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Notes from the Studio

| HMillsstyles

Notes from the studio seems a bit ironic at the moment as I haven’t been working in there for 8 weeks. Work started back in February and still isn’t completed, I needed the front wall tanked and insulated for damp. Things got worse when they found that all my joists had woodworm and needed to be replaced. I now have a new floor with wood laminate that is nearly identical to the previous one but no skirting boards or architrave. The whole room needs painting too which will have to wait as I’m working on a big commission for Projecting Grief and I need the space.

The first image is the current studio, waiting to unpack everything to get to work. I did enjoy the memories of studios past that came up recently. When we moved here in December 2020 my studio had this huge 1990s Art Nouveau fireplace and baroque wallpaper that they hung after they accepted our offer. The last image is back in 2021 when the studio was first refurbished and I set up a temporary one in the dining room. Something I enjoyed more back then as I was teaching away so much.

In my temporary space, also known as the dining table I’ve been busy planning new workshops, creating new pieces of work and working on my commission. I’ll be taking part in Scarborough Art this year, exhibiting Fancy Goods in The Glass Box Gallery from Wednesday 15 to Sunday 19 July. You can find more details on the Scarborough Art website. I love working with beads and toys from seaside souvenir shops. There’s something meditative about creating these taxidermy pieces and I’m looking forward to making some more for the exhibition.

Away from the studio I’ve been focusing on one of my 2026 goals and getting back into drawing. It’s been fun to sketch in the car and in cafes, using continuous line drawings of my surroundings. I don’t know how this will feed into my textile work yet but I’m just enjoying the creative process.

Back in January alongside my goals for the year I created an embroidery project plan, this wasn’t intended to be a strict set of rules or tasks for the year but instead a set of prompts when I was feeling uninspired. Here are a few activities I created from the plan:

  1. Create a sample using different textures of thread with stitches like couching and French knots
  2. Use fabric scraps and embellishments to a raised piece of work
  3. Explore mark making through stitch
  4. Create a sample exploring shading using thread
  5. Use stitch to manipulate the surface of different fabrics

Why not try these ideas yourself?

I use a sketchbook to keep all my samples together. My stitch experiments books are a great way to make notes about the types of threads I’ve used and what stitches I’ve experimented with. I just use a cheap paperback book and stick the samples in with bookbinding glue. I make notes next to the work to refer back to. Some of my books are very thick!

For regular updates about what I’m working on in the studio you can sign up to my monthly newsletter and follow me on Instagram where I share work in progress and cat pictures.

Hand Embroidery Stitches

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My last blog post Concept to Creation looked at how I use my inspiration to create a piece of digital embroidery. In this month’s post I thought it would be great to focus on hand embroidery stitches. During my embroidery classes, I’m often asked which embroidery stitch is my favourite. The answer is always back stitch because it’s practical but I always refer people to this wonderful quote…

“You don’t need to know hundreds of stitches. But you need to use the ones you do know well!”

Constance Howard, textile art pioneer

You don’t need to be a walking stitch glossary, if you learn a few hand embroidery stitches really well you can use them to create so many different styles of embroidery. I thought I would share some of the stitches I’ve used in my workshops and hand embroidery pieces over the last few years.

The image on the right is a stitch sampler from a hand embroidery workshop. I wanted to start at the simplest stage which is running stitch. This gets people used to plotting stitch width and can be made more decorative by weaving through other threads to create a whipped back stitch. A sampler of a few embroidery stitches will help you to build your own designs as you can see and feel the texture and surface of the stitch.

The centre image was inspired by one of my dinner plates when I was trying a new way of transferring designs onto fabric ready to embroider. I’ve used the stitches I teach in my new beginner’s hand embroidery workshop. It explore using straight stitches, satin stitch and another six stitches.

The image on the right is a new way of stitching for me, it’s most like long and short stitch as stitches of different lengths build up the design. There are layers of cotton perle threads in various weights which gives texture and depth to the finished piece. The centre image is worked in the same threads but has a very different look.

Going back to my earlier answer of back stitch as my favourite stitch, the piece on the left was a 2018 commission for the Seacroft Tapestry Project in 2018. Back stitch is my favourite stitch to use for handwriting. I can make the stitches small to trace the contours of delicate writing and it can be worked in six stranded embroidery thread or a finer thread.

The centre image is a sample from a hand embroidered graffiti sample from a workshop in 2024. This combined a range of hand embroidery stitches to give different textures and styles. Each stitch is done in a Number 8 cotton perle thread. I used satin stitch, which I’m not great at as a filing stitch but I also chose to use chain stitch to fill two areas of the design.

The image on the right is also a mixture of embroidery stitches, detached chain stitch is combined with back stitch to make leaves. Fly stitch has been used to create twigs and berries are tiny French knots. This design also brings in straight stitches, this is where I just just straight lines to build up a shape like a leaf.

Once you have learned the basics of these stitches you can start to experiment with different ways of using them. One of the techniques I recommend putting a piece of patterned fabric in an embroidery hoop. Use different stitches to trace the lines like back stitch or stem stitch, then fill the shapes with different stitches like satin stitch or French knots.

Remember to be bold and be ready to make pieces that you don’t love as you will also learn something from them.

Concept to Creation

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In my September 2025 post, Finding a Creative Spark I shared how I find and record my sources of inspiration. I thought a great follow up post would talk through how I go from finding inspiration to creating a piece of work.

I like to lay out inspiration images and threads that I would like to use to as this helps my creative process. Sometimes I will sketch ideas for the finished work and sometimes I just start making an embroidery and see what ideas I come up with as I’m making.

For pieces like this, I use specialist embroidery software to create my designs. These designs can be based on drawings or collages I’ve made and photographs I’ve taken. There are lots of tweaks to make to an image to make it work as an embroidery. Sometimes you need to play with the brightness, contrast and saturation of an image. It might look strange as a photo but it will make a great design file.

My software allows me to select the type and colour of threads for each design but I still love to look through my boxes of rayon thread. This means that I can find a great colour match and keep a colour story through the pieces I make for a particular piece of work.

A common misconception about digital embroidery is that you can just leave the machine to stitch the design and there’s no input from the artist. That would be brilliant but I need to be with the machine at every stage, changing colours and bobbins and troubleshooting as I go. Sometimes, I will even make changes to the colours as I stitch if they need tweaking.

My designs are stitched out onto Solufleece fabric, a wash away fabric that leaves just the stitches behind. Before I wash away the fabric there are lots of threads to trim away, my curved embroidery scissors are perfect for this. Then the scary time arrives where you have to drop the piece into a sink full of warm water.

I like to dab the wet embroideries with a towel before drying on the radiator because I’m impatient! They usually crinkle up but the rayon threads are easy to iron with a warm iron and some steam. Once dried and pressed, I trim the edges to get rid of any loose threads. Sometimes I just use my curved embroidery scissors and sometimes I use a rotary cutter to get the edge precise.

The finished design is part of LS6, an installation for the 2024 Prism Textiles Edgelands exhibition. It sits alongside other graffiti embroideries which took a total of 90 hours to stitch out plus all the trimming, washing, drying and cutting.

You can find out more about the materials and equipment I use in my Tools of the Trade post.

For regular updates about upcoming workshops and events you can sign up to my monthly newsletter, and for cat pictures and work in progress follow me on Instagram.

Hello 2026

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A new year is here and I’m looking forward to seeing what 2026 has in store. 2025 was a busy year and I worked on brilliant projects with amazing people. October and November were a bit of a blur so I took time in December to rest, I needed time to relax and evaluate what I want to do as I move forward in my freelance career.

I taught some wonderful workshops across Yorkshire, and I was back in The Art Library at Leeds Central Library too, teaching workshops and working on the biggest commission of my life, Threads of Freedom. After viewing the Leeds Tapestry for so many years, it was an honour to be selected as the lead artist on the new panel. You can view the work in Leeds Central Library on the first floor corridor between the Art and Music Libraries.

2025 also included my first solo exhibition in Scarborough, at the beautiful Woodend Gallery. Fancy Goods is a fun collection of work inspired by the seaside gift shops we know and love. I also have some ideas for new work that I’m hoping to create and exhibit this year.

During my December break, I’ve been reflecting on the last year and spending more time resting and watching telly with the cat. I didn’t create much work in the second half of the year, instead I focussed on commissions which took up all of my creative thinking.

I don’t enjoy making resolutions but I do like to do some goal setting for the year ahead so here is my list for 2026…

  1. I’d like to create new work each month in the studio. I already have a plan for this which is great
  2. I’d love to master another technique so I’ve chosen quilting
  3. Getting back into drawing will really help me when creating new work
  4. Explore more options for selling my artwork
  5. Thread Collective began in 2025 and I want to grow and develop this in 2026

For regular updates about upcoming workshops and events you can sign up to my monthly newsletter, follow me on Instagram too where I share work in progress and cat pictures.

Tools of the Trade

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In my Artist’s Q&A post, I shared the tools I couldn’t live without. I thought it would be good to write about these tools in a separate post so you can find out more about them and how and why I use them.

Good to Know: As you become a more experienced embroiderer you will find tools and equipment that work well for you and your craft. The best tools for you might not be what people would recommend and this is okay as it works for you.

Pfaff Creative 3.0 Embroidery Machine

During my MA in textiles I was lucky to have access to digital embroidery machines. They changed my practice, and in 2013 I was able to buy one for myself. Working in conjunction with mySewnet Embroidery software, this machine allows me to stitch my photographs and drawings and bring my ideas into being.

I love working with the machine at every stage and it definitely needs to be watched rather than left to its own devices in my opinion. I like to ensure I’m using the right colour of bobbin thread and making sure that the colours are working well together as the design progresses.

If you’re visiting a big crafting event like Festival of Quilts or the Knitting & Stitching Show I recommend watching them in action. They can do a lot more than stitching traditional florals and monogramming.

Elbesee Table Clamp

A few years ago I was struggling with a neck and shoulder injury. Embroidering was really tough because of the way I was sitting and holding the hoop. When I started to feel my shoulder hurting again I bought myself an Elbesee table clamp and hoop, it’s like a holiday for my shoulders.

I use the clamp when I’m sitting at my desk or on the sofa with a folding table. It keeps both my hands free for stitching and I don’t get tired holding the hoop. You can get a universal hoop holder which works with your existing collection or they offer a range of hoops with the attachment built in which I prefer.

Rayon Thread

Used in my digital embroidery work, rayon thread comes in a vast array of colours. I use 40 weight which gives me the best results, as with other threads, the higher the number the thinner the thread. You can also use rayon threads for free motion embroidery, they are strong and have a great finished when used densely.

The brands I use the most are Gutermann Sulky, Madeira Rayon 40 and Mettler Poly 40 but there are lots of other great brands too.

Good to know: Barnyarns are a great supplier for embroidery threads. They have a great range and do multibuy offers too. I use them for lots of my supplies and they are really knowledgeable about all the products they sell.

Wash Away Stabiliser

There are a few different names and products that fall under this category of wash away fabric, I use them for my digitally embroidered projects. I prefer the type that feels more like a fabric than a sheet of plastic. This is usually called Aquasol or Solufleece. I find this feels nicer and is easier to work with, I use two or three layers depending on how dense the embroidery will be.

Top Tip: This is supposed to be cold water soluble but I’ve found that it washes away much quicker with slightly warmer water, I use my mixer tap in the central position. To keep your embroidery flat when you wash away the fabric you can tack it to a polystyrene printing tile, this works well for very lacey designs.

Embroidery Scissors

I love my curved embroidery scissors, they are great for trimming loose threads on my digital embroidery and unpicking stitches. They are great for getting right on the surface of the fabric and cutting away loose threads as the blades are sharp right to the end. These are my go to scissors for any hand or machine embroidery project.

Top Tip: Be careful when handling these scissors, the pointed blades can stab you if you leave them in the bottom of a box or bag.

Cotton Perle Thread

Cotton Perle thread is 100% cotton, it has a distinctive twist and a slight sheen which gives it a lovely finish. This thread doesn’t get fluffy easily and is suitable for many types of hand embroidery. The heavier weight of this thread will give your project a raised texture and great definition. I started using cotton perle when I was given a ball in a mixed bag of vintage threads. I love to use it to add texture to my hand embroidered pieces and recently I’ve been experimenting with the different colours to build up layers.

Glue Pen

I’m a big fan of the Sewline or Prym glue pen, it’s really handy for temporary fixing of seams before you sew them and I use mine to secure paper hexagons to the fabric when I’m doing English paper piecing or adding small scraps for a stitchscape. The refills come in a variety of colours but dries clear. I use the fluorescent yellow as it’s easily visible on both light and dark fabrics.

Vintage Fabrics

My favourite type of fabric has to be vintage, in particular vintage cotton like tray cloths and bed sheets. The smooth worn surface makes it perfect for hand embroidery, dyeing and printing. I like to make use of the features on the fabric too, like printed designs for embroidery or labels and laundry marks. You can pick up some great vintage pieces with prices starting at around £1.00 per item in charity shops. It’s great to think about reusing rather than buying new for every project.

You can freeze vintage fabrics for a couple of weeks to get rid of anything like clothes moths and gently hand wash them to remove any strange smells!

Pilot Frixion Pens

I’m often asked about the best way to transfer designs onto fabric ready to embroider, I use a variety of different pens for my work. These heat erasable pens are my go to for speedy projects, it disappears with the heat of an iron or hairdryer.

Good to know: Make sure you check that the pen will hear erase by testing an area of the fabric. These pens can mark vintage fabrics and the marks can return if the fabric gets very cold. I have to be mindful of this is my work is being archival frozen for a museum collection.

Choosing Your Thread

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I’m often asked about the best type of thread to use for different hand embroidery projects so I thought I would share some of the threads that I regularly use in my work. The thread I use often depends on that fabric I’m working with (and what I remembered to take with me!). Here are a few of the different types I have in my stash.

Good to Know… When using any thread it’s good to know what type of finish you want on the work, for example a thicker thread can produce really nice texture. You can also experiment with different types of thread to see how they will look against your chosen fabric. When you’re buying threads, where possible you should look at a single strand of the thread against your fabric, this is the best way to colour match as the whole reel looks different.

DMC Cotton Perle

Cotton Perle No 8 thread is 100% cotton, it has a distinctive twist and a slight sheen which gives it a lovely finish. This thread doesn’t get fluffy easily and is suitable for many types of hand embroidery. The heavier weight of this thread will give your project a raised texture and great definition. This comes in 80m balls and there are so many colours to choose from.

I started using this thread when I was given a ball in a mixed bag of vintage threads. I love to use it to add texture to my hand embroidered pieces and recently I’ve been experimenting with the different colours to build up layers.

DMC Stranded Cotton Embroidery Thread

DMC Stranded Cotton is made from long staple cotton which is mercerised twice to give the thread a lovely sheen. It’s made up of 6 strands which you can divide into different thicknesses depending on the finish you want for your project. It comes in huge variety of colours too.

I use this thread for my cross stitch and hand embroidery samples for my classes as the finish is great and I can get lots of different colours. Take care when separating the threads as it can get twisted if you cut off a really long piece. I tend to use it lengths of around 30cm.

Gutermann Hand Quilting Thread

I came across this 100% cotton thread a few years ago, I was looking for a thicker thread for some of my hand stitched projects. Gutermann Hand Quilting thread is a fine but strong 40 weight cotton. The thread has a special waxed finish which gives it added strength and it’s not prone to tangling like some other threads. There a 50 colours to choose from on 200m spools and a few years ago I was lucky enough to complete my collection.

I use this thread for all my tacking and utility sewing because of it’s durability. It’s also great for adding details like beading to a project. I recently started using it to stitch the maps from my daily exercise too and it’s becoming my thread of choice for lots of projects.

Anything Goes

I’e recommended some of the big brands of thread because I stitch every day but you can find a huge variety of threads in shops like The Works and from your local charity shop. Be bold and experiment with the threads you find to see what type of line they create and how you can use them in your projects.

If you want to wash the piece you’re making I do recommend getting the thread wet first to see if it’s colour fast, I’ve been burned by this a few times. Take care when storing vintage threads too, if they’ve been kept in a dirty environment they may contaminate your other threads.

I recommend trying lots of different types to find the best one for you and making notes in your sketchbook or journal to remember what you used for a particular project.

Notes from the Studio

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I’ve been busy in the studio over the last couple of months and Dolly might look cute but she’s not the best studio assistant. It is nice to have company when I’m working though and she’s much more relaxed when I move around the room.

My thread collection is definitely expanding, I might even need to pick up some more storage boxes and move the drawers next to my desk around. I like to have the threads I use most next to me like DMC cotton Perle and Mouline stranded.

Getting ready for my Fancy Goods exhibition last month allowed me to revisit some techniques I haven’t used for a while as well as a new colour palette.

Stitching on paper is a great way to add dimension to a piece of work like a giclee print or a painting. I love stitching into paper, I’ve even sewn through mountboard with my trusty Bernina 1008. Hand stitching on paper can be tricky as you don’t have the flexibility of fabric. This is a problem when you need to keep your beautiful giclee print clean and crisp

I always pierce holes first so I know where to stitch. This reduces the risk of getting an unwanted hole in the paper. You just need to take it one stitch at a time and remember that paper with a high rag content is practically fabric.

October and November involve lots of travel and working away from the studio so I’m looking forward to a quiet December where I can start work on some new ideas and try new hand stitching techniques.

For regular updates about what I’m working on in and and out of the studio you can follow me on Instagram. You can also sign up to my monthly newsletter.

Finding a Creative Spark

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When I’m teaching or talking to people about my work I’m often asked about what inspires my work or where did an idea come from. I thought I would share some of the things that inspire me, how I record this initial inspiration and how I move on to create fully realised pieces of work.

These photos were taken using my phone from our walks around Scarborough. I always use the camera as a full screen so I can capture as much of the inspiration as possible. Photos can be easily edited if needed but I like to do this later at home. I was drawn to the colours, textures and objects in the images.

Inspiration can come from the strangest places, I once got inspired to create a piece of work looking at powerlines in Leeds Train Station. I don’t always have access to a notebook because I’m out walking so I will often take notes on my phone about an idea. I’ve also made notes on a photo that I’ve taken on my phone using the gallery tools.

Phones can often have useful tools in the gallery settings and whilst I don’t love the over use of AI in art it can help me create an embroidery design. The images above were created using a filter and printed onto a wash away interfacing to transfer them onto fabric.

Inspiration can come from the strangest places, I once got inspired to create a piece of work looking at powerlines in Leeds Train Station. I don’t always have access to a notebook because I’m out walking so I will often take notes on my phone about an idea. I’ve also made notes on a photo that I’ve taken on my phone.

Sometimes when I take photograph it might be years before I use them to create an exhibition piece. Fancy Goods started as a few photos more than ten years ago and I only started making pieces in 2023.

I don’t use a sketchbook in the traditional sense as I find drawing doesn’t always help my creative process. My sketchbooks are a combination of photos, inspiration from museums and galleries and some drawings of ideas for work. I might also include the embroidery designs and samples of thread. I sometimes use a folder with plastic wallets to keep leaflets, exhibition guides and magazine pages together.

If you’d told me when I left university that I would still be interested in making mood boards I would have laughed but they are also a helpful part of my process. They can bring together the main inspiration images/objects, a colour palette and materials/threads I might want to use.

I like to store all my photos in cloud storage so I can access them from my phone and laptop. I name the folders so I know what’s in there and all my similar ideas are grouped together. Sometimes that research might stay there for years, sometimes it never gets to the stage of sampling but you never know!

The images above are finished pieces inspired by small things that caught my eye:

Left, an embroidery workshop sample inspired by a plate in my kitchen. Centre, a hand embroidered piece inspired by a process photo for Instagram. Right, an exhibition piece inspired by my photographs of Scarborough Harbour.

As you start to find your own inspiration, you will find a way of recording it that works for you. There is no right or wrong way to do this so try a few different ways and see how they work for you.

For regular updates about upcoming workshops and events you can sign up to my monthly newsletter, and for cat pictures and work in progress follow me on Instagram.

Artist’s Q&A

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Who are you and what do you do?

I’m Hayley, a textile artist and embroidery tutor living in Scarborough, North Yorkshire.

Explain what you do in less than 100 words…

I create artwork for exhibitions and private commissions and run socially engaged projects across Yorkshire. In 2025, I set up a community called Thread Collective with fellow embroiderer Rowan Bridgwood. We are going to run workshops and textile craft socials in Scarborough, Leeds, Manchester and Hebden Bridge.

I often work with other creative practitioners on community projects and installations, sharing my passion for textiles and embroidery. I love travelling around Yorkshire with my trolley full of creativity.

Why do you do what you do?

I’ve always loved being creative and even at primary school I wanted to be an artist. I’m an accidental tutor and I started sharing my skills as a WI member over 15 years ago. I love helping people realise their creative potential and learn new skills. Being an artist allows me to share stories with people using fabric and thread.

How has your practice changed over time?

The work I make has definitely changed over time. Before my MA in textiles, everything was hand embroidered. During my time at Manchester School of Art I learned how to work with digital embroidery. This has changed how I translate my inspiration into finished pieces of work.

In 2025, I began trying new hand embroidery styles and techniques which is really exciting. It’s also expanded my colour palette, working on very bold pieces each week.

What work do you most enjoy doing?

I love creating assemblages and incorporating lots of different materials and techniques to create artwork. During my BA, I was an installation artist and I created larger scale pieces that used my own work and found objects. I love how 3D embroidery can be.

What themes do you use in your work?

I explore themes like personal memories, mental health and heritage in my work. I’ve created pieces about my lived experience of anxiety and OCD. I also respond to museum collections, helping to bring objects to life. I’ve worked with Whitby Museum and The Thackray Museum of Medicine to create exhibitions.

What jobs have you worked in other than being and artist?

I’ve worked in retail and financial services admin prior to being a freelance artist. In December 2025 I’ll be celebrating 13 years of freelance life.

What memorable responses have you had to your work?

I’ve received lots of wonderful messages about my work exploring mental health. People have emailed to say that my work made them realise they aren’t alone in the way they feel. That was particularly touching. I also get emails saying thank you for reminding them of things from their childhood. In my workshops, people thank me for getting them back into embroidery and inspiring them to create new things.

What’s your favourite or most inspirational place?

That’s a tough question, it depends on the work I’m doing. I would say the most consistent inspiration comes from the Yorkshire Coast. My work might directly link to the things I see on my walks or the sea air and walks on the beach help me to centre myself and relax so I can create new work exploring other themes.

What research do you do?

I love visiting museums and heritage sites, they have so much inspiration from Victorian laundries to seaside souvenir shops. I take photos on my phone as it’s always to hand. I sometimes make notes on my phone or in my journal. I occasionally sketch but this is something I’m trying to do more of.

What’s the best piece of advice you’ve been given?

On my art foundation course in the early 2000s my tutor William said… “As an artist in the modern age, if someone asks you if you can do something you say yes then Google it” This has always stuck with me and reminded me that by researching and stepping outside your comfort zone you can do so much.

What tools couldn’t you live without?

That’s a hard one to answer as I use so many in my work. My top nine are…

Elbesee table clamp

Curved embroidery scissors

Prym glue pen

Cotton perle threads

Vintage fabrics

Pilot Frixion pens

Pfaff Creative 3.0 embroidery machine

Rayon thread

Wash away stabilsers and interfacings

What advice would you give someone who wanted to try hand embroidery?

Embroidery is for everyone and isn’t as hard to learn as you might think, you can learn some simple stitches which will create exciting pieces of work. The key is to practice so that you get used to where to hold your hoop and how to anchor the threads. Embroidery is just a series of loops help down in different ways which you will pick up the more you stitch.

All you need to get started is some fabric, embroidery threads, an embroidery hoop, a needle and some scissors. You can use old clothing or tote bags for your fabric and embroidery hoops, needles and threads can be picked up at charity shops and high street shops. Nail scissors are great for embroidery as they allow you to get closer to the fabric to cut loose threads.

YouTube has definitely changed the way we learn to embroider, being able to watch a video of the process instead of those little pictures is amazing. There are definitely some stitches that are harder to learn. I’ve only ever done 2 perfect bullion knots in my life, in 2013 and in 2023. I confidently predict that if I try again in 2033 it will be perfect!

For regular updates about upcoming workshops and events you can sign up to my monthly newsletter, and for cat pictures and work in progress follow me on Instagram.