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88 Textile Treats




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MAKE Log Cabin Pieced Quilt

Outstanding Organic Art



Issue 154 | MARCH/APRIL 2016 | £4.50 03





Be Inspired Volume 4 Our best ever annual yet, Be Inspired Volume 4 is essential reading for fans of textile and needlecraft at its most beautiful, innovative and inspiring


+£1.95 P&P

“Your superb Volume 4 of Be Inspired by Workbox magazine has arrived. The beautiful colourful pictures pop from the pages. So much to read and be inspired by.” – Isabell, subscriber

Be Inspired Annual by Workbox Vol.4


Available direct from Workbox on 01395 233247 or

Mary Bennellick

mary@creativewithworkbox.c om


This issue, we've explored and been inspired by the creative paths of some fantastic textile artists and discovered what has led them down their own personal inspirational journeys resulting in stunning pieces of textile art. No doubt you'll enjoy reading about how a few dates with a cowboy led Amanda Salm to work with horsehair in the most surprising of ways; or how Lisa Kokin's Jewish heritage and the shadow of the Holocaust influences her installations and sculptures; perhaps Neroli Henderson's account of how a freak accident changed her life and creative outlook will strike a chord with you as it did with me. The phrase 'creative journey' is often overused but not so here - the fabulous artists you are about to discover in the pages beyond are all on exciting creative journeys and we're thrilled to share them with you. At the risk of sounding a little bit smug – how amazing does our cover look this issue? We have been patiently waiting to bring you the delightful work of cover artist Corinne Young – as soon as we saw her gorgeous butterflies we knew they'd make a stunning cover – and yes they are machine embroidered, not real! Read all about her nature inspired work on page 27. New to our Inspire section this issue is a column from up and coming textile artist Ailish Henderson; readers may remember she was featured in the magazine last year but she's back for 2016 with her very own column and we're thrilled to have her on board! Catch up with her crafty adventures on page 14. As a self proclaimed fan of the Victorians and everything to do with them, I really wish I'd had the opportunity to visit the 'Beyond the Red

Feast your eyes on the incredible detail! Page 54

Rope' exhibition by Quay Crafts last year. Their exploration of Osborne House, the one time residence of Queen Victoria and Prince Albert, led to some fascinating pieces of contemporary art. Inspired by their royal lives, love and home, the collection by the group was on display last year but for those of you like me, who missed out on visiting this thought provoking exhibition, read all about its inspiration and highlights on page 76. I once made a quilt (my first and only thus far!) without a pattern or project in sight and boy, it was hard! If you'd like to take a foray into the world of quilting and need a little hand holding as in hindsight I did, then why not have a go at our Modern Crosses quilt on page 42 that uses a pared down version of log cabin piecing. The step by step instructions will help you produce a gorgeous quilt in no time. If you haven't already bought a copy of Be Inspired Volume 4 then make sure you get your hands on one quickly - it's our best selling annual to date and we've had so many fabulous comments from delighted readers. If you can't find it in the shops then visit our website for a dose of inspiration that'll keep you going all year! Be Creative – inspired by enthusiasts

Incredible coiled horse hair on page 47 Haunting and ethereal. Page 76


7 Competition 9 Inspire 16 Gallery 20 The Warm and the Cold 22 Subscribe to Workbox 24 UNPICKED: Stitch in Nine 27 Organic Inspiration


34 HOW TO: Make a Seaside Picture 38 Magnificent Manipulation 42 PROJECT: Modern Crosses Quilt 47 Trail Blazing 54 Thinking Outside the Box 62 PROJECT: Make Your Own Evelyn Clutch 66 The Art of Falling 72 Back Issues 74 EXHIBIT: Parallel Pathways II 76 EXHIBIT: Beyond the Red Rope 80 What’s On


82 Creative Bloggers – Lucie the Happy Quilter

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Contributors Corinne Young

Corinne is a textile artist specialising in 3D machine embroidery. Her inspiration is the natural world, with a particular focus on plants and butterflies.

Nisa Kiley

Nisa is a mother and grandmother from Hereford with a passion for textiles. Freed of all parental responsibilities, she sees this as her time to explore and develop ways of painting with fabrics.

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EDITORIAL Call: 01395 233247 Editor: Mary Bennellick Deputy Editor: Amber Balkwill Art Editor: Peter Frost

ADVERTISING Call: 01395 233247 Advertising Director: Paul Veysey Advertising Manager: Bev Ward SUBSCRIPTIONS Subs Manager: Elsa Hutchings +44 (0)1395 233247 EVENTS ACCOUNTS ARTICLE SUBMISSIONS TO: Mary Bennellick

Karen Fanzo

Having enjoyed teaching food and textiles for many years, Karen now works as a textiles tutor and freelance artist. She is inspired by her local Devon landscape and enjoys incorporating her father’s photos into her artwork.

Neroli Henderson

Mixed media Aussie artist and editor of Textile Fibre Forum magazine who loves stitch, paint, small fluffy dogs and showing off on Facebook. View more of Neroli’s work at

PUBLISHER Managing Director: Paul Veysey River Media Devon Ltd. 8 Woodbury Business Park Exeter, Devon, EX5 1AY +44 (0)1395 233247 PRINTING Pensord, Tram Road, Pontllanfraith, Blackwood, NP12 2YA DISTRIBUTION COMAG Specialist Tavistock Works, Tavistock Road West Drayton, Middlesex, UB7 7QX

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Lisa Kokin

Lisa lives and works in El Sobrante, California, with her spouse Lia, three Chihuahua studio assistants and Bindi the cat. The daughter of upholsterers, Kokin stitches everything she can get her hands on, including books which she rescues from the local recycling centre.

Amanda Salm

That magical space between the bottom of the sky and the surface of the sea is Amanda's favorite place to be, swimming in her own skin, invigorated to the core.

Other contributors:

Amber Balkwill, Susan Beal, Mary Bennellick, Rona Bruce, Hayley Mills-Styles, Sue Kim, Lucie Wakefield Copyright All rights reserved. No part of this publication may be reproduced, stored in any retrieval system or transmitted in any form - electronic, mechanical, photocopying or otherwise without the prior written consent of the publisher. Copyright © 2016 River Media Devon Ltd. Disclaimer Whilst every care is taken to ensure accuracy, the publishers cannot accept responsibility for loss, damage or omission caused by error or negligence in the printing of an advert or other information. All artwork is accepted on strict condition that permission has been given for use in this publication. Adverts are accepted on the understanding that descriptions of goods and services are fair and accurate. Workbox does not officially endorse any advertising material included within this publication. The views presented in Workbox magazine are not necessarily the views of the editor or the publisher, River Media Devon Ltd.



Cut, Shape, Stitch by Maggie Grey, Samantha Packer, Paula Watkins Explore the world of shapecutting. From simple punches and die cutters to the latest digital machines, the artists offer ideas and inspiration. Incorporating unusual materials and techniques, they produce a range of finished pieces ranging from tiny books to wearable art.

Constantinople Quilts by Tamsin Harvey Travel to an exotic land with timeless designs inspired by Turkish Iznik tiles from the Ottoman Empire. Bursting with flora and organic symmetry, the book’s exquisite fusible appliqué projects will take your breath away. Location photography enhances 8 patterns that effortlessly go from ancient places to contemporary spaces.

Love To Sew Teddy Bears by Monika Schleich Renowned teddy bear creator and enthusiast, Monika Schleich, shares her expert techniques for sewing these huggable bears. Choose from vintage style teddy bears, polar bears, baby bears, pandas and plenty more soft-paw companions!


Tell us why you love Be Creative with Workbox! All entries via: Entries will be drawn on 17th March 2016. Winners will be notified by email. See our website for Terms and Conditions.




Birds of a feather flock together Discounted subscriptions for groups, guilds and friends Got a group of ten or more stitching buddies? We offer a group subscription at just £3 per copy, based on a minimum order of 10 (UK only) saving £1.50 off the cover price!


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Perfect for your mid morning coffee break, this sewing inspired espresso set from Jones and Jones will be sure to get your creative juices flowing. £150 from

I Be Creative with WORKBOX 9

NEWS… An exciting exhibition of colourful international embroidery is open now until July 2016 at the Royal School of Needlework. Peacocks and pomegranates have long been used as motifs on embroidery in a wide range of cultures. Open now, the ‘Peacocks & Pomegranates’ exhibition features pieces from the Royal School of Needlework’s Textile Collection. It includes objects from China and India, as well as from Western Europe, which either take these icons as their central motif or feature them prominently.


The peacock represents a range of meanings: in the Christian world these include resurrection from the annual renewal of his feathers and immortality from the belief that the peacock’s flesh did not decay. In the east, there are interpretations of nobility, protection and integrity. All cultures seem to recognise a sense of beauty, though some show that when taken too far, this becomes pride. Peacocks may be depicted with or without the tail feathers displayed. The pomegranate represents fecundity in many societies because of the almost uncountable number of its seeds. In the Christian church, it was taken to represent the number of the faithful, again a number too many to count. This is why it is usual for the pomegranate to be shown partly open, revealing the hidden seeds.


(1) Collection piece recently donated to the RSN (2) Peacock panel with peacock in metal threads and tail features in stitch and tiny red (3) Small panel peacock with stylised leaves and tulips (4) From The Vain Jackdaw designed by Walter Crane beads, from India

MUST VISIT Get crafty in the Capital it’s The Spring Knitting & Stitching Show at London Olympia

READ ME aHavebagonafromgopageatthis62makibookng Boutique Bags by Sue Kim

Hit the town with chic, modern bags for any occasion! Best-selling pattern maker Sue Kim’s latest collection includes 19 fashionable projects, from a metal-framed clutch to a classy carryall. Learn to sew darts, ruffles, and other design elements for a professional finish. Try out first-hand how a simple change in fabric offers a whole new look. With full-size patterns and straightforward construction, these bags are on-trend and catwalk worthy.


The stylish and classy designs, plus the great tips to guarantee a perfectly finished bag. Published by RRP Price: £16.99


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Left: Pomegranates on a 19th century sampler



Visitors will see some exquisite pieces and some fun objects, including peacocks, worked in a variety of threads, beads and metal threads from India. The design for the central panel of The Vain Jackdaw by Walter Crane will also be on display, along with pieces which represent the beauty and pride of the peacock. This is seen in examples of attire, for instance on two 18th century men’s waistcoats and on a selection of accessories. There are approximately 100 pieces in the exhibition representing a variety of materials and techniques. To book, visit www.royal-needlework. or telephone +44(0)20 3166 6932

Passionate about textile art, stitch and crafts? There’s nowhere else to be than The Spring Knitting & Stitching Show, Olympia London, 3rd-6th March. With hundreds of workshops, demonstrations and interactive features running throughout the show, this unique event is the perfect place for ideas, learning new skills and meeting like-minded people. There’s plenty of shopping opportunities too. Over 200 specialist companies, from sewing machine manufacturers to yarn makers, will be selling a huge range of essential sewing, knitting and textile craft supplies, with a host of special offers. New for 2016, be inspired by the work of leading UK textile artists in the professionally-curated Textile Galleries, featuring Jessica Dance (Material World), Louise Baldwin (Two Worlds), Mary Sleigh and Jan Miller (Somewhere in Between), Michelle House, Nigel Cheney (The Forest of Arden) and The Quilters’ Guild (Moving On). Visit www.theknittingandstitchingshow. com/Spring or 01473 321872.

Creative Comments The latest tweets, posts and comments from our lovely Be Creative readers… “Just when I think I'm running out of ideas, it sparks my imagination and fills me with inspiration.” Caroline, via our website “Workbox has inspired me to do more or try more than any other course, magazine, website or mentor.” Mark, via our website “I love it all, but mostly the interviews, gallery and projects. Reading it always makes me feel so inspired and enthusiastic.” Dee, via our website

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“This was the first time I have bought this publication, but feel truly inspired by the wonderful and different projects being featured.” Sarah, via our website

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“I've never found any other publication with such a good balance between traditional and modern!” Lauren, via our website “I live in a remote part of Scotland and while its very beautiful, I sometimes have creative block, so when I saw this "new" magazine in our little newsagents, I had a look inside and was soon heading home fast to read more. I'm a quilter, (improvisational rather than traditional) and love the work of Dena Crain but I was also inspired by other contributors and decided to order the four annuals. So this is to say a huge thank you to all the clever people who are part of this magazine/annual - I will be looking out for it in my newsagents - keep up the wonderful work.” Janette, by email

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“I love the anticipation of opening the next issue of Be Creative when it arrives. The wide variety of techniques and individual styles that are included offers inspiration for everyone. Over time, the issues build up into a valuable resource which is fun to go back and browse through,” Jane, by letter “When Be Creative comes through my letterbox, it is like a visit from the best sort of friend. A friend who shares my interest in textile work. A friend who has pictures of the newest, most exciting work around. A friend who encourages me to be imaginative and who works through projects with me. Someone who thinks I can be a creative artist.” Ann, by email

I Be Creative with WORKBOX 11



The coiling queen answers five in five…


What would be your desert island item? I would be spending my time in the water, so I’d say an underwater camera.


Tell us about your favourite holiday destination. It’s difficult to choose, I enjoy hiking and swimming in mountainous and island locations, but also love architecture, museums, botanical gardens and historical sites.


Describe your home décor style. I would describe it as eclectic Eurasian - I have a red Bertazzoni stove across from a 19th century Japanese kitchen tansu in a small Victorian house.


Which would you rather, a hot summer’s day or a crisp winter’s morning? I prefer the transitional periods of summer into autumn or winter into spring where I get some of both.

Go here!


What is your cinema snack of choice? It has to be popcorn!


Dotty for Dachshunds

Surely the most adorable of pooches, we’re desperate to get our hands on these sausage dog specials

1. Add a touch of the adorable to any gift or project with this Dachshund ribbon. £2.08 per metre from rosieundhein on


2. Meet Dudley, a cute and fashionable cushion that would make a great gift for all ages. £24.95 from



3 Be Creative with WORKBOX

3. A quirky and bright retro print that would be perfect for any doggy themed project, or even as a funky scatter cushion for your home. £3.00 per fat quarter, from


The Cornwall Branch of the Embroiderers’ Guild is hosting the SW Regional Festival on Saturday April 9th 2016 at the Royal Cornwall Showground, Wadebridge, on the theme of ‘A Day out in Cornwall’. Does texture, colour, fabric and print make your mouth water? Then come to be inspired and enthused by two international stars of the textile world who will deliver our Madeira lecture. Amanda Clayton uses a variety of shades and textures to create a range of ethereal pieces. Vivien Prideaux is a renowned dyer and creator of vibrant textured fabrics and a widely read author. A collaboration of their work around the poem ‘The Other’ by R.S.Thomas was recently exhibited at the Knitting and Stitching Show and will almost certainly feature in the day. Tickets are £25 to include a picnic lunch, tea, coffee and cakes. There will be trade stalls often not available in the far SW and a competition to design a 6 x4 inch postcard entitled ‘A postcard from the Seaside.’ Local Embroiderers from the Cornwall Branch will be exhibiting work. For more details please visit www.cornwallstitchers. or email swfestival2016@

Ask the Artists


www.pocketandpin. is a crafting magpie’s dream! The vintage style haberdashery will inspire and complement no end of projects and will have you inventing ways to use them in no time! And with a haberdashery gift subscription available, look no further for the perfect gift for a crafty friend or a gift to self. Start dropping hints now… FAVOURITE FEATURE: The incredible range available of sewing essentials in delicious styles and colours.





We love Annabel Perrins’ bold prints and geometric designs. Inspired by landmarks and locations, her designs focus on the aesthetic appearance of architecture, the structures, patterns, outstanding features and light reflections. Annabel’s mid-century colour palettes are also distinctive of her style. Here are a few of our faves…



1. Glasshouse 2. Prism 3. Sundial 4. Imperial Mustard 5. Balcon 6. Ventana 7. Pavilion



“WHICH CRAFT BLOGS ANDWEBSITES DOYOUVISIT REGULARLY FOR INSPIRATION? “I manage the Textile Arts group on Facebook with over 13,000 members who post the most incredible and diverse fine art fibre based works. Because I’m the group owner, I need to check in daily and always find it inspirational, so many brilliant works are posted overnight. It’s a great way to start the day. You do need Facebook to view but it’s well worth it, visit textilearts. For mind blowing cool, I love, it’s hard not to be inspired by the sheer awesomeness of the eclectic collection of works on this site. Neroli Henderson featured on page 66 “I’m greatly influenced by the magical qualities that encaustic art produces and try to emulate these by overlapping lots of organzas. Encaustics is the ancient art of painting with wax which produces a wonderful translucent effect. I have many encaustic Facebook friends who regularly post their images there and in the many groups found there. Many textile groups are also found on Facebook and can prove invaluable for those who wish to learn more about textile art.” Nisa Kiley featured on page 38 “My passion is for Pinterest! I love the way that I can search for and access thousands of images when I am researching a new collection of work; and I can make a secret pin board for each theme. I do a lot of commission work, and often make a board that I and my client/collaborating artist/designer can all pin to.” Corinne Young featured on page 27

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Have a go at making a quilt from this book on page 42

READ ME out and about with ailish Hello..

Drawn Thread embroidery

Corset drawing, machine embroidery and recycled lingerie collage

My name is Ailish Henderson, I’m 24 and like to define myself as a Textile/ Fine Artist. Some of you may remember an article I wrote last year for the July/August issue of Be Creative with Workbox about my practice, so I’m really excited to be back as a columnist! Here you’ll learn about the things that inspire me and anecdotes from my life as a freelance artist, which in turn I hope will inspire and entertain you!

The most exciting thing that’s happening in my life right now is my first solo exhibition! Opening in March at The Customs House in the North East (keep up to date via it’s entitled ‘Torn Umbrella’ and is based on a self-penned poem and painting. Both of these were executed before I had ever learned any form of textiles - I always knew that they had more life to give yet they lay dormant, patiently waiting until I was inspired to develop them. I often look at exhibitions and wonder what the ‘story’ is behind the work; what inspired the artist? What do their sketchbooks look like? I have tried to illustrate this making process within my show. So there’s a lesson readers; keep everything, you may just be inspired by your hoard – more on that in a future issue! On a humorous note, a few weeks ago I was teaching a sold out class on ‘Contemporary Drawn Thread Work’ at the Harrogate Knitting and Stitching Show and while watching all the sewing machines rattling away, I turned around to find a lady projectile vomiting all over her machine! The poor thing (she was fine afterwards) but the amazing thing was, the lady next to her hadn’t even realised. I will take it as a compliment that my class must have been very engrossing! Why not book yourself on a class at the next show you visit for a creative experience you’ll always remember?

Watercolour illustration. The Torn Umbrella


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Modern Log Cabin Quilting by Susan Beal This exciting book gives this traditional quilting technique a contemporary sensibility. As one of the easiest, most versatile (and budget-friendly) quilting techniques, log cabin quilting is a wonderful choice for first-time quilters as well as for seasoned quilters looking to experiment with design and colour.


The beautiful photography and clear illustrations throughout. Published by RRP Price: £16.99

Win win! Congratulations to Yvonne Wootton from Shropshire, who won last issue's book bundle competition

To be in with a chance to win a fabulous craft book bundle in this issue's competition, turn to page 7

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Textile masterpieces we just had to share‌

My Hero Polish artist Olek highlights everyday objects and gives them new and profound meaning by dressing them in colorful, intricate crochet. This piece portraying the great Pole, Jan Karski, who risked his life to, among other things, tell the world about the atrocities of World War II, was commissioned by the Consulate General of the Republic of Poland in New York and was crocheted on location.

On My Mind Emma Wigginton Menopause: a time of change when thinking straight becomes elusive, the silvery threads of growing wisdom create a filigree structure, words delicate and transient as mist. Photograph by Jo Crompton Photography:

Mementos By Sayward Johnson. Handknitted and forged copper wire treated with green patina

Dance Diana Adams, 2012 Jose Romussi

INSPIRATIONS reaching out


Taking part in a project to help marginalised people find their creative voice inspired Hayley Mills-Styles to tell stories of her own with fabric and thread


’ve been experimenting with fabric and thread for as long as I can remember, so when I decided to go to university, it was natural for me to study textiles. I got my degree in textile crafts at The University of Huddersfield, where I explored new ways of working with materials through techniques such as screen printing and machine embroidery. My decision to study at Manchester Metropolitan University for a Masters in textiles changed my life in so many ways. I was at a low point in my studies when this great opportunity came along. The Warm and the Cold was created by Lois Blackburn and Philip Davenport, who work collaboratively as arthur+martha to help marginalised people find their creative voice. They work with a variety of people including older hospital patients, Holocaust survivors and children with behavioural problems. The project seemed like a great opportunity to push my creative boundaries and work with a group of people who might not engage with textiles as a means of artistic expression. The project outline was to work with homeless people to create a group quilt inspired by the Ted Hughes poem of the same name. We worked in two venues in Manchester; the Big Issue offices and the Booth Centre. I was confident that I had the textile skills to help people create the individual quilt blocks, but my previous teaching experience had been aimed at a very different audience. I had taught art and craft workshops to members of Buns & Roses Women’s Institute in my hometown of Leeds where people had signed up for the sessions because they wanted to learn a new skill. For this project I had no idea who we would be working with and what they wanted to get from the sessions. My part in the project began at the Big Issue offices where I met up with Lois


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and Phil. Lois was busy stitching text onto pieces of denim, while Phil chatted to an Irish Traveller about his life and in particular his thoughts and feelings in relation to the word ‘cold’. It reminded him of his mother passing away just a short time before. I felt privileged to be told such an emotional story and I was overwhelmed that a stranger could share something so personal with us. This conversation captured the aim of the project – to take individual stories and combine them to create a group narrative. While we chatted, he asked if we had any red and green thread. Lois pulled some tapestry wool from her bag. I plaited three strands together to make a band and tied it round his wrist. He was so grateful and his reaction reminded me of why I love making things for people and using my skills. It reassured me that working on the Warm and the Cold was right for me. Our afternoons were spent at the Booth Centre, one of the country’s leading day centres for homeless people. It was a really great place where people made us feel so welcome. Over time, the group shared their experiences of warmth and cold. One man shared how he had fled from Iran to Iraq in freezing conditions, he told us this harrowing story but kept smiling throughout which was a sign of his strength. Another man shared a story about sleeping on a bus and how the doors constantly opening made him feel so cold. Everyone had a different story to tell and I was moved by just how open and honest people were and how they could share their stories with us. The second half of these sessions was our time to stitch. Lois and I helped people to stitch onto pieces of denim which she had brought from home. The denim was recycled, and came from old jeans which Lois had deconstructed to reveal interesting areas of wear and tear. I was really inspired by the idea of the denim because it’s a fabric that transcends all social and class


barriers, as well as being easy to work with! We worked with people from different backgrounds and nationalities and wanted to incorporate this diversity into the finished quilt. The first piece of embroidery I completed was a piece written in Hindi and English which had to be in specific colours given to me by the author. I found the delicate lines of the text beautiful and the words, “I feel my body vibrating”, so moving. The finished quilt had more than four languages embroidered on it. Over the course of the project, I visited Manchester several times to attend the group sessions. Being involved from the early stages gave me a chance to be a part of Lois and Phil’s discussions and I benefitted enormously from their support and advice. In turn, they benefited from my textile skills and my ability to engage people in the work we were doing. Each week, I took some pieces of the denim home and stitched over the hand written text using a variety of techniques and vibrant colours. The hand embroidery process seemed to give the words the attention and love that they deserved and the details were so beautiful. The project culminated in an exhibition

INSPIRATIONS reaching out

at the Holden Gallery. Lois and Phil asked me to help with the installation. This gave me the chance to help with curatorial decisions and the technicalities of installation, a process I was happy to gain experience in. One of the things I had learnt was that during a group project, you aren’t always involved at every stage. I had created several pieces of embroidery for the quilt but I was not involved in stitching them together into the log cabin design that Lois had chosen to create. The day of the install I was amazed at the results and how powerful the finished quilt was. All the details had been beautifully arranged to form a moving piece of artwork which told the story of our time at the Booth Centre and the Big Issue offices. This project was the first step towards me becoming a freelance artist. The Warm and the Cold inspired me to tell stories with fabric and thread, and since working with arthur+martha, I have gone on to work on several other projects, both solo and collaborative. I now regularly work with different groups of people to engage them with art and craft and help them find their own creative voice. BC

Clockwise from top left: Close up of finished quilt on display at The Holden Gallery; Denim Layout at the Big Issue offices; Denim Details; Hindi & English Text

I Be Creative with WORKBOX 21



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CREATIONS unpicked

Jill Paterson Garden

Helen Clarence Lemon and Lilac Lace




e are a group of artists who met whilst studying for the City and Guilds Embroidery and Textile qualification in the North East of England. The group was formed in 2006 following the completion of the course when it was decided that we would like to continue our enjoyment of embroidery and textile art to develop our techniques and interests further. Originally there were nine members in the group, hence the play on words 'Stitching' and 'Stitch-in-9'. Following on from qualification, some of the group undertook a three year Masterclass with Stitchbusiness, run by Julia Triston and Tracy A Franklin, two well acclaimed North East artists. Over time, our group has attracted new members and we now have 12 committed and enthusiastic textile artists. We can truly call our group multi-national as Helen lives in France but still contributes through the wonders of modern technology. As the finished articles from the group mounted, it was decided that we should start to exhibit our work which we have been doing for many years now. We are now approaching ten years together and are currently working on an exhibition entitled ‘A Decade of Stitch’, which we are exhibiting in Yorkshire, Durham and Tyne and Wear. Meet our members who will be exhibiting…


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Diana Boiston has enjoyed working with fabric, threads and fibres from an early age. She loves creating 3D creations and working with felt. Over the years, many mixed media techniques have been learnt but she always comes back to the needle and thread. She finds inspiration from the environment, both natural and built, and continues to be inspired by everyday objects and other artists. Rona Bruce uses both machine and hand embroidery in her work. She dyes the fabric and threads she uses and prefers to stitch small pieces which can then be incorporated into larger works. She is intrigued by shape and pattern and by ‘just looking’. She has experimented with a vivid colour pallet but continues to be drawn back to the more earthy tones which excite her. Rona’s enjoyment lies more in the process of stitch rather than in the end product. Helen Clarence is an artist whose medium is not paint on canvas but beads and thread. She creates jewellery, accessories and small sculptures that she hopes are recreations of the things in this world that inspire her most; nature and history. She combines embroidery and beading techniques and uses needle and thread in an attempt to capture a fleeting moment of beauty of a flower before it fades. She is interested in the techniques and processes of the past and how materials available at the time influenced


decoration and fashion and she attempts to recreate these ideas using modern materials with expertise from the past. Her jewellery hopes to capture the indulgence, romanticism and femininity of days gone by to be worn by women with individual elegance. Sandra Felce has used a variety of embroidery and textile techniques but now likes to use a combination of hand and machine stitches with added paint and print. She prefers to work on a small scale and as well as pictures produces cushions, bags and books. Most of Sandra’s work is based on the natural world but she also loves to portray figures with rather quirky backgrounds. Sandra gets most pleasure from the process of embroidery, working with colour, stitches and texture. Linda Glendinning has always been in her element when making. As a child this was cakes, crochet and embroidery. This creativity continued into adulthood when cross-stitch and tapestry became her main activities. City and Guilds Creative Embroidery courses were a turning point for Linda as they opened her eyes to a new world of techniques. Whilst enjoying all things stitchy, Linda’s particular interests are bead embroidery, machine embroidery and felting. Linda is inspired primarily by colour,

CREATIONS unpicked

Diana Boiston French Knots

texture and the world around her whether at home or on holiday. Sue Greener has always found stitching to be a pleasurable hobby, initially in garment construction and pattern making. Her introduction to embroidery and design was quite by chance, following an open day at Sunderland College. Fascination elements of stitch and design not previously considered, were encouraged. She finds design is still a challenging process, but that it creates enormous satisfaction when successful. Anne Lee has taught art and textiles for most of her career and during that time has held several solo and shared exhibitions. Her main specialism is machine embroidery with landscape and natural forms as a common theme often mixed with paint and dye techniques. She works one day a week at Barnard Castle School helping exam students with their textile projects which she finds helpful with the development of her own work. At present she is experimenting with a combination of lino print and machine embroidery. Jill Paterson’s work is informed by her love of drawing. She often works with mixed media using paint with machine and hand stitch onto a variety of backgrounds and frequently uses machine stitch as a means of creating line and form. She is also interested in more traditional embroidery techniques, in particular Indian Kantha work which uses

Christine White Winter sky

running stitch to build pattern and darning used to create blocks of vivid colour. Colour is an important element within Jill’s work which she uses either boldly or subtly to emphasise and create mood. Ruth Richardson enrolled in a City and Guilds embroidery and design course following her retirement. Ruth’s work developed from traditional hand stitch, to working with mixed media using paint, paper, and stitch, both hand and machine. She loves fabric, threads and colour, mixing them to create panels, and small 'one off' items. She currently takes inspiration from the natural world, fashion and costume, photographs of the North East notably by Norman Cornish, artists such as Klimt, Ben Nicholson, Bridget Riley amongst many. Ingried Swan After a career in industry and eight years part time study in design and creative embroidery, Ingried felt free to explore her lifelong passion of stitch. Ingried often stitches by machine but enjoys the rhythm of hand stitching and works with a variety of media. Her work style is free, usually brightly coloured with texture and distressed edges. It is often spontaneous in terms of media and material selection but it is always based on sketched ideas. Her preference is to make 3D or unframed finished works, often influenced by fairy tales or gardens. Moira Tate’s textile journey began a

long time ago with patchwork and quilting, eventually gaining a City and Guilds qualification. Through this she enjoyed exploring the use of colour, pattern and texture which still drives her work. Recently she is enjoying creating different surfaces for stitch which gives her the opportunity to develop knowledge and use of stitch both hand and machine. Felting is currently exciting her too, creating as it can a new background for stitch. It is also leading her to do 3D work, a new area for her. The natural world is most often the starting point for her work. Christine White’s work is mainly focused on using fibres and fabrics to construct surfaces which she then further works into with stitch and beads. Christine is particularly interested in working with handmade felt, silks, cottons and lace. There is nothing Christine likes better than to have a day spent dyeing fabrics and creating new colour combinations which is why her work is usually full of vibrant colours. Although she’s not sure how her neighbours feel about the array of coloured rags on the washing line! Christine chooses to blend this passion for colour and natural products by taking inspiration from the natural world. BC By Rona Bruce For more information visit

I Be Creative with WORKBOX 25

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ORGANIC INSPIRATION Our cover star Corinne Young takes us on the ‘nature walk’ that is her life and inspiration

I Be Creative with WORKBOX 27


Previous page: Honesty

Clockwise from left: Living Room 2; Papillion; Purple Chair




am a textile artist living in rural Yorkshire. My fascination for embroidery was awakened as a child, with a father who worked in textiles, and a mother and aunt who were keen needlewomen. I always loved going to museums and stately homes and would seek out the antique needlework collections even then. However, it was not until my children were teenagers, and after a career that involved fashion retail, interior design and decorating, that I finally took this interest seriously and embarked upon a degree in Textile Design at Bradford College.


After experimenting with print and embroidery, I decided that I wanted to focus on bespoke pieces for interiors. These would be strongly connected to organic inspiration, as I have a love of plants inherited from my mother. My research for my final degree show work involved trips to London to look at antique botanical books and drawings at the Royal Horticultural Society library, The Garden Museum, and plant specimens at Kew Gardens. I decided to focus on two plants with very structured seed heads – Scabious ‘Paper Moon’ and Molucella Laevis ‘Bells of Ireland’. I grew the plants from seed to study, and wanted an organic feel for the background of the pieces I created. I found some handmade silk paper at a textile show, and after experimenting with various different fibres, I found some flax and viscose ‘tops’ in a textile supplies store. I bought a large sackful, as it was only in stock temporarily. Fortunately I only use a small amount at a time, and so I’m still using that sackful today! The six final degree pieces were machine embroidered ‘wallpaper’, and were 8ft x 2ft in size. They featured in my interpretation of the two plants studied, and were heavily embellished in a matching coloured thread to reflect the natural colour of the seed heads.

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CREATIONS nature Clockwise from left: Small Butterfly Collection I; Paper Moon II; Four Panels, Mall Galleries London; Passion Flower

After graduating in 2003, I was lucky enough to secure a wonderful commission to make 16 large publicity panels for the Lord of the Rings show in Toronto and London. Following on from this, I started to create framed pictures, embellished fabrics and one-off clothing pieces to commission for private clients and galleries. Around five years ago, I began to make three dimensional pieces using stump work methods, inspired by historic artefacts such as 17th century caskets. To construct these, I use my linen paper, other papers and fabrics. I have a large collection of botanical books, vintage linens, Victorian scraps and postcards which I like to use in my work. My main inspiration still comes from the garden, and I grow plants for their aesthetic and architectural qualities, as well as their ability to attract insects, which I also depict in my pieces. My butterfly collection pieces always sell well.


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I Be Creative with WORKBOX 31


I love to collaborate with other artists and designers and had an exhibition in 2011 at Burton Constable Hall, an Elizabethan house near my home in East Yorkshire. I worked with a young installation artist, Gideon Johnson, and together we made several upcycled pieces inspired by the collections in the Hall. The resulting works were placed alongside antique pieces in a room, and many visitors could not tell which were ours, and which were antique. We were delighted by this outcome. Many of the pieces I made for that show were sold, but I decided to keep a clock decorated by me with stitched and painted lace, the form of which Gideon fashioned from a broken violin. I have recently combined my love


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of gardens with my interior design and curator experience (until recently I ran an art gallery alongside my practice) and begun to design floral themed interiors. Features of these rooms include soft furnishings, printed and embroidered textiles, fabric taxidermy and stitched pot plants made by me, with artworks, antiques and upcycled furniture. Early in the summer of 2015, I worked on a collaborative exhibition at Grow London with a Chelsea Flower Show Gold medal winning garden designer, followed by a big commission for 20 framed pressed plant pieces for a new London restaurant. I will soon launch a blog called ‘The Stitched Garden’, which will feature all things floral…all in all, I am keeping very busy! BC



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HOW TO: MAKE A SEASIDE PICTURE Karen Fanzo shows us how to make a spectacular seaside scene

YOU WILL NEED: Piece of white cotton fabric approx. 25cm x 50cm Piece of pelmet Vilene the same size Silk paints or water colours in blue and yellow Paintbrushes A range of machine threads in blues, yellows, white and charcoal Scraps of fabrics such as scrim, chiffon, organza, felt, hessian, calico and net, in the same colours Photos of the beach and sea Beads in browns and golds Very small pebbles and shells from the beach Scissors A sewing machine with a free hand embroidery foot ODIF 505 Craft spray Adhesive Glue (optional) Cream wool of sheep fleece. All purpose glue


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1. Using either silk paints or water colours, paint the bottom two thirds of your fabric yellow. Do not have the paint too wet as it will run. I usually test my paints on a scrap of the fabric I am going to use first to see how much they will run. 2. Leave to dry.

3. Add a narrow strip of a cobalt blue making sure that the top line is horizontal. This will be your horizon and needs to be straight across your fabric otherwise your finished picture will look weird! 4. Leave to dry. 5. Paint pale blue into the top section, this can be painted leaving some white areas that will be your clouds.

1. Chose some photos that you have taken at the beach, select some close up ones of pebbles and sand too. 2. You can mix black and white and colour together.

7 6. Leave to dry. 7. Iron to set your fabric paints and to get rid of any creases. 8. The pictures show how different fabrics soak up the paint; don’t worry if it’s a bit blotchy at this stage as this is only the base for you to build on. 9. Pin your fabric to your piece of Pelmet Vilene.

3. Decide which pieces of your photos you want to use. I like to choose at least one that is of a close up of the pebbles but don’t worry if you haven’t got any pebble pictures as you can just use fabric instead. 4. Cut the photos up and position them onto you fabric background. Think of the perspective at this stage, don’t put bigger pebbles in the distance and smaller ones in the foreground! 5. I live in Devon and so can regularly visit the seaside. One of my favourite places to go to is Budleigh Salterton, so I have included a piece of map as part of my beach to show the location of my work. You may want to include a map the beach of where you went on holiday or of your favourite beach. 6. Cut the pieces of map and photos out carefully. I have cut mine into a range of different shapes. The pebbles and map I have cut into sideways triangles as that is the shape I am going to repeat when cutting my fabric out later, it will help give your work cohesion.


I Be Creative with WORKBOX 35



1. Starting with the sky, cut some sideways triangles going various distances across the sky. Overlap some and take one or two across part of your sky photo. 2. Cut a piece of blue organza the size of the seas and place it under your photo. This will help it look as though your sea is shimmering. Cut another couple of pieces of organza or net and lay across the sea. 3. Now cut some pieces of net, organza and scrim in sand colours and lay the triangles coming across from each side. Overlap them with each other and across the photos. Try to spread the colours about a bit so that there isn’t just one colour in any area. 4. You do not need to put much in the way of fabric layers in the bottom third of your beach as you will be adding pebbles to this section. 5. Now you need to pin your pieces in place. Take particular care not to put a pin in the middle of your photos as it will make a hole which will show later.


Now for the fun part! 1. Set your machine up for free machine embroidery. 2. Start with the sky. 3. Using a pale blue thread, stitch from side to side; I usually put the work in sideways so I am going forwards and backwards but also put a few dog’s legs in so it’s not all straight lines. 4. Take some of the stitching over part of the photo to include it in the work. Change to a slightly darker thread and add some more stitching, try to make sure you catch all of your fabric pieces! Take the pins out as you sew. 5. Now change again to a darker blue and stitch down your sea. 6. Use a similar side to side action and it will make the picture more uniform. 7. I often get carried away at craft shows and buy the lovely variegated threads and then am not quite sure where to use them! Sewing the sand is a perfect use for a variegated yellow to brown as it helps the beach look as if there are ripples in the sand. Once again use a side to side action with a few dog legs or hitches in the lines.


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8. Go over the photos and map to tie the images to the embroidery. 9. Your picture should now have all the pins removed except for the one holding down your pebble photo.



1 1. Using odds and ends of felt, hessian, brown scrim and pebble coloured cottons, cut a selection of pebble shapes. 2. Make them different sizes but make them round or oval so they look like they have been washed by the sea. 3. If you have some 505 spray, you can use it to hold down your small pieces. If not, you can pin them into place on the foreground of your picture. Overlap them. Put bigger ones in the front and smaller ones further back. Overlap your photo so you blur the edges of where the photo begins. 4. Thread your machine with charcoal grey (I find black is too harsh). You need to machine around each pebble. Go round





two or three times as it will make it look like the shadows between the stones. 5. Fill in any gaps between the pebbles with stitching. It does take ages but the foreground is where you want lots of detail. Make sure that you also go around

the pebbles on the photo to link them to the rest of the beach. 6. Once you have completed the main patch of pebbles, add a few scattered on the sand. Stitch a few lines spreading out from the edges of the pebbles.







1. Now to add some detail. My niece and nephew spent ages at the beach collecting the smallest shells and pebbles they could find and these have proved perfect for adding detail to the embroidery. It’s almost impossible to stitch these on so I use a tiny bit of all purpose glue to add a few real pebbles to my beach!

2. Using small seed and bugle beads in groups of 4 or 5, fill in a few gaps between your pebbles. Add a few to the beach too. 3. Seagulls can be a problem at the seaside pinching your chips but it wouldn’t be the same without them wheeling round in the sky! Add a few to your picture. Cut the shapes out of felt and stitch them in a

group onto your sky. Make an odd number as it tends to look better than an even one. 4. Use some wool or fleece to make your waves as they break at the shore. Fluff the wool out to make it look like spray. 5. Mount your work to cover the raw edges.

I Be Creative with WORKBOX 37



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MagniďŹ cent Manipulation Nisa Kiley infuses us with her enthusiasm for textile texture and manipulation


other Nature is the inspiration behind most of my work, the threads that weave and hold together all that we see and experience. The ever changing array of colours, textures and shapes that surround us always; soft and subtle, dark and enticing, loud and garish, the fabric of the whole that we cannot truly perceive, only sense. I love to combine different textures - velvets, satins, layered organzas, silks and lace being among my favourites and I will often mesh fabrics together on an embellisher to create a more painterly effect. I try to create as much texture as possible in my wall hangings which adds to their uniqueness and am always exploring new techniques and developing ideas of my own. My recent purchase of a hot air gun sees me busily burning and contorting man made fabrics into weird and wonderful shapes and spares the mess I previously made when burning them on my gas hob. A soldering iron can be used to cut out organzas, sealing the edges of the fabric.

I Be Creative with WORKBOX 39

INSPIRATIONS materials Previous page: Mountain range worked on embellisher.

Clockwise from left: Showing painted, heat treated lutrador edged with friendly plastic; Manipulation of gold fabric using undulating tucks; Reflections; Sunspots worked with fancy ribbon.

My piece entitled “Reflections” best shows my exploration of texture and manipulation. With manipulation, just forget about trying to lay your fabric down flat - that’s plain boring! Crease it, roll it, twist it - just play around; there are no rules and even if there are, break them! Google fabric manipulation for ideas and see what you come up with. In one excellent guide I found online, I discovered how to construct undulating tucks. I have used this technique in the gold reflections in the water to great effect. Once you have mastered the technique, don’t be afraid to play with it. Take it a stage further. I have free machine embroidered over the top of them so they don’t look so regimented. Try joining different coloured fabrics together and sew vertical lines at random widths apart. Make it art not craft. The entire sky has been made by creasing, overlapping and manipulating fabrics. Use unusual fabrics such as lace, it makes amazing cloud formations! The mountain range in Reflections was worked separately from the main body of the piece as I wished to pad it out afterwards. I used an embellisher machine to mesh fabrics and fibres together to create contrasting texture at eye-level. Mountain shapes were cut out individually and attached. I lightly padded each section as I went along, pushing wadding through a small gap left before completely sewing around.  Free machine embroidery was added to define and shape the hills and valleys. If you haven’t got an embellisher I would highly recommend investing in one. You can create your own fabric, incorporating all manner of fabrics and yarns into the piece. Of course, there’s nothing stopping you trying to wet felt mountains using merino wools scraps of silk etc. Some wonderful effects can be achieved using this method. Experiment and don’t be afraid to mix techniques – throw the rule book out of the window


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and leave it there. The sunspots in the dominant yellow sun were made by hand sewing a fancy ribbon yarn into a circular shape. They were then free machine stitched in place just around the edges so they would stand out slightly proud. I then stitched some strips of fabric over the top of a few just to blend them in. Free machine stitched circular shapes in gold thread were then added in the water as a reflection. Sometimes it is easier to wind your bobbin


with metallic thread and work from the reverse as there is less chance of the thread breaking or tangling up this way. Lutrador is a non-woven spun polyester fabric that can be used for so many effects. I roughly cut some strips in medium weight lutrador and coloured them using alcohol inks. Always one for experimentation, I wondered if my new discovery friendly plastic would work on it (plenty of information about friendly plastic and alcohol inks online). I gingerly



cut some small strips of friendly plastic and placed them on the edges of the coloured lutrador. My vision was one of sparkling sunlight edges on the rippling water. I held the plastic down with a suitable implement and applied the heat. When I could see the plastic had started to melt, I gently drew lines in it with a small stylus. It had adhered to the lutrador quite well. Just a few stitches to secure it in place more firmly would be needed. The entire strips were then heat blasted until holes

were formed and the edges had started to curl and contort. These strips were created prior to being attached to the wall hanging. Anything involving heat where there is a risk of things going disastrously wrong are best worked separately from the main piece and outside for health and safety reasons. Personally, I think that the addition of textures and fabric manipulation within a piece adds an exciting, magical dimension to a piece of textile art. This is the reason

why I love working with fabrics as opposed to paint. Texture comes from the contrasting fabrics as well as manipulation of them. Always look at objects with an artist’s eye. Scour charity shops for interesting finds. Use beads in broken jewellery. Never be afraid to experiment. Remember, you threw the rule book out of the window. BC NisaKiley

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Be creative…

Have a go…

Modern Crosses Quilt using Log Cabin Piecing 42

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Be creative…

Techniques used: » Chain-piecing » Row joining » Column joining » Machine-tying » Binding button embellishment For more information on these techniques visit our website

This design pares down log cabin piecing to its most basic elements—a centre square and four logs in Sunshine and Shadow style. The way you orient the blocks creates a repeating modern cross design across the quilt. Each cross, embellished with a sweet vintage button, is made by joining four blocks together. Offsetting the rows of crosses in a stair-step pattern brings the simple shapes and lines to life.

• Finished center: 1¾" x 1¾" • Finished logs: 1½" wide • Finished block: four 4¾" x 4¾" blocks joined into a Modern Cross Block of 9½" x 9½" • Number of blocks: 240 joined to make 60 Modern Cross Blocks • Binding: 330" (9¼ yards) of 1" finished binding, handmade or purchased • Finished quilt: 80" x 80" (small full)


8¼ yards solid-coloured quilting cotton, 4 yards for the front and 4¼ for the back (A) (I used Kona Cotton in Snow from Robert Kaufman Fabrics) Scraps of 60 prints, 2" x 25" each Plastic bags 1/3 yard fabric for pieced backing design (C)

Batting, at least 84" x 84" (I used Quilters Dream Puff, which can be quilted up to 10" apart) ½ yard fabric for binding, or use leftover assorted fabrics from log strips to make a patchwork binding, (Cutting Key, Note), and 1" bindingtape maker 60 machine-washable buttons

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Be creative… METHOD

Cutting 1. Using the Front Quilt Assembly Diagram as a guide, swatch or hold together fabrics you want to use and play with the arrangements until you find a combination of fabrics you like. I used a fun mix of scraps and remnants from my stash—60 different prints in all. 2. Using the Cutting Key, cut and press the fabric for the quilt. Separate the solid-colour logs and 5¼" x 10" Row End rectangles in plastic bags, away from the print logs. Set aside the backing fabric. Building the Blocks 3. Chain-piece 4 centre squares to a strip of patterned fabric. This fabric will become the first log in these blocks. Trim the logs and press. Chain-piece the joined centre/log pieces to the leftover fabric strip, so that logs 1 and 2 are the same fabric. Trim and press. You’ll use about 25" of printed fabric. 4. Chain-piece the blocks to a solid-colour strip of fabric in the same manner. The solid fabric will become the logs 3 and 4 in these blocks. You’ll use about 35" of solid fabric. 5. Press the blocks neatly. Using the four-way row joining technique, join the blocks so the printed fabric logs align to form a cross shape at the centre of the 4 blocks. Press. This is your first Modern Cross Block! 6. Repeat steps 2–4 to make the remaining 59 Modern Cross Blocks. Assembling the Quilt Front 7. When you’ve completed all 60 Modern Cross Blocks, press them neatly, and arrange them

on the design board in 8 rows of crosses. I suggest an offset layout with 7 cross blocks in the first row, 8 blocks in the second, and so on. From top to bottom, you’ll have an 8-7-8-7-8-7-8-7 alternation. 8. Place one of the Row End rectangles at the beginning and end of each 7-block row to make all rows equal in length. 9. Join the first row of cross blocks and rectangles using the column piecing technique (think of the row as your column, just turned on its side). Press. Join the remaining rows of cross blocks and sashing, pressing each row when you complete it. 10. Now join your first and second rows, matching seams so that the crosses are staggered with one another as shown in the Quilt Front Diagram. The block seams should match up neatly. Press the row seam toward the bottom. Repeat to join your second, third, and fourth rows, pressing each row seam when you complete it, to form one half of the quilt top. Then join your eighth, seventh, sixth, and fifth rows in the same manner to form the second half. 11. Join the 2 halves of the quilt top and press the centre seam. Your quilt top is complete! Assembling the Quilt Back 12. Now it’s time to piece the quilt’s backing, which is made up of 1 large Modern Cross Block centred on a solidcoloured backing fabric. Using the centre squares and logs you cut for the backing, follow steps 3–5 to piece and join 4 blocks to make 1 large-scale Modern


When piecing a binding from multiple fabrics with lots of patterns and colours, many quilters choose to sew the pieces together with straight, rather than angled, seams. These straight seams will calm down the active movement from one wildly patterned fabric to another. For my Modern Crosses Quilt, I used seventeen patterned fabric strips left over from building the blocks and sewed them together using a ¼" straight seam allowance.


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Cross Block. 13. Pin and sew one 40" long piece of backing fabric to one short side of the large cross block, according to the Quilt Back Diagram. Repeat with the remaining 40" long piece of backing fabric on the other short side of the cross block. Press the seams away from the centre of the cross block. 14. Pin and sew the 84" long pieces of backing fabric to the long edges of the joined cross block/backing fabric. Press the seams away from centre of the cross block. Your backing is complete! Finishing the Quilt 15. Press the quilt top. Make a quilt sandwich with your pieced backing fabric, batting, and quilt top, and baste together, making sure that the layers are smooth and even. 16. Machine-tie each cross at the centre. You can move the quilt between ties to knot several quilt blocks at a time before trimming threads. 17. Square up the quilt sandwich and baste around the perimeter edge. Bind the quilt with handmade patchwork binding to complete. 18. Select favourite new or vintage washable buttons and hand-sew them over each machine-tie, using the button embellishment technique. I mixed a variety of buttons in contrasting colours that suited the crosses and the patchwork binding. BC This project was taken from Modern log Cabin Quilting by Susan Beal, published by Potter Craft (£16.99, available from

Cyan Magenta Yellow Black

Be creative… Cutting Key




Center Squares 2¼" x 2¼"



2" x 35"



2" x 25"



Logs 60 (assorted fabrics)

NOTE: If making your own patchwork binding, cut at least 17 of your assorted-fabric log strips in 44" lengths and set aside any leftover scraps to scrap-piece the binding.

Row Ends 5¼" x 10"







BACKING Center Squares 6¾" x 6¾"

Logs 6" x 44"




6" x 44"




Backing Pieces TJ43-11-2010 IMUS 7/CRA0224 Modern Log Cabin Quilting W:8.5" x H:10" 175L 128M/A Magenta (V)

22" x 40"




22" x 84"




To make your own 1" binding: Cut and join 360" of 2"-wide strips (½ yard total fabric; I used 17 leftover 44" strips from my assorted log fabrics).

Cutting 1.

Using the Front Quilt Assembly Diagram as a guide, swatch or hold together fabrics you want to use and play with the arrangements until you find a combination of fabrics you like. I used a fun mix of scraps and remnants from my stash—60 different prints in all.

2. Using the Cutting Key, cut and press the fabric for the quilt. Separate the solid-color logs and 5¼" x 10" Row End rectangles in plastic bags, away from the print logs. Set aside the backing fabric.

Building the Blocks 3. Chain-piece 4 center squares to a strip of patterned fabric. This fabric will become the first log in these blocks. Trim the logs and press. Chain-piece the joined center/log pieces to the leftover


Modern Log Cabin Quilting

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INNOVATIONS horse hair coiling

TRAIL BLAZING Coiling her own version of a Western, Amanda Salm uses horse hair to create innovative, imaginative and exciting pieces of art

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INNOVATIONS horse hair coiling

Previous page: Vibrissae Left: Tropic

Right top to bottom: Float; Clutch detail; Contour


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INNOVATIONS horse hair coiling


he fine, lustrous and versatile tail hair of horses is the medium I have been working with exclusively for over fifteen years. The ancient basketry technique of coiling is the means by which I use the horsehair to form non-functional sculptures. Like choosing a horse over a bullet train to get somewhere, I slowly build and shape a piece by stitching over and completely covering the sinuous core with single 24� strands of tail hair at a time, steering it into unusual shapes and creating negative spaces. The figure eight stitch I use leaves a gap between the rows and the tail hair is stiff enough that I only need a sewing needle at the completion of a piece to stitch the end of the hair back in. Initially, for the core I used multiple strands of horsehair, going by feel to gauge the diameter and adding in more as it was consumed by the ensuing wrapping and shaping. I now use several strands of nylon upholstery thread in either black or white. This focused approach to making pieces has allowed me to explore both material and process in depth. Along that trail I have developed several methods for different textures and shapes that I integrate into the sculptures I create.

A few dates with a former cowboy started me on this path. I became intrigued with horsehair as a textile material after looking at books on Western gear. Having allergies to furry animals growing up, I was more familiar with fish scales and reptile skin, but a call to a resource for purchasing horsehair assured me the tail hair was washed clean, bundled and tidy. An order was placed for my first pound of 23�-25� mixed brown tail hair. When it arrived, the heft of it surprised me. It was tightly wrapped with cotton twine every couple of inches and seemed more like some sort of curious device. There was a lot of trial and error as hair is a slippery thing and I quickly abandoned several of the techniques that were initially attempted. I had taken an elective in basketry while in school many years previously and had pursued coiling with more common materials. I also recalled from that time the samples of miniature coiled horsehair baskets my instructor had collected from the Southwest, and so I was on my way, but with a different style of the technique.

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INNOVATIONS horse hair coiling

Design and colour have been companions throughout my life and the alchemical process of changing the colour of a material has interested me for decades. For over twenty years I have been using natural dyes and there are probably hundreds of dyestuffs that I have sampled and tested over that time. Horsehair, being a protein fibre, takes these dyes exceptionally well. There is a horse of a different colour in my studio and it is tinted with the most lightfast natural dyes; indigo, grape leaves and grape canes, cochineal and madder root. I extend the range of hues by overdyeing and sometimes by adding a bit of iron to the dye bath to darken a colour. In years past, I cultivated many of my own dyestuffs including three different varieties of indigo, madder, which I had to keep in the ground for three years before digging up and drying the roots, and even wild cochineal beetles when I lived in a warmer part of the county.


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There are a great range of design opportunities with the closed style of coiling I use. I am able to create intricate woven-in designs, I can wrap the core for long spans before bringing it back on itself, permitting larger, more open and lacy work, and I can wrangle in previously made coiled starts to bring more textural elements and curiosity to the work. Ideas for forms and surfaces of my sculptures have predominately been derived from the natural world. The skin of a chameleon, the shape of a cocoon, the aerial view of a meandering river, the Milky Way, the prickly exterior of a seed pod, and sea slug egg cases have all served as inspiration for some of my pieces.


INNOVATIONS horse hair coiling

Main image: Arctic Far left: Cluster

Middle: Continuum


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INNOVATIONS horse hair coiling

A few years ago, influenced by the marine environment I live by and a desire to create work on a bigger scale, I taught myself how to make knotted nets. Using fine monofilament, I fabricated both flat and circular suspended nets which are then combined with multiple coiled horsehair elements stitched into the net. Since incorporating the knotted netting into my work, being pleased with the results and feeling that I have pushed about as far as I can with the coiling, I am now embracing other techniques to broaden my design options and outcomes. Knotless netting, twining and plaiting in its many forms are other traditional techniques that I am now using in addition to the coiling and knotted nets.


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The work with nets led me to look more closely at the traditional uses of nets and baskets and how thoughts of being trapped or caught, lured into, or being unaware of a trap reflects some of our social situations today. Though the motive differs from survival, sales techniques, distractions/ attractions and various other psychological ploys are often utilized to deceive and capture ones attention and convince one into spending their money, perhaps foolishly. I anticipate being roped into this work for a while and am immensely grateful to my cowboy for his far-reaching support and encouragement as I continue blazing my own tail, or, uh, trail. BC


Clockwise from top left: 100 Drops detail; Knot Tu Be; Within detail; Showered With Laughter; Within.

All photography by Scott MacDonald









CREATIONS interview

Main image: Fabric of Life; Right: Morning Resolutions


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CREATIONS interview

THINKING OUTSIDE THE BOX Given her first sewing machine at the age of 9, Lisa Kokin has been sewing anything and everything for decades – not just fabric but wood and metal too. We meet the artist herself and discover what makes her tick

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CREATIONS interview

Lisa, for our readers who don’t know you, please tell us a little about yourself and your work. I live in El Sobrante, California, USA, which is about 20 miles outside of San Francisco, with my spouse Lia, three rescue Chihuahua mixes (Chico, Cha Cha and Chula) and Bindi the cat. I grew up outside of New York City, the only child of parents who were in their early forties when I was born. I was spoiled and doted on, and although we didn’t have a lot of money, I was encouraged to take art classes and every Saturday I went to Manhattan to study drawing and go to museums and galleries. My parents were first generation Americans whose parents had emigrated from Russia and Romania; Jews who came to America in search of a better life, free from discrimination. I have a Master of Fine Arts degree from the California College of the Arts in Oakland, California. I am a working artist; I make my living by the sales of my work and by teaching, primarily in my studio. I work mostly with found materials with a textile sensibility. By that I mean that I tend to sew things together, even if the things are made of wood or metal. I like ephemeral materials, shreds, fragments and discards. I like to transform these materials into art using a minimum of intervention, just enough to transform but not so much that I destroy what initially attracted me to the material. I have made a lot of books and book-related objects, as the book was an important element in my upbringing and in my life in general. If readers visit my website they will see that my work looks many different ways; I like to challenge myself and once I have made enough pieces to have figured out what I need to figure out, I move on to another challenge. I like to think that there is a common thread, as it were, that links all of my work, and that my hand and vision are visible in everything I do. How did you become a textile artist? Was it a journey or a natural progression for you? My parents had a small upholstery shop and I spent a lot of time there as a child. My maternal grandmother, like many eastern European Jewish immigrants, worked in the 'needle trades', in her case, in a tie factory in New York City. I think that because I grew up around sewing and fabric, it was natural to incorporate it into my work. I was given my first sewing machine when I was nine, and I have been using sewing, both hand and machine, as a means of attachment and embellishment, for decades.  Anything that can have a hole drilled into it can be sewn, as I found out in the mid 1990s


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when I became interested in sewing the un-sewable ie. wood, metal and other rigid materials.  Once I discovered the free motion foot for my sewing machine, I began to draw with thread using a water soluble stabilizer. I have made several bodies of work using this technique with thread by itself or in combination with zippers, small metal sewing notions and other objects and fabrics, especially lace and found linens previously embroidered by others. Your work is exciting, interesting and innovative; where do you draw inspiration from? Sometimes I will get an idea from the materials and sometimes I have an idea and find the materials to support the idea. It works both ways and I like it that way. For example, my series of thread works that were in Raveling, my solo show at Seager Gray Gallery in 2012, drew their inspiration from the death of my mother. I had been working in thread and I continued to work with that material, although in a slightly different way, incorporating text that had to do with my mother’s last days.  The ‘Lace Cowboy’ series came about because one day at the recycling center I found dozens of pulped cowboy novels. I began making horticulturally-inspired pieces from the covers and pages of the


Clockwise from top left: Moment detail; Panacea Pizpireta; How To Be; A Little Afraid.

CREATIONS interview

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CREATIONS interview

novels. The horticultural imagery came from our move in 2009 to a semi-rural area of El Sobrante.  I was not initially drawn to the cowboy books because the imagery was repugnant to me. I grew to like them for their potential to make a commentary on guns and violence in American society. After using the books themselves to make a series of work, I decided to make cowboys from lace and other 'feminine' types of materials. I wanted to present a paradox: images of gun slinging cowboys made out of ephemeral and traditionally feminine materials, shooting guns which, alas, are loaded only with flowers.  I try to remain open to what is around me, what I discover, what people give me. A few years ago I went to a fabric giveaway that a friend of a friend was having. She had a bag of zippers that had most of the fabric part trimmed away. I loved the way they looked, had no idea what I might do with them, but I took them and they were in my studio for a few years until I pulled them out a few years ago and started making pieces with faux text made of zipper fragments.  This is another example of encountering a material that holds some fascination for me but for which I have no concrete idea. My rule of thumb is that if I am looking at or fondling something for more than thirty seconds I should buy or


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take it regardless of whether I have an idea or not. Time and again this little rule of mine has proven right. The materials you use are varied and seem to be largely ‘found objects’, books or things that have a profound meaning to you – how do you incorporate these into your work? I reassemble, cut up, dismantle, fragment, and rearrange the materials to transform them into something that might bear some resemblance to their former selves but which ultimately become something completely different. Sometimes the original material is recognizable, sometimes not, depending on the specific piece. Please tell us about the techniques you use to create your textile art. I have worked in many mediums and techniques. I like to say that my art is content and materials driven. I try to find the best way to express what I want to say and use whatever materials and techniques best convey that. I am not overly concerned with technique, nor do I see technique as an end in and of itself. I work mainly with found materials such as old books and ephemera, and more recently thread and found textiles. I have used everything from lace to rusty shovels. I acquire technique as I need it and this ad hoc approach has served me well.


CREATIONS interview

Clockwise from top left: Panacea Pizpireta detail; Leotard detail; Adapt or Perish; Origin of Birds

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How would you describe your work? Which is your favourite piece of work and why? Some adjectives would be: labor-intensive, recycled materials-based, content-driven, lots of sewing, serious but also humorous at times. I have lots of favourites, and because each body of work is so different, it’s like apples and oranges. I can’t really pick one absolute favourite. Tell us about your installations and sculpture. My installation and sculptural work are about memory and history, both personal and collective, and the area in which the two intersect. I am interested in representing the human condition by using the objects we leave behind. Many of my installations address the themes of Jewish history and the Holocaust, which cast a deep shadow over my childhood despite the fact that my family had immigrated to America long before the war. Other pieces are interactive book installations which invite the viewer to participate by reading the books.


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Do you specifically research for a project or just let your inspiration lead you? I do some research if necessary but mostly I respond to the materials and to the ideas that spring from them. I use the Internet to look things up and find information as needed. How can our readers find out more about you? Do you teach or run workshops? Readers can find out more about me and my work by going to my website, I teach workshops, classes and facilitate critique groups in my studio. I mentor artists in my studio and also via Skype, which enables me to work one-on-one with people who live anywhere in the world. Your readers can find out more about my mentorship program by going to “Studio Teaching” and clicking on Coaching/ Mentorships on the drop-down menu. Thank you for your time Lisa, we’ve loved looking into your creative world. My pleasure! BC




Left to right: Where Do I Begin; Cacophony

Be creative…

Make your own… Evelyn Clutch This clutch is a real eye-catcher. The key is to properly match or coordinate the piping with the main clutch fabric. The side darts are easy and make the clutch roomy


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Be creative…


3/8 yard for exterior ½ yard coordinating fabric for exterior flap piping and tab (tab is optional ) ½ yard for lining ¾ yard of fusible interfacing ¾˝ (18mm) magnetic snap 7˝ all-purpose zipper for lining pocket Buckle with 2˝ opening (for tab) or twist lock ¾ yard 1/8˝ cording for piping

Finished Size 11½˝ wide × 5¾˝ high × 1½˝ deep. Amounts are based on 42˝ wide fabric. Note A 3/8˝ seam allowance is included on the pattern. Backstitch at the beginning and end of each seam.

Cutting Use the Evelyn Front and Back and Flap patterns which are available on our website www. Draw the pattern directly onto the wrong side of a single layer of fabric. Transfer all points and reference marks to the fabric. Cut out the exterior, lining, and interfacing. Exterior 2 Front and Back pieces 1 Flap piece Exterior Coordinating Fabric 2 pieces 3¼˝ × 7¾˝ for tab (optional, not shown) 1 bias strip 1½˝ × 24˝ for piping Lining 2 Front and Back pieces 1 Flap piece 2 pieces 7˝ × 4˝ for Zipper Pocket Interfacing 2 Front and Back pieces 1 Flap piece

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Be creative…


Making the Exterior and Lining 1. Fuse the interfacing to the wrong side of the exterior front and back pieces, following the manufacturer’s instructions. 2. Attach the magnetic snap onto the exterior front and lining flap. See Attaching the Magnetic Snap. 3. Sew the darts. See Making Darts. 4. Place the exterior front and back pieces with right sides together. The front and back darts should be facing opposite directions. 5. Pin and sew the exterior using a 3/8˝ seam allowance, making a U shape and backstitching on both ends. (Fig A) 6. Clip the curved seams. Turn it right side out. (Fig B) 7. Sew the lining zipper pocket. See Zipper Pocket.


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8. Repeat Steps 3–6 for the lining; leave a 4” gap for turning. Making the Piping 1. Center the 1/8˝ cording down the center of the bias strip. 2. Fold the strip in half, over the cording. 3. Stitch together ¼˝ from the raw edge, being careful not to stretch the bias edges. Stitching the Flap 1. Place the flap tab pieces with right sides together. Pin, leaving the top open for turning. Stitch and trim the corners. (Fig C) 2. Turn the tab right side out. Press the tab and topstitch ¼˝ away from the edge. (Fig D) 3. Place the piping and flap with right sides together. Pin the center and each end first.


4. Pin the rest, clipping the piping seam allowance, if needed. Stitch the piping to the flap with a ¼˝ seam. (Fig E) 5. Fuse the interfacing to the wrong side of the lining piece, following the manufacturer’s instructions. 6. Place the exterior flap and lining flap pieces with right sides together. Pin in place and stitch only the curved seam with a 3/8˝ seam, leaving the straight edge unstitched. (Fig F) 7. Clip the curved seams. (Fig G) 8. Turn it right side out. Press the flap and topstitch 1/8˝ away from the piping seam. 9. Center the tab on the flap and baste. (Fig H) 10. Center the flap onto the back piece of the case with exterior sides together, aligning the raw edges. Pin and baste in place. (Fig I)



Assembling the Exterior and Lining 1. Insert the exterior into the lining, right sides together. The flap and tab should be sandwiched between the lining and exterior. (Fig J) 2. Pin the exterior and lining together around the opening of the bag. 3. Stitch around the opening of the bag. Trim the corners at the top of the seams. 4. Turn the bag right side out through the opening in the lining. Stitch the opening closed. Tuck the lining into the exterior. Press the top opening of the bag. Topstitch around the opening 1/8˝ from the edge. 5. Slide the buckle onto the tab. 6. Hand stitch the back of the tab to the flap. BC

Be creative… Applying a Magnetic Snap





Making Gathers











Zipper Pocket


Applying a Magnetic Snap Attach the magnetic snap following the manufacturer’s instructions. Most snaps attach with the following steps: 1. Cut a small piece of fusible interfacing at least ¼˝ larger on all sides than the snap. 2. Apply the interfacing to the wrong side of the fabric, centered on the snap location. 3. Center the snap on the piece of interfacing.(Fig A) 4. Use a pencil to draw the lines on the fabric where it will need to be cut for the prongs. 5. Mark and carefully snip the slits for the prongs. (Fig B) 6. Insert the prongs of a magnet on the right side of the fabric. (Fig C) 7. Place the disk over the prongs on the wrong side of the fabric and fold the prongs outward over the disc. Finish by attaching

the other half of the magnetic snap on the other piece in the same manner. (Fig D) Making Gathers 1. Sew 2 rows of hand or machine basting stitches on the fabric, within the seam allowance, as marked on the pattern. Leave a few inches of thread at each end. (Fig JJ) 2. Pin at each end of the gathering stitches (Fig JJ) and wind the threads around the first pin in a figure-eight shape. Gently pull the threads at the other end until the gathered piece has been shortened to match the piece it will be sewn to, or to the length specified in the pattern. (Fig KK) 3. Wind these threads around the second pin in the same manner and spread the (Fig KK) gathers evenly.

Sewing Darts 1. Lay the exterior front piece wrong side up. Fold the dart right sides together, matching the dart lines. Pin and stitch along the dart lines, backstitching at the beginning and end. (Fig LL) 2. Press the darts away from the center of the bag. 3. Stitch the back darts in the same manner, but press them toward the center of the bag. (Fig MM) Zipper Pocket 1. Draw the zipper rectangle 3/8˝ wide and 1˝ shorter than the finished length of your zipper, as marked on the pattern, onto a pocket piece 1˝ below the top edge. Place the zipper pocket piece onto the lining with right sides together. Stitch the rectangle on the line. (Fig W)

2. Cut down the center and to each corner, as marked on the zipper pocket pattern. (Fig X) 3. Fold the fabric toward the lining. (Fig Y) 4. Press the seam. The right side of the lining will look like the picture. (Fig Z) 5. Place the zipper onto the wrong side of the lining. Match the right side of the zipper with the wrong side of the lining. Stitch the zipper in place close to the folded edge of the fabric, backstitching at each end. (Fig AA) 6. Place the other zipper pocket piece right sides together to the first piece. Without stitching the lining, stitch the 2 pocket pieces together 3/8˝ from the edge. (Fig BB)

I Be Creative with WORKBOX 65

INSPIRATIONS life stories

THE ART OF FALLING Just as Alice fell down the rabbit hole and into Wonderland, Neroli Henderson literally tumbled from one world and ended up somewhere quite unexpected…


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INSPIRATIONS life stories

Far Left: Phoenix (detail) Cotton fabric, synthetic chiffon and organza, metallic paint, heat gun and soldering iron work. Metallic rayon thread. Mylar film. Bursting into flames a Phoenix is reborn from the ashes. 420x297mm, 2014;

Main image: Coco Quilt Cotton fabrics, confetti work (thousands of tiny pieces of fabrics), quilting, trapunto. This quilt tells the story of my Bichon FrisÊ, Coco, in stitching around the edge, a rescue dog of sorts, who came to live with me when I was still laying down most of the time. This quilt has 4 awards now both in Australia and in the USA. 123x103cm, 2014

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INSPIRATIONS life stories


guess you could say I fell into textile art. I was a graphic designer and art director who ran my own business; I had a couple of long term contracts with large corporations and was feeling pretty happy about what I had accomplished. Then in 1998 at the age of 25, things changed suddenly when I woke up to my mobile phone ringing downstairs and grabbing a towel to wrap myself in, ran down to pick it up. I never made it past the second step; my foot was placed too far forward and I sailed through the air – towel still at the top – and landed butt naked, sitting up half way down the flight. My first thought was that I didn’t have to pick myself up, I’d landed in a perfect sit and congratulated myself on this before realizing I couldn’t move. Luckily, I had a corded phone downstairs and managed to pull on the balustrades and fall the rest of the way. I commando crawled (in more ways than one!) to the telephone and


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managed to call for help. Many hours later at the hospital, I found out I’d managed to crush a vertebrae between my shoulder blades. I was kept in hospital only for a few days and my therapy consisted of being told to ‘walk as much as you can’ – which admittedly was only a few minutes. The next few years were very, very different. The constant sitting and deadlines of graphic design had to go, I had around 4 years where I was laying


down around 70% of the time and it wasn’t until after an MRI scan showed some disc indentation into my spinal cord and I got some significant pain management, that I was able to start to walk and move properly. The more I could walk and move, the better I got. During all of this time, I lived by myself and this time period still remains the most dominant theme in my work. I am frequently using different textile and mixed media materials and techniques, but the feeling of loss, isolation, vulnerability or lack of control permeates almost all the pieces I create. I’ve always been introspective, overly analytical and more interested in people and emotions than the objects that surround us. While my work often has figurative or representational images of nature, the main draw card for me is the catharsis of the emotion they contain and my aim is that others feel something when they look at them.

INSPIRATIONS life stories Right: I+V+III+I (Stillbirth) Silk fabrics, trapunto, sari edging, metallic stitched text. This quilt was a memory quilt for a friend. Each piece of the quilt is representational. Denise had 10 pregnancies in all, her first which resulted in her now 13 year old daughter Paige shown as the dove flying, five miscarriages shown as the single leaves, three IVF implementations that didn’t hold are shown as double leaves and finally her stillborn son Marcus. His hand and footprints were taken in the hospital and I’ve stitched them in gold thread – his hand in the ‘womb’ of the tree and his little feet walking away. The metal heart in the tree has Marcus’s name and DOB embossed. The poem was written by me with the assistance of my friend, who has told me the lines that were wrong until they were right. There are two faces carved into the top of the trunk, her and her husband. The yellow ribbon signifies their love. 125x125cm, 2014

Left page: Plight of the Bumblebee My entry into the curated Living Colour Textile exhibition that travelled Australia, NZ and the United States. Lumiere paint, trapunto, machine embellished silk velvet, machine stitched fringe, machine embroidery, angelina fibres (fantasy film) for the wings of the bee on wash away clear stabiliser. 100cm x 40cm, 2014 Photography by Bard Haerland

Pandora’s Box Acrylic paint, metallic foil, cotton fabric and stitch.

All those negative thoughts we keep boxed away from the world, floating freely, ready to disrupt our day at a suitable provocation. 420x297mm, 2015

These days I can walk and move as much as I like, but any stationary position including sitting is still rather limited. I still have pain on a day to day basis but nothing even remotely in the realm of the first seven years after my back break. The frustration of not being able to do what I want when I want on a physical level, of not being the master of my own body so to speak, is still evident in my work for this reason. I feel my art is at its most poignant when it speaks from my own experiences or documents the emotional struggle of others close to me. After the accident I took up oil painting – quick frenetic paintings with a palette knife that I could work on for up to 10 minutes at a time before laying back down – and was surprised how quickly these sold, particularly given the very few people who got to see them. This inspired me to look further at art as a career. Most have to work another job to make ends meet but for me, any normal job wasn’t a physical

possibility anyway – so it wasn’t like I had anything to lose. Around 2006, my mother, an avid traditional patch worker, suggested I come along to the Australasian Quilt Convention to participate in classes with her for four days. I honestly thought I would hate it, but figured it would be good for some mother/daughter brownie points. I was so surprised to discover there were some arty classes – modern free machine embroidery, fusing fabric and painting fabric and a free motion stitch collage. Up until this, I had absolutely no idea any of these things existed; the concept that you could draw with a sewing machine and the abundance of texture and sheen that textile media afforded was an epiphany for me. After the first year or so of quite possibly more swearing than stitching, I got the hang of free motion sewing and haven’t looked back. The first thing I do when designing my work is decide what I want it to be

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INSPIRATIONS life stories

and what I want it to say. Then I sketch and put a lot of time into working out the way to create each part the design – including which mediums and techniques will give the very best result. Often, there are many pieces made with different techniques created separately that are then joined together in the final stages. My work has gotten more refined and sophisticated over the years – early on, I think I was a little too bedazzled by the metallic, rainbow, shines and sheens to include perhaps as much restraint as I should have. Someone once told me that 90% of a work should be matte with only 10% shiny and I still think this is utter bunk. Focal points and contrast are important but no-one said it couldn’t be the other way around! My most used techniques in the last two years are trapunto, made with double or triple layers of batting cut back to only be in some areas, fabric paint (I love Jacquard Lumiere but use a whole bunch of brands), metal foils and leaf and of course every kind of free machine stitched thread under the sun. I took on ownership of the Facebook Textile Arts group when it only had around 200 people and with a lot of work this has grown to 12,500 and is still growing daily and I have no doubt this has helped my profile along with my stand alone Facebook presence. Being sponsored by Bernina Australia has been a big boost to my confidence as well – as has the Bernina 750 I use, which allows me enough space and fluidity of stitch to get incredibly precise results. Once you’ve been a graphic designer I don’t think you lose your pedant tendencies for everything to be ‘just so’. The last year has been the most amazing yet – I’ve started exhibiting at shows and won 5 awards including judge’s choice at the biggest show in Australia (The Quilter’s Guild of NSW) and an Honorary Nomination at the 2015 World Quilt Fair in the US. I’ve also started to regularly sell my textile based art online with people contacting me via sources like Pinterest and Facebook. I also use Redbubble which has been great as they offer prints of my artwork on a variety of products which means people can own a copy of one of their favourites at a much lower price point. I’m so excited at what the future holds and can’t imagine ever giving up the texture and magic that fibre and stitching affords my art. BC

Main image: The Fallen Cotton and linen fabrics, tulle, metallic and transparent fabric paint, trapunto, reflective thread. The Twelve Apostles are an iconic part of the beautiful Australian coastline, one of the most instantly recognizable of these lime stone stacks fell a decade ago and its rubble is visible in the foreground. When photographed with a flash, the outline of the Apostle appears, reflecting back a ghostly luminous white. (Image right, with a flash showing the outline, the main image without.) The name recognises both the decade since the fallen apostle but also the centenary of WWI and the soldiers who died defending our coastline.

Middle: Glimmer Giclée print (own photograph) on silk, quilted with ultra fine 100wt thread, metal foil. Single, double and triple batting (trapunto). 140.5 x 90.5cm, 2015

Below: The Churning Lumiere paint, fusible web, machine free motion and decorative machine stitches, corded edge. I wanted to show that volatility we all feel when life is unpredicatable and the feeling when everything is uncertain. 420x297mm 2014

If you’d like to follow each of my works as they progress, please ‘like’ my Facebook page. Neroli Henderson


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INSPIRATIONS life stories


I Be Creative with WORKBOX 71

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73 Gold Embroidery on Velvet, Art in Quilting with Patricia McLaughlin, William Morris-Artist of Scientist

74 Limited Stock Windsor School of Textile Art, Royal School of Needlework Awards 2001, Hazel Smith’s unique Embroideries

76 Tapestry Design, History of the Needle, Buckingham Palace Wall Hanging, Stumpwork Daffodil, Quilting, Decorative Boxes

79 Double Exposure with Jan Beaney & Jean Littlejohn, Burnel Broderers, Quilt 2002

80 Limited Stock Sewing the Seeds, Textile Artists, Lace, Art in Embroidery Edrica Huws, Magnificent Golden Bee, Ten Plus Textiles Revisted

98 Limited Stock Contemporary Whitework, Quilt Network Japan, Ramses Wissa Wassef, Lacemaking, Danish Landscape Embroideries

107 Quilts, Beadwork, New Canvas Work, Debbie Gelder, Embroidery, Lace Jewellery, Ramses Wissa Wassef, Textile Works

111 Limited Stock Quilting, Lydiard Park, Wild Wire Weaving, Helen M Stevens, Anir Mallik, Kente Cloth, Textile Works

119 Ann Baseden, Lace, Nanette Regan, Viva la Diva, Synergy II, The Needlework of Mary Queen of Scots, Carnival in Lace

120 Kath Danswan, Festival of Quilts, Ruth Lee, Jen Jones, Odyssey, Sara Pike, Julian Jefferson, Derby Cathedral

121 Jane Atkinson, Julia Caprara, Lace, Louise West, Five-Fold, Jae Maries, Traquair, August Idyll, Beverley Speck

122 Airedale Ruggers, Web of Learning, Quilt Art at 25, Stunning Creations – Catherina von Isenburg, Cream of the Crochet Crop

123 Limited Stock Curiouser & Curiouser with Brunel Broderers, Fabrications, 300 Years of British Quilting at the V&A

124 Lindum Textile Artists, Art at your Fingertips, Penwith Textile & Embroidery Group, Long Distance Learning

125 Salway Ash Embroiderers’, Postcards from Monmouth, Bianca Padidar, Long Gallery of Stitch

126 Talking Textiles – East, Bolton Embroiderers’ Guild, Tapestry, Fantastic Fans, Maria Walker


41 Textile Art from Ireland, Simon Jersey Tapestry Award, Knitted Toys, Fulfilling a Dream

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127 Bravo Art Bras, Sue Goodman, Spinning Wheels, Ruth Norbury, Miniature Needle Arts

129 Karen Erlebach, The Blue Belle Gallery, Norfolk Lacemakers, Wider Horizons, Quay Crafts

130 Print, Dye & Stitch, Miniature Quilts, Hand and Lock, Jacqui Barber’s Hand Made Bobbin Lace

131 Contemporary Lace, Mining a Golden Seam, Angora Wool Dress, Sally Sparks’ Atlantic Adventure

132 Art Meets Science, The Fastenings Family, Rag Rugging, Stitching on Rag Paper, Gordano Textile Artists

133 Limited Stock Travels in India, Making an Irish Dance Dress, Free Motion Embroidery, Chameleon: Images to Inspire

135 Devon Lace, Inside the Bowes Museum, Remembered in Thread, Afghan Inspirations, Inkberrow Student Files

136 Teddy Love, Devon Lace pt2, Conventional vs Organic Fabric, Flowers in Felt, The Needlework Archives

137 The Rolling Hills of Dorset, Stunning Contemporary Lace, Killerton’s Objects of Desire, Stitching Wider Horizons

138 Gilda Baron, Quilts for Japan, The Doll Makers Circle, The Duchess of Cambridge’s Wedding Dress, Grace Lister

140 Interview with Naseem Darbey, Into the Weave with 45 Southside, Gail Critchlow Quilting, A Hanging for the Mayor

141 The Great Tapestry of Scotland, Fabulous Felt by Chantal Seddon, The Motion of Stitching with Michala Gyetvai

142 Sally Sparks Travels to Bhutan, Embroidered Art by Lindsay Taylor, Ophelia After Millais by Ann Holden

143 Travels to Bhutan: Part 2, The Hare by Richard Box, One in a Minion, In a 17th Century Garden, Trish Burr Interview

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144 World War 1 embroidered cards, French Inspiration - Hastings to Normandy, Inspired by grandchildren

145 The Longarm of Quilting, Smockers Celebrate, Magna Carta 800th anniversary, Box Clever with Sleaford embroiderers

147 Flower Power – Monica Crescini, Mad as a Hatter – Heather Wilson, Thread Painting, Lace at Waddesdon

148 Textile Treasures - Living Threads Exhibition, Dresses to Impress, Doll Making, Dreaming of Doone, Working with Wax

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149 Texture, Surface and Pattern with Sue Hotchkis, Print your own fabrics, Reinventing cross stitch, Di van Niekerk project

150 Colourful Textile Journeys, Machine Embroidery with Richard Box, Canadian Environmental Art, Addicted to Lace


151 Story Telling in Textiles, Extreme Embroidery – Breaking the Rules, Creating Tyvek Textures, Contemporary Traditions

152 Limited Stock Create Your Own Textile Landscapes, Lace Unleashed, Digital Craft, Egyptian Weaving, Self Taught Textiles

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153 Portraits in Thread, Motivated by Material, Experimental Embroidery, Artist Interviews, Redefined Patchwork Current issue also available Please see order form for p&p costs.


Parallel Pathways II In this, their second exhibition, Chalk and Cheese Textiles present an exploration of Islamic and Buddhist faith and practice in textile art


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Above: Sandy and Jayne

Left page: The Praying man, made by Jayne, all hand stitched.

Clockwise from top left: The Five Pillars of Islam wall hanging. This represents the five pillars which are the foundation actions of following Muslims; Work in progress of Jayne’s mixed media, showing what Islam means to her; Jayne’s work area; This is made by Jayne using mixed media and free machining. The logo in middle means Allah; The footprints theme made in gold work by Sandy.

In their first exhibition, Jayne Laouami-Baigent and Sandy Draper ‘Chalk and Cheese Textiles’- compared and contrasted two parallel paths towards achieving City & Guilds Level 3 in Craft, Design and Embroidery, by distance learning, and as a residential student. For their second exhibition together, Jayne and Sandy have chosen to explore together their respective faiths and practice; Islam and Buddhism. They had several purposes in mind when setting out on this path. They each wanted to learn more about their own and each other’s faiths and the impact that these have on their day to day lives. They also want to bring a greater understanding of these faiths to the people who visit their exhibition, as they believe that the only way to reduce prejudice is through education. Sandy has followed a Buddhist path since 2007. Mindfulness is very much a ‘buzz word’ at the moment, and this way of approaching life stemmed originally from the ancient teachings of the Buddha. Mindfulness can be applied to any activity and Sandy has enjoyed developing her mindfulness practice through her textile work.

Sandy hopes that the pieces in this exhibition will encourage visitors to took look more deeply into aspects of their own lives, including their many different relationships with other people, how they take care of themselves, how they earn their living, how they spend their leisure time and what core beliefs underpin all these. Jayne is a convert to Islam after her first husband, Larbi, introduced her to the faith in 1996. After his death in 2001, Jayne realised the importance of Islam in her life and from then on embraced the religion and welcomed the comfort it gave her as she began to move on in her life. Jayne wanted to do this exhibition to show the side of Islam that isn’t always seen, the peaceful side; the side that gives comfort and hope to most Muslims around the world. Jayne hopes that the medium of textile art will enable the viewer to see Islam and the history of Islam through her eyes, and enjoy the experience of discovering and understanding Islam and some of its many different facets. Jayne and Sandy have spent two years working together on this project. From the beginning they planned the pieces for the exhibition collaboratively, so they would present as a harmonious whole. They also set out to challenge

themselves and each other in terms of developing their embroidery and multimedia skills, and not shying away from techniques which they found testing. So, for example, they each completed a piece of goldwork which neither of them had undertaken to any great extent before. Sandy chose to work a design of the Footprints of the Buddha, whilst Jayne worked on the Hand of Fatima, both important symbols in their faiths. Jayne encouraged Sandy in developing her mixed media skills, and not minding being ‘messy’! Sandy saw one of her roles as helping Jayne to pay close attention to detail and finishing off. Both during the planning stage and throughout the working of the pieces, the complementary nature of these two faiths of Islam and Buddhism has become increasingly apparent. The common emphasis on generosity and compassion have become a way of working together for Jayne and Sandy as they have learned more and renewed their faith through their textile art. It will not be easy to find another topic for their next series of pieces and exhibition that will encompass passion, education, visual excitement and commitment, but they will certainly try hard to do so! BC

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Beyond the Red Rope

The long established Isle of Wight contemporary craft group, QuayCrafts, were delighted to be the first artists to be given the opportunity to respond to the beautiful house and grounds at Osborne House, home of Queen Victoria and Prince Albert. An exhibition of their work, entitled ‘Beyond the Red Rope’ was exhibited throughout September and October 2015.

## Inset box

The ten artis in a variety o ramics, texti and glass.

As lovers of art, Queen Victoria and Prince Albert commissioned a huge body of art and craft, working closely with the makers. The members of QuayCrafts hoped that visitors had enjoyed sharing the way that contemporary art can evoke stories, histories and a sense of place. The QuayCrafts spokesperson Chris Lines said, “It has been truly fascinating to see behind the scenes and have the chance to talk to the curator Michael Hunter and the


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staff who are so knowledgeable. The life and times of Queen Victoria, the artefacts and even the remains of the Convalescent Home have proved to be inspirational starting points for our creative work.” The original concept for Chris Lines' paper dresses came from Queen Victoria’s wardrobe room. This was where Queen Victoria’s clothes would have been stored after Prince Albert’s death in 1861. Victoria went into mourning and wore only black clothes for the


remainder of her life. The dresses Chris sculpted have been re-created from styles of the period from 1837 until 1861. The Privy Council dress, originally a black mourning dress worn on the occasion of Victoria’s accession in 1837, was actually a mourning dress for her uncle William IV, and which she kept until her death. It was originally black but has somewhat enigmatically faded to a rusty brown. This was due to the natural dyes in use during that period, including plant dyes such


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sts in QuayCrafts work of media including ceiles, photography, print

Main image: M. Bangerter Meadow Stitch

Middle row top to bottom: M. Dogilewski Fire Screen; C. Lines Memory Dresses detail; Orchid Chandelier by Lindsay Taylor Far right: C. Lines Memory Dresses.

as logwood and weld, as well as iron (for black). In re-creating this dress in paper, Chris has dyed the paper with plants and iron. The plants she has used are those grown at Osborne during Queen Victoria’s time, such as geranium, ivy, strawberry leaf, peony and herbs. The dresses have been made from a delicate, yet strong tissue paper, using specially-made patterns based on garments of the time, and in the sizes that would have fitted Queen Victoria as she

was then, although the length has been slightly exaggerated for artistic effect. The Privy Council Dress, as it is known, has a waist measurement of 22”, which was accurate for Victoria, aged 19. Mary Flynn’s starting point came from accessing the archive photographs of the Royal Children at Osborne. It gave a glimpse of how the children loved to dress up. The images of Prince Arthur and Prince Alfred dressed in the costumes of Sikh princes taken in 1854, seated

on an ivory bench now stands at the bottom of the main staircase. Mary’s interactive installation is an Indian tiger throne. The Indian tiger, now an endangered species, were killed in their thousands during the time of Victoria’s rule as Empress of India. The furniture in the Horn Room and the ivory seat with paws housed on the balcony of the Durbar Room, inspired Mary to create the throne with paws and claws. The foundation for the throne was a recycled plastic patio chair, the form was shaped with cardboard, paper and ‘mod-roc’, then covered with a collaged and painted surfaces. Salvaged imitation flowers, second hand beads and broken jewellery decorate the throne. The tiger’s head and paws were modelled in clay and covered with papier-mâché. The appliqué ‘rug’ was made using fabrics from charity shops. Visitors were encouraged to dress up, sit in the throne, and photograph themselves. Queen Victoria’s family tree makes for the starting point for Minette Dogilewski’s threedimensional book art. Haemophilia is an inherited disease, usually affecting only males but carried by females. Queen Victoria was one such carrier of haemophilia, passing it on to her descendants, which ultimately affected world history. The nursery is where it all began.

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EXHIBITIONS Clockwise from left: M. Flynn Tiger Throne; D. Parsons Tiles Cloth; M. Dogilewski Books of Letters detail; D. Parsons Tiles Cloth detail.

As much as Minette was interested in the affect that haemophilia had on the world stage; it is the visualisation of the genetic formula of haemophilia, the layout of family trees and how dictionary definitions are written out, that really intrigued and engrossed her. Printing the family tree, definition and genetics on separate pages and attaching these pages onto the fire screen, made the fire screen into a book. Wandering through Osborne, it is sometimes difficult to know quite where to look – there is so much to see. But the people who work there have an amazing wealth of knowledge and Mandy Bangerter became fascinated by what they see and love best about the house and grounds at Osborne. Inspired by the mix of words and images found in Victorian stitched samplers and the growing use of the sewing machine in the 19th century, Mandy weaved together stitched images, photographs, drawings and words to illustrate some of these stories. Mandy worked with a pallet of found, dyed, photographic and painted fabrics, and draws using the expressive mark-making of free hand machine stitch. The beauty and detail of the Minton encaustic tiled floor in the Grand Corridor proved to be inspirational to textile artist Diana Parsons. The floor design is filled with formal arrangements of sea creatures, as befits a seaside home, interspersed with gorgeous borders, some of which are based on flowers and foliage. Diana has made a textile


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‘floor cloth’, highlighting selected parts of the sea related imagery and decorative borders that dominate the floor design. Emphasizing the richness of colour found within the tiles, Diana transferred her paintings onto fabric, embedding them with silk fabrics. The sheen of silk seems to echo similar qualities in the tiles, creating a connection between their hard surface and the soft texture of cloth. Hand and machine stitch create the final layer. Osborne House is the home of a fabulous ceramic chandelier previously situated above the table in the audience room, but taken down for restoration before being displayed at Buckingham Palace for the duration of 2015. This was Lindsay Taylor’s inspiration behind her own orchid creation. At first, Lindsay thought she would make an embroidered copy of the original, however, stories of the intrepid Victorian plant hunters, returning from far flung lands, with many species of exotic, hitherto unseen orchids, played a big part in Lindsay’s change of direction. Lindsay used a chandelier she had made many years ago as a support for her threedimensional embroidered orchids, the metal frame was wrapped in space dyed silk fabric, and the orchids attached. BC The group are now in the process of securing new exhibition opportunities for this body of work. For more information visit


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What’s on...


Please send your event information for the May/June 2016 issue (Published April 8th) to reach us by mid March. Please include all relevant dates, opening times, venue and contact telephone numbers. We try to ensure that all events, of which we are given notice, are included, but cannot guarantee that your listing will be printed. Please send all events information to: Be Creative with Workbox, 8 Woodbury Business Park, Woodbury, Devon EX5 1AY. You can contact us on: 01395 233247 or email us: and mark subject ‘What’s On’, or go to and then your event will appear online on our site as well as in the Workbox Magazine.

Embroiderers’ Guild NOTICEBOARD 08 February – 17 July 2016 THE ARTFUL CRAFT OF EMBROIDERED GARDENS (EG REGIONAL EVENT) Standen House and Gardens, West Hoathly Road, East Grinstead, West Sussex, RH19 4NE An opportunity to see a display of unique and specially created work based around the typically English scene of landscapes and stately gardens. This is one of the exhibitions by members of the Embroiderers' Guild from the East Surrey, East Sussex and Brighton branches, as part of the Tercentenary Capability Brown Festival. Tel: 01342 323029 Free admission. Open 11am – 4pm.

13 February – 02 May 2016 VISIONING THE LANDSCAPE AT BLENHEIM PALACE (EG BRANCH EVENT) Blenheim Palace, Woodstock, Oxfordshire, OX20 1PP An opportunity to see one of the exhibitions by members of the Embroiderers' Guild from the Oxford branch, as part of the Tercentenary Capability Brown Festival. Tel: 01998 810530 see website for admission charges and opening times

14 February – 22 May 2016 NOW & THEN: 60TH ANNIVERSARY OF THE MANCHESTER BRANCH OF THE EMBROIDERERS' GUILD (EG BRANCH EVENT) Ordsall Hall, Ordsall Lane, Salford, M5 3AN The Manchester Branch of the Embroiderers' Guild celebrates its 60th Anniversary this year. An exhibition of members' work entitled "Now & Then", featuring the group piece "Endless Washing Line" along with other group and individual work. The branch are also running workshops for both children and adults and a reminiscence project about school and childhood embroidery. Admission Free to exhibition. Mon-Thur

10am - 4pm, Sun 1pm - 4pm. Tel: 0161 872 0251 (workshops must be booked through Ordsall Hall)

11-14 March 2016


Minerva Space, Mechanics Institute, 117 Sturt Street, Ballarat, Victoria Embroidery and Patchwork Exhibition: ‘Stitches in Flight’ A stunning display of traditional, contemporary and creative embroidery. Special features include members challenge, junior group and display of members’ first embroideries. Opening Hours: 10am to 4:30pm Entry price: Adults $5.00 – Under 16’s free Handmade goods for sale Contact details: 0413 270412 or email:

08 April – 09 April 2016 RYEDALE EMBROIDERERS' GUILD SILVER JUBILEE EXHIBITION (EG BRANCH EVENT) The Band Room, Farndale, YO62 7UY The Ryedale branch of the Embroiderers' Guild is celebrating its Silver Jubilee with an exhibition of textile art and embroidery. Refreshments available and you should also visit the wild daffodils! Open 10am - 4pm Free entry Tel: 017223 862417 (Anita Cassedy)

Quilters’ Guild of The British Isles AND Quilt Groups NOTICEBOARD 14 January 2016



To submit your event go to The listings in this magazine have been collated in good faith. River Media Devon Ltd make every effort to ensure the accuracy of the information it publishes, but it cannot be held responsible for any incorrect information, any loss or damage arising from any errors or inaccuracies or cancellations of events that may be contained within these pages Readers please note: It is a good idea to check dates and times of opening etc, before going to an exhibition or event.


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EXHIBITION WEEKEND Lady Sew and Sew, Farm Road, Henley on Thames, Oxon, RG9 1EJ For more information on further exhibitions and workshops do take a look at our website: Open 10am - 5pm.

12 March 2016


Feering Community Centre, Coggeshall Road, Feering, CO5 9QB Speakers: DeAnne Hartwell Jones and Sally Stott, Guild Heritage Officer 9:30am - 3:30pm Traders, sales table and raffle. Tickets in advance. QG Members: £10, Non-Members: £12. On the door QG Members: £12 Non-Members: £18 Further details: Jane Rogers 01284 767312 or email:

18 March - 20 March 2016 COTTON CLUB QUILTERS QUILT SHOW Woodbridge Community Hall, nr Ipswich, IP12 4AU. Exhibition, sales tables, demonstrations, raffle. It is an Affiliated Group event being organised by Cotton Club, TBC. Opening times Fri – Sat 10am-4pm, Sun 10am-3pm. Entry £3, children free

19 March – 8 May 2016 TRANSITIONS BY ETCETERA The Art Gallery, Ryedale Folk Museum, Hutton le Hole, YO62 6UA. Etcetera is a new group composed of seven nationally and internationally exhibited quilt and embroidery artists based in the North of England. Open daily March 10am - 4pm, April onwards 10am - 5pm Admission to the Art Gallery is free, admission charge for the Folk Museum. Access is possible throughout the site for those with mobility difficulties.

19 March – 20 March 2016 NESS QUILTERS EXHIBITION OF WORK Culoden Battlefield Visitors Centre, Culloden

Moor, Inverness, Highlands IV2 5EU. The first Exhibition of work produced by the group over the last four years. Refreshments and parking available on site. All proceeds to be donated to the Culloden Centre. Open 10am-4pm. Entrance fee £3.00 (Entrance to Battlefield exhibition extra) Event organised by Sue Cowe,

26 March – 9 April 2016 WELSH HERITAGE QUILTERS BIENNIAL EXHIBITION Minerva Arts Centre Llanidloes SY18 6BY (Closed Sundays). Sweet 16 Quilting Dreams showcases the work of members, a diverse group of professional quilters, talented amateurs and those just beginning their journeys in patchwork and quilting.  Exhibits include a wide variety of quilts plus a range of smaller items, many made in response to one of the themes and challenges set by the group every two years to encourage creativity, but members also display anything that they are proud of making.  Open 10:30am – 4:30pm. Admission £2.00 Event organised by Welsh Heritage Quilters, Ann Edwards 01686 414637.

9 April – 10 April 2016 ABBEY & FITZHARRYS QUILTERS QUILT SHOW Manor Prep School, Abingdon, OX13 6LN Attractions: The African Fabric Shop; Mostly Books; Sales Table; Textile Tombola Excellent Refreshments! Open 10am – 4pm. Entrance £3 (free entry second day). Under 16’s Free, Easy Parking, Disabled Access. No Stilettos! Further information from Janet Manning Tel: 01235 528974 Email: janetmanning49@

19 March – 20 March 2016 NESS QUILTERS EXHIBITION OF WORK Culoden Battlefield Visitors Centre, Culloden Moor, Inverness, Highlands IV2 5EU. The first Exhibition of work produced by the group over the last four years. Refreshments and parking available on site. All proceeds to be donated to the Culloden Centre. Open 10am-4pm. Entrance fee £3.00 (Entrance to Battlefield exhibition extra) Event organised by Sue Cowe,

26 March – 9 April 2016 WELSH HERITAGE QUILTERS BIENNIAL EXHIBITION Minerva Arts Centre Llanidloes SY18 6BY (Closed Sundays). Sweet 16 Quilting Dreams showcases the work of members, a diverse group of professional quilters, talented amateurs and those just beginning their journeys in patchwork and quilting. 

Open 10:30am – 4:30pm. Admission £2.00 Event organised by Welsh Heritage Quilters, Ann Edwards 01686 414637.

Events Nationwide 5 February – 14 May 2016 OPENING UP THE PATTERN BOOKS The Silk Museum, Park Lane, Macclesfield, Cheshire, SK11 6TJ Macclesfield Museums care for a significant collection of pattern book archives; a collection which tells the story of the town’s silk making industry. On Saturday 6 February we are running a workshop for 12-16 year olds with artist and designer Michelle Stephens. Please telephone 01625 613210 to book a place, £6.50 per person. For more information contact: Sue Hughes, Director,, 01625 613210

20 February 2016 THE SOUTH WALES NEEDLECRAFT SHOW IN COWBRIDGE Cowbridge Leisure Centre, The Broadshoard, Cowbridge, CF71 7DA Featuring a wide range of wool, fabric & haberdashery suppliers plus cross stitch and embroidery suppliers Open 10am – 4pm

aspects of patchwork and quilting. With talks, competitions, demonstrations, workshops and so much more, this is a true patchworker’s paradise! Opening times 10am - 5pm (4pm Sunday) Adults: £8.00 Seniors: £7.00

3 March – 6 March 2016 THE STITCHING & SEWING SHOW SECC, Glasgow The Stitching & Sewing Show is a haven for knitting, cross stitch, dressmaking and sewing enthusiasts, offering all the very latest supplies, ideas and innovations in the stitching world! You’ll find everything from kits, chart and patterns to fabrics, yarns threads and buttons, plus, there will be the exclusive opportunity to glean advice from industry experts, and get involved with hands on activities and demonstrations. Opening times 10am - 5pm (4pm Sunday) Adults: £8.00 Seniors: £7.00

5 March 2016 & 2 April 2016 THE GUISBOROUGH AND DISTRICT BRANCH OF THE EMBROIDERERS’ GUILD Sunnyfield House, Westgate, Guisborough, TS14 6BA. Monthly meeting starts at 1.45pm. 5 March Guest speaker: Lesley Bentham – Yes We Have National Costumes – Staithes Bonnets. 2 April Guest speaker: Marie Wray – A Tapestry Journey. Visitors are welcome whether non-stitcher’s, beginners or more experienced stitcher’s. We will be very pleased to see you. For more information please call: 01642 314860.

17 March - 20 March 2016

1 -28 March 2016


PARALLELL PATHWAYS II EXHIBITION CHALK & CHEESE TEXTILES Craft Arena , Barleylands, Billericay, CM11 2UD An exhibition exploring the differences & similarities between Islam & Buddhism through the medium of textiles. Free admission Tues - Sat 10am - 5pm, Sun 10am - 4pm.

3 March – 6 March 2016 KNITTING & STITCHING SHOW Olympia, London This is the definitive event for anyone with a love of stitch and crafts, supplies, workshops and textile art. 10am - 5pm. Event organised by Twisted Thread/Upper Street Events, Tel: 020 7688 6830.

3 March – 6 March 2016 THE QUILTING SHOW SECC, Glasgow The Quilting Show is a fabulous showcase of the UK’s finest patchwork & quilting – launched in 2015, the show highlights the wonderful work of Scottish quilters, and brings a range of exciting exhibitions to the SECC, with the aim of encouraging all

NEC, Birmingham Unleash the creativity within you at Sewing for Pleasure – if sewing, knitting and patchwork are your passions, this spring visit the ultimate stitchers’ paradise - with all the latest supplies and ideas including must-have fabrics, fabulous yarns, patterns and threads; plus plenty to inspire and help refine your craft. Opening times 9.30am - 5.30pm (5pm Sunday) Adults: £12.00 seniors: £11.00

22 – 31 March 2016 EXHIBITION The Swallow Gallery, Dorset Wildlife Trust, The Kingcombe Centre, Toller Percorum, Dorchester, Dorset DT2 0EQ. This is an exhibition of new work on display in the new gallery/studio where the group meets twice a year. The work will include machine embroidery and creative felt work. The gallery is open every day 10.30am – 4.30pm and the cafe will be open from 25th – 31st March (Easter weekend). Further information can be obtained through email from

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A VIEW FROM HAPPY QUILTER LAND Lucie Wakefield is one happy quilter, and she shares that happiness on her blog I started blogging some five years ago. At first it was a challenge to find crafty things to post about but then I realised that I could just post about whatever crafty things I work on from day to day, hoping that I could inspire just one person to have a go at being creative. I love receiving comments from my readers, giving me positive feedback or telling me they feel compelled to try the ‘new to them’ technique or method that I had blogged about. I write about everything from the different techniques I use in machine and hand quilting right through to my favourite useful tool of the week. And of course I talk about real life, the things that we all have in common such as family, struggling with technology, the weather and now and again I have been known to host the odd giveaway. Blogging is my way of recording my day to day crafty happenings. I spend loads of time in my sewing room, longarm quilting and making samples of my very own simple designs. I like and appreciate formal traditional patchwork, but my passion for wonky, whimsical appliqué to which I add simple stitchery is growing very quickly. I’ve pieced and quilted loads of full size traditional useful quilts over the 20 years since I started quilt making. So my goal for the future is to try to develop new innovative designs and to use different colour palettes on smaller scale projects. And I also aim to incorporate mixed media into my designs more often. Layering fabric, unusual fibres, paper and paint and then embellishing with beads and buttons etc really appeals to me. I must admit that


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I do find it difficult to move away from the staunch ¼” seam allowance rule, however slowly but surely I’m relaxing these rules and turning the simple quiet art of patchwork and quilting into something that’s new to me. Quite often my blog features my experiments with new techniques and methods. My most recent effort at fabric mixed media involved fabric and compressed wadding, machine stitching using different grades of thread, couched yarn fibres and lace, topped off with different embellishments which gave me a totally different look than all the formal patchwork projects I have worked on over the years. I enjoyed every minute of this latest session. Giving myself permission to play in my sewing room produces fantastic results. Not to mention that such sessions also use up scraps and supplies tucked away that haven’t seen the light of day for a while. Everyone should give themselves permission to play every now and again. It’s very liberating. I’ve taken my blog readers on many journeys. My latest journey, which I have called ‘Operation Taking Flight’, involves helping my daughter ease into university


life away from home. My readers have posted positive comments that have helped me adjust to having an empty nest. It’s amazing how many of my readers have gone through their very own ‘Operation Taking Flight’ before me. My blog is about more than just my creative life. I am only human. After all the years of making formal traditional quilts, I have recently decided that it’s time to mix it up a little. So over the last couple of years, I have been disappearing into my sewing room to design and piece samples of said designs. One of my most recent efforts is my ‘Four Season Button Club Whimsy’. I drew the blocks and brought them to life by piecing them and my lovely creative friend Sandra, designed and hand painted beautiful buttons that make this project so special. Collaborating on a project can be very satisfying. Two people sitting at one table planning an unusual project is great fun. If you haven’t tried it, you don’t know what you’re missing. When it comes to quilt making, I consider myself to be an old timer. I feel that all old timers have a responsibility to encourage newbies to try the gentle quiet art of patchwork and quilting. Patchwork is something that can be done by hand. And for the most part you don’t really need any super special equipment. Although it is great to have nice tools and supplies to help you along, it’s not essential. I do think that every newbie should be warned that quilt making is definitely addictive. I’ve been making quilts for some twenty years and I’m not ready to give it up yet.

Not only do I have a passion for whimsical appliqué & stitchery designs but I also feel that the quilting part of any patchwork project is very important. By quilting, I mean the stitching that holds all three layers of a quilt together. There was a time when I was a diehard hand quilter. In those days, a quilt was not a quilt unless it was hand quilted! And then my hubby suggested that perhaps I should have a longarm quilting system so I could machine quilt some of my quilts. So for the last ten years or so, most of my quilts have been machine quilted; however, in my heart, I still really love the look and feel of a hand quilted quilt. I think every quilt maker should hand quilt at least one full size quilt in their life time. There is nothing more satisfying than finishing that first hand quilted quilt. Hand quilting is a lovely relaxing occupation. As in most hand sewing, hand quilting is something that can be done whilst watching mindless TV shows. Good old fashioned English murder mysteries are the perfect background entertainment for hand quilting. During my five years of blogging, I have tried to inspire and encourage as many people as I could. When I look back on my posts I see one simple thread running through - be a little creative every day. Any day that doesn’t include a little stitching of some kind is like a day without sunshine. You can find inspiration in the most unlikely places. So come on my friends, let’s all be creative. BC

Clockwise from top left: Example of hand quilting; Four Season Button Club Whimsy Summer Block; One Row at a Time quilt; Traditional Cathedral Windows; Knitting Bag Design.

I Be Creative with WORKBOX 83

Space to create With an extra-large 210mm (8.3�) of working space to the right of the needle any quilting or large sewing project can be handled easily. Our Square Feed Drive System (SFDS) ensures smooth uniform handling on all types of fabric. Packed with useful features and a huge variety of stitches, Brothers new long-arm range is the ideal choice.

1100 A powerful and versatile machine to meet demanding sewing needs from dress making to quilting. Includes 140 stitches, 10 button hole styles, 5 lettering styles and an automatic thread cutter.

1300 Includes all the great features of the 1100 plus 182 stitches, upper and lower case lettering, fully automatic thread tension and multi-directional sewing for large decorative stitches.

1800Q Includes an extra large wide table, 232 stitches as well as our ICAPs system to ensure uniform stitching across varying fabric thicknesses, and the useful pivot function allowing the fabric to be turned while the needle is down

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