Illuminated Book Box I, 2015

Lindsay Olson: Creating textiles is a tool-intensive corner of the art world. The popularity of TextileArtist.org’s Took Kit series demonstrates our love affair with great tools: expensive machines, scissors with the proper heft and balance, pins that do not fight our efforts, the seductive shine of well mercerized, 100% cotton threads, a seam ripper that feels like and extension of our hands. With the proper tools, we can stitch, knit, weave and fabricate our vision unimpeded by imperfect tools.

What about the tools that nurture a creative life? Conceptual tools can be every bit as satisfying as concrete tools. These tools may lack the physicality of actual tools, but they enrich my studio practice intellectually and concretely.

Elements and Principles of design

Ours is a visual language and having command of the elements and principals of design is a powerful tool. Learning how to manipulate color, line, gray scale, shape, direction, texture, harmony and unity help transform ideas into concrete art that invites viewers to take a closer look.

By Saraottaviac, via Wikimedia Commons

Oddly enough, one of the most potent places to study design principles is in advertising. Advertising companies spend vast amounts of money to seduce people into buying products. Our motivation as artists are different, but the objective is the same: how do we get our work noticed and deliver our message with potent visuals. The more expensive the publication, the more skillfully the images are wrought.

Paris Vogue
Architectural Digest

Another resource for studying design principles is art history. In addition to selecting a few stellar works from the masters to study in a museum, here are a few other ways to study art history and design.

The Khan Academy’s Art History section is one my favorite binge- watching sites.

The Art Institute of Chicago has a rich on line data base.

In addition to its excellent museum collection, anyone can select a print or drawing and make an appointment to see a work on paper in person. I spent an engaging afternoon pouring over a sketchbook by Gauguin that included a drawing by one of his children and a ‘honey do’ list. Here is a list of sketchbooks you can see.

If you live in the Midwest, you may want to join the Textile Society at the Art Institute of Chicago.

Metropolitan Museum of Art By Arad – Own work, CC BY-SA 3.0

The Metropolitan Museum of Art in NYC has a rich presence on You Tube. My favorite series of videos is the Artist Project. You will want to stock your larder and tell your family you are unavailable for an indefinite period of time so you can watch these compelling videos. Take a look here.

Neo- Assyrian Stone Freeze roughly 721BC, Men pulling a river barge loaded with logs

While researching, a project related to the Inland Waterways, I searched for ancient inspiration at the Oriental Institute at the University of Chicago.

This museum is filled with artwork from some of the most ancient and powerful civilizations in human history.

Library Research

Libraries are the one reliable place where I can conveniently traverse the boundary between art and science with grace and ease. Libraries have many skilled staff members to assist with research. Getting lost in the stacks, one can stumble across a world of unexpected ideas.

Neighborhood libraries and librarians are rich allies. But traveling further afield to specialty libraries is an exciting adventure. Here are a few of my favorite libraries.

The Chicago Botanic Garden’s Lenhardt Library
The Field Museum Library
The Newberry Library

The Field Museum Library with materials I’m using to research tree root tips for a mycology project

Medieval manuscripts, Newberry Library

It might seem intimidating to approach a traditional research library, but in my experience, all librarians are dedicated to helping researchers of any background.

When I went to the Newberry Library for the first time, librarians went out of their way to assist me in researching medieval manuscripts that were the foundation of my work with the Fermi National Accelerator Laboratory Residency.

Fermi National Accelerator Laboratory Library
Sterling Morton Library
Fondation Martin Bodmer

The Foundation Martin Bodmer has a wonderful online archive but if you have a chance to visit Geneva, Switzerland, the library has a permanent exhibition about the history of books and a gallery of rotating book art exhibitions.

CMS Illuminated Book, CMSIII Work on paper. Photo by Reidar Hahn for Fermilab

Audio Adventures

The less glamorous part of our job requires extended hours of rote activity in order to meet show deadlines. For times like these, I turn to a bouquet of podcasts that are interesting and entertaining. Here are a few of my favorites:

99% Invisible
Hidden Brain
Science Friday
Radio Lab
Kitchen Sisters
Babes of Science

Venture out of the studio

Working in the studio can be isolating. By packing up my curiosity and moving out into the world I have had the privilege of meeting some of the world’s most brilliant scientists and learning about what they do in their laboratories and workplaces. Here are a few highlights from my science based projects.

The Morgan

The Morgan, a sturdy tugboat, belongs to Kindra Lake Towing.

They and their skilled crew are responsible for moving large amounts of material along southern Lake Michigan. The image above marks the beginning of my Inland Shipping project.

Dr. Patrick Leacock, Collections Assistant and Adjunct Curator at the Field Museum is helping me learn about fungal and plant partners.

Dr. Patrick Leacock

I have been working with Chicago area Mycologists learning about the relationship between fungi and their plant partners. I helped process soil samples from the Green Roof with Dr. Louise Egerton-Warburton and MS student Kaiyeu Zhou at the Chicago Botanic Garden.

Lindsay Olson at the Chicago Botanic Garden

Dr. Don Lincoln senior scientist at Fermi National Accelerator Laboratory is one member of a large team of researchers working with the CMS experiment in CERN. His team confirmed the existence of the Higgs Boson particle in 2012. Don was my project partner for the Fermilab residency where I created work about high energy physics.

Dr. Don Lincoln

My project Manufactured River led me to the Metropolitan Water Reclamation District of Greater Chicago. They are the government agency charged with treating waste water in our area.

Lindsay Olson, Manufactured River: Vorticella, Wool, linen, cotton

The picture below is of Chief Microbiologist Toni Glymph who taught me about the microbiology involved in the treatment process.

Lindsay Olson with Microbiologist Toni Glymph

For more information about Lindsay’s projects visit: www.lindsayolsonart.com

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Welcome to another edition of Tool kit, a series of articles where we take a look at some of the favourite tools used by professional textile artists.

Sarah Symes has had a passion for making art with fabric from a young age. She studied architecture at the prestigious University College London, before training and working as a graphic designer. Having lived in many places including London, Los Angeles and San Francisco Sarah finally found her way home to a mountain town called Squamish just outside of Vancouver, Canada.

Her artwork has been exhibited in the USA, Canada and Europe. Sarah has also been interviewed by a number of magazines and newspapers and featured by some of the top influencers on the design scene. Most notable achievements include being awarded the Best of Show prize by the Los Angeles Art Association in 2007 and selected for the Squamish Street Banners in 2016. Her work hangs in private collections worldwide.

In this article, Sarah tells us which tools are essential to her everyday practice. She explains why she chooses a particular brand and the part they play in creating her artwork.

Black and Decker Classic Iron

Item 1 – Iron

Brand: Black & Decker
Model: The Classic Iron
Year: 2007

How do you use this item in your practice?

When I enter my studio, the first thing I do is turn on my iron. I fill it with water and set it to MAX and leave it on all day.

Why do you use this specific item?

I chose this iron for its classic styling and no-nonsense functionality – it only does what I need it to do. I also appreciate that it doesn’t have an auto shutoff feature and remains always on. It has a small soleplate making it easy to use and ideal for pressing small strips of fabric.

And where did you buy it from?

Sears, Santa Monica, USA.

Baby Lock Sewing Machine

Item 2 – Sewing Machine

Brand: Baby Lock
Model: Audrey BL67
Year: 2009

How do you use this item in your practice?

I have many sewing machines, all for different projects, but of all of them, I like this one the best and use it almost every day.

Why do you use this specific item?

It is designed to be small and lightweight for sewers on-the-go but it’s surprisingly well made and can handle most projects. I love that I can easily take it out on the deck in the summer months and work outside. I work on many different sized projects and I find this sewing machine easy to pick up and move when I reconfigure my sewing tables. It’s also easy to clean and find replacement parts.

And where did you buy it from?

Northgate Sew & Vac, San Rafael, CA, USA

Pins

Item 3 – Pins

Brand: Singer
Model: Notions Quilt Pro Quilting Pins in a Jar
Year: 2016

How do you use this item in your practice?

I get through a lot of pins! My process is intuitive and I like to pin a composition of small fabric pieces and make sure they work together before committing to thread. It saves a lot of unpicking down the line.

Why do you use this specific item?

Quilting pins are longer and stronger than dressmaking pins, making them better able to cope with thick layers of fabric often stiff with paint. The large heads are also essential to my process, as it makes them easy to handle and find.

And where did you buy it from?

Fabricland, Vancouver, BC, Canada

Fiskars Scissors

Item 4 – Scissors

Brand: Fiskars
Model: 8” Forged Scissors
Year: 2007

How do you use this item in your practice?

These scissors are always found on my ironing board, enabling me to press and cut at one station. I cut hundreds of pieces of fabric every week.

Why do you use this specific item?

I like this particular pair of scissors because they stay sharp, look like new after nearly 10 years of use and feel good in my hand.

And where did you buy it from?

Lincoln Fabrics, Venice, CA, USA

Arrow Staple Gun

Item 5 – Staple Gun

Brand: Arrow
Model: T50 PBN
Year: 2007

How do you use this item in your practice?

To finish a piece of artwork, I stretch the fabric over a wooden frame. I use a staple gun to secure the fabric in a similar way to stretching a canvas for painting.

Why do you use this specific item?

I like this gun because it fits a range of staple sizes, has a cushioned handle and an easy squeeze mechanism. I find the fabric stretching process very demanding on my fingers and wrists and this gun helps me work for longer.

And where did you buy it from?

The Home Depot, Marina del Rey, CA, USA

For more information visit: www.sarahsymes.com

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Welcome to another edition of Tool kit, a series of articles where we take a look at some of the favourite tools used by professional textile artists.

Corinne Young hails from East Yorkshire where she creates embroidered 3D artwork and bespoke accessories. Her work is inspired by gardens, antique botanical books and the artefacts to be found in historic houses.

In 2015 Corinne was chosen to receive a Craft & Design magazine silver award, took part in a joint interior/exterior exhibition with a Chelsea Gold medal winning garden designer, and undertook a commission to make 20 botanical artworks for the Modern Pantry, a London Restaurant.

In this article, Corinne talks us through the items which she holds most dear. She explains the part they play in creating her art, where to find them and why she simply couldn’t work without them

Silver thimble

Item 1 – Grandma’s silver thimble

Model: Chester hallmark
Year: Approx 1918

How do you use this item in your practice?

I use the thimble for all my hand sewing, beading etc

Why do you use this specific item?

It was gifted to me by my mother, and it had belonged to my paternal grandmother. I never met her, as she died before I was born, but I have some of her exquisite needlework. I feel connected to her through this simple piece of equipment, and feel she is helping my practice somehow.

From a practical point of view, the thimble fits my middle finger beautifully, and works really well, not breaking threads like some thimbles do. I have mislaid it several times and been heartbroken, but I have always found it again.

Quilting pins

Item 2 – Quilting pins

Brand: Sajou
Model: Special quilt machine
Year: 2015

How do you use this item in your practice?

I use the pins to hold layers of fabric and paper together before and during stitching by hand or machine

Why do you use this specific item?

As these pins are flat, triangular headed, strong and all steel, they are excellent for all tasks as they do not distort the fabric like round-headed or glass pins. I can even iron over them. I also have some long milliners pins which are good for larger projects

And where did you buy it from?

I bought the pins from a supplier of quality and beautiful haberdashery related items called Beyond Measure, they are currently £9.00 a tin, but worth it!

Sewing machine

Item 3 Sewing Machine

Brand: Bernina
Model: 1008
Year:  2003

How do you use this item in your practice?

I could not list my tools without mentioning the most important one – the sewing machine I purchased just after completing my degree in 2003. Most of my work has at least an element of machine embroidery, so my machine is in use every day.

Why do you use this specific item?

I use this same machine for all my needs. It has been used to embroider countless flowers and insects, as well as for making curtains and soft furnishings. It is the basic model as I only really use straight stitch and zigzag, and it has been a great, reliable workhorse. My lovely repairman has just replaced the motor after many thousands of miles of stitching through all sorts of materials, and now it is as good as new.

And where did you buy it from?

I bought the machine at the Knitting and Stitching Show from suppliers in Leeds called MKC Services.

Slicker brush

Item 4 – Slicker brush

Brand: Lawrence
Model: Large original
Year: 2004

How do you use this item in your practice?

I make large sheets of paper as an organic style background for my work using flax fibres. I need to card it, as you do with wool fibre, in order to separate small quantities of fiber to make the paper.

Why do you use this specific item?

I first used a pet brush for this having found that carding brushes for wool are so expensive. I had one for my cat! Having discovered that it was a cheaper option, I bought larger dog brushes and have been using the same ones for some time

And where did you buy it from?

My local pet store, but the details for the manufacturer are here.

Stencil cutting pen

Item 5 – Stencil cutting pen

Year: Approx 2000

How do you use this item in your practice?

I do design some stencils to make the outlining and colouring of some of my background pieces easier, so I use this hot pen to cut those stencils from mylar. I also use the pen to burn holes into some of my seedheads and flowers to give them a distressed look.

Why do you use this specific item?

I was actually given this particular tool by a friend, but have used it many times over the years. It is the perfect lightweight and precise tool for my needs, and I think better than a soldering iron.

And where did you buy it from?

You can find something similar here.

Threads

Item 6 – Threads

In addition, I would not be without my large palette of threads, mostly by Madeira. I first used them at College as I was a Madeira Sponsored Student in the final year of my degree. I love the quality and lustre of these threads, and they have a huge selection of colours. I particularly like the Classic Ombre shades which have several tones of the same colour, as they give a natural look to flowers and leaves.

Corinne Young, 3D Paper Moon

For more information visit: www.corinneyoungtextiles.co.uk

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Welcome to another edition of Tool kit, a series of articles where we take a look at some of the favourite tools used by professional textile artists.

Colorado-based artist Carol Shinn is known internationally for her photo-realistic machine-stitched images. Her work is in numerous public and private collections, including the Denver Art Museum and the Museum of Arts & Design in NYC.

In this article, Carol takes us through her step by step guide to using Adobe Lightroom,

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highlighting the benefits and illustrating the results along the way.

Carol Shinn: As a realist freestyle machine embroiderer, one of the most indispensable tools for my work is the computer program Adobe Lightroom. I use Adobe Photoshop too, but save it for doing complex tasks after I work in Lightroom. These programs can be purchased online together, separately, or rented for a monthly fee from Adobe.

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This article will not be a detailed tutorial because there are already so many online, but I will take you through the steps I find most useful.

I bring all my photos into Lightroom first because of its ease for cataloging images and for finding them again later. I can also do many corrections more quickly here than I can in Photoshop, and if I decide later that I have gone too far, alterations done in Lightroom can be returned to the original image more easily than in Photoshop.

Take, for example, this window shot taken on a trip to Tucson, AZ.

Carol Shinn, Image 1

Full lightroom screen

I took it for the interesting break up of the reflection. I was with my husband and was shooting photos right and left, but did not want to hold up our walk with each thing that caught my attention. The result was mediocre, but I wanted  to see what would happen with a little TLC in Lightroom.

I often start with the crop tool (upper right dotted rectangle within the program) where I also can correct the sloppy angle of a crooked fast shot.

Crop rectangle

I usually shoot with extra space around what I am interested in so that I have plenty of room for editing, especially tilted images.

While I have the crop tool turned on, I move on down the toolbar and experiment with the things under Lens Corrections (right column, part way down).

Lens correction box

Image with crop lines

I know that objects you look up at often have more visual power or drama than things you look at straight on or see below your eye level. I see if that’s the case with this image by using the Vertical sliding bar in the Lens Corrections section. Too much of this and the window begins to look ridiculously skinny, so just a little helps a lot.

I also know that when I stitch, the image will become squatter, so I leave it slightly too tall. If I were not stitching, this too tall exaggeration could be fixed with the Aspect slider bar, also in Lens Corrections. Cropping gets rid of the lantern on the right, and some of the clutter at the bottom.

Carol Shinn, Image 2

Getting rid of the Christmas decorations is a more complex operation, so I go up to the top. Under Photo, I choose edit in Photoshop.

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It’s good to save your image immediately in Photoshop with a slightly different name so that you don’t directly work on the original. This way you keep each step along the way in case you change your mind at any point.

You can easily go backwards in Lightroom, but in Photoshop you only have a limited number of steps you can backup with, and once you save your image to leave Photoshop there is no going back unless you have saved past versions.

In Photoshop I can get rid of the decorations using the paintbrush tool or by capturing adjacent sections of the blue windowpane with the lasso tool, and using them as a cover. After this is done, and saving again, I go back to Lightroom and punch the image with the Basic tools. Sometimes I use nearly all of them.

Basic Box

In this case, I increase the blue a little (Temp slider bar) as well as use Contrast, Shadows, Clarity, Vibrance, and Saturation. Then I sharpen the image a lot and save it again.

Carol Shinn, Image 3

Finally, I like to see what the Presets on the left side of the screen will do. I ignored these for a long time, and then one day found them and started having fun. Even if you think the choices are too extreme, they can be the source of ideas.

Presets on left

You can see your image change in the thumbnail at the top of the preset column, or click on them individually to see what happens on your main image. You can undo these in History (also in the left column), though I don’t know if there is a limit here on the number of changes it keeps.

You can always click Reset (lower right) to return to the last titled version that you saved. I choose Cross Process 1 for my final version. Then I crop off some more of the extra at the bottom.

Carol Shinn, Image 4

I take it back to Photoshop, save it, and create the final size for printing out on heat transfer paper.

Remember to reverse the image with Flip Horizontal in either program because the transfer must be printed backwards for the final print on fabric to be the right direction.

Embroidery is next!

Get Lightroom as part of the Creative Cloud Photography plan for only £8.57/mo incl. VAT

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For more information visit: www.carolshinn.com

Got something to say about the techniques, materials and processes used by this artist – let us know by leaving a comment below.

Welcome to another edition of Tool kit, a series of articles where we take a look at some of the favourite tools used by professional textile artists.

Alejandra Zermeño was born in Mexico City and has been working as an artist since graduating from the San Carlos Academy of Fine Arts where she gained a Bachelor of Fine Arts and a Master’s Degree, specialising in sculpture.

Since the beginning of her career, Zermeño´s interest has been the exploration of the human body and her work has been exhibited in Mexico City, Tokyo, Germany, Spain, Canada and the USA. She will have a solo exhibition at the Mexican Museum in 2018.

In this article, Alejandra discusses the tools she can’t live without; how they enhance her art and improve her abilities and why an unusual birthday present changed her life and work process forever.

Plasticine

Item 1 – Plasticine

Brand: Isemarf
Model: Professional Plasticine for modeling
Year: 2016

How do you use this item in your practice?

My work is divided into two processes: the first one consists of modeling the human, animal or details over the figures. When this part is complete, the next step is to make a silicon mold and casting the resin inside the mold. Then I start to make the clean part: knitting, crocheting or gluing the fabric or threads over the resin piece.

Why do you use this specific item?

I think one of my most important talents is modeling with plasticine and clay, I really enjoy it a lot. I have an academic formation and when I was a student we had to work with a human life model and with pencil or clay for months. Nowadays this formation helps me a lot to create part of my work.

And where did you buy it from?

I buy boxes that contain 100 pieces of professional sculpture plasticine in a store where you can buy silicones and resins; in Mexico City, it is called Poliformas.

Knitting and modeling tools

Item 2 – Knitting and modeling tools

Brand: Crochet hooks:  Lion Brand. Modeling tools: Vazquez
Model: Different size and shapes
Year: 2009

How do you use this item in your practice?

Like I mentioned before my work is made by two techniques: modeling with clay or plasticine and knitting and crocheting wools that allows me to cover the resin sculpture with handmade fabrics.

In both processes, it is very important to have the correct size and form of the tool. It depends on the forms will be the tool I will use for the specific artwork.

Why do you use this specific item?

I’ve knitted since I was 11 years old, half of my life I have been crocheting and knitting. When I started my professional career I decided to include this activity in my artistic proposal, modeling and knitting are two activities that I always do and I love to make it. That’s why it is very important to have the specific tool for a specific technique.

I have been buying tools since I was 16 years old and I try to buy and increase my equipment once a year.

And where did you buy it from?

I purchased tools in NYC in a very nice store called Complete Sculpture and in Purl Soho. In Mexico City I buy my materials in a knitting store called Crochet.

Paper, wool and microscope

Item 3 – Paper, wool and microscope

Brand:  Zeigen Microscope.
Year: 2011

How do you use this item in your practice?

I´m a sensitive person, I love nature and life and I´m easy to move.

At my 33rd birthday celebration, I received from an important person in my life a beautiful microscope to see more than my eyes could see. This present change my life and since then I’m inspired by the component of the things, that’s why I’m now using elements which represent cells and molecules and with the summary of each item I can create a complete form or human figure.

Papers, yarns, fabrics, and threads are the most important component in my artwork.

Why do you use this specific item?

I use the microscope only for inspiration and the papers, yarns, fabric and threads I use them to cover (like a second skin), the body of my sculptures. I knit over the resin layer and I glue the threads one by one.

And where did you buy it from?

I bought the papers in a beautiful store in NYC called Paper Source and yarns and threads in Purl Soho NYC. Some of my yarns I used to buy them in Crochet store in Mexico City or Omega store near from my studio in Downtown.

Sewing machine

Item 4 – Sewing machine

Brand: Singer
Model: Tica
Year: 2011

How do you use this item in your practice?

Sometimes when I knit and crochet outside the sculpture and I need to close and to make a union between the knitting fabrics or to hide some endings and to sew some fabrics in order to fit them well on the sculpture.

Why do you use this specific item?

Sometimes it is better to use the sew machine instead to make it by hand. It could help to make some stitches with the machine because it is cleaner than make it by hand.

And where did you buy it from?

Since I was a child I always wanted to learn how to use a sewing machine, and one of my dreams was to have one. Many years ago my dreams come true.

When I´m sewing I have the same beautiful feeling when I´m welding metal parts between them. I think the sewing machine was the greatest invention ever. It seems like you are doing magic but no, it is the perfect design for your necessities.

Threads and pearls

Item 5 – Threads and pearls

Brand: DMC
Model: Cotton Perle
Year: 2016

How do you use this item in your practice?

I like to use these materials for making an ending. Some of the times threads are used for gluing one by one over my resin sculpture. Each thread contains one plastic pearl that allows the piece to shine and to have more textures.

Why do you use this specific item?

In my work threads represents the line time in our life: one point communicates to another point, all these lines represent the process what we lived and passed through to get to the future. Pearls are important too because they symbolized the cell in our body both human and emotional cells.

And where did you buy it from?

I buy these items in Omega thread store and Fantasias Miguel in Mexico City and in Michaels in the USA.

For more information visit: www.alejandrazermeno.net

What’s in your Tool kit? Tell us by leaving a comment below.

Welcome to another edition of Tool kit, a series of articles where we take a look at some of the favourite tools used by professional textile artists. 

Erin Endicott is a contemporary embroidery artist who studied textile design in Scotland, before moving to Philadelphia to complete her fine art training. Erin creates her own unique brand of soft sculpture by stitching and drawing onto found objects. Recurring themes include pain remembered, solace found, hope and feminine patience.

In this article Erin shares with us the secrets of her tool box. We discover how ink, thread and cloth all combine to create her arresting series of work from 2015 entitled Healing Sultra.

Cotton embroidery floss

Item 1 – Cotton Embroidery Floss

Brand: DMC
Model: 321 Red

How do you use this item in your practice?

I use this specific thread for all of the stitching on my Healing Sutra series. I untwist it down to one strand, double it over and knot it. I really think of my work as drawing with thread and this gives me the perfect line weight for my hand stitched marks.

Why do you use this specific item?

This is the truest red I have found.

And where did you buy it from?

Local craft store – I buy huge quantities of it when it’s on sale!

Item 2 – Walnut ink

How do you use this item in your practice?

I purchase powdered walnut ink which allows me to reconstitute it to the desired intensity/consistency. I use the ink on slightly damp fabric as sort of a stain or map from which I can begin my stitching. I love the uncontrollable nature of using ink on fabric and the subtle shades of brown it creates.

Why do you use this specific item?

Not only does the stain give me a starting point for my stitching but it adds a feeling of history to the fabric. Within one small stain there will be an incredible variation in tone and intensity that I have not been able to achieve with any other product.

And where did you buy it from?

Etsy

Antique cloth

Item 3- Antique clothing/ linens (white)

How do you use this item in your practice?

I use antique clothing and linens as the life of my work. I find that their history, the worn and tattered bits, the small stains and tears, inspire a narrative which is as open and varied as the viewer. The clothing/linens are really the base of my work. Inspired by the story I intuit from them, their shape, and the walnut ink stain, I have a beautiful canvas on which to begin my stitching.

Why do you use this specific item?

For many years I explored a variety of ways to represent my inner landscape through my work. I find that the sheer, white fabric of these garments perfectly represents the essence of a human being.

And where did you buy it from?

I am so fortunate to have received all of my textiles as gifts. In the beginning of the Healing Sutras series, I was using pieces that had been handed down through my family; my habit of hoarding fabric has been come by honestly! Stained tablecloths, fine cotton that had been worn threadbare by use became little girl’s dresses.

I soon found that people were eager to share their collections and inheritance of antique clothing and linens with the knowing it would be given a new life. I have received packages from around the world from people I have never met and it adds another layer of meaning to my work. I am very grateful for this spirit of generosity.

Buttonhole Scissors

Item 4 – Buttonhole Scissors

Brand: Merchant & Mills

How do you use this item in your practice?

I always have these gorgeous scissors (who knew that scissors could be so gorgeous?!) nearby while stitching. I’ve attached a loop of linen to hang them on the arm of my “stitching chair” so they are always near at hand.

Why do you use this specific item?

They are exquisitely crafted and super sharp! The weight of them feels perfect in my hand and I find the size to be perfect for snipping threads and cutting into small areas.

And where did you buy it from?

Merchant and Mills

Entomology Pins

Item 5 – Entomology Pins

Brand: Merchant and Mills

How do you use this item in your practice?

My newest pieces in the Healing Sutras series are folded and layered and the length of these pins is perfect for getting cleanly through all the layers of fabric.

Why do you use this specific item?

As with the scissors, these pins are beautifully crafted. I love the flexibility of the pin and how beautifully they glide through my delicate fabrics. I also love the aesthetic of the fine, black pin against the sheer white fabric.

And where did you buy it from?

Merchant and Mills

For more information visit www.erinendicott.com and @healingsutras on Instagram.