Klee sketchbook

Sketchbook cover, Klee’s 1922 painting of a little fir tree. Layered sheers and hand-dyed fabrics with simple hand stitch and applique

The sketchbook cover is finished – despite all the careful measuring and re-measuring along the way, I am always really surprised when it fits.

12” square sketchbook with cover

I have sketchbooks in various sizes, mostly made from papers that I collate and bind myself. This one is a bought spiral bound 12” square one, which is a good size for exploring mark-making and for holding samples of stitched work.

First page: A Klee medley, or Klee’s best bits
Sketchbook page exploring blocks of colour

‘Coming to bloom’ is a pastel drawing made by Klee in 1934, on black paper. I made a quick sketch with pastels, also on black paper – the fixative has dulled the colours a little, so I made a duplicate sketch in watercolour on a white background.

Then the fun really started. I made a little stitched sample on a scrap of black cotton fabric, only about 4” square or so, exploring ways of creating stitched blocks.

4” square sample. From the left: needle weaving with hand-dyed threads; rough satin stitch with 2 strands of DMC floss; sketchy long and short stitch with one strand of DMC floss

I really like the woven blocks. The satin stitch blocks have floats that are too long to be practical, but I also quite like the irregular sketchy effect of the straight stitch sample on the right. I worked the samples from right to left, so the weaving was the last thing I did.

Stitched sample on sketchbook page

Not quite sure where all this is going, but then some journeys are about exploration and discovery rather than arrival.

A play day with Klee

Firstly, thank you so much to everyone who has purchased fabric and thread – it’s now all on its way to you. I hope it arrives soon and that you can do something lovely with it.

I’m back in the day job from tomorrow so I’m having a little me time today, working (playing) in the second of two sketchbooks I have on the go at the moment. The first sketchbook is about ancient marks, standing stones, and lines on the land. The second is a study of work by Paul Klee, one of my favourite artists. I have often registered the affinity that Klee’s work seems to have with textiles. One of the first textile wall hangings I ever made was an interpretation of Klee’s ‘Fire at Evening’. Many of his paintings are basically patchwork, and many of his drawn lines look very like stitched marks.

Sketchbook page in progress

This painting looks exactly like a stitch sampler to me, and reminds me of my own stitch journal.

Paul Klee, ‘Rhythms of a Plantation’, 1925
Drawing based on Rhythms of a Plantation, 1925, 10” square

The marks on Klee’s painting ‘Clarification’ also look exactly like running stitch or kantha stitching.

Sketchbook page, watercolour and pencil, exploring lines and marks

What particularly interests me about Klee is his work linking painting with music. He thought of music as having similar principles to painting, particularly in terms of composition – and of course we use the same word to describe an arrangement of musical notes and an arrangement of painted or drawn shapes on a page. I like the layering in his polyphonic works, which are usually a series of regular painted marks over a patchwork-like background. To me this is very like a quilt – the patchwork ground tells one story, and the quilted lines on the surface tell another story, like two voices singing in harmony.

‘Ad Parnassum‘, Paul Klee 1932

The stitched sample is an exploration of how tiny bits of fabric would look if applied to a textile surface. I’ve used felt in this first foray, simply because it’s easy to cut up into small pieces and it doesn’t fray. I’ve experimented with different ways of attaching the little tiles (for scale, the bits of felt are about a quarter of an inch square).

Tiny pieces of felt applied to vintage linen

Probably my favourite is the invisible method (top right), but I’m not confident that it would be stable enough. I took the needle and thread horizontally through the centre of the felt, like threading a bead, and then down into the base fabric. I suspect over time it might split the layers, in which case the top layer could peel off.

Whether any of it works or not is immaterial today, really. It’s just nice to have some time to think about the possibilities.

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