Being Inspired with Stitch and Print

As a member of the TextileArtist.org Stitch Club, I always look forward to the diverse workshops offered by talented artists from around the world. This month’s workshop with Dijanne Cervaal was no exception and left me inspired and excited about the possibilities. Dijanne focus on carving lino stamps and using them to stamp designs on fabric reminded me that this is a technique I’ve always wanted to try. I realized I don’t have carving tools but I hope to purchase some during my trip to Japan in March. Dijanne’s Further Development video inspired me to adapt her techniques into something uniquely my own.
Without the proper tools for carving lino stamps, I got creative. I found myself looking at a pile of monoprints from the class I taught at Craft Napa a few weeks ago, sitting on another table in my studio, and thinking it was time to stitch one or two of them. Monoprinting has always been a way for me to work in layers; incorporating this piece seemed like the perfect way to bridge my own past work with inspiration from the workshop.



The monoprint features the image of a vase and I layered it on a piece of hand-painted fabric from my stash. The fabric, with its rich hues and subtle patterns, perfectly complemented the monoprint and set the stage for the next step: stitching.
One of the things I’ve come to appreciate about being part of Stitch Club is the freedom it offers to pick and choose what resonates with me. While I enjoy the workshops and value the techniques they showcase, I don’t always complete every exercise—and I’ve realized I am OK with that decision. Not every project aligns with my interests at the moment, and some techniques might not feel relevant to my work right now – notice the “at the moment” and “right now” as you never know when those techniques might come handy.
Paying for a membership doesn’t mean I’m obligated to do everything. Instead, I see it as an opportunity to explore, learn, and spark inspiration. By making mindful choices about which workshops to engage with, I’m able to focus on the projects that excite me and bring fresh ideas into my creative practice. It’s a liberating realization that removes the pressure to check every box and replaces it with the joy of following my curiosity.
Stitching has always been my go-to for adding texture and depth to textiles, and this piece is no exception. I began stitching the pieces together and the rhythmic motion of the needle through fabric allowed me to connect more deeply with the piece. Each stitch is an exploration, adding layers of detail and texture that make the artwork come alive.
This process has reminded me how adaptable and forgiving textile art can be. Even without the tools I initially thought were necessary, I am able to create something beautiful and meaningful. Sometimes, limitations can spark the most unexpected bursts of creativity.
Working on this piece has been both a challenge and a joy. It’s taught me the value of improvisation and the importance of embracing new techniques, even when they feel unfamiliar. Dijanne’s workshop has given me a boost to stitch some of those monoprinted pieces that are piling up.
Looking ahead, I’m eager to continue experimenting. I’ve already added “lino carving tools” to my shopping list for Japan, and I can’t wait to dive deeper into this art form once I have the proper materials. Until then, I’ll keep exploring what’s possible with the resources I have.
Have you ever had to adapt a technique when you didn’t have the tools on hand? How did it change the way you approached your work? I’d love to hear about your experiences in the comments below!
Until I write again, I’ll keep stitching,
Ana
Ana, you don’t have to wait until you go to Japan to get a set of beginner carving tools. Lee Valley has Japanese carving tools. A beginner set is about $65.00. I’m sure Japan has no end of selection, but you can probably pick them up in the Calgary store.
Have fun.
Of course! I never thought of Lee Valley. Thanks for sharing. I’ll check to see what they have :)