The feeling I have when I'm working is like I'm painting. The density of the embroidery and fill is built up after the essential structure is stitched. I love vibrant colour and use it freely. I use an old treadle machine, stitching only straight stitch using a fabric hoop. My works is a mixture of the naive and the naturalistic.

My early works were quite primitive with inaccurate proportions and perspective. While these were appealing, I now attempt a little more realism with perspective and shadow. Some of my last work is moving into more subtle greys, browns, black and white.

Martha Catano Images

I was introduced to cross-stitch in the late 1970's with a visit to the Danish Handcraft Guild in Sydney. The effect of the wonderfully detailed and realistic pictures has always fascinated me. Over the years, the introduction of different types of threads, including metallic and blended cottons, as well as beadwork, the addition of buttons and charms and the inclusion of various enhancing embroidery stitches has made cross-stitching more enjoyable as well as more of a challenge. The satisfaction for me is to finish a piece of work and to create a piece of art on linen.

I enjoy stitching a wide variety of ideas, items and designs, large and small, including Australian themes; wildflowers, birds and animals work well in cross-stitch. I use Danish Flower thread and DMC stranded cotton on 12 count linen. I am always looking for new ideas that result in a piece that is quite detailed, to suit my fine work

I was taught by my mother as a child to knit, embroider and crochet. I progressed to tapestries in high school and discovered cross-stitch as an adult and am self-taught. I am especially influenced by Danish designs. I am an exhibiting member of the Avalon Craft Cottage on Sydney's Northern Beaches and the Australian Craft Show.

Christine Molesworth Images

My love of the Australian landscape and the character of its people have been a strong influence on my working style.

By using a wide variety of fabrics, I manipulate and mould my materials to create textured garments and accessories.

Trudy Billingsley Images

I am fairly simplistic in my approach to designing. 'Line' is of utmost importance with the Art Nouveau and Art Deco periods being a strong influence. Applique is the most obvious way of transferring ideas onto the garment for me. I like the 'tidy' structure of this form of machining, the ability of being able to transfer the design clearly onto the material, then building up further layers on this foundation.

Layering of different textures, opulent fabrics and rich colours, combined with the inspiration gained from my addiction to beautiful books, are giving my Art to Wear new depth

Training as a Dress Designer, qualifying at the National Art School, has laid a very strong foundation for the development of creative machine work. The ability to draft patterns and the extra skills gained through courses in millinery, fine needlework, silk screen and photographic printing, numerous fibre and textile workshops has broadened my horizons. Writing for magazines and being a craft consultant for television has also given new insights.

Kirry Toose Images