Assignment Two

Stitching: Placed and Spaced


Stitching placed and spaced


A sense of repetition.

 Variety of scale.

 A placement design.

Frayed layers and torn textures. Use different fabrics, lace and mesh. Trap flowers between layers.

Surface qualities and colour…..I want to refine what I have made so far in part one and two, I would like to find a more delicate approach even though fragile, frayed and worn will continue to be present in my theme.

Source fabrics and lace to try out different surface manipulation.

Look to transforming recycled garments “ Make-do and mend”

Consider transforming old cotton shift…maybe dye?

Look to flowers and folk art

‘A Mid Summers Dream’

‘The May Queen’

Time passing….. Spring/Summer to Autumn/Winter.

Maybe patchwork windows could inform this journey??

I like the idea of working small to begin with and then joining all the pieces together to make a larger statement.

Individual small flowers for trapping in windows through to autumn leaves.

Think about the direction of stitch also and the marks made with the thread.

PROJECT TWO Drawing with stitch

Exercise 2.3 Drawing with stitch onto paper.


Looking once again at my six chosen drawings I start to think about the overall energy and appearance they portray, I need to translate this energy and feel into stitch, I don’t think this can be achieved by using conventional thread or by using a sewing machine. I want my stitch marks to be fluid, transient, fragile. The language of the lines need to be harsh yet have an undertone of translucent delicacy. The stitch lengths need to be varied, they need to evolve as they work with the papers, I want layers on layers, twists and turns, sparkle and adventure, I want to begin and let the outcome evolve through the unexpected.

Before I begin to sew my substrates I need to choose threads and decide on which papers I feel worthy of moving forward. I have added some of my preliminary sketchbook pages below showing briefly the path I followed to achieve my finished samples.

Playing with stitch shape and form by just scribbling onto little cards.


Adding colour and different surface textures to my initial black and white scribbled stitch ideas really brought them to life. 






After evaluating the successes and some failures of my small stitched samples, I would like this processes now to inform two of my completely new drawings. The first drawing I have chosen is my simple shapes of leaves with dappled backgrounds, there is a feeling of movement and sunlight coming through the trees and this light and movement is one which I would like to inform my first larger sample.


Here are my sketch book ideas leading up to my first finished sample

Very early on I decided I wanted to use the sewing machine to stitch this larger sample piece. I found that I could not achieve the fluidity needed to capture the movement I required to portray. I began experimenting with different widths of zig-zag stitch. As I sewed the thread, caught and tore some of the paper, I think this effect added to the overall success of the finished piece. I took this tatty zig-zag and applied it to my experiment with making leaves. I used tracing paper stitched to a plain paper backing for stability, once I had the outer edge sewn I cut away the middle backing paper to allow the leaves to become translucent before stitching the centre veins.  I then waxed and painted each leaf using a sponge dipped in water colour paint as the paper became wetter it distorted and curled up at the edges, I then screwed the paper up and unscrewed it a few times, ripped away the outer edge and found that I had a really life like leaf! The sheet music incorporated into this drawing is for the sound of the trees when the wind blows through them.


“Hold me to the light, handle me and hear the rustle of Autumn approaching”



Before choosing my second drawing to take forward in this project, I began to play around with layers and stitch ideas using my iPad ( procreate app)

img_7377   img_7378img_7380       img_7381

This ipad drawing I went on to try and capture the same free form style of sketching but using the sewing machine. The needle kept sticking in the paper and distorting the stitches causing a tatty spider like edge to the sewing. I quite like this detail but I am not sure my sewing machine felt the same way.

For my second drawing to develop further I have chosen the collage that I made of my ‘ Tatty old bag’ Here are some of my sketchbook development pages below showing my initially ideas to inform this sample.

I decided to go with my Summer colours from part one and I wanted to continue with the feeling of fragility, The original bag has many layers and textures and a few holes. I wanted the holes to become window.




‘A well traveled bag’

“I am delicate and frail, my holes are windows of time past and places I have been”






Reviewing my folio of drawings and looking back over my work I can see that I have made a progression forward from the harsh black and grey lines and marks that i first laid down onto paper into a softer approach.

There is a need within me to achieve the delicacy and transparency of layers and this begins to show in my softer, warmer style and approach. I feel that I begin to add strength and depth but without heaviness.

I started in my sketchbook to experiment with different media, textures and colours onto soft and transparent papers and found the outcomes , mainly the ones achieved by accident, to be the most exciting. Looking now over my folio of work brings out mixed emotions that show through in the marks that I made. Perhaps the essentially heavy and strong marks using black pen and gouache are an expression of my lack of use of colour. I can see that I relax into project three and burst out into colour at last, my marks become softer and I experiment more with layers. This soft delicate layered approach is one that I would like to push forward and develop further. 

Exercise 2.1 Selecting

Having laid out all of my artwork from Part one I have now chosen the six pieces which I feel to be the most exciting and which I would like to broaden their development at this time. Each has interesting visual qualities of depth, layer and texture whilst they still retain a delicacy, even though some of the marks are quite strong. These six pieces which I have chosen have a good variety of marks giving me plenty of scope to push forward their development potential.

my 6.jpg


Thinking about the qualities of substrates and base materials and surfaces I want to use to translate the qualities and elements of my drawings, I have listed a few below.

Tracing paper. Watercolor paper. Tissue paper. Kitchen paper. Polythene. Recycled papers.

All papers used will have a quality of softness, event though they may start out quite ridged and harsh, other papers I am using will start out crisp and be manipulated to be more playable and soft.


I am finding that by referring back regularly to key words keeps me focused on the over all feel I am wishing to portray through my paper manipulation.  Sharp, Frailness, Delicate, Translucent, Fragile, Soft, Pliable, Light, Layered. To also keep my thought process I have pinned all six chosen pieces of art up onto my pin board along with some experiments with paper that I tried out in part one, which I feel are worth pushing forward into this project ‘creating surfaces’.



Below is a list of the techniques I have chosen to manipulate my paper samples. The brief asks me to chose three…..I’ve chosen 19 ! Not because I find it difficult to select but because I truly feel many of these process will blend into one-another to achieve the outcome I am looking for.



In order to recall the process of manipulation used on each paper I have begun to keep a 10 x 10 cm swatch of each in a sketchbook listing all the processes. The outcome is wonderfully not only is it necessary technically but it allows me to connect, feel and identify with each of the substrates. 



Laying out 10cm x 10cm square tiles to see how each paper sits with the next and to refresh my mind on the overall feel I want to project. I have kept to white only to begin with.


Moving on to colour I have found so much more scope in portraying the feel of delicate and translucent, colour adds and highlights fragility. I intend to use these coloured papers and textures as layers to be stitched onto my white ground to add further texture and depth. Swatches and notes of each processes have been added to my wonderful library of substrates.




My Pinboard is a place for images notes and stuff that I have collect from other peoples online blogs and websites or notes and photographs I have taken myself. I try to acknowledge the artist were possible. This is sometimes difficult when collecting images from  If I am unable to name the artist I will note “Unknown Artist” next to the photo.If I have taken the photo I will put CM next to it.

I can’t put everything on here, so its just a little insight as to what inspires and interests me visual. My pinboard in my studio and my scrapbooks/sketchbooks are where I mainly keep all this stuff. Enjoy!


Lizzy Levy

About me

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RESEARCH POINT 3 the art of imperfection