Schiffer Craft, an imprint that publishes craft books and kits, offered review copies of three recent textile-focused books to Textile Society of America members. TSA is pleased to publish their insightful and informative reviews of these titles: Wen Redmond’s Experimentations with Collage: Merging Photographs, Paper, and Fiber; Susan Iverson’s Tapestry with Pulled Warp: Inspiration, Technique, and the Creative Process; and Sara Barnes’s Threads of Treasure : How to Make, Mend, and Find Meaning Through Thread.
Wen Redmond, Experimentations with Collage: Merging Photographs, Paper, and Fiber
Becky Breshears
Review of Explorations with Collage! Merging Photographs, Paper, and Fiber by Wen Redmond By Becky Breshears Readability: While I enjoyed the narrative parts of the book, the captions below each photo sometimes made for a bit of confusion. Hopping around as you studied the photos and tried to follow what the author was focusing on was at times challenging and sometimes puzzling. She communicated a lot of information in each chapter and the fonts sometimes changed which made readability more difficult. It was easy to get lost when jumping around on a page as to what comes first as well as to understand if they were related or not related to each other. Content: The content in the book was overwhelming even though it was excellent to study. Each chapter could be a book unto itself. The digital work is hard to assimilate unless you have experience and are familiar with layering and such in Photoshop or comparable programs. Just flipping through the book is an experience that can be overwhelming. While she does say that each chapter can be done in any order, the sequence of building on skills and gradients could be better. It’s a book to be read and absorbed slowly over time while experimenting as you read through the chapters. Illustrations and Images: There are so many illustrations to spur one’s creativity in this book. It is a picture book of ideas. The images are well done and varied. It is difficult to absorb the wide variety in each chapter and understand how they build and relate to each other.
Prerana Choudhury
Wen Redmond’s Experimentations with Collage offers insightful perspectives into the world of collage, an art form that depends on experimentation and wilful surrender to spontaneity. Redmond’s delightful explanation of collage appears through practical pointers of how to make a collage artwork and/or become an artist in this specific genre of creativity. Hence, her approach towards the book has been practical, detail-oriented, and rests upon the need to enlist the exact manner in which one can engage with material, process, and outcome, without indulging in the larger context of the artform as such or include writing that inclines more towards storytelling.
The book is content-heavy in its exploration of various styles, techniques, and explorations of collage. It is divided into nine chapters, each that elucidates an important facet of this creative process, replete with images that illustrate what the author/artist wants to convey. These photographs are particularly helpful in understanding the range of work that the artist has achieved along with the diverse possibilities that lie within collage as an artform. The language, however, can become tedious after a point because of the emphasis on pointers, lists and techniques of creating collage. One may find the text exhausting, especially if we are first time readers of anything of this sort, and if we are beginners looking to understand the very basics of collage as an artform. An insight into the history, cultural context and stories of the emergence of collage would be very interesting. I also feel that the font used reduces the overall ease and intuitiveness of the text consumed, and the mismatch between the fonts used for the main body as against the image descriptions creates visual discomfort. Also, the image quality could have been better but I presume it may look of reduced quality in its e-version.
Susan Iverson, Tapestry with Pulled Warp: Inspiration, Technique, and the Creative Process
Wanett Clyde
Susan Iverson’s, Tapestry with Pulled Warp, is a love letter to weaving. This work begins with the artist’s introduction to this textile craft in an elective course and chronicles her journey through newbie enthusiasm, failed novice, then budding proficient to eventual author of a work chronicling a beloved technique – pulled warp. Iverson communicates her intention for the book in a one-page manifesto which provides readers with a summary of what they can expect from the book, but also gives permission to beginner and experienced weavers to choose their own adventure.
The book follows a traditional chapter structure, but each section contains sub- categories which walks you through exploring the different aspects of working with pulled warps. Though this technique could be used by a complete weaving novice, there’s not enough basic weaving information to make this the sole weaving text in your library. However, readers receive ample detail which sets you up for success at creating samples of the various techniques. The photographs are clear and the text is comprehensive without being overwhelming. There are delightful “What if” sections which provide prompts to push the boundaries of pulled warp even further.
Readers are treated to an artist’s eye view of when to apply the pulled warp technique beginning with early work, shared via images and text. It’s quite fascinating to see Iverson’s progression through the years and to read her reflections on her own work. It’s also a perfect illustration of the many uses of pulled warp. In fact, one must look to the description to confirm if this “technique as tool” is used in many of the tapestries. It can add drama or be discrete. It can punch up or dial back. And Iverson shows us how.
Sandy Egeler
Pulled Warp is a well thought out book explaining a weaving skill that is technical in nature. The writing is clear and easy to follow. It is clever, imaginative and Susan’s deep passion for this unique process is apparent in her writing. I like the ‘What if’ sections very much as they invited me to think of different ways I could make it my own creation. This technique reminded me of sewing and gathering fabric with a basting stitch and pulling it.
The structure of the book is comprehensive, starting off with a little history and then getting right into trying the technique. The opportunity to then view Susan’s older pieces, and some from other artists added to the overall experience of the book. I would have enjoyed more historical references and further back in time, if that was possible.
The images in the book are fantastic, covering each step and displaying finished pieces. However, the cover fell short for me. The font and embossed lettering are appealing, but the images did not get me excited about all the possibilities of pulled warp as they could have. Yes, each image on the cover shows the uniqueness of this practice but the pictures are from the same color palette and series. It would have been interesting to have seen 4 more varied pieces and a variety of colors on the cover. There are so many to choose from on the inside!
Patrice George
Susan Iverson, Professor Emerita, retired from the School of the Arts at Virginia Commonwealth University, is a distinguished textile artist who explores 3-dimensional surfaces in handwoven tapestry. Her signature tapestry technique has been shared for many years with college students, and through workshops at Penland and other craft centers. Encouraged by former students, she has composed the first instruction book on this fascinating technique.
Iverson was introduced to both traditional and contemporary tapestry techniques while a student in BFA and MFA textile programs in the 1970’s. With her expertise as an experienced artist/instructor, her book outlines step-by-step instructions for weaving pulled warp tapestry samples on small frame looms. The lessons begin with how to create a paper pattern for a tapestry shape. Next, detailed directions explain every step for weaving the shape, leaving open warp spaces that are pulled together later to create a dimensional surface on the weaving. Excellent photos illustrate the lessons, accompanied with helpful hints on planning and problem solving. Challenge questions to inspire original designs punctuate each lesson.
Finally, Iverson discusses her own work, with high quality photos that illustrate how she has employed both flat and pulled-warp tapestry over the years. She emphasizes the value of planning new work through drawings and patterns, and for documenting work in progress for future reference.
Pulled Warp Tapestry will delight both new and experienced weavers, and anyone interested in contemporary textile arts. It is a valuable reference to add to all collection serving textile artists, designers, and historians.
Eileen Hoskin
“I was blown away when I first pulled my copy from the shipping box! The book cover and binding have a lush feel in the hand, and it is printed on high quality paper. The printing is extremely good, using a clean font and font size that make reading the content very easy on the eyes. The book is very thoughtfully organized, from beginning techniques and concepts to progressively more challenging ideas. The descriptions of the techniques in the book are simple, concise, and very easy to follow. Susan is an excellent teacher! The whole work is beautifully and generously illustrated, with a bounty of first-rate photography that clearly captures the details of each step. I found the many true-color photographs inspiring – they left me excited to try the techniques and then adapt them with many ideas of my own. I have followed Susan’s works with great interest online, so it was awesome to learn in this book how many of those favorites were made. I LOVE the “What If” sections in each chapter that encourage and challenge you to take the concept taught and run with your own imagination! I also read with eager interest the chapter on mounting techniques, which will be extremely useful for all of my tapestry weaving. This is a high-quality book that is meant to last and inspire, with techniques that open a whole new universe of weaving to explore. I am very happy to add it to my weaving library.”
Karen LeBlanc
After weaving for over 40 years, I started exploring pulled warp tapestries several years ago. This book is very relevant to my current work and is an excellent resource for weavers exploring pulled warp tapestries. Tapestry with Pulled Warp: Inspiration, Technique, and the Creative Process is a work of art with heavy weight glossy pages and beautiful photographs of artwork and projects to weave. Susan Iverson’s writing style is conversational, providing guidance on the process of designing and weaving pulled warp tapestries. I certainly learned from this book! The book was easy to follow with clear writing. I love the format with “What If” sections, text boxes with advice, and quotes. I found the main font very light (darker fonts are easier to read). The font in the text boxes was perfect! Susan provides excellent instructions and images for projects that evolve from simple to more complex with tips and hints to create successful samples. A few observations:
- A typo in “Ways to use this book”: succeeded should be succeed (last line of the 2nd paragraph).
- Re: photocopying drawings. Many weavers do not have access to a photocopier. I have a printer but no photocopier, but I can scan a design and print it. Maybe providing other options in this section?
- Captions for images in the book will make it easier to follow instructions (i.e. Figure 1.1… Figure 2.1… aligned with chapters).
- Provide a comprehensive index in the back.
- Include more terms in the glossary (i.e. dimensional; hills; valleys; weft bubble…)
Ruth Miller
You will want to own this well-produced book. It feels good in the hand, is printed on substantial paper and has crystal clear photographs on almost every page which are shot from various vantage points and organized lucidly to show achievable effects. Ms Iverson begins with her weaving history and assumes the reader already knows weaving basics such as setting up a loom. Each chapter unfolds articulately, presenting images of samples adjacent to the portions of text that describe them. She inserts ‘what-if’ questions throughout to entice the reader towards experimentation. Explanations are meticulous – with both ‘do’s’ and ‘do-not’s’ offered to guide the student. Her tone throughout is always encouraging. Simple and compound curves, loops and ripples, domes and spirals are all illustrated in their pulled and pre-pulled states and in the patterns used to create them. Samples show how color variations, embroidery and layering of fabrics add to those effects. The finishing and mounting of tapestries is also discussed. Ms. Iverson ends with a gallery of her impressive work.
One drawback: the book is printed with a somewhat small font using gray rather than black ink which would have provided more contrast, thus improved legibility. Importantly, even the novice will say, “I can do this!”
Kate Sarah Mitchell
Illustrated with photographs that are clear and precise (as needed), this book offers detailed, step by step directions to learn pulled warp tapestry. I was pleased to find the book lays open flat despite its size – making it easy to refer back to illustrations and tips while the hands are busy at the loom. The photos are generously sized and easy to follow but the text font is light and difficult to read.
The author’s tips are helpful and her anecdotes put the practice into context. Two thirds of the book cover technique and the final third is a presentation of her work. I would have liked to see some reference to pulled warp on a non-tapestry textile—for example to make darts in a handwoven garment, if only for further context on the technique itself.
The technique section of the book is presented like a workshop, making it very accessible. Iverson often refers to presenting a more detailed lesson further along in the process, reassuring her readers that there is more to come. This is a super technique that could have been even better with reference to page numbers where that further detail is given.
Iverson readily uses images of sketches and templates in the instruction sections of this book. She discusses her sketchbook practice and how it relates to the final tapestry in “An Artists Journey.” It would have been interesting to see some of her sketches as they relate to her tapestry series, which are generously illustrated.
Michael Rohde
The subtitle of this book says so much to recommend it to anyone: “Inspiration, Technique and the Creative Process”. These are precisely the gifts that Susan Iverson lays out for the reader: she provides initial ideas, clear step by step instructions and opens the doors to what might go beyond the basics, with the simple question “What If” after providing the basics.
From the beginner to the already skilled weaver, there are clear descriptions of how and why each step should be undertaken, and what to do, if things go differently than expected. Verbal descriptions are well documented with abundant clear photos, and hints as to how something might go wrong, how to avoid mishaps, and how to correct many of them.
Furthermore, this is no dry academic discourse; Susan has enriched the lessons with bits about how she got started in this way of working, and some of her early influencers, which sent me to look up the work of those who inspired her. Likewise, there is a section that asks the question, when and why to employ pulled warp. Here, she presents examples of how she has answered these questions for herself. The various expressions of ideas that become objects is enough to stimulate anyone, not to copy her, but to be inspired to take on something new. The perfect guidance for a well established teacher.
Micala Sidore
In 2015 Susan Iverson retired from a 40 year teaching career at Virginia Commonwealth University. Throughout that career, and since, she has exhibited regularly, taught workshops, given talks widely—and produced tapestries prolifically. She has explored the technique of pulled warp in many of her own pieces.
She believes, “Being an artist is a process of finding your visual voice and finding the right tools to bring your ideas to life.” In the first three chapters of her book, she offers a series of exercises that present ways of using pulled warp, from the simple to the complex. The fourth chapter describes strategies for finishing and hanging the work. Finally, in the longest chapter, she tells her own story, explaining how she does what she does, the series she has developed, and specifically when she decides to use pulled warps.
She regularly advises the weaver to relax, to prepare thoroughly, to see the weaving as a process of discovery, to play. Her love and clarity show up in every sentence and tapestry. Her instructive style is clear and accessible. And while she assumes that the weavers who read the book know their stuff, she also suggests instructional books for novices and non-weavers. She offers many images of elegant and complex tapestries, for those who just like to look. At the very end of the book, she displays work by half a dozen other artists who use pulled warp, as well as a bibliography and a good brief glossary.
All in all, Iverson’s book provides immense satisfaction.
Helen Trejo
Pulled Warp conveys the creative potential of developing 3D tapestries with specialized techniques. The author provides recommendations for tools and materials to use, along with tips based on decades of experience. The book is organized from basic to complex techniques, and is meant to be a companion to creating pulled warp samples. Readers are walked through the process of creating 2D patterns, woven structures, and transforming the woven structures into 3-dimensional forms by pulling the warp. A variety of 3D forms can be created such as loops to flaps, ridges. ripples, and spirals. Advanced complex pull processes are also described and showcased to convey artisanal mastery. Several “what if” questions are presented to stimulate greater creativity and an exploration of pulled warp nuances.
The book presents a variety of information with technical details that may be more appropriate for intermediate to advanced weavers. It anticipates trial-and-error, experimentation, and extensive planning and patience. A few technical key terms were used throughout, such as “maquette” and “cartoon.” The reader can refer to the glossary as a refresher of what the key terms mean. The readability can be improved with the use of subheadings and figures referred to as technical steps are described. Additional labels on the visuals can help, such as using key terms and the specific dimensions. A sequence in the visuals can be assumed, but it would be clearer with labeling to avoid confusion. Additional references, such as video demonstrations can be helpful for new learners of pulled warp techniques.
Liza Upham
For weavers and art lovers of all skill levels, Pulled Warp by Susan Iverson is an informative and inspiring instructional book that provides a vast range of possibilities for adding curves, corners and three dimensionality to woven cloth through tapestry weaving.
Sharing her creative journey with humility and candour, Iverson encourages readers to embrace their curiosity and willingness to experiment.
Structured in a way that is engaging and easy to follow, chapters progress from simple to more complex applications. The instructions are clear and concise, accompanied by helpful technical visuals to demonstrate each step.
Along the way, Iverson provides valuable insider tips, the kind that only come from extensive experience, trial and error. That alone, any artist will know, is worth its weight in gold.
Sara Barnes, Threads of Treasure : How to Make, Mend, and Find Meaning Through Thread
Megan Adgate
In Threads of Treasure : How to Make, Mend, and Find Meaning Through Thread, Sara Barnes presents a visually striking exploration of creativity through the medium of embroidery. The book encourages readers to tap into their artistic potential by using readily available materials to enrich and expand their fiber practice.
Barnes structures the book around three themes – nature and found items, clothing, and time. Each is explored through artist profiles of both renowned and emerging artists. Familiar names such as Arounna Khounnoraj of Bookhou and Tessa Perlow are show-cased alongside lesser-known talents, offering readers a tapestry of inspiration and discovery. Following the artist interviews, each chapter concludes with an idea for a conceptual project meant to spark the creativity of the reader, but the projects are a shortcoming of the book. By eschewing traditional step-by-step instructions in favor of a vague outline of a project done by Barnes, she leaves new embroiderers yearning for more concrete guidance while even the steps provided would be irrelevant for a more experienced maker. The book’s strength lies in its ability to inspire rather than as a practical how to manual.
Ultimately, Threads of Treasure excels in encouraging creatives to reflect on the intersections of art, nature, and daily life. It offers a chance to reflect on the simple beauty of embroidery and its potential to enrich our everyday experiences.
Laurel Collier
What a treat to spend my summer with Sara Barnes through her beautiful book Threads of Treasure. Filled with inspiring images of needlework, stories from talented makers and unique guidance for ways to personalize my own projects. Including valuable encouragement for beginners or experienced needle workers, read with a highlighter! Not only are we left with ways to engage with our own creative treasures, but she gives us a treasure in stunning binding and full of beautiful photos of creative work. One moment you will think you are reading an uplifting devotional and the next you are exploring your own threads and fabrics to see what you can create with your own style and whimsy. I can see this book helping some take that extra step to explore their creativity beyond a typical needlework kit. I started three of the four “You Can Do It” projects from the book and I am excited to reread about the artists as I work on creating my own treasures. I found this easy to read and easy to follow projects that filled me with creative inspiration and new ideas to take my thread out and revitalize my techniques. I would have loved to see more photos of the makers with their work but that didn’t affect my enjoyment of this beautiful work of art. Thank you Sara Barnes…please make more books like this!
Beth DellaRocco
For years, Sarah Barnes has been writing the delightful blog Brown Paper Bag. She’s a wonderful champion of the textile arts and her blog is equally whimsical, informative and inspirational.
Threads of Treasure is her second book, following Embroidered Life: The Art of Sarah K. Benning, and this current book echos the format of her blog.
Barnes has the ability to create lively narrative and each of the short chapters in Threads of Treasure is beautifully written. The conversations with various fiber artists are candid and personal. The sections on basic techniques are straight forward, if lacking in detail. Each of the many photographs is beautiful.
All of this makes for a great series of blogposts. As a book, it misses the opportunity to dive in deep.
The interviews are charming, brief snapshots of a specific project. It would be welcome to hear more about any of these talented artists and details of the methods they used to create their pieces.
The chapters on technique are often lacking the depth the beginner relies on for building a visual vocabulary for the medium or an experienced needleworker needs for inspiration.
The photos are beautiful, although often the same or similar shots are repeated to no particular gain.
The motivational prompts scattered throughout are a curious addition and seem more suited to an instagram post.
Expand any part of this book to a full-length read, and it’s likely that it would stay on the shelf a valuable reference, as it is—it’s a quick read to pass along.
Carolyn Drake
Sara Barnes’s Threads of Treasure is a welcome addition to the available texts connecting stitching to a mindful and embodied creative practice. The book is structured effectively, with an opening invitation to set technology aside while engaging in stitching, and a closing offering around creative affirmations. Three central sections organize the ideas and approaches around different understandings of the word ‘treasure.’ Within each section there are several featured artists and a specific project with step-by-step directions.
The featured artists include some very well known names, like Arounna Khounnoraj and Stefanija Pejchinovska, who have lovely and wide-ranging work. The photographs and close up shots in many of the artist features are beautiful and worth savoring.
Two things missed the mark for me. The first is related to audience: as a fairly advanced stitcher myself, I felt there was something lacking in terms of depth and originality in the projects. At the same time, if the book is intended for beginners, more care would need to be taken in the stitch diagrams and foundational skills in the opening section of the text. Second, only one of the three step-by-step projects felt like it had a clear connection to the theme of “treasure.” The other two projects (a daily stitch journal and a decorative mending project), while charming, have been somewhat ubiquitous in the textile world and felt underwhelming – at least to me.
Still, Threads of Treasure has much worth admiring and belongs in the library of any diehard crafter. Certainly the cover is worth remarking on, with its stunning design and binding. The rich gold embossing and grey-blue palette are seductive to the touch and to the eye, and set this book apart as something indeed quite special.
Kate Hampel
Threads of Treasure professes to be an introduction to fiber art for those with little to no experience with it or other creative pursuits. As such, it is full of gentle encouragements toward creativity, and reassurances that thinking imaginatively needn’t be frightening. Some readers may find this coaching unnecessary, but for others, it may help to spark a new making practice.
Sara Barnes has organized the book into thematically arranged sections (e.g. Treasuring Everyday Moments), each of which features several artists whose work addresses the theme, followed by guided projects inspired by the artists’ work. Instruction is given for both technical skills (mainly embroidery and appliqué) and concept development, with suggestions on where and how to find inspiration in daily life.
Many of the techniques described in the book will be familiar to readers already working in textile practices. For those who have never held a needle, they may need to look to other sources to fully understand how to proceed. Instructions for techniques such as appliqué or embroidery stitches are given in an offhand way, and the accompanying photographs do not do enough to fully illustrate the steps needed to execute them.
Where this book really shines is in the in-depth interviews with artists. Each thematic section includes several multi-page spreads with excellent images of artists’ work, and thoughtful conversations about their inspiration, their creative pathways, and their use of material and technique. For these alone, Threads of Treasure is worth reading whether you are a newcomer to textiles or an experienced maker.
Miriam Kahn
Threads of Treasure jumps on the “Slow Stitching Movement,” encouraging stitchers and embroiderers to disconnect and create on fabric, with fabric, and using found objects. Author Sara Barnes and her colleagues talk about their artistic process encouraging readers to “Make, Mend, and Find Meaning Through Thread.” Using clear photographic examples, readers can try their hand at the techniques.
This slim volume is divided into three parts after an introduction by the author and a list of useful supplies and basic stitches. Barnes encourages stitchers to disconnect from their digital devices and create with textiles, embellishments, found objects, needle, and thread.
Each part begins with interviews or artist statements by featured craftswomen accompanied by colorful photographs and illustrations of their specialty.
Part 1 focuses on collage and concludes with a detailed guided exercise on fabric and stitch collage with accompanying up-close photographs.
Part 2 is “Treasuring” looks at wearables, visible mending, upcycling, and slow stitching. The exercise provides step-by-step instructions for patching and decorating cloth or visual mending with embroidery.
Part 3 suggests “Treasuring Everyday Moments” by keeping journals with stitching ideas or stitching small projects guided by Barnes’ prompts.
“Threads of Treasure” is written for two audiences: the stitcher who wants to explore the art rather than the craft; and stitchers who want to play with embellishments, threads, and fabrics they’ve purchased or accumulated.
Approach this one with an open mind, and you’ll be itching to try your hand at using found objects, embellishments, and collage in your work.
Catherine Heiferty
Sara Barnes’ Threads of Treasure is a delight from start to finish. With respect for tradition and the vision to bring modern ideas to today’s crafting community, she has assembled a collection of artists who provide very workable inspirations. Throughout the book, the author remains true to a sense of mindfulness that is key to any creative work. The ideas are truly unique and at the same time achievable for even the newest fiber artists. There is an encouraging attitude in the writing that will give readers the confidence to see the projects through. The variety of materials and themes are interesting and memory-provoking.
Both novices and experts will find inventive projects that can be reproduced as described or adapted to suit the reader-creator. The book is easy to follow. The art moves from simple to more complex as the chapters go along. The writing is clear and concise. Instructions are easy to read. The photographs are beautiful, and diagrams help the reader step by step. For people like me who learn best by reading at my own pace, I found this book to be better than videos that often are lengthy and hard to follow.
Barnes has found way to honor and celebrate the beauty in nature, in personal stories, and in the everyday of life. It’s all in the title—this book is a treasure.
Cathy McNeese
Threads of Treasure: How To Make, Mend, and Find Meaning Through Thread by Sara Barnes is well worth the time, and a refreshing offering on embroidered textile artistry along with an invitation to readers to tackle their own projects. She provides insight and more information on concept and design rather than a series of “how-to” instructions.
Barnes has provided a platform for highlighting artists offering unique viewpoints on unconventional creativity in textiles. The inspirational statements made by the artists serve as a springboard to help the reader tap into their own creativity and find their own unique inspirations and desire to experiment and translate this into stunning artwork
The illustrations and images are the highlight of the book. They showcase the immense talent and innovative creativity of the featured textile artists. The photographs of the selected artists are stunning. In addition, they provide reader a plethora of inspirational options for the You Can Do It sections of the book.
While the content of the book was superb, I found the “How to Use this Book” and the author comments about disconnecting from technology unnecessary and off-putting. The “Before You Start section”, in my opinion, should be toward the back of the book more closely aligned with the You Can Do It sections. Discussing necessary supplies before the reader has an idea of what project they want to pursue might cause the reader to put the book down before realizing what a gem this book actually is.
SJ Mintz
Threads of Treasure by Sara Barnes is clearly organized and easy to follow; the writing flows well and invites expansion on ideas and projects presented. Images are plentiful and excellent, beautifully illustrating a range of materials, technique, skill, personal style and color combinations possible.
These embodiments of preserving and displaying memories, found objects, and daily activities should stimulate many to think of their own applications— including saving, embellishing and repurposing beloved textiles. I loved examples of literally thinking outside the box for traditional patches and mending. Although some of the topics covered in the book are available elsewhere, the projects presented are innovative, original, useful and challenging, for new as well as experienced embroiderers.
Though beyond the scope of this book, some historical context for embroidery would be a great addition, perhaps the context of a bibliography or more suggestions for further reading, like Parker’s The Subversive Stitch. Specific suggestions may also be useful for embroiderers to access their own cultural and family traditions of this global practice. Also, I would have appreciated some discussion of text in these textile techniques, in the context of personal treasures: such as information on past owners or commentary on the origins of repurposed items— such as freestyle embroidery within pieces or on their borders.
Stephanie Moffett
Sara Barnes’s Threads of Treasure is delicious. Filled with sumptuous photographs of working textile artists’ creations and interviews about not only their process but the journeys that brought them to their work, Barnes provides a profoundly engrossing, wildly inspirational textile creation manual. Putting the book down rather than gobbling the entire thing in one night was an exercise in personal self-control.
Organized into three treasuring art styles with textile artist interviews and a highly detailed, creativity-inducing project in each, I found myself lost in the gorgeous photography alongside the humanity and generosity of every artist to display and share their work. There were moments when I was so captivated by the photos that I forgot to read the words they illustrated so engrossingly.
Each project presented had deeply detailed written and image instructions that encouraged the reader’s personal choices and creativity to personalize. The only improvement here would be more projects, which would impact the book’s length, considering the illustrative intensity. Barnes’s work is a love letter to slow fashion and environmental commitment, making the everyday consumable treasurable.
Laura Sandison
This book can guide aspiring embroidery artists through projects of their own design. Rather than giving specific step by step projects, several artists reveal how they are inspired to create their work. Artist’s own creative journey and methods lead the reader to creating their own personal projects.
It took a couple of times through the book to really understand the three concepts of the author: Displaying Treasures, Treasuring the Things We Love, and Treasuring Everyday Moments. As each are treasures, they tended to blur into each other through the sections. It was helpful to go back to the Contents.
Each of the three themes were innovative in the presentation of artists’ work. Themes apply to the “why” of these embroiderers stitching, and perhaps why readers would want to try their hand at creating something original and personal.
The images in the book were very well done. The projects could have used better base fabric to clearly show the stitching. Felt comes off very fuzzy when a thrift store napkin can provide a better background for the images.
While beautiful, the pages appear to be best read on a mobile device. It left so much blank and open space that perhaps could have been used to include more background information or a brief history of each theme that would relate to embroidery. An appendix or bibliography would give readers extra paths to discover more of this wonderful artform.
The Affirmations for Creatives on page 166 has a bad link…
Harikleia Sirmans
An impressive guide to mending with embroidery and creating artwork around a treasured object. Barnes begins by encouraging makers to approach their art with the mindset that learning takes time and it’s nonjudgemental. She organized the book into three sections: Displaying Treasures, Treasuring the Things We Love, and Treasuring Everyday Moments. She interviewed 14 fiber artists and recorded their creative processes and experiences. She learned how these artists take an object, whether it be a seashell or a shirt, and embellish it using fabric and thread to create artwork. Each section includes a “You Can Do It” portion where readers can practice creating personalized artwork using fabrics, beads, threads, and other materials, and stitches of their choice.
This book chronicles the artistic journey of 14 stitchers, the objects and materials they prefer to work with, how their experiences shaped their creativity, and what prompted them to create art. These stitchers are influenced by their daily lives, their immediate environment, and nature. They use natural or recycled materials such as wool, stones, bottle caps, and animal skulls. Their creative projects are as unique as stitching on a leaf! Or doodling with thread their daily life events. The step-by-step instructions to these projects are straightforward. The illustrations of the creative process and the final projects are a visual feast for the eyes on the semi-glossy pages of the book.
The author’s message resonates clearly in her book: Society produces things to sell to others. But some things can be produced for enjoyment and for sharing with others instead of monetizing them. Barnes encourages readers to use needlework to tell their stories, to display their favorite objects, to make their clothes last longer, and to contribute to sustainability. As an artist herself, Barnes loves to try new things and experiment with the process of making these things. With this book, she empowers readers to avoid self-judgment and be free to experiment with the things they really enjoy. Like the author, I am an embroiderer and sewist too, and I was enthralled to discover some original art projects in this book that I could challenge myself to try.
Monica Stenzel
Threads of Treasure by Sara Barnes is a beautiful book full of unexpected treasures of its own. An unusual combination of part philosophical essay, part crafting guide, and part cheerleader, it features an easy, personal reading style. Barnes features some of her own thoughts on unplugging from tech and engaging in creativity, as well as interviewing several textile-based artists. The photographs of their work are lovely and bright, and each artist has a distinctive take on stitching to create or embellish something they love. It is not a ‘how-to’ book; certainly, inspiration pops from the page, but the featured projects are more masters’ examples rather than a starting place for beginners. Barnes’ inclusion of multi-media projects is a unique and interesting branch from the tried-and-true modern stitching samplers or ‘make-do and mend’ approaches. Some of the featured artists have a bit of international perspective, but the included coterie of makers would benefit from more diversity. All in all, Threads of Treasure is a surprising and cheerful book, which encourages a thoughtful page-through and a new view on how to integrate beloved objects in your work.
Leontine van Cleef
Opening this book feels like opening a little treasure trove. It’s not a huge book yet packs lots of variety in the types of contemporary embroidery shown. The book is built around three themes, each punctuated with a “you can do it” chapter. These “do it” chapters are a personal account of how the author approaches her own works. I really appreciated that walkthrough, it helped me explore my own thinking about what I am making, besides offering a very helpful breakdown of the process of actually creating. Meandering through the interviews with the artists is an inspiring journey through creative approaches that are so varied- in terms of process and aesthetics. They feel like intimate conversations with gems in all of them that will stretch your brain and give inspiration to make something personal.
The layout works really well, with a ton of gorgeous images that show the impact of the works shown. In addition, there are lovely zoomed in and process images so that if you want to try out a particular technique you can see the details and understand how to do it. The text features an elegant, readable font and the columns are not too wide so that despite packing quite some text and information it is inviting to read.
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