Reflections

I am always fascinated to learn about how certain people rise to their calling and end up touching the lives of so many other people, unknowingly. Sandra Murray is one of those people who has followed her passions and now enjoys a rewarding career doing what she loves. I asked her about her early beginnings in needlepoint and designing and this is what she had to say:

When did you first start to stitch? Who taught you? What inspires you most about stitching?

Knitting, dress making, mending, and embroidery were regarded as core skills in 1950's Britain. Needles, thread, wool and fabric were always around and as children we wanted to stitch with Mum as she adapted, shortened, and mended clothing for the family to wear (new fabrics were expensive). Mainly to keep us quiet, we were given scraps and taught how to make dolls cloths. When I started school at age five, I could already knit and use a needle for a running stitch.

From five years of age at school, we had formal classes in embroidery from the head teacher Mrs. Raderick. The media used for teaching surface embroidery was felt and no embroidery frame was required. Felt resisted tension problems and was cheap. We made pot holders, tobacco pouches, drink coasters, and pin cushions. When I went to high school we had to make our "Domestic Science" (cookery) aprons and caps. We had to embroider our names and school crest on both (in stem stitch) before we could take part in the lessons for year two. All our "Physical Education" t-shirts had our names cross stitched across the front; the wrap around skirts had the school crest chain stitched; and the "Gym Shoe Bag" was similarly labeled. This labeling of all our school attire was extremely boring, especially as the teacher insisted that "even stitches", "neatness" and “speed” were required. Lots of ripping out, put many of my friends off embroidery for life.

At age fourteen, my art teacher, Mrs. Jellyman, was young and modern, had dyed hair, painted nails, wore makeup, and had heard of the Beatles. She was "absolutely fabulous!". And even better than that, she was married to the young male art teacher in the room next door, Mr. Jellyman (handsome and one of only three male teachers in this all girl school).

The Jellyman's or the "Jelly Babies" as us girls called them, were fantastic teachers. One day when we came into class, a display table had been setup. Mrs. Jellyman had been asked to exhibit some of her work. On the table was the most incredible embroidery I had ever seen. Satin, velvet, gold wires, beads, stitches in silk, stitches I had never seen before, "Whoa...!" Modern and abstract. Can you teach us to do this embroidery was the universal cry. Unfortunately Mrs. Jellyman was not allowed to, as embroidery was on the syllabus for the Needlework Department not the Art Department. Even still, those embroideries are etched in my "mind's eye".

What type of needlework is your favorite?

I love all types of needlework, especially if they are mixed together. A favorite is mixed media where paint, collage, distressing fabrics and embroidery are combined.

What do you enjoy the most about designing?

I enjoy the thought process in design. I dream a lot. Unfortunately, the results of these dreams don’t go onto paper and get completed into a design as often as I would like. I do love my Charisma Color Pencils for my conceptual process. Most of my color design work is done using these pencils.

When did you start designing?

Designing started with drawing. My skills with pencil drawing were dreadful stick people! My school art training was mainly pottery and abstract painting with a paper on architecture (history of art not appealing to me).

I had joined the Embroiderer's Guild in the 1980's with a work colleague (Margaret Baker), and discovered that I was a "closet embroiderer" like she was. On the board was a notice that Helen Stevens was going to be running a workshop over a three day period and we could bring our own drawings, which she would help us to convert into stitch.

"I would love to signup for that! But my drawing skills are not good enough," I said to my friend. A small voice chirped up behind me, "I will teach you to draw. Put your name down". This voice was that of Anne Sillifant’s. Anne, a rare person, persuaded six other ladies to commit to a weekly lesson at her house where she would teach us how to draw. In six months she had us all drawing well. Helen, at her workshop, managed to help me convert my drawing of an Azalea to embroidery, which was the biggest lesson in negative space of my life.

Helen Stevens has many books in print. "The Embroiderer's Countryside" was her first. She uses silk to paint embroidery and she has commissions in the Houses of Parliament and the Royal Collections.

How did you start designing?

After the success of learning how to draw, there was no stopping my friend Margaret and therefore me either! She wanted to do a "City & Guilds in Embroidery". She also wanted someone to drive her to and from London one day a month (Margaret did not like driving in the rain or when it was dark). This propelled me to spend four happy years learning how to design and embroider from another fabulous teacher Pamela Warner in Penge, London. Pam is the author of "The History of Embroidery", "Miniature Embroidery for the Victorian Dolls' House" and many others.

What was your first break into the designing market?

After arriving here in America in 1998, I was asked to teach to EGA groups. I rapidly learned that Americans liked organized projects because they lived hundreds of miles from a needlework shop. They liked detailed instructions and nice presentation. My first commercial teaching design was Dresden Bell Pull taught at CATS (Consumer and Teaching show in 2000). My handouts were all hand drawn and very British in presentation. The following year I presented another Advanced Class "Floating Around", computer graphics, color photographs, text from A to B the works. My students were over the moon.

How did this make you feel?

"Floating Around", Pulled thread 14 patterns, laid work 7 techniques with variations - 26 pages full color. It was a hit! I was "dumbfounded" (lost for words). Fabulous, what everyone wanted! Nordic Needle picked it for their 2002 catalog and they have sold many books for me since.

Do you have a piece that you designed that you are particularly close to? If so, please explain.

"Floating Around" was technically very hard to produce and a huge challenge. I did not know that I would be authoring charts and patterns for publication. All my computer skills were tested in the production of this chart. Thankfully, I had lots of computer experience to draw on.

What is your favorite Kreinik thread to stitch with and why?

"Floating Around" uses Kreinik Silk Serica as a Flat Silk, Bella for the Pulled Thread Work and for laying. I just love Bella, it adds such a neat sheen to Pulled Thread Surfaces and matches so many of the colored fabrics to enable me to pull on darker surfaces.

Are you partial to a particular color? If so, why?

I am drawn to blues, but saying that I use many colors in my designs. Blue I find very calming and relaxing.

Do you have any future designs coming out that you want stitchers to look out for?

In 2006, I plan to release:

-SYMPHONY Geometric Satin Stitches 4 finished, this uses 25 skeins of Silk Mori and a metallic.

-DRAGON FLIES roundel 14 pull thread and decorative stitches - Mori, Bella and Metallics.

-PASSION an abstract modern design using decorative stitches with a purple background.

It is August. I know that some of these designs are still in pencil. I best get back to the computer and make them happen!