Stitch, Fibre, Metal & Mixed Media: Inspiration, Projects & Techniques For Textile Artists [Reprint ed.] 1782217886, 9781782217886

Table of contents :
Front cover
Contents
Introduction
Materials
Projects
Bauble Pods
Samurai Romance
Silvered Bark
Vain Devices
Fernery
Floral Tablet Cover
Annie and Albert Memory Lampshade
Index
Back Cover

Citation preview

STITCH, FIBRE, METAL & MIXED MEDIA Inspiration, projects & techniques for textile artists ALYSN MIDGELOW-MARSDEN

SEARCH PRESS

ALYSN MIDGELOW-MARSDEN is a successful textile artist, freelance tutor and author with a depth of understanding of mixed media techniques. Unusually for an ‘embroiderer’ she uses a lot of metals, stitching into the hard shiny surface to create patterns, textures and pictures using both hand stitch and a sewing machine. She teaches, runs workshops and courses, mentors those wishing for more individual attention, and has written three books. Alysn lives in New Zealand with her family.

STITCH, FIBRE, METAL & MIXED MEDIA

STITCH, FIBRE, METAL & MIXED MEDIA Inspiration, projects & techniques for textile artists ALYSN MIDGELOW-MARSDEN Dedication

For family, past and present, and to you; good luck on your exploration with this book and enjoy!

SEARCH PRESS

Acknowledgements

For help with her brilliant and detailed knowledge of Japanese gilding techniques, I would like to thank Julia D. Grey. Thanks to Hal and Susan Bagot, owners of Levens Hall for allowing close inspection and photographs of their gilded leather panels. I am grateful to the Embroiderers’ Guild (UK) for their rich collection of historical and world textiles which inspire so many researchers and embroiderers. In this instance I was allowed to closely examine their Japanese furisode and an Elizabethan coif. With much appreciation to the team at Search Press for making this book’s journey from concept to reality such a smooth and enjoyable one and giving support and encouragement at all stages. Special mention to Roz for instigating the process, to Sophie for not collapsing under the weight of images and words, and to Juan for presenting everything at its best.

First published in 2014 as part of the Textile Artist series

Contents INTRODUCTION 6 MATERIALS 10 PROJECTS 26 BAUBLE PODS  28

This edition published 2020

SAMURAI ROMANCE  44

Search Press Limited Wellwood, North Farm Road, Tunbridge Wells, Kent TN2 3DR

SILVERED BARK  66

Illustrations and text copyright © Alysn Midgelow-Marsden, 2014, 2020

VAIN DEVICES  80

Photographs by Paul Bricknell at Search Press Studios Photographs and design copyright © Search Press Ltd. 2014, 2020 All rights reserved. No part of this book, text, photographs or illustrations may be reproduced or transmitted in any form or by any means by print, photoprint, microfilm, microfiche, photocopier, internet or in any way known or as yet unknown, or stored in a retrieval system, without written permission obtained beforehand from Search Press. ISBN: 978-1-78221-788-6 EISBN: 978-1-78126-732-5 The Publishers and author can accept no responsibility for any consequences arising from the information, advice or instructions given in this publication. Suppliers If you have difficulty in obtaining any of the materials and equipment mentioned in this book, then please visit the Search Press website for details of suppliers: www.searchpress.com

You are invited to visit the author’s website: alysnsburntofferings.blogspot.com

FERNERY 96 FLORAL TABLET COVER  112 ANNIE AND ALBERT MEMORY LAMPSHADE 128

INDEX 144

Introduction For a long time, my trademark has been experimenting and pushing myself in unusual textile directions. I value my knowledge of traditional embroidery techniques and my understanding of the details about ‘how it should be done’. Knowing the correct, or normal, way to do something helps you to understand the materials you are using and why they might react in a certain way to give a specific, known, repeatable and often beautiful effect. However, after finishing my embroidery training, the first pieces I created opened up a new world for me, a world that many others also take pleasure in, and that is mixed media textiles. The possibilities are constantly evolving in this field, a field that involves creating art pieces, craft objects or functional textiles from materials and techniques that include stitch and fabric, but also draws upon fine art, conceptual art, graphic design, assemblage and altered art. I celebrate textile artists as being among the most inventive and inclusive of creative people. The breadth of knowledge and skill and the enormous enthusiasm I see is breathtaking, and I am glad to be a part of that world. Is metal an odd material for use in textiles and embroidery? I happen to think not, especially when you stop considering metal as something that is heavy, thick, stiff, sharp and used by engineers! Think instead of a fabric that is stiffer than calico and thinner and easier to work than leather, and may also be the most delicate and fragile surface imaginable. Metals can add a rich, reflective element to your work. They can be used sparingly, as a sly glint to bring a textile to life, or to make a dramatic, bold statement that gets people talking. Metals and metal cloths can also be used to stiffen pieces, allowing you to create structures and add more dimensions to your work. A turning point in my personal outlook towards using metals in my textiles was when I exchanged my tentative addition of metal as a finishing touch, to thinking of the metal as my background or starting fabric and added colour, fabrics, fibres, stitch, beads and more on top. This was a simple change in many ways, but affected my work enormously. The individual projects in this book concentrate on variations of the materials and the techniques that can be used with metal. I hope this encourages you to explore and make the most of the unique properties of metal, metal cloths and the other media involved. Thin metal ‘shims’ of precious or base metal have been shaped and formed to create three-dimensional accessories for thousands of years. The Bronze Age golden hats from Central Europe and the Mold Cape found in Wales were constructed from single beaten sheets of gold, impressed with patterns and motifs. Similar metal objects for displays of wealth and ceremonial use have been found in every culture imaginable, so long as there was access to metal in the environment. Metal is acknowledged as valuable and aesthetically pleasing. Its malleability and thus the possible range of uses, including creative ones, has long been understood. The best-known textile technique that springs to mind is goldwork. Sequins, now plastic, were originally circles of metal wire, flattened by hammering. Metal beaten into a fine leaf and applied to a surface, a technique called ‘gilding’, has also seen some

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representation in textiles. I have gained inspiration from all of these techniques, which I go on to discuss in more detail on the following pages. Apart from this, I have only found a single example of a fine metal foil appliquéd to a fabric, with a couched metal thread outline (see right). It is French and thought to date back to the 18th Century – the pieces look as though they were destined to be sleeves for a garment. There are bound to be others, but they are apparently very few and far between. Though not stitched, the headdress shown below was made using techniques that we will use throughout the book – such as impressing and colouring metals. It is newly made, but in the traditional style of a Sumatran wedding or ceremonial headdress. It is created using a thin metal that is cut or punched into flowers, leaves and birds. The individual motifs are mounted on to a framework, some on springs, and then antiqued with a polish. This creates a light-weight but dramatic headpiece. I was especially drawn to this piece because of the density of the flowers, overlapping to create a patterned metal surface. The flower design has even found its way into one of this book's projects. Metals, particularly precious metals, have been used for millennia in embroidery to adorn fabrics using a range of techniques collectively known as ‘goldwork’. The techniques probably originated in Asia over 2,000 years ago and were extensively used in ‘Opus Anglicanum’ embroidery in Britain and Europe, especially between the 12th and 14th Centuries. Goldwork is timeconsuming and expensive, especially in its traditional form, and would have been reserved for special garments for the church, royalty or the military. It was only ever used for garments that were not in regular use as the materials and method of application would not survive frequent cleaning. Goldwork techniques use metal threads attached to the surface of a material, typically using couching techniques or stitches to apply the metal. Pure metal is used, beaten extremely finely and then wrapped around a core to form thread. Also used are fine round or square tubes created from spiralled wires, called ‘bullion’ or ‘purl threads’. Usually bullion and purl are cut into short lengths and then stitched down to a surface as you would a bead. The metal can also be used in the form of a fine, stiff ribbon, or plate. The plate is laid on

French metal appliqué in the sleeves of an 18th-Century piece.

A Sumatran metal headdress.

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to the surface and then folded back and forth in a concertina fashion, held at each fold by a couching thread that is hidden by the folded plate. Plates are used to fill areas of a design. We now have access to threads and metals that are not pure gold (most never were anyway), or even gold-coated silver (gilt), and the threads and metals are available in a great range of colours. Gilding metal is an extremely fine metal sheet that is applied to other surfaces by a glue of some kind. The exact details vary depending upon the surfaces to be gilded, the purpose of the item and the region from which the gilding derives. On a trip to Nottingham Castle Museum and Art Gallery, I spied a scrap of material in one of the displays of recent excavations; it appeared to be leather and was tooled and gilded. The caption said that it was the remnants of an 18th-Century wall hanging. This was intriguing as I knew that tapestries were commonly used to decorate and insulate large houses from at least the medieval period, but had not seen or heard about leather wall hangings. Of course, once you start to look, there are actually many examples. Tooled, gilded and painted leather or calfskin wall coverings can be seen in a few stately houses in the UK. The technique derives from the Cordoba region of Spain and is known as ‘Cordoba work’ or ‘Cordobanes leather’. An especially fine selection can be seen at Levens Hall in the Lake District in the UK, where room after room is lined with these gilded leather panels (see right). The technique has ancient origins; it was the speciality of Moorish craftsmen on the Iberian peninsula in the 9th Century. They created not only wall coverings, but ladies’ gloves made from very soft goat’s hide and extremely strong leathers used for shields and breastplates. From at least the 11th Century, gilded and painted leather was exported around Europe and was much prized. After the upheavals in Spain during the 12th to 15th Centuries, the technique was continued by the Catholic Spaniards and examples were spread throughout Europe and the Americas. One especially fine technique for gilding on to textiles for use with embroidery stitching was developed in Japan and is seen on some kimonos, particularly those intended for wearing on stage and for wall hangings. The gilding is meticulously applied in such a way that there is no stiffening of the fabric and it is often then embroidered into with exquisitely fine stitching. An example is held by the Embroiderers’ Guild in London. It is a furisode-shaped kimono, which is a formal style with long, swinging sleeves. It is made from pale eggshell-blue fabric, and the gilding is formed into fan shapes that are spread evenly over the surface. There are at least two styles of gilding: one is a solid covering of

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metal leaf, the other is more dispersed; a partial cloud-like covering of the background. The embroidery is beautifully fine stitchwork of long and short stitch and couched metal thread work in designs of fauna and flora. Though it is supposed to be worn by a young, single adult female, and I am neither young nor single, the Embroiderer's Guild kindly allowed me to model it. By following the instructions in this book, you will be able to make some of these ideas your own, and by adding modern materials and technology into the mix you will have a fantastic repertoire of surfaces and finishes

A 19th-Century piece of metal plate couching.

Above: The author modelling the Embroiderer’s Guild's Japanese furisode showing different types of gilding.

Left and below: Details of the Japanese embroidery and gilding. Above and below: Gilded leather panels at Levens Hall in the Lake District.

to use in the future. The addition of other media to the metal surface increases the expressive range of the metal to a tremendous degree. In this book we will see how the use of many different kinds of metal, the surfaces to which they are applied, and the surfaces applied to the metals, as well as colouring, printing, stitching, cutting and burning all have a part to play in the creation of wonderful, expressive, variable textiles and artworks. I hope, as ever, that you take the time to play and to incorporate your own favourite materials and skills into the projects. Each stage of each project is a technique in its own right and can be used independently. This means that you don’t have just seven projects, but ideas for hundreds of pieces! Take your time, it will be worth it.

An alternative to using brand new metals is to look around at home, where you will be surprised by the range of suitable materials you are already in contact with: the metal inner to sweet wrappers, Easter egg and chocolate bar foil, the stiffer foil around chocolate coins and the inner lids from dips are all useful pre-coloured aluminium foils. Food trays from tray-bakes or take-aways are also aluminium, usually thicker than the chocolate foils, which can be flattened and used. The metal cork coverings on many wine, champagne or fizzy grape juice bottles are tin or a tin-plastic laminate, and are very malleable and pleasing to use. Another source of metal shims are drinks cans. The metal and its thickness and stiffness vary, but most will be suitable. The metals may be aluminium, aluminium alloy, steel or steel alloys. Beware as the metal is very sharp when cut, so please take great care when cutting the top and bottom off a can and opening the metal out. Rolling the metal backwards against the curl to flatten it leaves you with a good surface. When using metals it is important to have a good idea of what metal you are dealing with. This is especially true for techniques that involve heating the metal – for two main reasons. Firstly, most metals used for food storage have a plastic covering, and any heating of plastic will give off fumes that are potentially toxic. If you do decide to heat or burn plastic-coated metals, you must use a face mask and work in a well-ventilated space. Secondly, the melting point of pewter, aluminium and tin is much lower than that of copper and brass, and when they are placed in a strong heat such as a butane flame, they will melt. It is always advisable to clean your metal with detergent before working with it, to remove grease from the production process or from previous use, which would interfere with the colouring and sealing of the metal.

Materials In keeping with the exploratory and experimental nature of contemporary textile art, the materials used throughout this book are wide ranging. I have selected some of those that work particularly well for me, but don’t be limited to these as your own favourite techniques and skills can probably be incorporated too!

METALS The metals I have used include aluminium, copper, brass and pewter. Metals that are suitable for stitching are available in thicknesses from that of a thin card, usually called shim, through to foils that have the consistency of tracing or tissue paper. The thickness and softness of the metal will have an impact on the way it feels and how it can be used. It is always difficult to discuss suitable thicknesses and grades of metals as there are many labelling conventions and each metal has different properties, so take these notes as general guidance. Once you begin to work with the metals, you will soon develop a feel for them and decide which options are right for your aims. When using copper, the thickest sheet I can stitch with my sewing machine is 0.1mm (0.004in). It is difficult to tell this from the 0.07mm (0.003in) as they feel similar and work in much the same way. Stitching into these thicknesses will give a quilted look to the final piece. Using 0.05mm (0.002in) shim or thinner will result in a flat surface. At this thickness and thinner, the metal shim can be prone to splitting when heavily stitched, just like paper. Once the thickness goes below 0.0254mm (0.001in), it is more common to refer to the metal as ‘foil’. Thinner still are the transfer metals, or metal leaf. This might be a precious metal such as silver or gold, but most gold and copper-coloured leaf metal is a composite of copper and zinc, and imitation silver leaf will usually be aluminium. Copper, whether shim or foil, has a lovely warm colour and is a fairly soft, flexible metal. Brass has a more yellow tone as it is an alloy of copper and zinc. It is a much harder and springier metal to work. Because of this, I tend to use thinner grades of brass metal than copper, probably no thicker than 0.05mm (0.002in). Aluminium has a bright, silver colouring. It is a soft and easily worked metal so can be stitched at thicknesses similar to copper. It is also available with coloured coatings for variety. Beware of coppercoloured aluminium sheet; as if you think it is copper, you will have a nasty surprise when you try to heat it, as explained later. A favourite metal of mine to stitch into is pewter. Pewter is an alloy of lead and antimony with small amounts of other metals. It has a gorgeous greycream colour and is beautifully soft to stitch, though this quality can lead to the metal tearing with intense stitching. The usually available craft thickness of 0.15mm (0.006in) is physically thicker and heavier than copper, but because it is softer, it is still suitable for use.

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WOVEN METAL

A selection of metals that you can use in your textile art; some new and some recycled.

Thin, easily workable woven meshes of copper, brass, bronze and stainless steel are available. They come in different counts to the inch in the same manner as a fabric. The larger the number (which is equivalent to the number of threads to the inch), the finer the mesh. A second factor is the thickness of the wire that has been used to weave with. The thicker the wire, the heavier the weave and the more difficult it is to stitch through. At this time there is only one commonly available fabric made using copper, brass and bronze, but there are several weights of stainless steel fabric. As with the metal shims and foils, you will soon learn what is what and find your favourites. All of these are malleable and some are suitable for careful hand or machine stitching. They have uses in industry in various grades but some can also be found in craft outlets. Knitted fabrics are created from copper, iron or steel wires in varying wire grades and colours. The fabrics can be produced on different needle sizes, which varies the coarseness of the knit. They are usually supplied as a tube in widths from 1cm (3/8in) to 10cm (4in). But remember to check for recycled metals or other sources. For instance, there was a fashion for woven mesh candle lantern covers a few years ago, which might provide you with the metal you require, and you may find flat cut metal strips knitted coarsely from old industrial or farming equipment. For textile artists, these woven and knitted surfaces are great for using as a fabric that can be scrunched, twisted, ripped, coloured, stitched and cut. They often retain their shape, whereas organzas and chiffons, which look similar, do not.

KEY POINTS WHEN STITCHING INTO METAL

EXTRA IDEAS FOR FOIL METALS LESS THAN 0.02MM (0.001IN) THICK v Take

the foil and scrunch it in your hands, then open it out and lay it on to one of your fabrics. Stitch using normal stitching or free-motion stitching circles. Once the metal is stitched down, it can be gently distressed again in order to break into the fine surface, allowing some of the background fabric to show through.

The metals described on the previous pages can all be sewn by hand or by machine, but it is worth bearing these points in mind before you begin. v Generally,

the metal will not maintain a pristine, crisp flatness while being worked, so it is important to allow for this in your design.

v You

will not be able to pin the metals on to your background when preparing to stitch as the holes this makes will show later, but metals create a slippery surface that will try to move when you first begin stitching, so consider holding the metal in place with a few discrete tacking/basting stitches before you add the main or decorative stitches.

v With

hand stitch, it will help to secure your background on a frame and, when you can, it is easier to stitch down into the metal, rather than pushing through from underneath.

v With

a sewing machine, use a 90/14 machine embroidery needle. Larger needles than this may make large, unsightly holes, whereas smaller ones tend to snap more easily.

v Contrary

to popular belief, you will not break lots of machine needles when stitching

through metal shims, foils and fabrics. However, you do need to consider that the metal, when punched through with your machine needle, will create small, sharp burrs on the underside. If you rub these burrs across your sewing machine bed, they will scratch the surface. To prevent this, work with interfacing or similar between the metal or mesh and the sewing machine bed.

v Iron

fusible web on to the back of the metal foil, then cut out your designs (you might want to trace your design on to the fusible web before ironing). Remove the backing paper and iron the metal down on to a surface. With the metal secure, you can concentrate on producing decorative stitching, rather than trying to hold the metal in place.

v Try

similar exercises with the woven and knitted metal fabrics, to get a feel for the different effects you can create.

v Remember

there will be times when your bobbin thread pokes through to the upper surface, so use a colour that is either the same as your top thread, or tones with your work, so that it does not matter if it shows.

v Avoid

metallic or delicate machine embroidery threads as they tend to shred and snap when stitched through the metal shims. Use ordinary polycotton machine threads.

v Before

you embark on any of the projects, it is a good idea to practise, to get you warmed up and build your confidence. To practise applying metal to fabric, try these exercises below:

1  Place a small section of metal on to a backing fabric with interfacing behind it. Set your machine to a straight stitch of medium length and stitch around the metal about 3mm (1/8in) from the edge. To disguise the edge of the metal and to protect yourself from a potential sharp metal edge (especially if the piece is to be a bag or cushion or something wearable), set your machine to a zigzag with a short stitch length and a width that will reach from the straight stitch line into the fabric (probably fairly wide). Stitch around the metal again using this zigzag stitch. 2  Hold a piece of metal on a background and using straight, zigzag or an automatic pattern, stitch across the centre of the metal. This will stop the metal from moving on the background. Continue to stitch in any direction all over the metal and into the background. 3  Set your machine for free-motion stitching by lowering the feed dogs and replacing your standard machine foot with an embroidery or darning foot. Choose a straight stitch setting (there is no need to worry about your stitch length when free-motion stitching). Place the metal over a backing fabric as before and stitch on and off the metal into the background using a wavy, flowing ‘s’ shaped motion of stitch. This will secure the metal in place. To make a more attractive edge, repeat the ‘s’ shaped stitching several times, using different widths and lengths of ‘s’ until the line between the metal edge and the background disappears. Samples of stitching into metal.

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BACKGROUNDS It is important to think of metals as a type of fabric, and there is a wide variety of background materials you can use to complement and support it.

SILK DUPIONS AND VELVET These make regular appearances in my work and the projects in this book. I have a particular weakness for silk dupions, especially the shot dupions (those woven with a different warp to weft colour) because they are a strong, firm fabric with a soft sheen. There are lots of colours available and they are great for creating frayed edges. Velvets have a similar soft sheen and behave in interesting ways if you allow them to pucker when stitched. The sheen and lush richness of velvet complements metal very well and, combined with the woven metals, gives some interesting results. You can use stretch, silk, cotton or man-made velvet with a woven or knitted backing.

you to transfer more complicated or precise designs on to a fabric without marking the top layer. Gossamer webbing has similar properties to fusible web, but it has no backing and is a diffuse net or web-like mesh of adhesive fibres that can be black or white. Gossamer webbing is heat-activated and should be used with baking parchment between it and the iron. I have found that it does not want to adhere to man-made smooth surfaces, but it is great on almost anything else. I have used it on metal, woven metal, fabrics, leather, paper, wood and stone. The principle of water-soluble film is that it is strong enough to accept stitch and to stabilize work, but placing the film into water will dissolve it, leaving the fabrics and stitches in place, so long as they are attached to one another. There are many weights and varieties. My preference for most projects is a heavy-weight clear film.

A selection of the fabrics used in the projects in this book.

FELTS, FIBRES AND OTHER FABRICS Acrylic, man-made or home-made felts are good as they do not fray, are a firm surface to stitch into and accept the metal very nicely. Felt is also a perfect base for dry needle-felting projects. Sheer fabrics are always useful, whether silk, cotton, polyester or nylon chiffons, organzas and organdies. Your fabrics do not need to be exotic or expensive; open loose-weave cottons such as scrim and muslin can be used, also plain cottons and denim work well, as do other matt fabrics, which create a contrast to the shine and reflectivity of the metal. Consider using different surfaces such as fibre felts, paper, textured fabrics, frayed fabrics, hessians, in fact pretty much whatever you have to hand. Leather is used in some sample pieces and though it did not make it into any of the finished pieces in this book, there is no reason why you can’t use it for your own projects.

SUPPORT FABRICS Less pretty, and usually out of sight, ‘support’ fabrics such as interfacing, fusible web, gossamer webbing and soluble film are always useful. Interfacings are available in light-, medium- and craft weights. They are generally used as a backing for fabrics, giving stability for stitch. The light- and medium-weight interfacings are partly translucent, so they can also used be used to transfer designs by tracing through them. They will also accept paints and transfer dyes so can be the basis for exciting surfaces. I generally use the stitch-in interfacings rather than the iron-on versions, which I find tend to affect the surface qualities of the main fabric. You may find that a plain calico or cotton can be substituted for interfacing. Fusible web is double-sided, heat-activated glue. It is used to bond layers together, to gild, to prevent edges fraying, or as a surface that can be painted, then applied over a background for effects. When you handle the fusible web, the ‘glue’ is the knobbly side; the smooth side is the backing paper. To activate it, place the knobbly side towards the fabric to be joined, place baking parchment over the top and iron with a medium-hot iron for a few seconds, pressing firmly. Allow the glue to cool for a few seconds before removing the backing paper. You can then bond this prepared surface to another by ironing it on. In a similar manner to the interfacing, you can also draw on to or trace through before ironing. This will allow

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17

PAPER AND CARD

LUTRADUR

For the Samurai Romance project (see page 44), I have used a range of scrap or cheap papers such as black paper, sugar paper, brown parcel paper, paper bags and gift wrap. I have used Indian ‘Khadi paper’ as a backing for the Vain Devices project (page 80). These papers are sturdy, nicely textured, have a good choice of colours and deckle edges. Be aware that they are not very colourfast. Although I have not used it in any of the finished projects, for design and in other work I like to use glossy photographic paper because it accepts inks, paints and gels, it crinkles and tears, has a lovely sheen, and you can sandpaper, overpaint, bond and stitch the surface. Make sure you have a few old newspapers to protect your work surface, and for using as a resilient surface when embossing metal shims. Printer card (160gsm/59lb) makes a good, though fairly temporary stencil as does cereal box card. Baking parchment (also known as silicone paper or non-stick paper) is useful when working with surfaces you wish to iron or bond. Placed on top of the project, it prevents the iron sticking to the surface, and it helps the iron to glide smoothly. I often use it underneath too, especially when working with fine or loosely woven fabrics, as the adhesive may be strong enough to adhere your project to the ironing board! I sometimes use baking parchment instead of a printing plate on which to spread my acrylics or inks, and under the printing surface, as I find that prints can stick ordinary paper to the back of a fabric, especially light-weight fabrics where the paint can ooze through the fibres. Baking parchment is also more heat resistant than ordinary paper and can be used under a surface that is being burnt or cut with a soldering iron.

Lutradur is a non-woven polyester cloth. It looks similar to dressmakers’ interfacing, and it can be used as a stabilizer. However, its structure makes it rather different in nature. It is a versatile material that does not fray, and some weights are translucent. It can be combined with all other types of fabric and can be bonded, painted, printed, dyed, distressed with a soldering iron or heat gun, glued, stitched and embroidered. To colour Lutradur, you can use transfer (disperse) dyes or crayons, which are painted or drawn on to paper first, then ironed on to the Lutradur. This transfers a reverse image. You can also paint on Lutradur using thin paints, including silk paints or dyes, inks, or Koh-I-Noor colours, which will blend and move through the cloth as they dry, merging together a great deal. The thin paints will pool underneath the cloth, so you can place more layers of Lutradur or other fabrics or papers underneath to collect any spare paint. Thicker paints such as acrylics, oil bars and printing inks will coat the fibres of the cloth and thicken its handle. It is possible to use a heat gun, candle or a soldering iron to distress Lutradur. It tolerates the heat of a hot iron in the transfer dyeing process, but if you leave the iron on it for too long, you can also produce a distressed effect, sometimes when you didn’t intend it. When burning Lutradur, please avoid breathing in the vapours by working in a well-ventilated area and wearing a respirator. To create brilliantly distressed beads, cut long triangles of coloured Lutradur, wrap them around a knitting needle or similar, hold the end in place with a little glue, a pin or another knitting needle, and heat distress with a heat gun. Stop before you burn the beads away completely. These beads usually need a little touching up with more ink or paint and you can finish them with a fine rub of gilt wax!

TRANSFER PAPER Normal transfer papers do not behave well on metals because they need an absorbent surface to accept the ink; the result is a smudged and unpleasant surface. However, dry decal transfer paper works well as an alternative. This paper allows you to use images from the computer, or use the scan/copy function of the printer, to create ‘dry rub-off’ transfers using either an inkjet or laser printer, which can be peeled off the backing and applied to almost any surface. Dark surface transfer paper is a newcomer to the transferred image materials family and is simple to use with an ordinary inkjet printer. Full instructions for using the transfer paper are given on the packaging but briefly:

Various papers used in the book.

1  Prepare your image or images in whatever

programme you like to use. Alternatively, use an ‘all-in-one’ printer on the photocopy function rather than scanning and processing the image. This loses a little quality but gives a quicker result.

2  Place the transfer paper in the paper tray of

the printer and set to print so that you print on the white side of the paper. Depending upon your model of inkjet printer, the best setting may vary. The settings for a number of printers are given in the instructions. Set to print and allow the paper to dry before continuing.

3  Set the iron to the hottest setting the fabric will stand but without steam. Use a smooth, hard ironing surface.

4  Cut your image to the desired size, peel off the

backing, place your image face up on your fabric, cover with baking parchment and iron to fix the image. Iron for at least two minutes, keeping the iron moving.

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EVOLON Evolon is a white, non-woven microfibre fabric made from polyester and nylon. Although synthetic, it is often compared to soft suede, having a similar texture and a soft drape. It is ideal to use as a base cloth for stitch as it is robust, does not fray and quilts beautifully, giving interesting textural effects. In principle, Evolon can be coloured with any paint. I find that because it is very absorbent, the use of thin paints and inks is a costly way to achieve a colour, as they are absorbed into the cloth and do not create a lot of colour on the surface. Paints that coat the surface rather than being absorbed will be more efficient, but will change the ‘handle’, decreasing the softness and drapablity of the fabric. The transfer dyeing process gives a bright, vivid colour and the cloth lends itself to printing as well. Many quilters use Evolon as a non-slip base to hold together their designs before the pieces are attached with stitching.

FIBRES AND THREADS

FUSIBLE FIBRES

There are many fibres that can be used to add interest and texture to a surface, or to make silk sheets. The list is increasing as technologies allow more materials to be made into fibres. The best way to buy them is to look for fibres prepared for spinning. The fibres available include various silks, wool, flax, linen, soya, viscose, milk protein, banana and bamboo. You can buy coloured or natural fibres and dye your own. I find a useful option is a mixed fibre dye, which will accept many fibres and fabric types, used as per the instructions on the pack. Another type of fibre we will use is carded cocoon strippings. These are short silk fibres that retain the natural sericin (glue) of the silk cocoon. They can be used to create a sheet of silk paper that can be coloured, printed, decorated and stitched (see the cocoon stripping panels section of the Samurai Romance project, page 54).

There are different grades of fusible fibres: fusible film (known as ‘Angelina film’ or ‘fantasy film’), coarsely shredded film called ‘Crystalina’ and finely shredded film called ‘Angelina’. They are polyester-based and available in a wide range of colours. The different film and fibre types can be used together and are completely non-toxic as long as you don’t start to burn them! If you have to burn the fibres, remember to take the same precautions that you would when distressing any man-made material. The basics of using heat fusible fibres are very simple. Place a sheet of baking parchment on to an ironing surface, then take a small quantity of fusible fibres and lay them out on the parchment to the size of fabric you wish to make. Lay another piece of baking parchment over the fibres. Set an iron to the silk setting and move it over the surface of the paper, pressing down firmly but for no more than two or three seconds. The fibres should bond quickly, so check on progress. If the fibres have not fused into a sheet, it requires a slightly longer time ironing or a slightly hotter iron. There are many ways to exploit the textured surfaces, which can be developed by fusing, cutting, bonding, trapping, shaping and melting. You can really go for it with bright, lustrous, over-the-top fibre combinations, hand and machine stitch, beads and sequins. To complete the story of the fusible fibres, we should also mention the nonfusible or standard group of fibres. These are still called Angelina fibres, but will not fuse together using an iron. They can be blended with fusible fibres or adhered to a surface with fusible web.

THREADS Threads for use with metals can be split into the practical ones and those intended for decorative effects. For attaching metal, metal cloths and other media together, it is important to think about the strength of the thread. For instance, as a hole is punched through the metal shim by the needle (either hand or machine), then a small sharp burr will be created on the underside of the surface. When your stitch is pulled tight around that, the thread may snag or snap. For this reason you will want to use a thread that is smooth and has a tight twist. For machine stitching through metal this simply involves stitching with a normal cotton or polycotton sewing thread rather than a fine rayon, silk, viscose or metallic thread. On the other hand, threads for decoration can include anything you like! Choose from any sort and texture, in variegated or plain colours to suit, including traditional stranded cottons, flower threads, thicker hand sewing threads, knitting yarns, silk string, recycled sari silk threads, linen threads, metallic threads or silk threads. Knitting yarns often have great textures and can be twisted into cords for use as handles, couched or machined over, or dry felted into backgrounds.

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PRINTING AND COLOURING MEDIA DIGITAL GROUNDS Digital grounds are ink-receptive coatings that can be painted on different backgrounds to allow you to print on unusual surfaces. For metals, use the clear type for non-porous surfaces. To prepare the metal surface for print, you must first ensure that it is clean and free from grease, or the grounds will ‘crawl’ away from some areas. Many of the metals available for craft use are relatively clean already but to be sure, follow the digital grounds’ manufacturer’s advice. Whenever you are attempting to use unusual materials in your printer, you should be aware of the possibility of damage to it. If you have an older printer or a cheap one, it might be best to use this. Begin by attaching the metal to be coated to an A4 (or US Letter) piece of card, using masking tape. A weight of 160gsm (59lb) is standard for printer card and works well. The metal can then be coated with the digital ground. Aim for a thin and even spread of the product by applying a first coat, allowing it to dry, then applying the second coat at right angles to it. Using a sponge brush may give a smoother application than a bristle brush but be careful not to overwork the solution, as the sponge brush can create bubbles in the ground. Once the metal is coated and dry, it can be placed through an inkjet printer. Check the manufacturer’s advice about printer types and quality settings as printers do vary. You will find that the clearest colours are obtained when printing on to plain, silvercoloured surfaces such as aluminium or pewter; when printing on to copper, the colours are richer as they are affected by the underlying colour of the metal. Another option is to use a coat of the non-porous ground as a base layer, then one or two layers of the matt white ground on top of this. This will result in the loss of the metallic shine through your print, but you will have a very crisp photographic image printed on to metal. It is possible to use metal fabrics in combination with the grounds, but remember, they are very fine and much of the image will be transferred to the layer underneath the fabric. You could try placing another paper, fabric or metal as a second layer under the metal fabric to achieve interesting results.

TRANSFER PAINT AND DYES (ALSO CALLED DISPERSE DYES) These are the only dyes that are able to colour polyester and acetate fibres. The powdered disperse dye can be sprinkled on to wet paper or mixed with water to make a thin, watercolour-like paint, or mixed with a thickener such as CMC paste and used as a thick paint or printing ink. Check on the pack for manufacturer’s instructions. The paints can then be applied on to a thin paper, and allowed to dry. When ironed with a hot iron, colour side towards the fabric, the heat activates the dye and transfers it on to the fabric. Depending on the strength of the dye mixture, the heat and the fabric type, you may well get several repeats of your dyed paper transferred before exhausting the dye. Think of ripping the paper into smaller sections, or placing a resist between the dye and the surface, and ironing more than one layer of colour on to the surface for interesting results. The colours of the dye are hard to predict – rely more on the manufacturer’s colour description than on the colour the dye appears when on the paper, especially prior to ironing, as at this stage, the colours are not at all true to their final colour. They are usually much duller and darker on paper, but become brighter, more intense and vibrant once transferred.

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ALCOHOL INKS These are acid-free, fast-drying transparent dye inks specially formulated to create colourful effects on glossy paper, metal, shrink plastic, glass and other slick surfaces. Simply drop the inks from the bottle on to your samples or spread or dab them onto the metal’s surface with a cotton pad and allow it to dry. The inks dry extremely quickly. If you add further layers of ink on to the surface, they merge into each other and move around again. Try wiping the inks across the surface of embossed metal – just before they dry, rub the metal with a cloth. The colour of the inks will remain in the grooves of the embossed pattern but be removed from the surface. The colours achieved when inks are applied to metal mesh are less bright, however, they still provide an effective and quick colouring method.

MARKAL STICKS These are oil paint in stick form. They are made from oils blended with wax and pigments, moulded into sticks. They can be applied and blended with a finger, paintbrush or palette knife and are mixable with turpentine for wash effects and softening. The paint from these sticks dries overnight, and once ironed, it is fixed to the fabric and can be washed. The sticks will last for many years as a skin forms over the working end when it is not in use; this will need peeling off before use. A favourite application method of mine is to rub some of the pigment on to paper, then pick this up on a stencil brush or toothbrush and apply the colour to the fabric using the brush. I find that this does not leave too much of the binder on the fabric, just the colour.

Using markal sticks.

SPRAY PAINTS These give a really quick and secure, though smelly, way to colour metal and metal fabrics. I use the solvent-based spray paints for cars and motorbikes. Obtain these from your local car repair shop. Because of the contents of the paints, please follow the instructions on the cans, especially those about ventilation and personal protection.

PERMANENT MARKERS Solvent-based pens are easily available and though the colours might be limited, they are really easy to use: simply colour over the metal or gilding with the markers and leave for a few seconds to dry. Like the alcohol inks, the solvent pens will still allow the sheen of metal to show without affecting its surface quality. Bear in mind though that the solventbased pens and alcohol inks, though water resistant, are not ‘fast’ enough on the metal surface to stay put if the metal is soaked after stitching to remove watersoluble films.

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PATINAS I have used a proprietary patina and verdigris agent throughout the book, which is sprayed, sponged or painted on to the metal surface and allowed to react over a period of time. Some of the patinas available may have toxicity or other warnings, so please take note of these. If you feel more comfortable with familiar household chemicals, try the following recipes for creating patinas. v Salt

and water:  Keep a copper, bronze or brass shim, foil or fabric slightly damp and covered with salt for about three weeks, then allow it to dry and a patina will develop.

v Vinegar:  Keep

your copper, bronze or brass shim, foil or fabric damp with vinegar for about three weeks and you will achieve a colour change.

v Chlorine

bleach:  Place your copper, bronze or brass shim, foil or fabric into chlorine bleach for about a week. A more interesting patina happens if the metal is sprinkled in sawdust first. This changes the way the bleach is in contact with the metal.

v Ammonia:  Use

household ammonia cleaning solution (10 per cent solution is about right) to cover the metal. Interesting results happen if you use a Fuller’s earth (lime-based) cat litter sprinkled over the metal first. This patina should only take a few hours to develop, but can be left overnight. For your comfort, keep everything enclosed in a plastic bag and outdoors. Check on it regularly if you are using very thin foil or woven fabrics, as the solution may eat right though the metal, depending on the metal and the strength of the ammonia.

ACRYLIC PAINT Acrylic paints can be used to coat metal. They will completely coat the metal, so I usually use them as a printing method, leaving some metal showing through, or scratch or sandpaper back into the paint after it has dried to show some of the metal again.

Warning Ammonia fumes will be given off when the ammonia comes into contact with the cat litter.

Tip

If you use these fabrics on your sewing machine after patinating, you will find small particles of patina breaking away and falling into your machine. Make sure you add a little oil into the machine and sew on scrap fabric until the oil has caught the particles and they have been removed from the machine, otherwise your machine will rust. It is best to add the patina to the project after any machine stitching has been completed.

HEAT GUN A heat gun is a useful tool for any textile artist. You will need one to heat the embossing powders, to heat-colour the foils and metal fabrics that contain copper and to distress the Lutradur. You will also need a couple of pairs of small pliers to hold and manoeuvre the metal while it is in the heat, and a heatproof surface such as a glass tablemat.

EMBOSSING TOOLS Straightforward, effective techniques for texturing metal can be as simple as carefully taking the metal or fabric and scrunching it in your hands, then opening it out to leave a wrinkled surface. However, you may wish for more organized marks – either hand drawn or repeatable patterns. These are achieved by placing your metal foil or shim (not fabrics as they don’t hold the shapes), on to a pliable surface such as a firm foam, a mouse mat or a folded piece of plain fabric, then – tracing over a pre-drawn guide – drawing marks into the metal using an embossing tool or equivalent. Alternative embossing tools include ballpoint pens with no ink left and knitting needles, or other tools such as some clay working tools, pattern pricker rollers or specific pattern rollers often used for metal or polymer clay. If you want a repeatable pattern or mark, think about rubbing the shim into the texture plates that are available for print, polymer clay or metal tooling. If you have a machine that uses dies, texture plates and embossing folders, you will be able to place the metal shim between the texture plates and emboss or cut through it with this.

CRAFT STAMPS You can use preformed wooden or rubber craft stamps, or make your own, when working with metal and mixed media. They can be used to stamp the glue to your surface in preparation for embossing powder, used with transfer dyes, Markal sticks or acrylic paints, and to make marks and patterns or resists on the surfaces we are using.

EMBOSSING POWDERS Embossing powders are fine plastic granules which, when heated, melt and adhere to a surface. They are much used by paper crafters and altered art creators, and can be used with metal and metal fabric. They are available from numerous manufacturers and there are three common forms. The first are ultra-thick embossing powders – coarse granules that give a raised surface. They can be brittle when worked and give a less precise definition of pattern than finer types. The second type are ‘normal’ embossing powders – a finer powder that gives a smooth, glossy surface that is less liable to crack and is able to show a better pattern definition. Thirdly, distress embossing powders have grains that are a little coarser than normal powders and are intermingled with a grain that does not attach to the working surface. These powders, when heated, remain matt, and the non-adhered grains can be rubbed off after heating. The surface is rather like fine sandpaper, giving an interesting contrast to the other embossing powders and to the metal surfaces.

WATER-BASED PAINTS AND INKS Silk paints and pigment inks are easy to paint on to cover fabrics and other porous materials used in the book. Silk paints are usually water-based and can be heat fixed for use on fabrics.

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STENCILS Either bought or homemade stencils can be useful for applying colour to surfaces either through the stencil or as a resist with glues, paints or sprays.

GILDING MATERIALS

OTHER MATERIALS

Though real gold and silver leaf is available, it is not necessary for the purposes of mixed media in textiles. The metal used for gilding is a very fine leaf of base metal, available in a variety of colours and patterns. The easiest version to apply to relatively flat surfaces is known as transfer metal or ‘schlag’. It is lightly attached to a backing or stabilizing sheet of paper, which comes away once the metal is attached to another glued surface. Also available are loose sheets of metal and ‘flaked’ metals.

In mixed media work, you will inevitably need to add a few bits of equipment to your normal list – though nothing too hard to find. v  A

craft cutting mat.

v  Small v  A

pliers.

craft knife.

v  PVA

glue.

ADHESIVES

v  Strong

These transfer metals have to be applied to a surface by attaching with a glue of some sort. It is best to use water-based acrylic size, easily available from suppliers (the alternative is oil- or animalbased but this is trickier to use). Acrylic size is applied by brush or sponge to the surface and allowed to dry. Once dry, it will remain ‘open’, or tacky to the touch. Porous, absorbent surfaces will need sealing first, and if the size does not feel tacky once dry, it has soaked into the surface and will need another coat. Glue-based outliners are universal artist’s glues that come in a bottle with a very fine nozzle. Draw the glue-based outliner on to your surface where you want to add gilding, allow to dry, place the transfer metal towards the glue and lightly iron over the backing sheet. Pull the backing away, leaving the gilding attached to the glued part of the surface. Neaten up by removing any unwanted or unadhered metal using a dry bristle brush. Various weights and formats of transfer adhesive are available, including fusible web and gossamer webbing (see Support fabrics, pages 14–15). They all attach to the transfer metal by ironing under baking parchment.

v  A

EMBELLISHMENTS Projects in this book use a selection of beads, buttons, ribbons and other embellishments: v A

range of beads including 8mm freshwater seed pearls; glass roccaille and bugle beads (6, 4, and 2mm, sizes 11 and 15 and various shapes); 3mm (1/8in) sequins; three-sided mother of pearl nuggets; and large recycled glass beads of 9 to 15mm (3/8 to ½in).

v  Goldwork

purls in various colours and shapes.

v  Copper-coloured v  Small

brads.

brass safety pins.

v Coloured

copper 0.315mm (1/100in) and 2mm (1/16in) aluminium wires.

v A

large coloured coconut button and a few antique shell, bone and metal buttons.

v  Antique v  A

lace and ribbon.

tacky bead mat.

v Ribbons,

knitting ribbons and threads for extra embellishments and finishing touches.

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metal glue.

hammer with a flat end and block to hammer on.

v  Acrylic

matt varnish.

v  A

spray bottle.

v  A

sponge.

v  Masking v  A

tape.

jug.

v  Pins

and needles.

v Sharp

fabric and thread scissors, appliqué scissors and general craft scissors.

v A

needle-felting pad, needle-felting needles (singles and a multi-needle tool) or an attachment for your sewing machine that houses the needle-felting needles.

v An

iron. The best are those without steam holes, but these are not always easy to find. If yours has a patterned steam plate, make sure you keep the iron moving when ironing so the pattern is not transferred to your work. Another idea is to have an iron reserved for craft work, then you don’t have to worry about it looking pretty!

v A

cloth for ironing on. I find a pad of calico is great as it is plain, with no texture, and is not too soft.

v A

sewing machine is useful in much of the work. Many techniques can be achieved by hand if necessary, but they will take longer and look a little different. If you are not a confident free-motion embroiderer, then most effects are also achievable using your normal sewing feet. If your machine has the functionality to reduce the pressure on the sewing foot, this will help you to slip around more freely whilst still having the feed dogs in place.

v If

you have one, an embellishing machine can be used to create some felted surfaces as backgrounds for stitching.

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Projects Mixed media work can look and sound complicated when the processes are described. There may be many stages, creating layers and different surfaces, then cutting and ripping these to rearrange into your design, after which there may be more stitching, printing or beading over the top. Don’t be daunted, however. Look carefully at the projects, and think about having a go at the surface you are most attracted to, the surface for which you have the equipment and materials already or the one you think is easiest to follow. There is no need to complete a full-scale project in a technique you are unfamiliar with on the first attempt. Each of the projects here has several stages. Each stage, surface or technique has been very carefully chosen to be a showcase for a novel, perhaps even unique, combination of materials and techniques, allowing you to get your teeth into different metals, media, fibres and stitch techniques. Once you get used to using the media, you will find the steps easier to follow and enjoy the visually stunning results and the freedom that the use of mixed media allows in the development of expressive, creative works. The projects have also been designed using different starting inspirations, so even if you are not a fan of the natural form and shapes but you love clothing and costume or want to work in three dimensions rather than two, then you will have the chance. The projects use a collage or assemblage style that makes adjusting the final design easy, so you can make the finished results more individual and personal to you. So what happens to all the attempts you don’t use or those you are less happy with? Take a look at some of the development samples pictured after each project. These are often created from the scraps and leftovers. Sometimes it is the bits left over that lead to the most satisfying finished pieces. Many leftovers can also become small panels for greetings cards, book covers, bookmarks, small gifts or more. I hope that you will take inspiration and energy from the large completed projects and apply that to your pieces as you work through the book. We each have our own favourite methods for researching, drawing and developing designs. My approach is often to begin with photographs of a subject, then work on a few simple drawings and sketches from these. This process begins to highlight the parts of the original that I want to work on. I also like to make notes of key words and I play with painted, printed and ripped papers to assemble structures and panels. You can see these scattered throughout the book. I hope they help you to see some of the thinking and development backing up the projects, and give you ideas to develop your own direction with the techniques.

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Bauble Pods This simple but richly decorated and immensely attractive project is inspired by hanging pomanders, Christingles, fruits and seed pods hanging from trees. You will make a series of needle-felted surfaces that incorporate subtle glints of metal foil, knitted metals and metal fabric, then add flourishes of beads and metal plate couching. Though metal plate couching is supposedly an advanced form of goldwork, I find that it is straightforward and is a great way to cover areas in a flexible way. The plate can be applied carefully in a very organized, even manner, covering the desired shape completely, or the zigzag effect can be allowed to open up, getting wider and narrower as you like. For this project we will be making the metal plate from copper shim rather than precious metal. The 0.07mm (0.003in) or 0.1mm (0.004in) thicknesses are perfect as they will not tear but will bend and fold well, even when cut into fine strips. You can use lots of textures, colours and mixed fibres and create sumptuous surfaces with an embellishing machine or hand needle felting. From these you will develop a selection of baubles and padded shapes and link them with a ribbon. I have chosen to work in vibrant, bright, fresh, contrasting colours, but if you glance at the development images shown after the project, you will see that many other options are possible. For the best effect, choose a single main colour, then collect a range of different textures and surfaces such as sheer or light-weight fabrics, wool, linen fibres, scrim, silk or knitting yarns in that colour. Select two secondary colours and collect fabrics and threads in those colour ranges too. For example, if the main colour is blue, choose contrasting lime green and orange as secondary colours. From industrial origins in the mid-19th Century in England, needle felting (also known as needle punch or dry felting) has become a well established craft technique. Needles are jabbed in and out of layers of fibres and fabrics, picking them up and dragging them past one another, entangling them to create a felt. The technique is often used to enhance wet-felted surfaces, or to stabilize the patterns on a felted surface ready to be wet felted. It is also used to create shaped and sculptured surfaces, to mend or thicken other felts or fabrics, or simply to enhance a textile surface. The basic process is simple and needs virtually no equipment or previous experience. The felted fabrics created need no stitching to hold them together and will not fray when cut. The needles used are typically 7.6–9cm (3–3.5in) long, triangular in cross section with barbs or notches cut across the corners of the triangle at intervals along the lower third of the shaft. The upper end is smooth and can be fitted into a holder or held manually. There are many variations on the needles, allowing for the felting of different fibres.

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It is now popular to use an embellishing machine, which looks like a sewing machine, but holds several needle-felting needles at once and works much faster than punching by hand. These machines will typically produce a firmer fabric much more speedily than the hand method, but only in two dimensions. Three-dimensional work has to be created by needle felting by hand and often with a single needle. An easy way to begin is to take a piece of felt (it doesn’t matter whether this is wool or acrylic). Lay this on a piece of firm foam: proprietary needlefelting foam, upholstery foam or a household scrubbing brush with closely set, flat bristles. Place another fabric piece, fibres, threads or knitting yarn on top and, using either a fine individual needle or a multi-needle tool, begin to jab through the layers into the foam underneath. Some fibres and fabrics will attach into the base layer more easily than others and you should experiment with a good range of bits and pieces. These could be Angelina fibres; silk, linen, flax, bamboo, fibres prepared for spinning, threads or knitting yarns; small quantities of light-weight fabrics such as nylon, organza, chiffon or silk. A few fibres and fabrics will simply disintegrate and others will refuse to connect to your other surfaces. Many fabrics will pucker and shrink as they are manipulated, so look out for this and the interest they create. In principle, the hairier the fibre, the more easily it will attach, so man-made fibres such as Angelina, polyester or nylon will not attach as easily through the layers. As the fibres begin to felt, more and other fibres and scraps of fabrics can be added. Metal fabrics and knitted wire surfaces can be successfully integrated into needle felting, though if you are too aggressive with your felting, the metals will tend to break up and disintegrate. Often a fine layer of fibres over the metal will help to sandwich the metal fabrics into the needle-felted surface you are creating. Note that it is quite normal to break needles while punching and jabbing, so don’t worry. However, you can help to prevent it by ensuring that you jab at right angles to the felting surface – that is, straight up and down. If you stab at an angle, you increase the flexion on the steel needle and it is likely to snap eventually.

A 19th-Century example of metal plate couching.

These examples give just a flavour of the way I developed the design for this project.

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WHAT YOU NEED GENERAL EQUIPMENT: A firm foam pad at least 15 x 15cm (6 x 6in) in size and at least 5cm (2in) thick (alternatively, you could use a household scrubbing brush for your needle-felting base) A needle-felting tool: an individual fine needle, a multi-needle tool or an embellishing machine Large sharp sewing needle such as a chenille or upholstery needle Sewing scissors Iron

The template for the large, medium and small lozenge shapes needed to make the bauble pods, shown full size.

GENERAL MATERIALS: Polystyrene balls, two with a diameter of 2.5cm (1in), one with a diameter of 3.5cm (13/8in) and two with a diameter of 4.5cm (1¾in) Baking parchment FABRICS AND FIBRES: Dark red velvet,15 x 20cm (6 x 8in) Yellow acrylic felt, three pieces 15 x 20cm (6 x 8in) Fusible web, 15 x 20cm (6 x 8in) Scraps of red sari silk ribbon; silk, banana and soy fibres (pre-dyed to pink and red colours); bright yellow/green loose wool fibres; and fine nylon chiffons in bright colours Hot-fix Angelina fibres in key lime and raspberry, enough to make a piece 15 x 20cm (6 x 8 in) Scrim METALS: Supa-blue knitted wire, 1.5cm (5/8in) tube of 0.1mm (0.004in), 1m (39in) length, cut open to a single thickness Red knitted wire, 8cm (31/8in) tube of 0.1mm (0.004in), 20cm (8in) length, cut open to a single thickness Ultrathin burnished copper sheet, 15 x 20cm (6 x 8in) 0.07mm (0.003in) or 0.1mm (0.004in) copper shim, 15 x 2cm (8 x ¾in) THREADS: Lime green standard machine sewing thread Bright pink standard machine sewing thread Pink/red variegated machine sewing thread BEADS: Matt green roccailles, size 11 Square transparent red beads, 2mm (1/16in) Red transparent rainbow, size 6 Petrol roccailles, size 11 Pink and green freshwater pearls, 6mm (¼in) RIBBON: 75cm (29½in) lengths of pink, green, gold, yellow, orange and turquoise chiffon ribbon

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SURFACE 2

As a general rule, if you make up to 15 x 20cm (6 x 8in) of each surface you will have plenty and some to spare, which can be used later for cards or small motifs on other embroideries. It will also give you some flexibility to choose favourite sections from each surface rather than finding yourself restricted and without enough to cut from. I have used a multi-needle tool; if you have an embellishing machine, it is even quicker and easier to create these surfaces than it is by hand.

A base layer of yellow acrylic felt with additions of 0.1mm (0.004in) red knitted wire, silk, banana and soy fibres, and scrim (pre-dyed to pink and red colours).

3  Place a piece of felt on the

pad and needle felt silk, banana and soy fibres and scrim on top.

SURFACE 1 This is a base layer of dark red velvet with additions of red sari silk ribbon scraps, pink nylon chiffon and 0.1mm (0.004in) supa-blue knitted wire.

4  Place the red knitted wire

on top and needle felt this in place.

2  Place a length of supa-blue knitted

wire on top of the piece and needle felt this into the background in the same way. Continue, adding more pieces of the knitted wire.

SURFACE 3 A base layer of ultrathin burnished copper sheet bonded with fusible web to felt (you could also use Evolon or medium or heavy-weight interfacing) with additions of brightly coloured fine chiffons.

1  Place a piece of dark red velvet on a firm foam pad and put scraps of red sari silk

ribbon and pink nylon chiffon on top. Use your needle-felting tool to punch repeatedly in and out of the fabrics to felt them together.

5  Iron fusible web on to the back of

ultrathin burnished copper. Take off the backing and lay the copper on to yellow felt. Place baking parchment over the top and iron the copper on to the felt.

The needle-felted fabric.

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6  Needle felt brightly coloured nylon chiffons on top of the copper.

The needle-felted surface.

SURFACE 4

METAL PLATE COUCHING

A base layer of bright yellow and green loose wool fibres with additions of key lime and raspberry hot-fix Angelina fibres.

7  Place the loose wool fibres on the needlefelting pad and some of the bright Angelina fibres on top, and needle felt them together with a repeated stabbing motion.

The needle-felted surface.

9  Cut even strips of the copper shim 1.5mm (0.06in) wide. Cut each length to 15cm (6in). You will now have thin long ribbons (or plates) of metal.

10  Thread a needle with a toning thread. Avoid very fine, delicate threads such as machine embroidery rayons as they tend to catch on the edge of the metal plate. You can wax your thread if you find that it shreds or snags when stitching. Secure the thread at the point where you wish the metal plate couching to begin and draw the thread to the front surface. Lay the plate on the fabric. Catch a short tail of plate with a couple of couching stitches.

11  Fold the tail of the plate over the stitch to secure it, then fold the plate forward, over the stitching at a slight angle as shown. Draw your thread up where the plate will fold over again (below the end of the plate) and couch the plate down.

SURFACE 5 A base layer of yellow acrylic felt with added chiffon ribbons in yellows, pinks and oranges.

13  Having decorated all the lozenges to

12  Fold the metal plate back at the same

CUTTING, DECORATING AND SEWING UP THE BAUBLE PODS

Surfaces for pods

8  Once you have created your five surfaces, take copies of the templates on

Second (large) pod: surfaces 1 and 4

page 31 and cut eight large lozenges, four medium lozenges and eight small lozenges from whichever surfaces you please. I have used two surfaces for each pod, as detailed right, but the choice is yours.

Decorate each of your lozenges as you wish with beads, sequins and metal plate couching (see opposite).

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First (large) pod: surfaces 1 and 3

Third (medium) pod: surfaces 2 and 5 Fourth (small) pod: surfaces 3 and 5

angle again and couch in place at the point you wish to turn the plate. Continue in the same way until the desired area is covered in metal plate. The final section of plate should be folded under and couched firmly into place so there is no sharp edge on the end. Continue as long as you wish – it can be lengthened, shortened or twisted sideways for a more open zigzag effect. Try the technique with strips of ribbon or paper first. It is actually very straightforward and makes sense once you have had a quick try.

your satisfaction, you can take each set of four lozenges and begin to stitch them together around the polystyrene balls. If you don’t want to use polystyrene shapes, simply stuff your pods with wadding of some kind. To sew together, take two lozenges of the same size but different surfaces, place the insides together and stitch the seams with a blanket stitch or an overstitch. For a decorative finish, you could also drop a bead on to the thread each time. Use a contrasting and slightly thicker thread if possible to make a real feature of the stitching. Once two lozenges are joined, place a third against this (again of the opposite surface to the one it sits next to) and stitch the seams together. Repeat this for the final lozenge, but as you stitch the seam, pop the polystyrene ball inside the pod and seal it. Repeat this for all five of the pods.

Fifth (small) pod: surfaces 2 and 4

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ASSEMBLING THE STRING OF BAUBLE PODS Take the long, sharp and strong needle and thread it with your fine chiffon ribbon. If you can manage it, thread three or four ribbons through the needle at the same time. If this proves too difficult to force through the pods, revert to a single ribbon and repeat the process each time. Push the needle through each of the pods in the order you want them to hang. Tie the top ends together, forming a hanging loop. Leave around 3–4cm (1¼–1½in) of ribbon between each pod. At the bottom of the string of bauble pods, simply tie a knot in each ribbon end at the length you wish. As a final flourish I have also stitched coloured pearls and glass beads on to the ribbons for decorative effect between the pods.

Details of the bauble pods.

Opposite The finished bauble pods.

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Details of the bauble pods.

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FURTHER DEVELOPMENTS

Once you get used to creating three-dimensional or padded shapes from needle-felted surfaces, you will find that there is no end to the shapes, stitching and decoration you can create. My daughter liked the simple sequinned heart best, while I love the more subtle brown and gold pods. These can be Christmas decorations, hangings for windows or attached to light switch cords, and small shapes can be used for key rings and phone charms. Each time you have a collection of oddments left from the cutting out of shapes, place them on another background of felt or loose fibres and felt them together again, then you have another surface to decorate. Rather like a Herman Friendship Cake – it never stops!

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1

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4

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Try a range of fibres, fabrics and metals with your needle felting, and decorate as you like. Here you can see, clockwise from top left:

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1. Purple Evolon with ultrathin metal bonded to the surface. The metal is coloured with alcohol inks and has a few dyed silk fibres needle felted over this. 2. Pink felt with knitting ribbon attached and metal plate couching in various patterns. 3. Two layers of nylon organza, a few silk fibres and a layer of brass metal fabric, all needle felted together. 4. Evolon backing with ultrathin copper bonded to it, alcohol inks to colour, then chiffon juggling scarves embellished through from the back. 5. A loose wool fibre base with a small amount of black fine nylon chiffon juggling scarf and a coarse 0.1mm (0.004in) knitted wire needle felted into it. 6. A cream felt base layer with textured stitching threads needle felted on and metal plate couching in flower patterns. 7. A single layer of silk dupion that has been placed under the embellisher, with added bows made from scrunched bronze fabric and a few beads. 8. The final piece is a base layer of silk dupion with a layer of 0.2mm (0.008in) knitted wire fabric and a few loose fibres meshed together.

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The background of this piece is a selection of nylon organzas embellished together. Some leftover sections of sprayed and stitched metal from another project were cut into in a leaf shape and stitched on using blanket stitching, with a few glass beads added. This would make a great book cover simply stitched or glued to a sketchbook, or it could be mounted on to exotic paper and placed in a frame. This is a great way to use up all your leftovers. I have taken the idea of the seed head in a different direction for this piece and have used the 0.2mm (0.008in) knitted wire tubing to create a bag or reticule. I wrapped additional wires and loads of beads around the top edge. The bottom edge of the tube was cut into a fringe and I wrapped more wires and beads around each of the fringe sections. I wrapped a thin black velvet ribbon round the tube near the fringe to make the base of the reticule. Finally I added little ribbon straps to make a gorgeous gift or hanging.

This simple, multi-sided vessel was inspired by drawings of poppy seed heads. The base fabric is natural-coloured wool fibre, needle felted with bronze metal fabric. It stands around a glass vase in which can be placed other dried seed heads or poppy heads.

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A tidal pool-inspired piece with a wool and silk embellished background. Smocked bronze fabric creates raised, limpet-like structures. The reflective glass beads remind me of anemones and the scattered beads add sand and pebble textures.

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Samurai Romance This collage introduces the different ways that gilding can be applied to textile backgrounds and then used as a surface for embroidery. It throws in a little goldwork, then updates and twists the techniques to produce a sensual, subtle wall panel. It also incorporates a couple of my favourite surfaces to stitch into: waxed papers and felt from silk cocoon strippings. These complement the gilding beautifully. Most of the stitching is fine machine embroidery that uses viscose embroidery threads for their soft, silky sheen. If you are a hand stitcher, use traditional long and short stitch with floss silks – you will achieve wonders! Fine machine or hand stitching over a gilded background creates an amazing surface. Taking the Japanese nuihaku kimono tradition as a starting point, I looked at designs that reflect this and developed a paired chrysanthemum design, which the Samurai used to symbolize romance. The flowers represent lovers and were often used in messages printed with beautiful poetry on knotted and folded handmade paper. Each pattern you will use is an aspect of the chrysanthemum – the leaves, the pattern of the petals and the flowers themselves. You can see elements of my design process on these two pages. The collage is designed to allow you to make changes to suit yourself. The equipment list states what I used, but choose your own colour scheme, papers and other features if you prefer. By placing a spine running down the length of the piece and arranging the segments over this, I kept the whole piece coherent, but the individual units can vary in size and design as you wish. This is a little design trick I use a lot! The techniques could be used for bags, sections on clothing, panels of any description, and of course use up the leftovers and any experimental pieces you create for cards, jewellery or other small items.

These pages give an idea of the way I developed the design for this project.

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WHAT YOU NEED GENERAL EQUIPMENT: Studio or craft iron White wax candle 2 or 3 old newpapers Sewing machine with embroidery or darning foot Hand sewing equipment Metal spoon 2 cleaning cloths Liquid detergent (a few drops) Cheap, flat 2cm (¾in) paintbrush Stencil brush or homemade stencil sponge brush (made from household sponge and masking tape) Water spray bottle Baking parchment, ½m (19½in) Tracing paper Ballpoint pen or permanent marker Craft scissors Pins GENERAL MATERIALS: Acrylic size Fusible web, 25 x 35cm (10 x 14in) Transfer metal – gold 2 or 2.5 – 10 sheets of 15 x 15cm (6 x 6in) SURFACE 1: Any backing paper, 50 x 13cm (19½ x 51/8in) An assortment of paper bags, brown parcel paper, sugar paper, wrapping paper, handmade exotic papers and similar in black, tan, coffee, cream and ivory, with a total surface area of 50 x 50cm (19½ x 19½in) PVA glue Iridescent old gold and brown Markal sticks Light- or medium-weight interfacing, 50 x 13cm (19½ x 51/8in) A selection of thick, textured, neutralcoloured threads, such as mocha viscose ribbon, slubby wild silk thread, tan and brown weaving viscose thread, white gold multi-stranded machine thread, black and brown linen threads as used in saddlery and upholstery

SURFACE 2: Natural flax fibres, 15g (½oz) Acrylic matt varnish A4 (or US Letter) printer card or similar, such as cereal box card, for stencil Gold or bronze acrylic paint Mink, gold brown or soft blue gluebased outliner SURFACE 3: Evolon, 21.5 x 12cm (8½ x 4¾in), coloured with silk paints Fine rayon threads 100 x 4mm (1/8in) brown glass beads SURFACE 4: Cocoon strippings, 10g (¼oz) Light-weight interfacing, 27.5 x 13cm (11 x 5in) Fine rayon threads in blue, grey, ivory, tan, brown and light brown Grey or variegated cotton or slightly thicker machine thread BEADS: Brown, gold-lined 11s 10cm (4in) bronze round purl Gold and bronze 15s FRAMING: Frame, 34 x 63cm (133/8 x 25in) – inner, 28 x 56.5cm (11 x 22¼in) Dark grey mountboard to fit frame

The templates for this project, shown full size.

The chrysanthemum design

The leaf design

The petal pattern

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SURFACE 1: THE WAXED, GILDED PAPER PANELS Make one, size 50 x 13cm (19½ x 51/8in).

3  The next stage is the fun part and can

1  Work on a surface that is protected

from heat and mess. Have a pile of at least two newspapers under your working area, which can be discarded later. Tear the papers into strips between 15cm (6in) and 45cm (17¾in) long and 1cm (3/8in) and 4cm (1½in) wide. Tear off any cut edges. Crumple all of the papers firmly and thoroughly between your hands, then open out and smooth a little. Tear a background piece of black sugar paper around 2cm (¾in) smaller all around than the size of the finished piece. Then use a little PVA (not too much, or the glue will seep through the paper) to glue your crumpled strips on to the background. If your background paper is made from a similar paper to the torn strips, you can leave some of it visible, if not, cover the whole background with overlapping strips of paper.

2  Allow the PVA to dry. Rub over the

wrinkles in the papers with the Markal sticks. The rubbing can be rough and uneven – you might want to experiment with how much paint stick to use on a spare bit of paper until you are familiar with the technique. Markal sticks are designed to seal over when not in use, so before you begin to use them, rub the tip of the stick hard on rough scrap paper and discard the protective skin.

be very cathartic! First, apply candle wax to the paper. The way shown here is the quickest method. Heat your iron, position it with the tip pointing down over your glued papers. Rub a candle on to the hot plate near the tip. The wax will melt and drip on to the papers. The more absorbent the paper, the more wax will be needed. But don’t panic, if you don’t use enough wax to start with, you can simply add more later and if you add too much wax, you will be able to push the excess hot wax off your piece and on to the newspaper. Allow around one drip of wax every 1–2cm (3/8–¾in) to begin with.

5  Using the flat brush, paint acrylic size in long, random lines on to the waxed paper surface and allow the size to dry.

Gilding tip Acrylic size is not soluble once it dries, so make sure you wash brushes or other applicators really well in detergent promptly after use. The alternative is to dispose of your applicators each time.

6  Apply the transfer metal. Place it gold

side down towards the sized base layer, press firmly with your fingers and rub over the area to transfer the metal. Gently pull the backing paper away. This should leave gilding metal over the base layer, roughly over the sized areas. Make the most of your transfer metal by patching smaller pieces together over the surface as you go, rather than using a complete sheet for each section.

7  Take a firm, dry bristle brush and rub

gently over the metal. This will press the metal on to the size and firm up the contact between the layers. It will also allow the unadhered metal to flake away from the base layer. These bits are called ‘skewings’. Collect them and use these to fill in small gaps in your gilding or save them for use on other projects.

Alternative methods of applying wax: 1  Light the candle and allow wax to drip from it on to the papers. Take care not to allow the flame to come into contact with your papers. 2  Use a craft or other sharp knife to scrape wax from an unlit candle on to the papers. 3  Sprinkle batik wax granules over your papers.

4  Set the iron to a high heat and iron directly over the papers, working in sweeps from

the middle to the outside of the piece. This will re-melt the wax and force it through the papers, while the oil-based pigment of the Markal stick will blend with the wax and spread. Any excess wax will be forced off the papers on to the newspaper. If there are any unwaxed areas, they will be obvious, so simply add more wax and re-iron. If you want to add further Markal stick to the surface, rub it on to the paper, add a little more wax and re-iron. This process will transform your papers into fantastic antiqued papers. Note that the papers will be very hot straight after ironing, so be patient and only handle your piece once it has cooled.

9  The final stage is to add chunky

8  Place interfacing behind the paper,

making it a little smaller than the piece so that it does not show from the front. Hold everything in place with a few pins.

couching in lines down the length of the paper. Use lots of different textures and stitches with whichever threads you like. You might want to try using several lengths of a thread and knotting the ends together, leaving these to show on the surface of the paper. The holding stitches I have used are variations on straight overstitch, cross stitch and fly stitch.

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SURFACE 2: THE FLAX PAPER PANELS Make two, sizes 9 x 20cm (3½ x 8in) and 10 x 12cm (4 x 4¾in).

14  Trace the petal pattern from page 46 10  Lay three fine layers of flax fibres on to a cleaning cloth. Shape them to the size of panel you want; for this project you will be making two flax pieces: 9 x 20cm (3½ x 8in) and 10 x 12cm (4 x 4¾in). Cover the fibres with a second cloth. Add one drop of detergent to 250ml (9 fl oz) of hot water. Using a metal spoon, place four or five spoonfuls of hot water on to the cloth and fibre sandwich, spreading the water over the fibres.

11  Rub both the front and the back of the sandwich with the back of the spoon in circular movements, forcing water through the fibres. Add small amounts of extra hot water if needed, to make sure all of the flax fibres are covered with water. Rub for around a minute.

12  Mix acrylic matt varnish with water in a ratio of approximately five parts water to one part varnish (you are looking for a solution that has the consistency of skimmed milk). Spoon three to four spoonfuls of this mixture over the sandwich and rub as before, repeating on the reverse.

13  Wring out the sandwich while it is still wrapped in the cloth. Open out the cloth to

reveal the fibres loosely bound together as flax fibre paper. Leave this to dry. Repeat the process for your second piece of flax paper.

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and use it to cut out a card stencil. Place the stencil over the flax paper; exactly where does not matter. Sponge bronze acrylic paint through the stencil, using either a stencil brush or a disposable stencil sponge brush made from a small section of household sponge wrapped with masking tape, which gives you something to hold on to. Take care not to use too much paint at any one time.

15  When the paint is dry, apply acrylic

size through the stencil using your stencil brush or stencil sponge brush.

The stencilled flax paper.

16  Gild with transfer metal, following the same steps as for Surface 1: rubbing on,

brushing down and then brushing off the excess gold. Your surface is not likely to be perfectly gilded, but fortunately this is the look we are aiming for!

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SURFACE 3: THE EVOLON PANELS Make two, sizes 7.5 x 21.5cm (3 x 8½in) and 4.5 x 21.5cm (1¾ x 8½).

20  Take the two pieces of Evolon and

17  Using a glue-based outliner in a toning colour (I have used a soft gold/tan called ‘mink’), squeeze a line around the lower parts of each petal shape.

Tip

When cutting the nozzle of the glue-based outliner, cut away a little at a time to create the smallest possible hole through which to squeeze a smooth line.

18  Allow the outliner to dry (this will take

at least an hour). Place a sheet of transfer metal over the outliners and iron on a low heat lightly over the surface. This will make the glue-based outliner tacky again and the transfer metal will stick to it. Be careful though, as if you use the iron too hot or press too hard, the outliner becomes too soft and will spread wide and flat, which is not as attractive.

add a little colour to them to ‘age’ them. I have used a mucky mix of silk paints, but you could use transfer paints or other inks or dyes. Evolon is very absorbent, so the colour will soak in and it will be less obvious once dry. Trace on to fusible web the five large and five small leaf shapes from the design on page 46. Cut roughly around them to separate them and make an ‘x’ mark on the fusible web backing.

21  Place each shape, glue side down, on the metal side of a sheet of transfer metal, cover with baking parchment and iron. Cut out the shape.

22  Carefully peel off the backing of

the fusible web (this is the side marked with the ‘x’). If you have difficulty, try folding the edge of the shape over and rubbing gently, or slide a pin under the backing paper to begin to separate the layers. Place the glued side of the transfer metal and fusible web shape down on the Evolon, place baking parchment over the top and iron. Once the fusible web is cool, remove the holding paper from the transfer metal to reveal the gold metal surface. Don’t throw the spare bits of gilding away. Iron them down on to other fabrics for future projects.

23  Using a fine rayon thread in a toning

19  Pull away the backing sheet and complete the gilding process. Brush off any excess transfer metal.

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colour, stitch between the gilding with small seeding stitches of around 2mm (1/16in). If you pull the stitches just slightly tight, it will add a little texture to the fabric. Finally, stitch the brown glass beads evenly around the edge of the Evolon piece to make an attractive edge, which will separate these panels from the others on the finished piece.

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SURFACE 4: THE COCOON STRIPPING PANELS Make three, sizes 5.5 x 5.5cm (2¼ x 2¼in), 9 x 9cm (3½ x 3½in) and 13 x 13cm (51/8 x 51/8in).

24  Place a piece of baking parchment

below your working area. Spread out the cocoon strippings to slightly smaller than the required size for each of the panels (as they will spread when ironed). 10g (¼oz) should be sufficient to make all three pieces, but if you are unsure, use a little more fibre. Use a water spray to lightly dampen the fibres.

25  Place a layer of parchment over this

and iron firmly. The water and the heat from the iron will activate the gum in the strippings and glue the fibres together. Any excess water will be forced out. Leave the strippings to cool, then remove from the parchment and allow them to dry completely. The cocoon stripping paper you have created should be slightly stiff and held together securely. If you have not used enough water, the fibres will still be soft and fluffy. To correct this, add a little more water and re-iron between parchment.

a dry brush – as you did with the sized surface in step 7 – to make sure that the metal is attached well and all the spare metal is removed.

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you will now have a lovely outline to begin to fill in with colours of your choice from your thread palette. Continue until each of the flowers is densely covered in stitch. I have chosen to use a dark blue for the more open flower design and a mix of the tans and browns on the other flower shapes. Each flower and the cloudlike swirls have been re-outlined in a slightly thicker dark grey cotton machine thread. If you are hand stitching, use your choice of filling stitch and couch around the flower edges and the cloud swirls.

26  Cut pieces of fusible web to 4 x 4cm

(1½ x 1½in), 8 x 8cm (31/8 x 31/8in) and 12 x 12cm (4¾ x 4¾in). On each of the strippings panels, iron down a section of fusible web of the corresponding size. Peel away the backing paper and place the metal side of the transfer metal on to the fusible web. Place baking parchment over this and iron to adhere the transfer metal to the surface.

28  Trace parts of the the chrysanthemum designs from page 47 on to pieces of

27  Remove the backing paper and use

29  Turn the panels to the right side where

interfacing the same size as each panel, using a ballpoint pen or permanent marker. Turn them over and redraw the outlines from the back. Place them with this second side downwards and then put the corresponding piece of gilded cocoon strippings on top – gold side facing upwards – and pin in place. Prepare your sewing machine for freemotion stitching. With a protective layer in place, put the panel in position so that the interfacing faces up and the gold surface faces down. Using dark coloured rayon threads, stitch with a close free stitch around the outlines on each panel. Any interfacing that shows around the edge can be cut away when the stitching is done.

The panel ready for beading.

30  In the brown flower shapes, stitch

small bronze beads in the centres – cut bronze-coloured purl into tiny pieces and stitch these in to fill the centre. To complete the panels, sew a sprinkling of small gold beads all over the surface at about 1cm (3/8in) intervals.

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ASSEMBLING THE PIECE Place the large paper panel (surface 1) down, then place the other panels over it as shown. Stitch each of these to surface 1 with small, discrete holding stitches in toning threads. When assembled, place the whole piece on to the mountboard and secure using a strong needle; stitch through the piece and the board wherever necessary to hold it in place. Then simply slot this into a plain frame without glass and hang on your wall! Surface 3, 4.5 x 21.5cm (1¾ x 8½in)

Surface 1, 50 x 13cm (19¾ x 5¼in)

Surface 2, 10 x 12cm (4 x 4¾in)

Surface 4, 13 x 13cm (5¼ x 5¼in)

Surface 2, 9 x 20cm (3½ x 8in) Surface 3, 7.5 x 21.5cm (3 x 8½in) Surface 4, 9 x 9cm (3½ x 3½in)

Surface 4, 5.5 x 5.5cm (2¼ x 2¼in)

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Opposite The finished piece.

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Details from the Samurai Romance project.

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Details from the Samurai Romance project.

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FURTHER DEVELOPMENTS

In these samples, gilding transfer metal has been applied using fusible web. In some, the fusible web has been ironed on as random pieces, and in others as particular shapes. The transfer metal creates a beautiful background for stitch. The backings include cocoon strippings, velvet, bronze metal fabric, silk, scrim muslin and ‘silk rod waste’ paper made with the same technique as the cocoon stripping panels.

These samples of gilding techniques use the acrylic size method on different backgrounds including silk and flax paper, Evolon, Lutradur, copper metal fabric, transfer painted interfacing and cotton sheeting painted with silver acrylic paint.

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To use gossamer webbing as a gilding adhesive is really simple; imagine it as a cobweb-like fusible web. To use it for attaching transfer metal to a surface, choose your background, place a fine layer of gossamer webbing over this, then a layer of transfer metal, and cover with baking parchment. Iron firmly and when cool, uncover and remove the backing paper from the transfer metal. Take your firm, dry bristle brush and work gently in a circular motion over the metal to ensure adhesion, then more firmly to rub away the non-adhered metal. As you work, the fine network of the gossamer webbing fibres will be revealed. This method can be used before or after stitching or painting. I find that the gossamer webbing does not attach well to smooth manmade fabrics. These samples are silk, velvet, leather and copper metal fabric.

This sample uses the skewings from other projects, placed on the loose cocoon strippings before spraying with water and ironing. With light-weight pieces such as transfer metal, the gum in the strippings is sufficient to adhere the surfaces together ready for further development.

While looking at Japanese patterns, I was attracted to the snowflake designs. The background is made from cocoon strippings and the snowflakes are recreated using gilding with fusible web. The outlines were edged with machine stitch for emphasis, then gold purl and beads were sprinkled over and sewn into the surface.

This small panel was created from a cocoon stripping background, gilded using the acrylic size method. Raised brushstrokes in the paint were used to create an interesting texture for the gilding to cover. A fan of pleated bronze fabric was attached with simple long, straight stitches and clustered beads complete the decoration.

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The gold leaf is applied to silk by the fusible web gilding method. Free-motion stitching is edged with couched Jap gold thread. The panel is backed by firm interfacing and covered in seeding stitches, which pull and texture the fabric.

This piece pays homage to traditional long and short stitch, goldwork and Japanese stitching over a gilded ground. On the left, simple flowers are carefully hand stitched over a background gilded using fusible web. On the right, a textured surface is created in a kind of feather stitch by working both vertical and horizontal directions and a variety of stitch sizes, incorporating some of the same colours and threads as on the left. Goldwork purl and beading have been worked very densely between the stitching on the far right and gradually decrease across the panel towards the centre.

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Silvered Bark Who hasn’t noticed the range of forms, patterns, colours and textures found in the bark of different species of trees, and made sketches or taken rubbings and photographs as a reminder? These textures and forms are further exaggerated when the light is lower either in the morning, in moonlight or during winter, when the colours are reduced almost to a monochrome. The irresistibly tactile nature of bark is here explored and refined. We separate the lines and patterns from the texture, the better to appreciate them both. Without moving away from a more or less realistic image, I want to draw attention to the delicate textures and patterns of the Silver Birch tree using only the gentle, silvery greys with creamy blue tones found in pewter and stainless steel. The texture is created mostly from scraps of woven metal cloth, using colours achieved with car spray paint, which leaves the metal cloth almost unaltered in handle. These textures are contrasted by the reflective surface of pewter and the subtle sheen of silk and iridescent paint. If you have a favourite tree image that reminds you of a special moment or a particular space – use it, and choose your own version of monochrome, remembering that this means a single colour, not no colour.

These pages give an idea of the way I developed the design for this project.

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WHAT YOU NEED GENERAL EQUIPMENT: Sewing machine with embroidery or darning foot Hand sewing equipment Masking tape Iron Baking parchment Stencil brush or old toothbrush Scissors Ballpoint pen or permanent marker Plastic sheet or similar to protect your work surface A few drops of liquid detergent CANVAS: 34 x 40cm (13½ x 15¾in) block canvas (optional) FABRICS: Tan-coloured silk dupion, 40 x 46cm (15¾ x 18in): the exact amount depends on the canvas you will use on which to present your finished piece; you need enough to wrap around the sides and staple to the back of the canvas Medium-weight interfacing the same size as your silk fabric Water-soluble film, 24 x 18cm (19½ x 7in) Fine chiffon, 24 x 18cm (19½ x 7in), if hand sewing at step 7 PAINTS: Iridescent pearl and iridescent charcoal Markal sticks Grey car spray paint THREADS: Neutral-coloured beading thread or machine embroidery rayon Light grey machine sewing thread Dark grey machine sewing thread Variegated grey and tan sewing machine thread METALS: Pewter shim, 25 x 6.5cm (9¾ x 2½in) Stainless steel fabric, around 50 x 50cm (19¾ x 19¾in) Knitted stainless steel 0.1mm (0.004in) wire, about 16 x 20cm (6¼ x 8in) BEADS: 120 pewter 6-sided bugles A mixture of: 3mm (1/8in) silver sequins; silver-lined gunmetal roccailles; matte metallic silver size 15; 8mm (5/16in) shell triangle beads; 4mm (1/8in) clear, silver-lined squares; dark grey square purl, 15cm (6in) long Beading mat (optional)

Opposite The bark design, shown full size.

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MAKING THE CENTRAL ARTWORK

MAKING THE SILK BACKGROUND

5  Place water-soluble film over the

bark design and trace it using a ballpoint pen or permanent marker – mark on the cross-hatched areas.

1  Protect your work surface with plastic

or similar and place the silk on this. Take strips of masking tape and tear them in half lengthways. These will create a resist. Using the bark pattern on page 69 as a rough guide, recreate the white, unhatched areas of the pattern with the masking tape strips – use the torn, textured edges of the tape to form the edges of the unhatched areas; overlap the straight edges with other torn pieces so that the shapes look as irregular and textured as possible. Continue until all the areas you want to remain uncoloured are covered with tape.

2  Rub the Markal sticks on to baking

parchment to remove the film and to leave pigment on the paper. Rub an old toothbrush into the pigment, then use it to apply colour to the silk around the masked bark design. Use the iridescent charcoal first, then overlay with the iridescent pearl. When rubbing colour on to the fabric, start each stroke at the masking tape and push the colour off on to the silk. Don’t overdo it, as you will need surprisingly little colour.

3  Leave this to dry for two days, then

remove the masking tape, place baking parchment over the silk and iron (set to no steam) to fix the colour.

6  Divide your stainless steel fabric into

4  Place the interfacing behind

the silk, pin to prevent it from slipping and using small running stitches in the neutral rayon thread, stitch two parallel lines of running stitch along one edge of each of the coloured areas.

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two sections. Take one section and colour it using grey car spray paint. Remember to follow the instructions on the spray can. You will now have two colours of steel fabric. Use general scissors to cut the steel into small random shapes between 7mm and 15mm (½ and 5/8in) long. Keep the different colours in separate piles.

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9  Sprinkle your selection of grey, silver

and pewter beads on to a beading surface (I am using my tacky bead mat to hold them all still). Using a toning thread, stitch clusters of mixed beads around the piece. Try five or seven larger groups around 2cm (¾in) in diameter, similar smaller groups around 1cm (3/8in) in diameter) and odd scattered beads. Make sure that the threads between beads are disguised in the steel or stitching as you don’t want long loops showing through from the back.

7  Prepare your sewing machine. If you are free-motion stitching,

lower the feed dogs and change to an embroidery or darning foot. If you are using your normal sewing stitch, decease the foot pressure if you can, and you will be able to sew in sweeping curves rather than tight bends. If you choose to hand stitch, lay a fine chiffon behind the soluble film, which can be cut or burnt away later, or another layer of steel fabric behind the small steel pieces. Decide which of your two colours is going to be placed in the cross hatch area and which in the plain. Put a grey thread in both the top and bottom of your machine. Stitch the pieces of steel fabric on to the soluble film one at a time: choose one, stitch across it, then another and continue. Cover all the watersoluble film using tight swirls and curls of stitching, though the exact shape is not important. Once the pieces are in place, stitch over the whole piece again aiming to ensure that all the pieces are connected to another piece at least twice. In the photograph (above, right) you can see the first layer of stitch on the left, and the denser stitch completed at the bottom right. Use other grey threads and the variegated thread to emphasize the darker and lighter areas.

10  Remove the water-soluble film by placing the piece in hot water with a drop of liquid detergent. Leave it for a few minutes, rinse and repeat the process until the soluble film is fully rinsed away. Leave the piece to dry completely. Cut about seven pieces of knitted stainless steel wire 3–4cm (1¼–1½in) wide and around 8–20cm (31/8–8in) long. Roll each piece of wire into a tube and couch down along some of the lines, leaving some ends hanging out from the top, bottom and sides of each piece; these will help you to attach it to the silk background later.

ASSEMBLING THE PIECE 8  Thread a needle with a

doubled grey or variegated thread, pinch a small tuck at the edge of the boundary between the light and dark areas and oversew along it. This creates a ridge and emphasizes the design lines, distorting the fabric to look more bark-like. You will not need to stitch every line; choose around half of them.

Lay the pewter on to the centre of the silk background. If pewter is not available, use aluminium with a grey alcohol ink sponged over it to make the aluminium less bright. Stitch it in place with a pale grey thread, using small stitches 2–3mm (1/8in) long, coming up through the silk and going down into the metal. These can be pretty far apart so long as they attach the metal to the fabric securely. Be careful because the metal will want to slip and twist on the background, and you can’t pin though the metal to hold it square. Take your central artwork and scrunch it a little, then place it over the metal panel. Pull it around until you are happy, then stitch it in place with small stab stitches and a toning thread. Arrange the knitted metal strands into a pleasing arrangement and stitch these down. Choose a small bead – I have used hexagonal pewter bugles – and stitch these tightly and neatly around the edge of the pewter panel where it is visible beyond the central artwork. To finish, the piece will look great stretched over a canvas, on a mount in a box frame or in a frame without glass. Your choice!

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Opposite The finished piece.

This page Details from the finished piece.

Details from the finished piece.

This is an alternative to the silver and pewter colours in the main project. To create this rich, warm piece, I used copper metal fabric coloured with purple, red and green car spray paints. I added beads made from heat-distressed Lutradur along with other beads and hand stitching to allow a flow from the central work into the backing.

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FURTHER DEVELOPMENTS

This image of a dancer was created in heat-treated steel fabric. There are three weights of steel in the piece, allowing for a more intense colour in some areas. I used a single layer of steel as a background on which to stitch the smaller pieces. A single layer will suit you best if you are stitching by hand.

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The technique used for this piece was exactly the same as for the project, but it is made on a much larger scale at over three metres (9ft 10in) long, and instead of car spray paint I used heat to create colour. The piece was made from bronze metal fabric pieces, and a touch of density was created by adding textured copper shim for the irises and part of the mouth. The piece shows a young face that is calm, alert and content. It typified for me the wonderfully relaxed, meditative feeling that can be achieved when creating an artwork or being fully absorbed in a joyful task. The words appliquéd on to the piece, but not visible here are: ‘All aglow in the work’ – a quote from Virgil.

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Vain Devices

WHAT YOU NEED GENERAL EQUIPMENT: Sewing machine with embroidery or darning foot Hand sewing equipment Iron Baking parchment Small half-round pliers Computer and inkjet printer or photocopier

Who could fail to be impressed by the bold, bright and brilliant designs of costumes of the Elizabethan era? The rich colours, elaborate trimmings and magnificent, extreme sculpting seen in the clothing of the aristocratic classes are the inspiration here. You can go completely to town with this project; be inspired by the padded hose and shoulder rolls, the ruffs, which, with the invention of starch became a wildly exaggerated feature, the gold ‘points’ from the lacings that held sections of the clothes together, the fabric roses found on shoes, the long pointed stomachers (triangular front panels for bodices or gowns), the finely detailed, embroidered coifs (close-fitting caps) or the decorative scabbards worn by the men. For the main section of the panel we are using a design taken from a piece, possibly from an Elizabethan coif, in the collection of the Embroiderers’ Guild (UK). Ubiquitous in Elizabethan embroidery designs are graceful, sinuous yet formal curves, embracing flowers, leaves, berries, birds and insects. Here we separate the patterns, exaggerate the size of the curves and dislocate the fauna and flora from their nestled positions. We further dislocate the elements of the pattern by stitching reflective, bright copper shim on to a dark velvet for the curves, and on to the matt surface of dark surface transfer papers for the flora and fauna. The long, pointed central spike is a reference to the stomachers worn by women and the padded hose and shoulder rolls of the men. You might also imagine this shape as a sword scabbard with elaborate decorative motifs. The padding and rich surface is created by metal fabric stitched on to velvet. You will discover, as you work, the wonderful shading effects this creates. The prominent starched lace ruffs and sculpted fabric flowers of that era are represented by fused, melted and bonded iridescent fusible fibres mounted on to metal fabric and pleated, creating lovely sculptural sections on the panel. The metal lacing points are recreated with shim, beads and wire before, which are added to your project as a finishing flourish.

GENERAL MATERIALS: Embossing tool or dried out ballpoint pen Copper craft brads, 2 x 8mm (5/16in) and 7 x 4mm (1/8in) 0.315mm (0.01in) gunmetal wire, 2m (6ft 6in) 1 sheet of A4 (or US Letter) dark surface transfer paper Tracing or layout paper Strong glue Blue handmade paper, 30 x 42cm (11¾ x 16½in) Small scissors or craft knife with a swivel blade BEADS: Glass seed beads size 6, purple metallic rainbow Glass seed beads size 8, turquoise transparent rainbow 7 large and 14 small recycled glass African beads Pale gold 3mm (1/16in) sequins THREADS: Pale blue machine sewing thread Dark aubergine machine sewing thread Ultrafine polyester goldwork couching thread Blue 40 weight twist sewing machine thread Pink 40 weight twist sewing machine thread FABRICS: Black or very dark velvet, 30 x 40cm (11¾ x 15¾in) Medium-weight sew-in interfacing, 30 x 40cm (11¾ x 15¾in) and 13 x 47cm (5¼ x 18½in) Pale blue velvet, 13 x 47cm (5¼ x 18½in) Craft or heavy-weight interfacing, 42 x 8cm (16½ x 3¼in) 1 pack hot-fix Angelina fusible fibres in raspberry and forest blaze Fusible web, 15 x 50cm (6 x 19¾in) and 15 x 3cm (6 x 1¼in)

These pages give an idea of the way I developed the design for this project.

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METALS: 0.1mm (0.004in) copper shim, 53 x 29.5cm (21 x 115/8in) or tomato purée or other food tubes Copper fabric in three sizes: 15cm x 50cm (6 x 19¾in); 13 x 47cm (5¼ x 18½in); 15cm x 3cm (6 x 1¼in)

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A diagram of the finished piece. Background fabric

Scabbard Ruff

Ruff

Ruff

Central rose Ruff

Gold points

The template for the gold points, shown full size.

Opposite The template for the scabbard, not shown full size. See page 85, step 6 for enlarging instructions.

Top: The curls design, shown reduced in size. See page 84, step 1 for enlarging instructions. Bottom: The panel, possibly from a coif, that inspired this project, reproduced by kind permission of the Embroiderer’s Guild. English, early 17th Century. EG 79 1982, 22.5 x 42.5cm (8¾ x 17in). Given by the NDS.

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MAKING THE BACKGROUND FABRIC

5  When the images are attached,

free-motion stitch around them with the bright blue and pink threads, more or less following the outline of the shapes. Allow your stitching to be decorative by also working into the background. Cut away some of the side and lower edges as shown in the picture below, using the shapes suggested by the metal and transferred designs, but leaving the top edge square. Free-motion stitch in tight circles around the edge of the velvet with your dark aubergine thread, to reinforce and decorate it. Sew the small sequins into the dark velvet background around 3–4cm (1¼–1½in) apart.

1  Enlarge the curls design from page 83

250 per cent on a photocopier. Place this design over the copper shim, using some padding underneath to protect your work surface. Use an embossing tool or dried out ballpoint pen to draw over the design, marking the copper. The design does not have to be copied all in one piece on to a single sheet of shim; you can use smaller pieces of copper and move the design around. Cut out the curl shapes using small scissors or a craft knife with a swivel blade. Be careful of the sharp edges of the metal.

2  Place the dark velvet over the medium-weight interfacing, pin it in place and arrange

your cut copper swirls, spaced so that they evenly cover the velvet. As you will not be able to pin the metal into place, you might want to take a picture of your placements for reference. It is also possible to tack using hand stitches here and there to secure the pattern before stitching on the sewing machine. To attach the metal to the velvet, set your sewing machine up for free-motion stitching. Use the dark aubergine thread, or one that tones with your backing velvet. Stitch in a loose ‘S’ shape, starting on the velvet, moving over the metal and back into the velvet, right the way around the edge of the copper shapes, securing the metal in place.

MAKING THE SCABBARD

4  Scan the Elizabethan coif image on

3  Once all of the metal curls are loosely

stitched into place, continue moving on and off the metal in tighter ‘S’ shapes, circles or figures of 8. Work at least two or three times around the edge of the metal. You can stitch into and all over the velvet also, creating toning stitching to complete the background.

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page 83 to your computer, making sure the colours are accurate and the image size is A4 (or US Letter), or place the design on the copy plate of your inkjet printer. Print the image on dark surface transfer paper (see page 16), following the pack instructions. Cut out curls, flowers, leaves and animals as you wish. Peel off the backing and arrange the motifs on the metal and velvet layer. Place baking parchment over the piece and iron firmly, concentrating on the dark surface transfer paper areas. It is easy for the designs to slip if you try to do all the motifs at once so it is best to iron them a few at a time. When cool, remove the baking parchment.

6  Draw a copy of the scabbard shape

shown on page 82, enlarged to 7cm (2¾in) wide and 41cm (16¼in) high, on craft or heavy-weight interfacing. Cut this out. Take a piece of mediumweight interfacing, cut to 13 x 47cm (5¼ x 18½in) and trace the swirl design from the Elizabethan coif image on page 82 on to it. Turn this drawn-side downwards and place blue velvet – right side up – and then a layer of copper fabric over it; pin around the edge to secure. Turn the piece back over so the interfacing is on top – and the swirl pattern is visible – and using the blue thread matching the velvet colour, free-motion stitch a single line over the design.

7  Turn the piece so the right side is

showing and continue stitching around the swirls to thicken and widen the lines until they are 3–4mm (1/8in) wide.

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8  Hand sew turquoise transparent

rainbow seed beads at around 2cm (¾in) intervals all over, knotting the thread behind each bead and pulling it tight so that the fabric becomes slightly puckered. Don't place the beads on the outer 1.5cm (½in) of fabric, as this is where the turning will be.

MAKING THE RUFF

9  Lay the embroidered, beaded panel over the scabbard-shaped heavy-weight

interfacing. Fold and pin the panel around the shape. Use a few holding stitches to catch around the edge so that they do not show, holding the embroidered piece in place with a puckered, scrunched texture. Bead around the edge using purple metallic rainbow beads at around 1cm (3/8in) intervals. Place this scabbard piece across the centre of the background fabric, overlapping the top and bottom edges, then stitch into place by hand, referring to the diagram on page 82.

11  Now for the fun part, which you may want to practise first. Turn up the iron a little. Place one of your fused Angelina pieces on to baking parchment, then hold one end of it and place the iron directly on to the rest of the piece. This will reheat the fibres. As you do this, pull the iron in the opposite direction from the hand holding the the fibres. You should notice the fibres stretching and rolling. For more texture, wriggle both the iron and the fibres held in your hand as you move them apart. Place a second piece of fused fibre overlapping the first slightly on the short edge. Iron over the join, again without covering with baking parchment, and repeat the pulling and wriggling action. Continue adding the pieces and pulling and wriggling until you have a single piece 15 x 50cm (6 x 19¾in).

10  Take a small amount of each colour

of Angelina fusible fibre and spread it over an area of around 10 x 15cm (4 x 6in) on a sheet of baking parchment on a heatproof surface. Cover with more parchment and iron over the ‘sandwich’ with the iron on a silk setting. The fibres should fuse with no colour change when you make a firm but quick two-second pass. If the fibres are not fully fused, iron again briefly. If the colours have changed or the piece has become dark and lost its iridescence, the iron is far too hot, turn it down and when it is cooler, make another piece. Make a further seven or so of these small pieces.

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12  Iron fusible web on to the copper

fabric, remove the backing paper and place your fused fibre piece over this. Allow the Angelina to overlap the fabric so the copper fabric edge is hidden. Place baking parchment over the top and iron to activate the fusible web, attaching everything together.

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Diagram 1

MAKING THE GOLD POINTS

14  Take one of the large pieces, place

13  Cut the panel in half to make two

pieces, each 25cm (10in) long. Measure 12.5cm (5in) in from one side to find the halfway point. Starting at the top of the fabric, cut diagonally down from this centre point to around two-thirds high on each side; you will create two small triangles of fabric (see Diagram 1, right).

a small piece on top with the cut edges together and both fibre faces upwards (see Diagram 2, below). Tack this edge with a running stitch and pull the thread to gather it until it is the correct width to fit from one side of the scabbard to the outer edge of the velvet. Fold the cut edge behind by 5mm (¼in) and hand stitch the piece into place 6cm (23/8in) down from the top of the velvet on the left-hand side of the scabbard. Stitch the ruff along the top edge and along the edge of the scabbard, (see the diagram on page 82). Repeat for the other half.

16  Trace the gold point templates on

page 82 on to paper and cut three large, two medium and two small from copper shim.

17  Roll the shapes into cones and stick

the overlapping edges with strong glue to secure them.

18  For each point, cut a 60cm (23¾in) length of wire. Fold the wire in half and thread one of the small beads on to the doubled wire. Slide to about half way along. Fold half of this wire back on itself and twist approximately 2cm (¾in) together to secure the bead.

19  Thread all of the wire ends

through the tip of the copper cone so that the bead sits on the outside of the point.

Diagram 2

20  Take a large bead and thread it

over the wires to sit at the wide end of the copper cone. Choose a bead large enough not to disappear into the cone. Wrap one of the wires back through the bead to secure it at the top of the cone. Twist all the wires together. You could add another bead along the remaining length of wire if you want to. Secure each of these cones or gold points to the same point underneath the central rose by sewing them in place, allowing them to dangle to different lengths. See the diagram on page 82.

MAKING THE CENTRAL ROSE 15  Repeat the ruff method for making textured

fused fibre and back it with copper fabric. Twist and manipulate this into a rosette shape. Using a selection of glass roccailles and small brads, if you are using them, stitch this down on to the scabbard around one-third from the top (see the diagram on page 82).

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ASSEMBLING AND MOUNTING The piece is now ready for mounting, I have used blue Khadi paper, which is a strong, cotton-based handmade paper made in India, Nepal and Bhutan. I used a 30 x 42cm (11¾ x 16½in) sheet. Attach the piece to the background using the two larger copper coloured brads in the top corners. Alternatively, you could mount it into a frame or on a canvas, or simply stitch or glue a hanging loop directly to the back of the piece.

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This page Details from the finished piece.

Opposite The finished piece.

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FURTHER DEVELOPMENTS During this project we have accomplished several metal and mixed media techniques, which, as with all of the projects, can also be used on their own. The pieces on these two pages all use dark surface transfer paper.

Whenever you cut images from a whole sheet or metal shape there will be leftovers. Don’t throw them away! These two pieces (right) are the result of ironing down remnants of dark surface transfer papers on to velvet, placing the scraps of copper from other projects over this, then stitching. You could do the same with straight stitch or with your automatic patterns.

This red bag was created using a wide machine-stitched zigzag worked in two directions over the piece, integrating the metal, transfer paper and velvet into one surface. Add a twisted cord and you have a bag.

This piece is reminiscent of the stone carving on Mayan temples. The colours are muted burnished steel, allowing the intricacy of the carvings and the stone block shapes to be emphasized. The details are picked out with photographed images on dark surface transfer paper. Couched strips of metal and hand and machine stitching surround and go into these images, echoing the basic shapes and patterns.

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Free-motion machine stitching was used here – it follows the lines created by ironing on leftover scraps of dark surface transfer papers and copper shims. Have a play with the type and colours of the threads, and experiment with leaving some of the images and metal free from stitch.

This piece looks at various patterns and textures seen in a sunflower going past its best, with petals beginning to wrinkle and droop. Many of the techniques were used in the main project. The background is a red velvet, with bronze metal fabric appliquéd on to this in the shape of the wrinkled sunflower petals. The petal details were printed on to dark surface transfer paper. The lower square was made from stitched and burnt Lutradur and the upper image is the original photograph, attached with a zigzag stitch and a few beads. I also added tiny gold sequins and cross stitches. This small, busy, textured panel is redolent of the original sunflower without being a direct recreation.

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These pieces feature velvet used with metal fabric.

These next pieces were created using various ways of stitching into metal. Remember, always use a backing fabric to protect your sewing machine from the sharp burrs on the metal that are created by the stitching.

This is an example of metal appliqué. My daughter asked to me to create a quick and cheap Cleopatra costume in the Elizabethan style for a school play. This stomacher and breastpiece were stitched on to a bodice with a skirt made from scrap lining fabric. A headpiece held in place with elastic completed the outfit. The appliqué is a mixture of lining fabric, nylon organza and tomato purée tubes cut and stitched round the edge.

Here I have traced the shapes of feathers on to the metal with an embossing tool, then stitched into the negative spaces around the feathers, creating a quilted effect.

This piece is from a series of works looking at the cocoons of butterflies. The copper shim backing was heavily stitched with red and gold threads, and burnt Tyvek beads – reminiscent of the cocoons – added down the central panel. Tyvek is a polyester product that can be distressed and re-formed using a heat gun.

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This piece was created using the stretched and bonded Angelina technique, but rather than copper fabric under the Angelina, I used copper shim. The shim was cut into sections and I added free-motion stitching between the gaps. The work was mounted on gilded wood.

Velvet poppy seed heads were bonded to a silk background, a layer of heat-treated brass fabric was laid over the top surface and a mixture of machine and hand stitching was added. The metal fabric was cut and slashed in some areas to reveal the blue velvet and the silk underneath.

Seemingly simple and featuring straightforward stitching, this piece is filled with subtle shading created by placing squares of heatburnished brass over a blue velvet. Seeding stitch of various sizes and densities has been worked in the colours found in the brass. See how the nap of the velvet peeks through the metal fabric between the stitching in a subtle layered and clouded effect.

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Fernery

WHAT YOU NEED GENERAL EQUIPMENT: Sewing machine with embroidery or darning foot Hand sewing equipment Hammer and hammering block Paintbrush Sponge brush Small sharp scissors or appliqué scissors Heat gun and heatproof surface Computer and inkjet printer or photocopier Permanent marker or ballpoint pen

Just like the fern it represents, this vessel is sculptural, subtle and elegant. This project explores a variety of coloured and patterned surfaces, all relating to the image of the curled fern frond. These rich, varied and highly patterned panels are shown off to best advantage on this simply constructed vessel, though you could easily take the idea and work in more complicated threedimensional shapes of your own design. Each panel takes an aspect of the fern. One is a photographic image another is a rough, fibrous texture reminiscent of the stem, the curls are picked out in delicate stitches, the individual leaflets of the fern leaf are portrayed with reverse appliqué; the copper metal peeking out as the sun catches the fern through the undergrowth. Finally the rough hairy feel of a fern in the woods is picked up using burnt Lutradur and metal mesh.

GENERAL MATERIALS: 1 sheet A4 (or US Letter) printer card Masking tape 5 pieces of 2mm (1/16in) aluminium wire, 7cm (2¾in) long 5 recycled glass beads for feet around 2cm (¾in) in diameter A little detergent

METAL: 0.1mm (0.004in) copper shim, 46 x 22cm (18 x 8¾in) Stainless steel fabric, 15 x 22cm (6 x 8¾in), any weave and wire count that your sewing machine will accept PAINTS AND MEDIA: Turquoise metallic car spray paint Silk paints in bottle green and periwinkle Digital grounds: clear for non-porous surfaces and matt white THREADS: Grey machine cotton Teal machine cotton Soft moss green sewing thread Variegated grey machine cotton Variegated grey/brown machine cotton Slightly thicker variegated blue/brown top stitch machine thread Pale blue and green rayon weaving, crochet or perle thread

FABRICS: Dupion shot silks, about 40 x 40cm (15¾ x 15¾in) each of blue/gold, green/gold and tan/blue – sizes can vary slightly Lutradur, 30 x 30cm (12 x 12in) Water-soluble film, 40 x 25cm (15¾ x 10in) FIBRES: Small quantities of silk and linen or other loose fibres in shades of blue and green

Tip

If the fabrics you are using are not completely colourfast, they may run during the process of soaking off the water-soluble film. You may wish to trial the fabrics you are using or change the watersoluble film for water-soluble web, which is removed with a water spray rather than soaking.

Diagram 1: The panels of the Fernery. For panel sizes, see page 105. This page gives an idea of the way I developed the design for this project.

Surface 1, panel 1

Surface 3, panel 1

Surface 2, panel 1

Surface 2, panel 2

Surface 5, panel 1

Surface 4, panel 1

Surface 1, panel 2

Surface 4, panel 2

Surface 3, panel 2

Surface 5, panel 2

99

Surface 4 templates, shown actual size

Panel 1

Surface 5 templates, shown actual size

Panel 2

Panel 1

Panel 2

First stitch line

Cut to metal

Cut through top layer of fabric only

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101

SURFACE 1: THE PRINTED IMAGE

SURFACE 2: LUTRADUR PANELS

The instructions for using digital grounds are on page 20.

1  Scan the image provided,

left, to your computer or photocopy on to photographic paper to preserve the best resolution. In either case, you need to enlarge the size of the image by 200 per cent. If you are using your own image, ensure it is at least 21 x 9cm (8¼ x 3½in). Tape down the copper shim on printer card using masking tape.

This is the author’s own image, which you are free to use in your artwork. It is shown here at half the size you will need, so enlarge it to 200 per cent. Alternatively, take your own photograph and make sure it is large enough to make a 21 x 9cm (8¼ x 3½in) panel.

3  Place the Lutradur on a waterproof surface, then colour it using the silk paints. The paints will blend and merge as they dry – you might prefer to use a second coat of colour to get it just right for your colour scheme. When dry, cut the Lutradur into long strips. There is no need for them to be straight; in fact it is better to be rough and random. 2  Prepare the copper shim

with two layers of clear digital ground for non-porous surfaces and a top layer of matt white. You may need two layers of white – see how it looks when dry. Remember to allow each layer to dry thoroughly between coats and before printing. Place the card-backed, treated metal in the rear tray of the printer and either copy or print the image of the fern on to the metal. Leave to dry completely before removing the metal shim from the card.

Tip

When you pull the masking tape from the metal, the digital grounds have a tendency to peel off, so either score around the edge to separate the grounds from the masking tape or pull the tape away from the metal, towards the paper, rather than pulling it upwards.

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5  Place the piece on a heatproof surface and distress the Lutradur with a heat gun to make it shrivel and curl. This creates textures reminiscent of ferns (see right).

4  Spray the stainless steel fabric

with car spray paint and allow to dry. Machine stitch the Lutradur in layers two or three deep and in rows down the long side of the steel fabric using free-motion or normal stitching in teal machine thread, or hand stitch if you prefer.

SURFACE 4: REVERSE APPLIQUÉ PANEL

SURFACE 3: FIBRE TEXTURED PANELS

This panel uses the ‘mola’ or reverse appliqué technique. You will layer fabrics over a base of metal, machine stitch the design on top with either free-motion or normal stitching, and then cut back through the layers to reveal glimpses of the hidden fabrics and some of the metal base.

6  Take the copper shim, place it on to a

protected surface and spray with car spray paint. Allow this to dry completely. Place the metal on a sheet of water-soluble film (this will protect your sewing machine when you come to sew). Take a selection of silk and linen type fibres and spread them decoratively over the metal as finely or deeply as you like.

7  Place another layer of water-soluble

film on top, pinning it into place at the very edge of the metal shim.

9  Trace the leaf pattern for each

panel from the templates on page 98 – including the markings that show where to cut through the fabrics – on to water-soluble film with a ballpoint pen or permanent marker. Lay the copper shim over the water-soluble film. Lay your fabric pieces over the copper in any order, making sure that at least your top layer is all one piece.

11  Stitch your design through all the

10  Turn the piece over so the water-

soluble film is on top and pin round the edges through all the layers.

layers using the sewing machine. For curvy, intricate designs it is easiest to use free-motion stitching; for simple, straight or gently curved lines you will be able to use the normal presser foot and leave the feed dogs engaged. Once you've stitched over the entire pattern, turn to the front of the piece and stitch over the lines again to reinforce them.

Tip

If you want to use your own design, leave a space of at least 1cm (3/8in) between the elements of the design, as you need enough space to cut into these areas to be able to see the other colours of fabric showing through.

12  Using the template on page 98, cut

into the design through the fabric layers, using small sharp scissors or appliqué scissors. Save all of the snippets for use in the next part of the project. Add extra stitching to emphasize the shapes of the leaves using teal, moss and variegated grey-brown threads. Soak the piece in hot water with a drop of detergent to dissolve the water-soluble film and then leave to dry.

8  Free-motion stitch all over this metal and fibre sandwich in random squiggles and

swirls, keeping your lines of stitching about 1cm (3/8in) apart. This will hold the fibres in place once the film is removed. Dissolve the water-soluble film in hot water mixed with a drop of detergent, and allow to dry out completely. The finished panel.

104

The finished reverse appliqué panel.

105

ASSEMBLING THE PIECE

SURFACE 5: CURLED NEW FERN LEAVES

Panel size guide (See also the panel diagram on page 97)

13  Trace the two panels from the templates on page 99 on to watersoluble film or watersoluble web.

14  Sprinkle the snippets of fabric saved from step 12 over a piece of copper metal (13 x 21cm/51/8 x 8¼in), leaving just a few small areas of metal visible – cut extra pieces of fabric if needed from the same colours. Place the soluble film on top and pin in place – try to place pins in line with the traced shapes so that the holes you make will be disguised when you stitch over the design.

All the panels need to be 21cm (8¼in) high

Surface 2: 1 panel 4cm (1½in) wide and 1 panel 8cm (3¼in) wide

Surface 4: 1 panel 4cm (1½in) wide and 1 panel 7cm (2¾in) wide

Surface 1: 1 panel 6cm (23/8in) wide and 1 panel 3cm (1¼in) wide

Surface 3: 1 panel 8.5cm (33/8in) wide and 1 panel 3cm (1¼in) wide

Surface 5: 1 panel 10cm (4in) wide and 1 panel 3cm (1¼in) wide

18  Cut the panels to size as specified

19  To make the legs, flatten one end

15  Stitch a couple of times around the

design lines using free-motion stitching. You could try using different colours for each time around and/or a different colour in the bobbin to the top thread, to produce a blended effect.

17  Once all of the pieces are made,

place them on a protected surface with the reverse sides facing upwards. Spray with car spray paint and leave to dry.

above, using ordinary scissors. Following Diagram 1 on page 97, take the two panels on the far left (surface 1, panel 1 and surface 2, panel 1), place them wrong sides together and sew a tight zigzag along the edge. Continue stitching until it looks like a smooth satin stitch. Then attach the third panel in the same way, continuing until all the panels are sewn together in order. Once the tenth panel (surface 5, panel 2) is in place, roll the strip into a tube and stitch the first and tenth panel together. Cut the top edge of the tube into a smooth wave shape. Zigzag stitch along this and the lower edge in the same way as you stitched the panels together.

of each length of aluminium wire with a hammer.

16  To finish the piece, add cable stitching using a thicker thread in the machine

bobbin and stitch from the reverse side of the panel. When loading a new thread on to your bobbin, always use the automatic winder as you will get a much tighter and more even tension to stitch with. Depending on the thread, you may need to decrease the tension on the bobbin thread, or if your machine does not allow this, bypass the tension completely. Continue stitching over the lines with various threads until you are happy with the result, then remove the water-soluble film by soaking or spraying, depending on the type used. Allow to dry.

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20  Slip a bead on to each leg, making

sure that you have flattened the end enough so that the bead does not slide off the end! Once the bead is in place, flatten the top end of the leg wire as well.

21 Take each leg and hand stitch them

inside the seams between the panels where they fit best and allow the vessel to stand straight.

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Opposite The finished Fernery.

This page Details of the Fernery.

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FURTHER DEVELOPMENTS

This is a memory of the heat, the wonderful sunsets, the beaches and the Mayan temples I saw during a family holiday to the Yucatan Peninsula in Mexico. The piece is worked on to copper metal fabric with masses of coloured and distressed Lutradur, couched cords, hand and machine embroidery, beads and sequins. The central image is a photograph attached with stitching.

As car spray paint is designed to attach to metal, it is a simple and quick method for adding colour. Follow the instructions on the can for safety and ventilation advice, then simply spray the metal or fabric with colours of your choice. Spraying through resists or stencils in layers is particularly effective. Because the spray is only a light covering, it will not significantly affect the handling of the metal fabric, and is not noticeable at all on the metal when it comes to stitching. To the left, you can see metal fabrics and shims with washers, masking tape and stencils used as resists. This bright panel shows the effectiveness of reverse appliqué with a classic ammonite shape. Using red, orange and lime green silks layered over copper shim, the copper peeks through the silk catching the light during the day as the sun moves. These pieces, left and below, were made from a whole collection of tiny scraps from many projects – I will leave it to you to guess which ones! They have been pleated, embellished, stitched and beaded, and could be used to create greeting cards or book covers, or left as small panels. It is amazing how many small pieces you will be able to make from leftovers, and because you are freed from the worry of creating a larger piece, these can be the most fun to make. This selection of samples is made using very similar techniques to the vessel in the project, but uses a different colour scheme with almost no metal showing through. The beauty of metal and metal fabric pieces is that they are very sculptural and flexible, allowing you to create raised or threedimensional pieces that do not have the metal as a main feature. Top: This sample is made of snippets of silks placed on to copper, covered with water-soluble film and stitched, as in Surface 5 of the Fernery vessel. Bottom left: A base layer of copper fabric is covered with snippets of silk, fibres and threads attached by machine. Couched cords and ridges were then over-stitched to create sculptural textures, in a similar manner to the Silvered Bark project on page 49. Bottom right: Frayed strips of silk are bonded on to a base of copper shim. A little machine embroidery was then added as emphasis.

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Remember to never throw away your scraps. These small pieces were made using the leftovers from cutting the curve on the top of the Fernery vessel. Clockwise from top left: A piece of scrap was hand stitched to a curled piece of bark to create a mini sculpture. Embroidered metal is attached to a denim background using blanket stitch, with beads added to emphasize the curls in the design; this could be a small panel, a bangle or a bookmark. An artwork suitable for a greetings card made from a small square of Surface 5 with beads around the edge, stitched to a scrap of denim.

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These images are details of a quilt that is made mostly from plain and heat-burnished stainless steel fabric. There are three different fabric weaves, which give wonderful subtle variations of the blues, purples and tans produced when the fabric is heated. Also featured are some coloured and distressed Lutradur and various threads. The eyes and hands have been created using reverse appliqué. The quilt was inspired by a famous and always relevant quote by Nelson Mandela: ‘Vision without action is dreaming, action without vision is just passing time, but with vision and action, we can change the world.’ What a fantastic sentiment to be reminded of every time I see this piece.

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Floral Tablet Cover We are surrounded by electronic devices, many of which are black or silver and not very visually exciting or individual, so why not make a bright, cheerful case for your phone, tablet or laptop. This project is practical, stylish, easy, partly recycled and involves eating sweets and chocolates – what could be better? It makes use of an easy technique involving piecing together fine metal foil, sometimes coloured with alcohol inks and placed under a sheer fabric. The stitching can be straight, zigzag or an automatic pattern with the feed dogs engaged, so this project is great if you are not so confident with free-motion stitching. The metals are easy to get hold of as you are using the very thin metal foils used to wrap chocolates and Easter eggs; I tend to choose the Easter eggs I give to my children based on the colour of the foil wrappings! If you can’t wait to collect enough foils, you can use aluminium kitchen foil coloured with alcohol inks. The pattern was taken from the charming and simple flower shapes on the Sumatran headdress (see page 7). The colours are fresh and bright, creating a cover as different as possible from the feel of the technological device it is designed to house. Before you start, you should adjust the dimensions given here depending on your device type and exact size. Treat those I have used as approximate.

These pages give an idea of the way I developed the design for this project.

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WHAT YOU NEED EQUIPMENT: Iron Baking parchment Sewing machine Hand sewing equipment GENERAL MATERIALS: Button around 4cm (1½in) in diameter Cord around 55cm (21¾in) long

Tip

Devices can vary in size, and you may want to make a case for a phone or laptop rather than a tablet, so don't follow these dimensions without checking them. As a general rule, measure your device and add 3cm (1¼in) to the width and height to get the overall size of fabric needed – you can then use this to work out the other dimensions.

Diagram 1: The Tablet Cover panels (not to scale)

METALS: Chocolate or sweet wrappers in gold, lime, pink, green and turquoise foils, to cover twice the surface area of the backing fabric – in this case around 120 x 25cm (47 x 10in) FABRICS: Black cotton backing fabric, 68 x 25cm (27 x 10in) Sheer fabric such as nylon chiffon scarves in green, orange, purple and red, to make a total area of approximately 250 x 25cm (98½ x 10in) Lime green silk fabric, 30 x 25cm (12 x 10in) Bright orange silk fabric, 30 x 25cm (12 x 10in) Lining fabric, 68 x 25cm (27 x 10in) Heavy-weight interfacing, 70 x 25cm (27½ x 10in) Fusible web, 110 x 25cm (43 x 10in) THREADS: Standard sewing machine threads in lime, orange and yellow and orange, red and pink variegated

Orange

Interfacing left for stitched foil fabric

Green

Interfacing left for stitched foil fabric

Orange

Interfacing left for stitched foil fabric The template for the flowers and centres, shown full size.

Green

Interfacing left for stitched foil fabric

Orange

Interfacing left for stitched foil fabric

Green

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MAKING THE STITCHED FOIL FABRIC

3  Cut the sheer fabrics into pieces around 8–10cm

(3¼–4in) square. The exact size and shape is not important, but if they are particularly small your stitching will take longer and be more fiddly! Lay the sheers over the foils, two sheers deep all over. Avoid making too many layers, as once the sheers are stitched down the foils will be less obvious and this will decrease the lovely effect we are aiming for. Pin the sheers into place.

1  Place fusible web over the black cotton fabric and iron into place, remembering to cover with baking parchment first. Remove the backing paper from the fusible web.

4  Set up your sewing machine with a

2  Tear your metal foils into pieces 4–5cm (1½–2in) square and place

them all over the backing fabric, ensuring they overlap so that no backing fabric shows. Place baking parchment over this and iron to bond the foils to the backing.

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brightly coloured thread to suit your foils and sheers. Using a medium length zigzag or an automatic pattern, stitch lines along the fabric. Start from the centre and then gradually increase the density of the stitching to lines that are around 2cm (¾in) apart or closer. This distance is a balance between seeing the foils and securing the sheers. As I have used very light-weight ‘juggling scarves’, the stitching can almost touch. To make the zigzag more interesting, I have varied the width of the stitch as the fabric moves under the sewing machine to create these lozenge-like patterns. You can also change the thread colour whenever you like.

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MAKING THE BACKGROUND FABRIC

7  Try out different combinations of the

fabrics and layers for each flower, then peel the backings off and iron to bond the layers together. Arrange the flowers on your striped background fabric and iron them in place. Use your sewing machine to add decorative stitching around and into the flowers. This will also ensure that the flowers are held fast, as fusible web is not always as secure as we hope!

5  Iron fusible web on to the back of your

coloured silk pieces. Cut the silks into six strips, each 7 x 25cm (2¾ x 10in) and peel off the backing from the fusible web. Lay the silk strips on to the heavy-weight interfacing, leaving gaps as shown in Diagram 1, page 115. Cover the silk strips with baking parchment and iron to activate the adhesive. Cut the stitched foil fabric into five strips, each 7.5 x 25cm (3 x 10in). Place these strips over the gaps on the heavy-weight interfacing and stitch them on using the same stitch you used in step 4.

MAKING AND ADDING THE FLOWERS

6  Iron fusible web on to the remaining

stitched foil fabric. Trace the flower and centre shapes from page 114 and make templates. Create a selection of flowers and centres from the stitched foil fabric and your two colours of silk; draw around the templates onto the paper backing of the fusible web. The fusible web will prevent the silk from fraying when the shapes are cut out.

8  For the closure I have twisted a cord using the

edges of the chiffon scarves used for the main piece. You could twist together cords that match the project. The finished cord needs to be 55cm (21¾in) long.

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ASSEMBLY 9  Copy the pattern (right) and increase to

the size you need to fit your device. For the tablet cover I made, I increased the size of the pattern to 23cm (9in) wide and 65cm (25½in) long. Lay the full-sized pattern over the inside of the striped outer fabric and draw around it using a pen. Then cut your fabric to size.

10  Decide which end you want to be the

flap closure, then measure 11cm (4¼in) down the sides, and snip 1cm (3/8in) into the seam allowance and at the top corners as shown. This gives the length of your flap – for a different case size, measure about one-sixth of the way down the length and cut the seam allowances as shown. Fold the three flap edges under by 1cm (3/8in). Use straight machine stitch to sew the seams.

The pattern for the Tablet Cover Key Step 10 Cut away Fold and stitch at step 10

Fold and stitch at step 11 Fold and stitch at step 12

11  Measure 26cm (10¼in) and 28cm (11in) from the top edge on either side, fold the fabric at these points and with a long, straight machine stitch, stitch across the piece as close as possible to each fold. 12  Trim the remaining two corners as marked on the pattern diagram, fold in the top edge to the seam allowance and stitch a seam to make a hemmed edge. Make up the side seams by folding in the remaining two sides to the seam allowance. Fold the fabric to make up the bag as shown in the diagram for Step 12, then pin and stitch these sides with a long, straight machine stitch. 13  Take the lining fabric and use the same pattern and process to create an inner lining. If your fabric has a tendency to fray, stitch the edge with an overlock or zigzag stitch. 14  Leaving the seams to the outside, slot the lining inside the bag. Fold the seam allowance of the lining under and pin it to the flap and front of the cover. Stitch the lining to the flap and front of the cover either by hand or machine to finish. 15  Sew on the button in the centre front of the opening flap, then stitch the end of the cord underneath it. Check the length of the cord then stitch a loop in the other end to fit round the button. You could use a pre-made cord or ribbon in the same way, or use a snap fastener or similar for the closure.

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Step 11

Tip

As the fabric is fairly firm, it is a good idea to stitch over each seam twice, draw the loose thread ends through to the back and knot them for a secure hem.

Step 12

Opposite The finished cover.

Details of the finished cover.

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FURTHER DEVELOPMENTS Ripped foils were placed between two layers of sheer fabric and stitched together. This was placed under a heat tool to distress the sheer fabrics.

Ripped foils were placed between two layers of sheer fabric and stitched together. A soldering iron was used to burn away areas between the foils and around the edge of the piece.

If the sweet foils are too bright or you haven’t got the colour you want, take a plain foil (even baking foil) and dab alcohol inks over it to alter the colour. Stitch a sheer fabric over the top.

Tip

If you use any more than two layers of sheer fabric, you will begin to obscure the metallic effect of the foil. On the other hand, you could then get a heat gun or soldering iron to remove some of the sheer and reveal the foils again for fabulous results!

Small sections of stitched foil fabric can be cut and appliquéd on to other surfaces, as in this bud-shaped piece. As in the project, bond the foils to the backing fabric before cutting, otherwise snippets of the foils fall away in the cutting and transferring process, leaving a less attractive finish.

Two layers of sheer fabric were bonded together with ultrathin copper scraps sprinkled inside – a soldering iron was used to burn away areas.

These pieces show a variation on the theme, which creates a type of alternative lace. There are several options to explore here, all created using the principle that the delicate sheer fabric are burnt away, whereas the fine metal foils will not be affected by a heat tool or soldering iron. The result is relatively stiff, especially when different layers are bonded together. I have used this to create lacy panels and flounces on wedding dresses, fascinators, flower arrangement additions, fancy, delicate, decorative bags and lamp covers.

This sample was created in the same manner as the other foil shapes sample, but I Ieft out the stitching and went straight to the heat tool distressing stage.

Foil shapes were created using a paper punch. This is easiest if the foils are placed on paper and then punched out, as they are soft and often get trapped inside the punch. A sandwich of sheer fabric with foil shapes in between was bonded together with fusible web. A little decorative stitch was added and the whole piece was distressed with a heat tool.

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Why not make your own clothing or a complementary piece to enhance a plain outfit? Think about bags, hair slides, book covers, cushions, a bodice front, a panel for a jacket, shoes or a complete bodice such as this one. Here I have used foils in tones of gold, copper, red and bronze and autumnal shades of sheer fabrics. I created a simple leaf design with a few curls as my stitching pattern and made a large piece of fabric without bonding the foils to the backing fabric, which gives a looser, more textured look. Once there was enough, I used this to make a fitted evening bodice, and some of the leftovers were used to cover a pair of matching evening shoes.

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Annie and Albert Memory Lampshade This project involves a range of techniques including printing, pleating, folding, scrunching and texturing on metal fabrics. The methods are great fun and very quick, if a bit messy! You will also increase the variety of your mixed media surfaces by using embossing powders and dry decal transfer paper. I like to think of this overall effect as a type of patchwork, and I have been making work in this style for many years. I would expect you to stamp your own images and style on to the project, using your own personal images and memorabilia, or favourite family expressions. This lamp cover is designed to be of sentimental value to me and members of my family, and also attractive and thought-provoking to any of its other viewers. Albert and Annie Marie were my great grandparents. Though I never met them, I have pictures of them just after they were married and another that was taken when they were much older. I also found a poignant ‘Bridescake’ recipe in a cookbook I inherited from my mother-in-law, which I want to include, as I think the images of Annie and Albert and the sentiments of the recipe make a wonderful combination. In this project I am keen for you to exploit the translucent nature of the metal fabrics, which enables the seams and turnings to become visible and an integral part of the piece. This contrast between translucency of the pieces and the opaque nature of the seams is very attractive aesthetically. It is inspired by a Korean tradition of giving meaningful gifts wrapped in homemade, see-through cloths. These cloths are called pojaki (also called bojagi, pojagi or bojaki), and are said to have developed through the long years of the Choson Dynasty (1392–1910), when rigid social control repressed women and forbade them any social status. Their only creative outlet may well have been needlecraft, which included piecing together fabrics to create these cloths. Pojaki wrapping cloths have been used as room partitions, table covers, cushions and baby wrapping cloths, but their primary function was to wrap and protect objects. The objects would have ranged from the significant, religious and treasured to the simply functional, and the cloths would have varied from those created by the peasant women from whatever scraps of cloth they could salvage through to embroidered silk – usually red – created for royalty. The pojaki are created using either single or double layers of fabric cut into triangles, squares and rectangles. There are clear similarities with traditional Japanese furoshiki wrapping cloths, and evidence of influence on the European tradition of patchworking. This project also draws on ‘crazy patchwork’: fabric pieces of irregular size and shape stitched together on a fabric background, which was an American fashion during the 1880s and became popular in Victorian Britain. Crazy patchwork may well have developed during the popularity in the West of Asian and Japanese art forms.

Throughout its history, patchwork has been used as a means of creating clothing, covers and other functional yet often beautiful items from leftovers or waste fabrics. Over time, patchwork quilts became expressions of creativity and sentiment. There are quilts that commemorate lost children and patterns that were used to celebrate special events, and the pieces were often decorated with hand embroidery, beads, buttons, trinkets and lace. These are sometimes known as ‘memory quilts’. In this project you will create a personal item that is part giving cloth and part memory quilt, incorporating images, text and memorabilia. This fabric will be used to cover a lamp; the metal fabric is naturally fireproof – a rather useful quality in a lamp cover! As well as being a practical light, this piece also looks stunning as a sculptural piece.

These pages give an idea of the way I developed the design for this project.

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WHAT YOU NEED EQUIPMENT: Sewing machine (optional, you could stitch by hand) Computer and inkjet printer or photocopier (inkjet, not toner-based) General scissors Needles Print rollers/ brayers (2 at least) Newspaper/scrap paper Tidy tray 2 craft stamps for embossing powder designs Heating device for the metal cloth (gas camping stove, plumber’s torch, soldering iron, kitchen torch or strong heat gun) and a heatproof surface 2 pairs small pliers Print plate: a perspex/acrylic sheet or laminated plastic sheet, around 15 x 15cm (6 x 6in) Rubber stamp, paint brush ends or old fork, see step 6 GENERAL MATERIALS: Plain, translucent lamp, size used: square base, 10.5 x 10.5cm (41/8 x 41/8in); rectangular sides: 10.5 x 23cm (41/8 x 9in) – adjust amounts and pattern size to suit your lamp Brass fabric, at least 45 x 60cm (17¾ x 23½in); you need around 30 per cent more than the finished size of your cover to allow for waste, turnings and choosing your best pieces 1 sheet dry decal transfer paper Images for transferring to the dry decal transfer paper if you do not want to use mine!

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Piece 3

PAINTS: Black acrylic paint Distress embossing powder, black soot Embossing powder, pale gold Embossing glue pad

Piece 2

Older couple piece

Piece 8

Piece 14

Piece 1

THREADS: Neutral sewing machine cotton

Young couple piece

Piece 15

Piece 5

EMBELLISHMENTS: Topaz gold lustre beads, 4mm (¼in) Selection of antique buttons: 5 x 11mm shirt buttons; 1 x large textured button; 1 x shirt button, 2.5cm; 1 x shirt button, 1.3cm 2 gold ribbons, 1 x 28cm (11in) and 1 x 24cm (9¾in) 4 x 2cm (¾in) brasscoloured safety pins – I have used old, rusty safety pins from my mother-inlaw’s sewing box

Recipe piece Piece 9 Piece 12

Piece 6

Piece 13

Bake well piece Piece 10

Piece 4

Piece 11 Piece 7

Diagram of the assembled lampshade, shown half size.

Above and below: The photographs I used for my lampshade.

The recipe from my mother-in-law’s cookbook that I used for my lampshade.

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This whole piece is created using only brass fabric with different prints and patterns added. You could choose to use one of the other metal fabrics made from copper, bronze or stainless steel for variations on the colour scheme. The first step is to create the different surfaces, which we will then patchwork together to complete the project. Depending on the exact size of your lamp you will want to adjust the amounts of the fabric suggested here.

Tip

Make sure you wash the brayer and print sheet promptly after using them each time as the acrylic paint is very difficult to remove if left to dry. If you are going to use the equipment again very soon, a rub over with baby wipes should suffice.

SURFACE 1: UNTREATED BRASS FABRIC 1  The first surface is untreated brass. Cut a 14 x 20cm (5½ x 8in) piece off the roll.

4  Spread the pleated fabric out slightly

SURFACE 2: HEAT-DARKENED BRASS FABRIC

over a firm surface that you will be able to wash, such as a sheet of plastic or glass, or discard, such as baking parchment. Squeeze around a teaspoon of black acrylic paint on to your print sheet. Spread the paint evenly on to the brayer, then roll the brayer directly over the crumpled brass fabric two or three times, reloading the paint on to the brayer each time. Leave to dry.

2  Take a 15 x 18cm (6 x 7in) piece

of brass fabric. Light your chosen heating device. For safety make sure that all heating techniques are performed on a heatproof surface and with a bowl of water nearby. To heat the fabric, hold it between two pairs of small pliers and place near to the flame or heat source. It will quickly change colour to a burnt dark brown. Keep the fabric moving near to the flame until it is completely dark. Allow to cool on the heatproof surface.

SURFACE 4: BRAYER MONOPRINT BRASS FABRIC 5  Take 12 x 24cm (4¾ x 9½in) of

untreated brass fabric. Place it on a piece of baking parchment with some newspaper or similar underneath. The slight padding this gives will help the fabric to make full contact with the print. Squeeze black acrylic paint on to the print plate and roll the brayer in it until the paint is evenly distributed. Roll the brayer over the brass fabric a few times, each roll being at 90 degrees to the other. Reload black acrylic paint on to the brayer if the print is too faint, to create streaky monoprint effect.

SURFACE 3: CRUMPLED AND PAINTED BRASS FABRIC

3  Take a 12 x 12cm (4¾ x 4¾in) piece of untreated brass fabric and pleat it between your fingers.

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SURFACE 5: CIRCULAR-PATTERNED MONOPRINT BRASS FABRIC

SURFACE 6: EMBOSSED BRASS FABRIC 6A): GOLD EMBOSSED

This monoprint technique is quick, expressive and effective on many different fabrics and papers. You can use household emulsion or printing inks instead of acrylic paint if you prefer. Try ‘drawing’ into the acrylic with paint brush ends, forks, tile adhesive spreaders, rubber, wood or foam craft stamps.

10  Heat darken an 11 x 17cm (4¼ x 6¾in) piece of brass fabric (as in step 2) and leave 6  Spread black acrylic paint across a

firm print plate with the brayer. Then experiment by drawing into the paint with different tools, removing some of the paint from the plate in patterns. I have used a spiky rubber stamp and moved it in circular movements.

7  Place a 29 x 10cm (11½ x 4in) piece

of untreated brass fabric on to baking parchment with a newspaper or similar underneath. The slight padding this gives will help the fabric to make full contact with the print plate. Place the print plate face down on to the untreated brass fabric and press down all over to transfer the paint on to the fabric.

8  You can use a clean brayer to help

make the print, by rolling it firmly over the back of the print plate.

to cool completely. Place it on a padded flat surface. Take an embossing glue pad and press glue from this on to a craft stamp of your choosing. Press the stamp on to the brass fabric in a repeat pattern. It can be hard to see where you have stamped the glue, so work a small area at a time.

11  Before the glue has a chance to dry,

place the glued brass fabric into a tidy tray and pour on gold embossing powder.

9  Pull away the print plate and allow the

paint to dry thoroughly on the metal fabric before you lift it off. Remember to wash the print plate immediately to remove the acrylic paint.

12  Lift up the brass fabric. The embossing

powder will stick to the glued areas and fall away from the rest. Collect excess powder in the tray and pour it back into your pot for reuse. You may want to add more powder over any glued areas that are not quite covered. Repeat steps 10–12 until the whole piece of fabric is covered.

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13  Place the brass fabric on your

heatproof surface and secure it with pliers or masking tape to prevent the cloth shifting when heated. Heat it with a heat gun until the embossing powder melts and attaches to the fabric. This process is easiest to see with the gold and metallic embossing powders as the surface changes in colour and texture.

SURFACE 8: DRY DECAL TRANSFER IMAGES

Image sizes

The images are transferred to the brass fabric using an inkjet printer with dry decal transfer paper. This paper creates a transparent image and so matches the design and feel of the lampshade. If you find this too fiddly to use or difficult to obtain, use dark surface transfer paper. Use the images provided or select your own; they need to be the sizes shown (right), with the quality as high as possible. Remember that your metal fabric will need to be at least 0.5cm (¼in) longer and wider than your photographs to allow for turnings.

Image 2: Older couple. Heat-darkened brass, 6cm (23/8in) wide x 9cm (3½in) high.

Image 1: Young couple. Heat-darkened brass, 8.5cm (33/8in) wide x 6cm (23/8in) high.

Image 3: Recipe. Untreated brass, 11cm (4¼in) wide x 4.5cm (1¾in) high. Image 4: Bake well forever. Untreated brass, 8.5cm (33/8in) wide x 2cm (¾in) high.

6B) DISTRESS EMBOSSED 14  Take a 27 x 4cm (11 x 1½in) piece

of untreated brass fabric and repeat steps 10–12, but using a different craft stamp and a distress embossing powder. The distress powders have a much more subtle change in colour and texture, so you may need to guess the length of time needed to heat the fabric. Once the surface is cool, check with your fingers that the powder does not just brush away from the surface.

16  When you have scanned and adjusted the images and text on your computer, create a blank A4 (or US Letter) page in your programme and fill it with your images. If you can’t or don’t want to use an image programme, you can adjust the images you want by enlarging and reducing on a printer or photocopier. On the scanner plate of your printer, place all of the images upside down to fill the A4 (or US Letter) space.

17  Print your images on to the glossy side of the dry decal paper, using the instructions on the pack.

18  Follow the instructions that come

with your dry decal transfer paper for transferring the images to the brass fabric. I have chosen to add the photographs to the heat-darkened brass fabric and the words to the untreated brass fabric. The images are only lightly adhered, leaving a glossy coating over the surface of the metal fabric, so take care when handling them.

SURFACE 7: SCRUNCHED, PAINTED AND EMBOSSED HEAT-DARKENED BRASS 15  Heat darken a 9 x 9cm (3½ x 3½in) piece of brass fabric, leave it to cool and then scrunch and pleat it with your fingers. Repeat step 3 of Surface 3 – rolling the crinkled surface with black acrylic paint. Once the paint is dry, press the embossing glue pad directly on to the scrunched surface. Place the fabric into the tidy tray, tip pale gold embossing powder on it, remove the excess and fix using the heat gun. Open the fabric out a little more before using it.

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ASSEMBLING THE LAMPSHADE

19  Cut your fabrics into pieces as shown below, remembering to add 0.5cm (¼in) all round for turnings. Surface 1 - piece 1: 17 x 3cm (6¾ x 1¼in); piece 13: 4.5 x 5cm (1¾ x 2in); piece 14: 8.5 x 9cm (33/8 x 3½in) Surface 2 - piece 2: 11.5 x 10.5cm (4½ x 4¼in); piece 11: 16 x 2cm (6¼ x ¾in) Surface 3 - piece 8: 9.5 x 9.5cm (3¾ x 3¾in) Surface 4 - piece 10: 4 x 2.5cm (1½ x 1in); piece 15: 4.5 x 23cm (1¾ x 9in) Surface 5 - piece 3: 2 x 27cm (¾ x 105/8in); piece 5: 16 x 4cm (6¼ x 1½in); piece 12: 2.5 x 4.5cm (1 x 1¾in) Surface 6a) - piece 4: 14.5 x 6cm (5¾ x 23/8in); piece 9: 2 x 11cm (¾ x 4¼in)  Surface 6b) - piece 7: 24 x 2cm (9½ x ¾in) Surface 7 - piece 6: 6 x 6cm (23/8 x 23/8in) Surface 8 - young couple piece, older couple piece, recipe piece and bake well words piece

20  Use the diagram on page 131 to position your panels. To

stitch together, use your normal sewing foot with the feed dogs engaged and a standard cotton in a neutral light brown. The seams can be created in two ways:

Seam Style 1: Place the front sides together with a 0.5cm (¼in) seam allowance. Stitch straight along the hemline, reverse stitching for a couple of stitches at the beginning and end. Remember that you are not making hems for a wearable item so you do not need to draw the threads through and knot off, unless you want to. Each time you finish a seam, fold it open and flatten it before stitching the next one.

Seam Style 2: Rather than hiding the seam, simply place your patch overlapping the last patch added and stitch it down, leaving the raw fabric edge showing on the surface. Having stitched all of the patches together, attach the braid, buttons, beads and any other memorabilia or decorative flourishes you have gathered. I have mostly worked these along the seams to add to the patchwork effect. Inevitably, the finished piece will be not quite the right size for your lamp, so simply fold the excess fabric under. Attach the lampshade around the lamp using safety pins. Opposite The finished lampshade.

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Details from the finished lampshade.

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FURTHER DEVELOPMENTS This sample (left) is made from heattreated copper fabric. I have used simple strip patchwork, rather like Seminole strip piecing, developed by the Seminole Indians in the US. This shows in a very simple form the effectiveness of the play of light on the movement and the shadows. From here, I usually add printed and stitched decoration.

The eggshell-blue silk dupion background of this piece was first roller-printed with copper-coloured acrylic paint. The simple flounce was made from two widths of bronze fabric, each gathered and then stitched down on the background. The whole piece was then rollered with household emulsion in a pale turquoise, which looks similar to verdigris. This is an alternative method of creating a verdigris effect without using chemical patinas. Finally, a few beads and pearls were added in the centre.

The base of the piece below is strip patchwork made up of lots of leftovers from printed and patterned metal fabric. I have appliquéd leaves on to this background surface.

Above: Have a play with monoprinting! The three samples above were created using the simplest monoprint method. A print plate was covered in black acrylic paint, the copper was placed over this and then patterns were drawn on to the copper, embossing its surface. This transferred some of the acrylic paint on to the copper, mostly where the embossing was (centre image). The copper was put on one side and the stainless steel fabric was quickly placed on a piece of paper. The print plate (which had the flower designs drawn into the acrylic paint through the copper) was pressed on to the steel fabric (bottom image), and a clean brayer was rolled over the plate to transfer the image. As you can see, the image went through the steel on to the paper behind (top image) – so I got three pieces for the price of one!

Above is a selection of samples that have been treated with ready-made patina agents to add a verdigris finish to the metal fabrics. Clockwise from top left: monoprinted fabric; blue distress embossing powder; monoprint and gold embossing powder; Angelina fibres fused to metal fabric, with patterns scratched into the Angelina with a soldering iron (see Vain Devices project, page 80); bronze fabric pleated in a paper ribbler; Angelina fibres as before, but heated with a heat gun; layers of embossing powders; more effects with layers of embossing powders; metal fabric stitched on to velvet, then patinated (centre image).

To the left is another version of the lampshade, including different images and presented as a panel. The names of my ancestors in the pictures have been stitched directly on to the fabric. I love the visible seams being a feature of the piece.

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Index adhesive(s)  24, 64 acrylic paint  16, 17, 22, 23, 45, 51, 62, 130, 133, 134, 136, 142, 143 acrylic matt varnish  25, 45, 50 acrylic size  24, 45, 49, 51, 62, 65 alcohol inks  21, 40, 73, 112, 124 aluminium  10, 20, 73, 112 bag  42, 44, 93, 126 beads 24, 28, 30, 34, 36, 40, 42, 43, 45, 53, 55, 65, 68, 73, 80, 81, 86, 88, 89, 93, 97, 105, 109, 110, 130, 138, 143 brads  24, 81, 88, 89 brass  10, 11, 22, 40, 95, 130, 132, 134, 135, 136, 137 bronze  11, 22, 40, 42, 43, 63, 65, 79, 93, 126, 132, 143 button(s)  24, 114, 120, 129, 130, 138 chiffon(s)  14, 29, 30, 32, 33, 34, 36, 40, 68, 72, 119 chocolate wrappers  11, 112, 114 copper  10, 11, 20, 22, 30, 33, 40, 84, 93, 96, 104, 125, 126, 142 copper metal fabric  11, 22, 62, 64, 81, 85, 87, 88, 94, 109, 132 copper shim  22, 28, 30, 35, 79, 80, 81, 84, 89, 93, 94, 97, 100, 102, 103, 108, 109 cord(s)  19, 41, 93, 108, 109, 114, 119, 120 cotton 14, 62, 114, 116, 138 craft stamps  23, 130, 134, 135, 136 design(s) 7, 8, 9, 12, 13, 14, 15, 16, 17, 26, 44, 46, 47, 53, 54, 55, 65, 69, 70, 71, 72, 80, 82, 84, 85, 96, 103, 104, 110, 112, 126, 128, 130, 137, 142 digital grounds  20, 97, 100 embellishing machine  25, 28, 30, 40 embossing glue pad  130, 135, 136 embossing powders  22, 23, 128, 135, 136 distress 22, 130, 136, 143 embossing tool(s)  23, 81, 84, 94 embroidery  6, 7, 8, 9, 44, 80, 108, 109, 129 Evolon 17, 33, 40, 45, 53, 62 felt  14, 30, 32, 34, 40 fibres  26, 40, 97, 108 Angelina fusible 19, 29, 30, 34, 80, 81, 86, 87, 94, 143 cocoon strippings 18, 44, 45, 54, 63, 65 flax 18, 29, 45, 50 linen 18, 28, 29, 97, 102 recycled sari silk 19, 30, 32 silk 18, 29, 30, 33, 40, 97, 102 soya 18, 30, 33 wool 18, 30, 34, 40, 42 foil(s)  10, 11, 12, 13, 23, 28, 112, 114, 116, 117, 124, 125, 126 fusible web  13, 15, 24, 30, 33, 45, 53, 54, 63, 64, 65, 81, 87, 114, 116, 118, 119, 125

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glue  23, 25, 45, 48, 81, 89 135 glue-based outliner  24, 45, 52 goldwork  7, 24, 28, 44, 65 gossamer webbing 14, 15, 24, 64 hand sewing equipment  45, 68, 81, 97, 114 heat gun  17, 23, 94, 97, 101, 124, 130, 136, 143 inks  16, 17, 22, 53 interfacing  14, 33, 45, 49, 65, 68, 70, 81, 84, 85, 86, 114, 117 leftovers 26, 43, 44, 93, 109, 110, 126, 142 Lutradur 17, 23, 62, 77, 93, 96, 97, 101, 109, 111 Markal sticks 21, 23, 45, 48, 68, 70 metal(s) 6, 10, 11, 14, 16, 19, 20, 21, 22, 26, 29, 40, 80, 92, 93, 94, 95, 100, 102, 103, 108, 128, 129, 132, 137, 143 woven   11, 15, 66 metal mesh 11, 12, 21, 96 metal plate couching 8, 28, 34, 40 metal shims  6, 10, 11, 12, 16, 23, 28, 30, 80, 102, 108 mixed media  6, 23, 24, 25, 26, 92, 128 needles 12, 30, 35, 36, 56, 72, 130 organza(s) 14, 29, 40, 43, 94 patchwork  128, 129, 132, 138, 142 patinas  22, 143 permanent marker(s)  21, 45, 54, 68, 71, 97, 103 pewter  10, 20, 66, 68, 73 photograph  26, 66, 72, 92, 93, 96, 100, 109, 130, 137 printer  16, 20, 81, 84, 97, 100, 114, 130, 137 printing plate  16, 130, 133, 134, 142 print rollers/ brayers 130, 133, 134, 142 resist(s)  20, 23, 70, 108 ribbon(s)  24, 30, 36, 40, 42, 120, 130 scrim  14, 28, 30, 33, 63 sequins  24, 34, 68, 81, 85, 93, 109 sewing machine  12, 22, 25, 45, 54, 68, 72, 81, 84, 94, 97, 102, 103, 114, 117, 119, 130, 138 silk  14, 28, 29, 40, 62, 63, 64, 65, 66, 68, 70, 73, 95, 97, 101, 108, 109, 114, 117 silk paints  17, 22, 45, 53, 97, 101 spray paint(s) 21, 66, 68, 71, 77, 79, 97, 101, 102, 105, 108 stainless steel 11, 66, 92 stainless steel fabric 68, 71, 72, 78, 97, 111, 132, 142 stencil(s) 16, 21, 23, 45, 51, 68, 108

stitches automatic pattern 112, 117 blanket  35, 43, 110 cable  104 couching  35, 49 cross  49, 93 feather  65 fly  49 long and short  9, 44, 65 overstitch  35, 49 running  70, 88 seeding   65, 95 straight   12, 65, 93, 112, 120, 138 zigzag  12, 93, 105, 112, 117, 120 sweet wrappers 11, 114, 124 techniques appliqué(d) 7, 79, 93, 94, 96, 103, 109, 111, 124, 142 beading 26, 109 couch(ing) 8, 19, 49, 55, 73, 92,108,109 distress 13, 17, 19, 77, 101, 109, 111, 125 embossing 16, 23, 135, 136, 142 free-motion stitch(ing) 12, 13, 54, 55, 65, 72, 84, 85, 93, 94, 101, 102, 103, 104, 112 gilding 7, 9, 49, 51, 52, 53, 54, 64, 65 hand stitch(ing) 11, 12, 34, 35, 44, 65, 72, 73, 77, 78, 84, 86, 88, 92, 95, 101, 105, 110 heating 10, 11, 17, 22, 23, 79, 101, 111, 125, 132, 135, 136, 143 machine stitching 11, 19, 44, 65, 84, 92, 95, 101, 103, 104, 108, 117, 118, 125 needle felting 14, 19, 28-29, 30, 32, 33, 34, 37-41 templates 31, 46, 47, 69, 82, 83, 89, 98, 99, 103, 104, 114, 115 threads 19, 30, 35, 44, 45, 53, 54, 55 19, 45, 55, 68, 70, 72, 81, 84, 85, 97, 108, 111, 114, 117, 130 transfer metal(s) 10, 24, 45, 49, 51, 52, 53, 54, 63, 64, 65 transfer paints/dyes 14, 17, 20, 23, 62 transfer paper dark surface 16, 80, 81, 84, 92, 93, 137 dry decal 16, 128, 130, 137 velvet 14, 30, 32, 63, 64, 80, 81, 84, 85, 88, 93, 95, 143 water-soluble film  14, 15, 21, 68, 71, 72, 73, 102, 103, 104, 108 wire 80, 89 aluminium 24, 97, 105 copper 24 gunmetal 81 knitted 30, 32, 33, 40, 42 stainless steel 68, 73

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STITCH, FIBRE, METAL & MIXED MEDIA In this inspiring, practical book Alysn Midgelow-Marsden uses textile-based and mixed media techniques to create seven beautiful step-by-step projects. Discover a wide range of techniques including gilding, embossing, needle-felting, beading and appliqué, featuring various forms of metal, including shim, foil and woven fabric. Be inspired by the individual surfaces created, and by the developments which take the ideas further. This is an invaluable resource for textile artists hungry for new ideas.

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