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ANNIE SLOAN EXCLUSIVE

CREATE TEXTURE WITH PAINT

THE CREATIVE GUIDE TO UPCYCLING

THE CREATIVE GUIDE TO UPCYCLING YOUR HOME

NOVEMBER 2015

28

HANDS-ON UPCYCLING PROJECTS

Craft Christmas decorations & presents with the ‘wow’ factor

FREE SOURCE BOOK

Upholstery32 focus PAGES OF EXCLUSIVE PROJECTS, INSPIRATION How to giveAND an old ANNIE SLOAN’S UPCYCLING ADVICE sewing box a new look! Decorate your home ♥ Christmas doormat ♥ Driftwood tree ♥ Chalkboard advent calendar

Bauble wreath p16

Vintage toy truck

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Rescuing pallet wood

Doily pillow

3 WAYS WITH... Festive garlands

FURNITURE REVAMP Vintage chair cover

9 772054 347004

HOME REFURBS

9 772054 347004

MIDWEEK MAKES CHARIS WILLIAMS

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11

Get quilting! Stitch beautiful quilts in time for winter

NOV 2015 £4.99

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welcome!

I love upcycling in the run-up to Christmas. Not only does crafting with festive tunes playing in the background get me more in the festive mood, but it’s also the perfect opportunity to make some beautiful, unique handmade gifts for my family and friends. When shopping for presents it’s always quite stressful as you’re never sure if someone has gone to the same shops as you, and bought the same gift for the same person. When you make them yourself, you can guarantee that will never happen! This issue we get your festive upcycling started in style with countless projects for Christmas decorations and cute gift ideas. The chalkboard advent calendar on page 32, branch wreath on page 42, and Christmas doormat on page 66 are all simple makes that won’t take too long, but will transform your home perfectly. If you’re struggling to find space for a big Christmas tree this year, the driftwood tree on page 84 is a space-saving talking point too! If you’re not quite ready to start your Christmas crafting yet, we’ve got plenty of other projects to inspire, including some gorgeous quilts which are ideal for this time of year. We also take a look around Lia Griffith’s incredible upcycled home on page 92 and Annie Sloan gets to work creating texture on an old bureau on page 13. I hope you enjoy the issue and I’ll see you next month.

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SALLY FITZGERALD Senior Editor

SUBSCERTOIBREELOTVEODDANADY.GE..T

SUBSCRIB ORKBOOK! A FREE ANNIE SLOAN WNOW. 40 TURN TO PAGE

NOVEMBER

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What’s in the issue.. E FURNI T URP R E VA M Learn how to give your battered old favourites a fresh new look

P28 Vintage chair cover

P44 Oilcloth diner style table

P69 Shadowbox table

HOME REFURB Refresh your home décor with original upcycled pieces

P16 Glittering bauble wreath

P88 Cross stitch chair

P100 Loose chair cover

P22 Silk upholstery panels

P32 Chalkboard advent calendar

P34 Smile quilt

P50 Cookbook holder

P60 Vintage doily pillow

P66 Christmas doormat

P70 Table runner & napkins

P84 Driftwood tree

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MID WEEK MA KE

P108 Antique sari quilt

P42 Christmas branch wreath

Quick makes to create in an evening

P64 Leather wrapped basket

P18 Winter hoop

P26 Wood slice ornaments

P72 Fruity baubles

P82 Globe light ornaments

ANNLE SLOAN

P96 Vintage toy truck

P104 Jumping jacks

P13 Creating texture

THREE WAYS

P54 Honeycomb ball

MASTERCLASS

P75 Sewing box

INTERVIEW

P56 Rose garland

P58 Vintage book bunting

Every issue..

Features

CREATIVE HUB

UPCYCLING HEROES: CUT OUT & KEEP P47 Meet the creative duo behind the US craft website and book

ANNIE SLOAN STOCKISTS SUBSCRIBE

SALVAGE SISTER COLUMN P80 Find up how to break up pallets properly with Charis Williams CRAFTSMAN STYLE HOUSE Take a look around Lia Griffith’s upcycled abode

P24 Eleanor Shakespeare

P92

NEXT MONTH P92

MY UPCYCLED LIFE

NOVEMBER

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P7

P14

P40

P113

P114

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who’s who senior editor Sally FitzGerald sally.fitzgerald@anthem-publishing.com DEPUTY Art Editor John Thackray john.thackray@anthem-publishing.com Production editor Bob Wade creative Director Jenny Cook Senior advertising executive Laura McLean laura.mclean@anthem-publishing.com Acting marketing manager Verity Travers verity.travers@anthem-publishing.com Marketing executive Deirdre Attinger deirdre.attinger@anthem-publishing.com Commercial Director Simon Lewis editorial Director Paul Pettengale Managing Director Jon Bickley jon.bickley@anthem-publishing.com Print Polestar UK Print Ltd, 1 Apex Business Park, Boscombe Road, Dunstable, Bedfordshire, LU5 4SB Tel +44 (0) 1206 849 500 Distribution Marketforce (UK) Ltd, 5 Churchill Place, Canary Wharf, London E14 5HU Tel: +44 (0) 20 378 79001 Subscription enquiries anthem.subscribeonline.co.uk Call UK 0844 848 8425*, Europe & World +44 1795 419 854 USA – Call Toll Free 800.428.3003, Email: reloved@servicehelpline.co.uk

Anthem Publishing Ltd, Suite 6, Piccadilly House, London Road, Bath BA1 6PL Tel +44 (0) 1225 489985 Fax +44 (0) 1225 489980 All content copyright Anthem Publishing Ltd, 2015, all rights reserved. While we make every effort to ensure that the factual content of Reloved is correct we cannot take any responsibility nor be held accountable for any factual errors printed. No part of this publication may be reproduced, stored in a retrieval system or resold without the prior consent of Anthem Publishing Ltd. Anthem Publishing recognises all copyrights contained within this issue. Where possible we acknowledge the copyright holder. Reloved is a trade mark owned by Anthem Publishing.

Competition rules By entering a competition you are bound by these rules. Late or incomplete entries will be disqualified. Only one entry per person will be accepted. The company reserves the right to substitute any prize with cash, or a prize of comparable value. Competitions are open to UK residents, except employees of Anthem Publishing and any party involved in the competition or their households. By entering a competition you give permission to use personal information in connection with the competition, for promotional purposes. If you do not want your information to be shared, state ‘no offers’ on your entry. Receipt of prize is conditional upon complying with the competition rules. *Calls cost 7 pence per minute plus your phone company’s access charge

this issue’s contributors ♥ ASHLEE PARK This craft addict shares her hobby with the world on her blog My So Called Crafty Life (www.mysocalledcraftylife. com). She always has a project on the go and enjoys keeping her followers up to date with her progress. This issue she joins us on page 44 to show how to turn a plain metal table into a fun retro table for your kitchen.

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♥ AMANDA RUSSELL AND JULIET BAWDEN Design duo Amanda Russell and Juliet Bawden, have set up R&B, www.randbconsultants. co.uk, creating design solutions from start to finish with exciting projects for the home and fashion. This month they recover an old cocktail chair in vintage leaf fabric – turn to page 28 to find out how to replicate it.

♥ ANNIE SLOAN launched her exclusive Chalk Paint collection 25 years ago and has been helping upcyclers around the world transform their furniture ever since. This issue Reloved comes with an exclusive Annie Sloan 25th Anniversary Source Book, in which Annie has created some special projects for you and shares her advice in the Ask Annie section.

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♥ Sari stockings p11

♥ Recycled mirrors p10

♥ Victorian prints p9

♥ Bring a bottle p11

Creative Hub NEWS ♥ EVENTS ♥ PRODUCTS This is the essential place to come for endless inspiration from the world of upcycling – just turn the page to begin...

♥ Ideal Home Show p9

♥ Green City events p8 NOVEMBER

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What Daisy Did

LIGHT BULB MOMENT

Upcycled Creative specialise in quirky, yet functional, upcycled lights and furniture. Each item is handmade, eco-friendly and unique. By upcycling everything from old pipes and bottles to fire extinguishers, they’re helping to reduce waste heading to landfills and also the demand for raw materials. If you fancy something mind blowing or have an idea you want brought to reality, drop them a line – www.upcycledcreative.co.uk

Daisy and Ozric are active promoters of ‘Slow Fashion’. They believe that we can benefit from slowing down and asking questions before we purchase. Where was the product made? Were the makers treated fairly? What impact has it had on the environment? They founded ‘What Daisy Did’ on these principles. The pair have partnered with brothers Manish and Pinu, and a network of 60 local families in India, who are paid a fair wage to create these beautiful bags out of recycled and end of roll leather, discarded by the surrounding factories. The bags are lovingly handmade, eco-friendly and provide sustainable jobs through fashion. Check out this inspiring project at www.whatdaisy did.com

GREEN CITY

Image © Carole King

Green City Events is a community of experienced local green experts and enthusiasts, passionate about sustainable living and the environment. From their base in Cardiff, they offer a fantastic range of classes and workshops for all ages and abilities, from chicken keeping to pickling and preserving. Check out their Giant Swap Shop event in Roath on 17th October, and their Upcycled Gifts and Decorations workshop on 11th November in Cardiff. The team also runs educational workshops for schools and community groups, and green birthday parties with outdoor games and eco-friendly crafts. Check their website at www.greencityevents.co.uk and learn some new skills.

Really Welsh Wool

The Cambrian Mountains Wool Group launched a design challenge as part of a study to promote Welsh wool from the Cambrian Mountains. Textile designer-makers submitted ideas for using the wool, fleece, yarn and fabric to demonstrate its quality and versatility. From 128 entries, 35 were selected to form a showcase, including clothing, felt making and jewellery. The exhibition is now on tour and from the 27th November9th January it will be at the National Wool Museum, Carmarthenshire. Follow the project at www.cambrianmountainswool.org 8

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IDEAL HOME SHOW AT CHRISTMAS

The Ideal Home Show at Christmas is kick-starting the festive season at Olympia, London from 25-29th November. Book your tickets now at www.idealhomeshowchristmas.co.uk and get tips and advice from some of the nation’s favourite interiors experts, plus live cookery demonstrations and talks in the Christmas Theatre. Get inspired by the Christmas room sets, be entertained by the musical talents performing at the bandstand and enjoy some festive treats in the Gregg Wallace restaurant. With over 650 exhibitors, covering everything from home accessories and technology, to fashion and beauty, you are sure to find everything on your Christmas list!

BLOGS WE L♥VE ♥ VICTORIA’S VINTAGE www.victorias-vintage.co.uk Creative, vintage-loving fashionista Victoria started Victoria’s Vintage back in 2010 and has developed her blog into an online haven. She uploads craft and upcycling projects, baking triumphs, outfit selections, thrifty tips and bargain buys as well as travel, hotel and restaurant info and reviews. We adore her mouth-watering cake designs, stylish upcycles and passion for sampling traditional afternoon teas across the country. Scrumptious!

♥ UPCYCLE THAT www.upcyclethat.com

Jumping off the page

Graphic designer Wendy has channelled her love of vintage imagery into a thriving business, producing vibrant prints of beloved antique illustrations, printed onto pages of Victorian dictionaries. The mix of brightly coloured images and quotes, against the warm hue of the well-thumbed vintage pages, creates a wonderful contrast. Wendy celebrates treasured characters from classics such as Alice in Wonderland and The Wizard of Oz, and unearths words on her dictionary page backdrops that are long extinct from usage in the English language. Check out the huge array of Wendy’s designs by visiting www.etsy.com/uk/shop/PixelArtPrints

Here at Reloved we’re always excited by a new upcycling project, and Upcycle That is full to bursting with lots of excellent ideas! Search for projects based on the items you have lying around at home, in designated sections for projects that are made using paper, fabric, wood, metal and so on. Or think of the end result you’re after and search by item or theme, such as lighting, storage or garden. With easy to follow guides and helpful hints you’re sure to find lots of projects to turn your worthless trash into valuable treasure!

♥ ARTIST A DAY www.artistaday.com Online contemporary fine arts gallery Artist a Day is a great place to step out of your creative comfort zone and be introduced to a diverse range of innovative artists. Each artist comes to the fore with different themes and inspiration, working in different mediums, making for an eclectic forum. Whether you love or loathe a piece, you will be pushed to expand your understanding of art. As an armchair art critic you may be surprised to find a new favourite you might never have discovered!

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SESH’S skateboard jewellery

THROUGH THE LOOKING GLASS

Check out Etsy shop SESH at www.etsy. com/uk/shop/seshnotstigma and discover founders James and Stacey’s huge collection of handcrafted jewellery and gifts made from recycled skateboards. At SESH they hate to see a broken skateboard discarded, and use their creative genius to cut, shape and sand the boards, revealing the stunning layers of maple wood. The passion and determination that has gone into building SESH from humble beginnings, is evident in the ingenuity of the designs and the quality craftsmanship.

With upcycled and recycled furnishings being more desired than ever, many retailers are designing new products to join the trend. Decorative Mirrors Online has just launched their recycled round mirrors. These classy mirrors come in two sizes and are framed with rounds of rolled newspaper placed onto a solid base, to stunning effect. Choose from chic white or vibrant multi-coloured. Co-founder of the company Sarah Arrowsmith hopes to show that upcycling doesn’t mean you have to compromise on style or sophistication. We’re with you Sarah! Visit the website at www.decorativemirrorsonline.co.uk to view the range.

MORE THAN PAPER

Welcome to Jennifer Collier’s fantastical world, where every exquisite detail is made, folded and manipulated from paper! Once books, maps, envelopes, wallpaper or scrap, the paper is transformed into textural forms. Like cloth it is then stitched to construct two or three dimensional objects. The papers themselves serve as both the inspiration for and the media to make the work, with the narrative of the books and papers suggesting the forms they are turned into. So a retro camera is made from vintage photos, or a sewing machine from vintage dress making patterns. The craftsmanship in Jennifer’s work is remarkable and the results are delightfully quirky. Check out www.jennifercollier.co.uk.

Beachscapes

Multimedia artist Kirsty Elson is inspired by the beautiful Cornish scenery on her doorstep. Kirsty loves scouring the coastline with her family for driftwood, old nails, rusty washers and other items that catch her eye, to be transformed into her beautiful tableaux. Her finds are taken back to her garden shed workshop, where the drilling, sanding and painting takes place to create boats, cottages, lighthouses and coastal scenes. Kirsty loves the weathered element of driftwood and lets the found items lead her in what to make. The attention to detail in her scenes is remarkable and they evoke a warm tranquillity and a reminiscence of precious holidays past. Visit www.kirstyelson.co.uk 10

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BOOK CLUB

Vintage Sari Stockings

Why not make a purchase that makes a difference and support Basha, a Fairtrade social enterprise in Bangladesh? Basha supports vulnerable women escaping from sex trafficking and provides counselling, training and dignified employment to help them rebuild their lives. Ethical homeware retailer, Decorator’s Notebook, has partnered Basha to sell the festive sari stockings. Each stocking is handmade from vintage cotton saris in a selection of vibrant colours and patterns. Visit www.decoratorsnotebook.co.uk

FINE LITTLE DAY By ELISABETH DUNKER

Published by Pavilion, £17.99 Fine Little Day is basically a tour through Elisabeth Dunker’s life, showing us all the things she has created, all the things that adorn her living spaces and all the things that matter to her. It’s a fantastically eclectic mix of designs and influences, presented in a simple fashion that lets each object and room speak for itself. There are only a handful of projects with instructions, but that’s not the point of this book, it’s to inspire you to create your own interiors and show you the techniques to do that. A visual treat.

COLOR CONCRETE GARDEN PROJECTS

STITCHED UP

The talented team at Stitched Up are seriously passionate about sustainable fashion. At their base in Chorlton, Manchester, this not-for-profit cooperative run garment making classes, upcycling workshops, clothes swap events, social gatherings and educational events, to get people to think about the ethics and environmental impact of fashion. They believe in providing an alternative to chain stores and show the fun you can have with upcycling and recycling your wardrobe. Visit www.stitchedup.coop for more.

By NATHAN SMITH AND MICHAEL SNYDER Published by Timber Press, £15 Here’s a book that does exactly what it says in the title – it’s full of projects for making things for your garden out of coloured concrete. After taking you through the basics of working with concrete and the tools you’ll need it takes you step-by-step through each design and it’s all straightforward to grasp. There are planters, seating, a table, fire pit and ornamental features, and most importantly the skills you learn enable you to then go on and create whatever you want. Solid stuff!

STAMP STENCIL PAINT

Bring a bottle

Can you believe these stunning flowers are made entirely from plastic bottles?! American based artist, Leanne Stock, is constantly on the lookout for plastic bottles – any size, any shape, any colour. She recycles them from local golf courses and friends often leave collections of bottles on her doorstep. Leanne melts and moulds the plastic to form these floral beauties. She makes them into bouquets, jewellery, ornaments, wreaths and hair pieces. Find out more by visiting her Etsy shop at www.etsy.com/uk/shop/ArtePlastique

By ANNA JOYCE Published by Stewart Tabori & Chang, £16.99 There’s no doubt from the title what this book is about and once you’ve read it you will indeed be able to stamp, stencil and paint! There are pretty projects to make from the book, and by learning the skills and techniques you can apply them to your own work. The instructions are comprehensive and you should have no problem recreating the lovely range of projects, from stamped bags and pots; to stencilled linens and platters; to painted plates and wall art. Something here for everyone.

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Opening times: Henley in Arden; Monday-Sunday 10-5pm Stratford-Upon-Avon; Mon-Sat 10-5pm Sun 10.30-4.30pm 01564 795979 www.beatriceandclementine.co.uk

 Set in the old bakery in picturesque Henley-in-Arden  Antique, vintage and upcycled furniture  Vintage treasures for you and the home  Annie Sloan stockist and official Chalk Paint™ workshops Beatrice and Clementine 92 High St, Henley in Arden Warwickshire, B95 5BY 01564 795979

Stratford Antiques and Interiors Dodwell Trading Park Evesham Rd, Stratford Upon Avon Warwickshire, CV37 9SY

Would you like to advertise in Reloved? Get in touch with Laura McLean

laura.mclean@anthem-publishing.com

Tel +44 (0) 1225 489989

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Photo © Penny Millar

Photo © Harriet Thomas

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have had such a lot of fun painting this piece as I got a chance to indulge my favourite ways to paint and on my favourite type of furniture! I worked on it in September to present at Kirstie Allsopp’s Handmade Fair at Hampton Court. I was on stage with Kirstie showing her how to paint a chair using the same techniques. I love doing things with her as she’s so fun! This type of desk – apparently called bureaus, according to my search on Google – is terrific to paint. They have lots of large surfaces, including the front ‘lid’ which can act like a picture with a frame so you can do something quite decorative on it. I also love them because they have survived the age of the Internet and are great for keeping a laptop in and closing up at night so it all looks tidy! They also have great cubbyholes and little drawers for keeping important things. Growing up, my parents had a black Chinese lacquer one with pagodas, willow trees and Chinese figures, which I loved. One of my constant friends is frottage. It’s a great way to make textured, random pattern easily using two colours or more. It

ANNIE SLOAN’S DIARY NOVEMBER 2015

Creating texture at The Handmade Fair

This month regular Reloved columnist Annie Sloan shares one of her favourite techniques with us – creating texture with frottage. When applied to a beautiful shapely bureau, it creates a piece of furniture with the ‘wow’ factor... can be subtle, soft and luxurious – like old fabric or ancient walls with stories to tell. Or it can be outrageous and psychedelic with high contrast! It just depends on the choice of tone and hue – two subtle blues or two highly contrasting blues, or a strong blue with a contrasting bright orange. I also love to stencil and print, especially if you combine it with making a scene as I have here with the little houses along the front of this bureau. The houses theme has been with me for a long time. It was at first triggered by an inlaid piece of furniture I saw many, many years ago of little Tuscan houses. It inspired me to do many pieces often printed using sponges, erasers, bits of card and all manner of other things to make the geometric shapes of houses with roofs, doors and windows on hillsides with trees around them. Eventually, I made a stencil of the design and so now I can stencil and print like I have done with this piece of furniture. So to start this piece, I did a little drawing and some colour swatches in my workbook. I had various thoughts about colour, but in the end I chose two of my colours, which are quite close in tone; Olive as a base and Greek Blue over it using the frottage technique. The technique is basically very simple and very low tech; Chalk Paint™, water, some

newspaper and a brush of course. Fun, easy and very effective, but I recommend doing some experiments beforehand on paper so you know what you’re getting. I made a watery translucent mix of my paint and coated a section or side of the furniture with a large brush, working quickly. I immediately laid a crumpled sheet of newspaper on the surface and rubbed it flat, then took it off as soon as this was achieved. The result was a randomly textured surface showing both colours to a greater or lesser extent. The colours are reminiscent of forests and hills being blue and earthy green, so was a great base to the rest of the paintwork. I stencilled the drawers using my ‘Trees’ stencil, playing with the two rows in the design to get a variety of ways the houses and trees are placed. To colour the trees, I used one of my stencil brushes using tiny bits of my colours English Yellow and Antibes Green for a bright lime green and a mix of Antibes Green and Aubusson for a deep forest green. I also added some Old White to make a third very light tone. Because of the busyness and depth of colour of the frottage, the little houses on the stencil weren’t showing up very well, so I found a small sponge and cut it in the shape of a rectangle like a house. I dipped the sponge in the paint on a tray so the houses look solid and finished off by printing doors and windows with a tiny bit of sponge. I had intended making a scene on the lid of the bureau but somehow I couldn’t make it work, as it had looked so much better with just the drawers done. I may try again later when I get an inspiration on how it should be tackled. I painted the inside of the bureau in Greek Blue, with the flat part where you get your work done in my paler Louis Blue colour. I love it. www.anniesloan.com

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EAST ANGLIA ESSEX INTERIOR SUPERIOR

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STOCKISTS SOUTH DEVON TILLY’S 32 Molesworth Road, Millbridge, Plymouth, PL1 5NA Creative chaos reigns in our quirky shop/workshop - come see! www.tillymoo.co.uk 01752 559522

DORSET GESSO INTERIORS

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14 High West Street, Dorchester, Dorset, DT1 1UW Gesso Interiors is all about Stylist Vintage Living. We offer hand painted vintage furniture lovingly restored and painted in a delightful Annie Sloan paint colour. We stock elegant and cosy homewares and Annie Sloan paint and products that give your home that French/Nordic look.. www.gessointeriors.com info@gessointeriors.com Facebook: www.facebook.com/gessointeriors 01305 259312

LONDON HOME & PANTRY 114 Islington High Street, London, N1 8EG Stunning Lifestyle Boutique selling French, Scandi & Vintage Style Home Furnishings, Accessories & Gifts with monthly Annie Sloan Workshops. www.homeandpantry.com www.facebook.com/homeandpantry Info@homeandpantry.com 020 7226 9528

SHELDON PAINT TECHNIQUES

POETIC DESIGN 36 Station Road, Upminster, Essex RM14 2TR Interiors showroom stocking various styles from country rustic to industrial quirky, including furniture, lighting and home accessories and proud Annie Sloan stockists. www.poeticdesign.co.uk www.facebook.com/PoeticDesignInteriors info@poeticdesign.co.uk 01708 222213

NORFOLK HECTORS BARN 61 Manor Road, Dersingham, King’s Lynn, Norfolk, PE31 6LH Hector’s Barn specialises in all things quirky, diverse, unique and inspiring! www.hectorsbarn.co.uk Info@hectorsbarn.co.uk 01485 540632

SUFFOLK LITTLE GEMS INTERIORS The Barn, The Street, Assington, Sudbury Modern country and French; painted furniture, home accessories and gifts. www.littlegemsinteriors.co.uk https://www.facebook.com/pages/Little-GemsInteriors/200120920086996 01787 210951

NORTH CHESHIRE GIFTSHOP ON THE CORNER AND MOO DESIGN INTERIORS 235 Chester Road, Helsby, Cheshire, WA6 0AD Rustic Country Style Home Decor by Moo Design. www.facebook.com/giftshoponthecorner www.giftshoponthecorner.co.uk 0198897880

HARTLEPOOL / COUNTY DURHAM ECO CHIC-IT Unit 5, Usworth Enterprise Park, Usworth Road, Hartlepool We stock a unique array of elegant vintage painted furniture and accessories. Annie Sloan Chalk ™ paint stockist, Workshops. Upholstery service. Commissions taken. www.ecochic-it.co.uk www.facebook.com/EcoChicit 07411 680311

THE FOREST BAILIFF

10 Market Place, Pickering, N Yorkshire Boutique situated in the market place of Pickering specialising in painted furniture, shabby chic interiors and accessories. AS fabric to order www.ebonyinteriorsandgifts.com www.facebook.com/ebonyinteriorsandgifts 01751 476212

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3 New Broadway, Hampton Road, Hampton Hill, Middlesex TW12 1JG Chalk Paint™ stockist. Appointed and trained by Annie Sloan. Expert advice on your project, help and inspiration. Paint techniques workshops. Picture Framing http://sheldonpainttechniques.blogspot.co.uk/ admin@sheldonpaint.co.uk www.facebook.com/pages/Sheldon-Hamptons-PaintTechniques/228563857301699 0208 9430786

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616 London Rd, Westcliff on Sea, Essex Cm14 5rd Painted furniture, Workshops, Fabrics, & Gifts & Home Accessories www.facebook.com/pages/Interior-Superior/253259434732332 Twitter: @is616LondonRd Instagram: IS616LONDONRD 01702 808489

36 Durham Road, Wimbledon, SW20 0TW London stockist of Annie Sloan products, accredited Essentials 1 & 2 painted furniture workshops. Beginners and intermediate sewing classes. Six little rooms full of inspiration with a helpful, friendly and professional service. www.forestbailiff.co.uk shop@forestbailiff.co.uk 020 8947 5115

NORTH YORKSHIRE EBONY INTERIORS & GIFTS

MIDLANDS BIRMINGHAM EL DORADO

26 St Mary Street, Thornbury Rustic country with a hint of French and Coastal. Picture framing, furniture restoration and homewares www.surroundingsonline.co.uk www.facebook.com/pages/Surroundings-Online/158100753073 01454 411000

22 Augusta Street, The Jewellery Quarter, Birmingham Stockists of Annie Sloan Chalk Paint, Wax, Brushes & Books specialising in upcycling & painting of vintage furniture. Regular introductory essential paint techniques workshops www.eldorado.uk.com 0121 448 4406 / 07837 810763

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SOMERSET SURROUNDINGS

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ST S 32 Sheep Street, Stratford-upon-Avon, Warwickshire A quirky mix of past and present and everything Annie Sloan! www.giftsandforgetmenots.co.uk info@giftsandforgetmenots.co.uk www.facebook.com/giftsandforgetmenots 01789 297850

STOURBRIDGE O G HOMES

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GIFTS & FORGET ME NOTS

Beacon Farm, Barr Beacon, Beacon Road, Aldridge, Walsall 18th century barn brimming with painted and decoupaged furniture with an English Rustic and country flavour. www.thevintagehenhouse.com https://www.facebook.com/TheVintageHenHouse 0121 360 3680

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THE VINTAGE HEN HOUSE

WALES

Ogmore Road, Ogmore by Sea CF32 0QP A delightful rural store offering the very best in country living Like us on facebook: The Stone House 01656 651478

SOUTH GLAMORGAN BETI BIGGS

90 Albany Road AND 1 Romilly Crescent, Cardiff Stylish Painted Vintage Furniture, unusual gifts and homewares alongside Annie Sloan CHALK PAINT™, waxes and associated products. www.betibiggs.com www.facebook.com/betibiggs 02920 312231/372111

TOP TO BOTTOM ACCESSORIES

HAPPY DAYS HOMESTORE

SHROPSHIRE BELLE MAISON VINTAGE

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NORTHERN IRELAND

WARWICKSHIRE BEATRICE & CLEMENTINE 92 High Street, Henley in Arden Dodwell Trading Park, Stratford on Avon Country Cottage meets Warehouse and Industrial chic. Upcycled furniture, fabrics and homewares. www.beatriceandclementine.co.uk https://www.facebook.com/Beaandclem 01564 795979

CHANNEL ISLANDS

Bonsai House, Southside, St Samspons, Guernsey GY2 4QH We are a home and interiors specialist with a beautiful showroom and an e-commerce site. We are part of the Bonsai Group based in Guernsey, Channel Islands http://shop.bonsaigroup.gg/ info@bonsaigroup.gg www.facebook.com/bonsaigroup +441481200011

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GUERNSEY BONSAI HOME

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Stone Cross , Penkridge , Staffordshire ST19 5AS We specialise in one off pieces of hand painted French inspired furniture and home interiors . www.jojosinteriors.co.uk Jojosinteriors@hotmail.co.uk Facebook: JoJos Interiors 01785 711101 07702 783374

35 Main St, Newcastle. County Down BT33 0AD The Craft Loft , the local Stockist for all products from Annie Sloan in Newcastle Co Down , and advice through workshops in a beautiful setting . www.annettschildrenswear.co.uk phyllisg@btinternet.com Facebook: Annetts Childrenswear and Nursery Instagram: the_craft_loft Tel: 02843722293

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STAFFORDSHIRE JOJOS INTERIORS

COUNTY DOWN THE CRAFT LOFT AT ANNETTS

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12 Market Place, Shifnal, Shropshire TF11 9AZ We are situated in the market town of Shifnal, specialising in French inspired painted furniture, shabby chic interiors and accessories. We carry all Annie Sloan Products including Fabric. Annie Sloan Chalk Paint ™ workshops available. orders@bellemaisonvintage.com www.facebook.com/BelleMaisonVintage 01952 463227

PLEASE CONTACT LAURA McLEAN ON 01225 489989

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TO ADVERTISE IN

Dolgellau, mid Wales Nia was an actress for 25 years, then worked on the makeover programme ‘Real Rooms’ for BBC Pebble Mill. She has been working her magic on furniture for many years and her shop is a design led paradise for interiors and gifts.. www.medi-gifts.com post@medi-gifts.com https://www.facebook.com/pages/MEDI/109570549110404 Twitter: @siopmedi 01341421755

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5 Portland Road, West Bridgford, Nottingham, NG2 6DN A home interiors store where modern vintage meets with contemporary rustic style. A full bespoke service offering restyled and handmade furniture, home accessories and wall coverings. www.heidisretail.com www.facebook.com/heidishomefurnishings 0115 8461083

GWYNEDD MEDI

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NOTTINGHAMSHIRE HEIDI’S HOME FURNISHINGS

Church Street, Cowbridge CF71 7BB A delightful store brimming with reloved and upcycled wares to inspire your Annie Sloan projects. Open 7 days Like us on Facebook: Happy Days Vintage Homestore 01446 771191

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28 Steep Hill, Lincoln. English Country and French elegance. Hand painted furniture, homeware and gifts. www.toptobottomaccessories.co.uk toptobottom@ Sky.com Facebook toptobottomaccessories. 01522 394819

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Rough luxe; rustic gallery with hand painted furniture, local artisan, hand crafted gifts and home decor, architectural salvage, reclaim and upcycled ideas. www.facebook.com/JimsYardTealby bricktreegallery@gmail.com 07745 215689

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LINCOLNSHIRE BRICKTREE GALLERY AT JIM’S YARD

BRIDGEND THE STONE HOUSE

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Oldswinford Galleries, 106 Hagley Road, Oldswinford, DY8 1QU Stockists of Annie Sloan Chalk Paint, waxes and workshops as well as boutique items for your home. www.oghome.co.uk info@ogfurniture.co.uk 01384 395577

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Glittering bauble wreath

HOME R E F

UR B

Got more baubles for your Christmas tree than you need? Here’s the perfect way to use them and create a stunning wreath to hang on your door this festive season. It’s worth getting more baubles just to make it! Photography by Living 4 Media (www.living4media.co.uk)

MATERIALS

Baubles in assorted sizes and colours Silver florist wire Ribbon (optional)

EQUIPMENT

Wire cutters

♥ STEP ONE Start by threading a length of wire through the cap of a bauble. Twist at the end to secure in place. Repeat this process with all the baubles. ♥ STEP TWO Take one of your larger baubles and attach to the ring frame by twisting the florist wire around the edge of the frame. Keep adding baubles to cover the whole of the ring.

TOP TIP Add to the glitter of your bauble wreath by weaving one or more strands of tinsel in between the baubles.

♥ STEP THREE Build up layers of baubles, threading the wire down through the gaps in the baubles. Think about placement of the baubles and which colours and sizes work well together. Add as many baubles as you like, to create as thick a wreath as desired. ♥ STEP FOUR You can also add a ribbon bow to the top of the wreath, and tie smaller ribbon bows in between the baubles if you want a little more festive sparkle!

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M ID W E E K

MAKE

Winter HOOP

A Scandinavian home at Christmas will not be lacking in reindeer decorations and this is your chance to create one of your own. By Nadja Knab-Leers, Heiki Roland and Stefanie Thomas

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WINTER HOOP HOW TO... MATERIALS Templates

Embroidery hoop, 14cm in diameter

10x8cm red and white polka-dot fabric for the reindeer head

10x8cm winter patterned fabric on a white background for the horns 25cm square of natural calico cotton fabric

♥ STEP ONE Trace the templates onto copy paper or parchment paper and cut out. Use them to cut out the head and horns from fabric. With right sides together, using white sewing thread, machine stitch the horns to the top of the head, then press the seam open. Stitch the reindeer to the calico, again using white thread, and then mount the fabric in the embroidery hoop, making sure that the image is centred.

up to the left set of beads. Do the same on the other side. The indentation left by the hoop provides a great guide to where to place the stitches.

Four round red beads, 3mm in diameter 20 round green glass beads

150cm red and white baker’s twine Green and red embroidery thread White sewing thread

EQUIPMENT

Basic sewing kit Sewing machine

♥ STEP TWO At the four points of the compass, sew on a red bead using red embroidery thread. At each point, sew on five green beads; the first one directly above the red bead and the rest in sets of two, pointing diagonally outward from the red bead, using green thread.

♥ STEP FOUR Remount the fabric on the hoop, leaving the fastening screw at the very top, and pull the material taut. Turn the hoop over and check that there are no folds in the material. Using pinking shears, carefully cut away the excess fabric left over at the back of the hoop.

RE ADER OF FE R

To buy this book for the special price of £9 .99 including free UK P&P call 01256 302699 and quote code ED6.

This project is from Sew Scandinavian, published by CICO Books, visit www. cicobooks.co.uk for more information. RRP £12.99

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♥ STEP THREE Take the material out of the hoop. Thread an embroidery needle with green floss. Starting from the bottom set of beads, sew a line of fern stitches in a curve

♥ STEP FIVE For some reason, nothing says Christmas quite like red and white baker’s twine – it is so gorgeous and can (and should) be used to make everything wintery prettier! Cut three 50cm lengths and plait them together. Fold the braided twine in half and loop it around the fastening screw at the top of the hoop. Tie the twine in a pretty little bow and you’re done.

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TEMPLATES AT 100%

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Silk upholstery panels

HOME R E F

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If you don’t have the time, money or inclination to fully re-upholster an old chair back, then you can use a piece of silk fabric to tack a decorative panel onto the chair and have it looking great again. By Cassandra Ellis

MATERIALS

A chair with an upholstered back. Don’t use anything expensive. A chair ‘in need of work’ is best for this A piece of fabric larger than the chair back Upholstery tacks

EQUIPMENT

Small hammer

Fabric scissors

Small thread scissors ♥ STEP ONE Optional – paint or gild the cloth, embroider it, give fabric to your children to paint/draw on – anything that appeals. ♥ STEP TWO Lay the chair on its back. Lay the fabric over the area to ‘upholster’ and roughly cut a shape a little larger. ♥ STEP THREE Start at the centre top of the chair and lightly hammer the tacks through the fabric. Move to the centre bottom and place more tacks. Keep the fabric taut as you work your way across to complete the top and bottom. Repeat for the centre sides. ♥ STEP FOUR Pull the fabric firmly and finish tacking the sides, remembering to tuck and fold into the corners. Trim the excess if you require and then admire/be inspired.

This project is taken from Home Sewn by Cassandra Ellis, published by Kyle Books. Photography by Catherine Gratwicke. RRP £19.99

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IN CONVERSATION WITH...

Eleanor Shakespeare

Upcyclers are usually rummaging around looking for old furniture and hardware, but Eleanor’s search for suitable images for her montages is all about the digital...

M

ost of Reloved is about reusing objects, but for Eleanor her design work is all about reusing photographs and images to create new and striking montages. ♥ When and how did you get into illustration and design? When I was at school I made what I now see to be a terrible fold-out children’s book. At the time, various teachers told me they thought I’d make a good illustrator one day. I didn’t

even know what that meant! I specialised in graphic design on my foundation course, but after much deliberation, applied to do an illustration degree and have since found it to be absolutely the right practice for me. ♥ How would you sum up your style? I think of myself as a photomontage illustrator. I tend to work digitally, but I always have a sketchbook on the go and do as much manual and freehand work as I can to balance my commercial work. Although collage sits at the heart of what I do, I use

mark making, hand drawn type and lots of colour to make it more unique. ♥ Are you a crafter? I am an avid quilter. I become quite obsessive about them and find it hard to concentrate on anything else until they’re finished. I also love making pots, although I must admit I’m not particularly gifted in this area! ♥ What’s your design process? I start by searching for copyright free material. This immediately limits the images I have access to, which is a really interesting part of the design process and can often forge a direction I may not have otherwise taken. I cut out these images digitally, and then scan in paper textures, ink marks and any writing that may be included. The rest is a case of composition and colour – two of the hardest parts to get right! ♥ What appeals to you most about collage? Collage is such an accessible medium for

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people. I run workshops with children and young people who already have the mentality that they just aren’t creative. Many have specifically negative feelings towards drawing, believing themselves to be incapable of artistic success. Enter collage! It’s a medium that I believe anyone can embrace and, better still, make completely personal through use of old photos or found ephemera. Collage also lends itself beautifully to the otherworldly, and often the material will guide you rather than the other way round. ♥ Tell us about your new book… Collage and Keep provides a platform for people to explore collage for themselves. Moreover, it encourages people to search their own experiences, memories, cupboards and closets for things that are unique to their life and journey thus far. The book has 52 spreads, each with a prompt to inspire the reader. My hope is that it offers both a creative outlet and space to reflect. ♥ What are your top tips for getting creative with old photos and souvenirs? Firstly, please don’t chop up the original and only photo you have of a great aunt or long lost cousin! Photocopiers are wonderful, so I would recommend sorting through any images you want to use and making a trip to your local library. Some people are ruthless with original material, whereas I have always been cautious about chopping into something that has any kind of significance. Once you have your photocopy, you are free to replace facial features, clothes, limbs and heads – Hannah Hoch is a fantastic example of this type of work. Make a few different copies, enlarge specific areas, and merge colour with monotone. If you want to adopt a more thoughtful, serious approach, you could simply montage together different elements to create a patchwork of ephemera – great for card making. ♥ How do you combine text and images in your collages? I write out all my text by hand using ink and a paintbrush. I will often write the same word out three or four times until it’s right. I have always loved writing, so this is a satisfying part of the work for me. I then scan it in, remove the background on Photoshop and place each word in, changing the size so that it has an organic flow to it. ♥ What’s your biggest achievement to date? I think it has to be Collage and Keep! It is my first book and the feeling of being published for the first time is really exciting. ♥ How do you source materials for your work? I use a few different methods depending on the job. I have boxes full of old books and

magazines, mostly found in charity shops. Old National Geographic magazines are particularly good because the print quality and richness of colour makes the pages great to work with. If you have a printer, there are various copyright free websites that have vast archives. My favourite is Flickr Commons, where you can download and print images ready to use in your collages. ♥ What do you most like about working with vintage items? The development of photography and the trends that appear across decades mean you can create a collage that really reflects a specific era. This can be manipulated by other elements such as colour and of course you can merge material old and new to produce something unique. Ultimately the material dictates a certain aesthetic, and I enjoy the conversation that plays out between me and the images. ♥ How do you marry design with political statements? Some editorial jobs require more sensitivity than others, so it’s important to consider the message your image conveys and how it sits with the text. The job of the illustration in this context is to complement and accompany the article. I think I do this in a fairly subtle way by ensuring that my illustration matches the tone of the article. ♥ Where do you get your inspiration? When people visit my parents’ house, they often say they can see a correlation between my work and the colours, textures and patterns they see around them. I love Wes Anderson films and I read a lot of novels which keeps my imagination active. Travelling

also certainly helps me to refresh my perspective and inspire my work – especially New York! ♥ What’s next for you? I have more books in the planning and two in the making. There are some really exciting projects in the pipeline and I hope to branch out and push my work into new contexts as well as continue with editorial work. I’m very excited about the next few months, and look forward to embracing all that life and work throws at me. See lots more from Eleanor by visiting her website at eleanorshakespeare.com NOVEMBER

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Wood slice ornaments

M ID W E E K

MAKE

Get back to nature and add a rustic feel to Christmas with these ornaments made from slices of wood. The designs on the wood are entirely up to you, so use your imagination. Project and photography by Katie Nathey from Upcycled Treasures (upcycledtreasures.com)

MATERIALS

Branches or logs Eye hooks Twine

Clear sealer spray Masking tape Sharpie

EQUIPMENT Saw

Pliers

♥ STEP THREE To burn the designs onto your wood, print out the word or quote you want to use backwards. I used Illustrator to create the style and size I wanted, but you could use Photoshop, Word, etc. To make your font backwards in Illustrator or Photoshop, simply highlight your text and click on Object–>Transform–>Reflect – and select vertical, which should be automatically selected. Voila! Your text is now backwards and ready to print.

♥ STEP SIX Gently rub the cap of the Sharpie over each letter or part of the design to ‘burn’ the ink into the wood. You will notice the designs becoming a little darker. It’s easier to ‘burn’ the letters while the paper is still damp, so work as quickly as possible and add a little water if an area is too dry by the time you get to it.

400 grit sandpaper Thumbtack Printer

♥ STEP ONE First, slice the wood using a saw. Lightly sand the sides with 400 grit sandpaper and insert eye hooks into the top. To make it easier to insert the eye hooks, create the hole with a thumbtack, and then twist the eye hook in. I used pliers to help twist them in all the way. ♥ STEP TWO Now find some graphics you’d like to put onto the wood slices and print out or alternatively draw your own designs.

♥ STEP FOUR Tape your designs where you want them on the wood with the ink side facing down and the blank side facing toward the ceiling. Taping it down ensures that your word/design will stay in place and not move around or smudge when you complete the following steps. ♥ STEP FIVE Lightly brush water on top of the paper, making sure you cover the whole design without soaking the paper. Afterwards the design should be visible, but don’t lift the paper yet.

♥ STEP SEVEN After you’ve finished rubbing over the design, it’s time to remove the paper. If there are parts of your design that didn’t show up or fill out as nicely as you want, you can go back in with a small paintbrush and diluted paint to fill them in. Leave to dry. For festive sparkle, you could go over the designs with paint pens in festive colours or use metallic markers. ♥ STEP EIGHT Tie some twine around the eye hooks to hang the ornaments, spray some clear sealer over your designs, and now they’re ready to hang!

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Vintage Chair Cover A worn out and dowdy ďŹ nd in a charity shop is rescued and returned to beauty with a vintage leaf print curtain fabric. Project by Amanda Russell and Juliet Bawden from R&B Design (www.randbconsultants.co.uk). Photography by Antonia Attwood

F U R NI T RE VA MUPRE

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Vintage chair cover how to... Materials

An old chair

Calico

Chair fabric (we used fabric from vintage curtains) Hook and loop tape

Equipment

Pins, needles and thread Safety pins

Cotton tape

Water-soluble pen Sewing machine

♥ STEP ONE When we spotted this downat-heel cocktail chair in a charity shop, we knew we were onto a winner. The worn out, dowdy chair was transformed into an up to the moment statement chair with a new loose cover, made from on-trend vintage leaf print fabric. The hook and loop tape opening on the side seam makes fitting easy. ♥ STEP two To make the pattern for each section of the chair, cut a piece of calico. Cut them large, so there’s enough spare fabric for fitting. The lower edge of the chair will need more than you think necessary to allow for making a tape casing, so be generous.

♥ STEP three Sew the calico cover together, leaving one of the side seams half open. Fit the cover onto the chair, pin the side seam closed and adjust the fitting, taking it in to give a closer fit. Remove the calico cover from the chair, mark the sewn seams with felt pen as well as the centre line of each

panel. Unpick the calico cover and pin onto your chair fabric. If you have a design on your fabric, use the centre lines to position the pattern pieces on the design. Cut out the fabric, then mark centre lines and seams with a water-soluble pen. Sew the cover together, leaving one of the side seams half open. ♥ STEP four Cut a 3cm bias strip from calico to bind the curved raw edges around the chair legs. Pin and sew, turn the raw edge under by 0.5cm, then turn the binding and sew in place. Sew hook and loop tape to both sides of the seam opening.

♥ STEP five To make the tape casing, turn lower edges of the chair cover in by 4cm, turn in the raw edge by 1cm, then sew down close to the edge. Measure up for the tape, thread through the casings with a safety pin.

tOP TIP The legs will be left exposed on any chair of this style, so check them out to see if they could do with staining or painting to further enhance the final look of the piece.

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Read on any device, any time!

Y A D O T P P A E E R F R U O Y D A O L DOWN

♥ Free preview issue ♥ Single issues just £3.99/$5.99

Search for Reloved and download your FREE App today

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Chalkboard advent calendar

HOME R E F

UR B

Make the fun build-up to Christmas last throughout December with this chalkboard idea. It not only decorates your tree, day by day until December 25th, it also gets you in the mood for the festivities. Project and photography by Karianne Wood from Thistlewood Farm (thistlewoodfarm.wordpress.com)

MATERIALS

Chalkboard

Christmas decorations Chalk

Jute twine

Clothes pins

EQUIPMENT Staple gun

♥ STEP ONE Discover time has flown and December is not far away! ♥ STEP TWO Start your organisational journey with Pinterest. Get totally inspired. Peel off all the stickers and round up jute twine and clothes pins and the 37 boxes of Christmas decorations from the attic.

♥ STEP FOUR Cut four pieces of jute twine the width of the chalkboard. Staple the twine to the back of the chalkboard. Sit down to organize the ornaments into the cutest order possible and start watching Snow Bride on the Hallmark Channel. An hour and a half later, remember you were going to be organized. Focus. ♥ STEP FIVE Clip the ornaments onto the jute twine. Write the numbers 1-25 on the chalkboard next to each ornament. Countdown to Christmas by unclipping the relevant ornament each day and hanging it up on the tree.

TOP TIP The whole idea of this project is to have a bit of fun through December, so why not add some sticky-note suggestions under some dates on the chalkboard for things to do like enjoying an eggnog or making the mince pies?

♥ STEP THREE Look through all the decorations to find 25 of your favourite ornaments. Discover everything you bought on clearance last year and forgot all about. Spend 30 minutes arranging a mantelpiece display with all the clearance items and cutout burlap stockings. Suddenly remember you were going to be organized this year.

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HOME R E F

UR B

smile quilt

The combination of vintage sheets and solid colours is a marriage made in heaven for a quilt combining old and new. By Sarah Fielke

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The sunflower is such a strong motif, enlarged and set on a simple pieced background for maximum impact. Smile quilt how to... Materials

 6cm each of at least eight 4 different solid colour fabrics in pinks, blues, purples and greens for background and cornerstones

30cm striped fabric for inner border 90cm text fabric for outer border

Large scraps or fat quarters of vintage sheets

 ine different 18x25.5cm yellow N print pieces for sunflower petals

Three different 20.5x28cm green print pieces for leaves

 ne fat quarter of green and white O striped fabric for the stem 66cm solid pink fabric for binding 4.5m backing fabric

2m square cotton batting (wadding) Two sheets of template plastic

Equipment

Pencil for tracing on and scissors for cutting template plastic

Fabric scissors

Hera marker for making bias strips Cotton thread for piecing Silver gel pen

Appliqué glue

Straw needles for appliqué

 otton thread to match your C appliqué fabrics

 asking tape for marking the M quilting lines

 rewel embroidery needles no. 9 C for hand quilting

 urifil Mako’ Ne 12 weight cotton A to match the solid colour fabrics for quilting Rotary cutter, mat and ruler Sewing machine

General sewing supplies

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Cutting ♥ From the template plastic, cut: One Template A (petal) One Template B (leaf) One Template C (quarter-circle) Mark the templates with the appropriate letter on the right side. ♥ From the solid colour fabrics, cut: Four 11.4cm strips from each fabric. Cross-cut the strips into 11.4cm squares, you need 222 of them. You will have more than enough fabric, which will enable you to mix the colours to your satisfaction. ♥ From one solid colour fabric, cut:  our 3.8cm squares for cornerstones of F the inner border. ♥ From another solid colour fabric, cut:  our 11.4cm squares for cornerstones of F the outer border. ♥ From a few mixed solid colour fabrics, cut:

♥ From green print fabric, cut:  hree Template B leaves, cutting 6mm T outside the template. ♥ From vintage sheet fabrics, cut: Four 11.4cm squares for the background. Seven 6.3cm squares for the outer border.  election of 3.8cm and 6.3cm strips S for the sunflower centre. You will need enough strips to make seven 3.8x52cm strips and seven 6.3x52cm strips. ♥ From green and white striped fabric, cut: 5.1cm bias strips to equal 117cm. ♥ From the solid pink fabric, cut: Eight 7.6cm strips for the binding. Finished size Large throw, 180cm square. Note All strips are cut across the width of the fabric from fold to selvage, and seams are stitched with right sides together using a 6mm seam allowance unless otherwise stated.

Seven 6.3cm squares for the outer borders. I have used pieced squares of coloured fabrics in the outer border, but if you prefer to leave these out, then make the outer border from just the text strips (and solid colour cornerstones) using the same method as for the inner border. ♥ From striped fabric, cut: Seven 3.8cm strips for the inner border. ♥ From text fabric, cut: One 6.3cm strip for the outer border. Cross-cut the strip into 6.3cm squares, you will need 14 of them. Seven 11.4cm strips for the outer border. Cross-cut one strip into one 6.3x11.4cm rectangle, three 11.4cm squares and one 17.8x11.4cm rectangle. ♥ From yellow print fabric, cut:  ine Template A sunflower leaves, cutting N 6mm outside the template.

Making the quilt – Sewing and assembly For the Background

♥ STEP ONE On your design wall or work surface arrange the 11.4cm background squares (222 solid colour and three vintage sheet squares) in rows, 15 squares across and 15 squares down. Mix the colours well. Remember that the squares at the right-hand top corner will be largely covered by the sunflower, so don’t put any of your favourite fabrics there. ♥ STEP two When you are pleased with the layout, sew the squares in order into 15 rows of 15, pressing the seams of adjacent rows in alternate directions. Matching the seams, sew the rows together to form the background square. Press the seams to one side, in the same direction.

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FOR THE INNER BORDER ♥ STEP THREE Measure your quilt top through the centre in both directions – it should be 154.2cm square. If it is not, make a note of the measurement. Sew the seven 3.8cm striped strips end-to-end to make one long strip. Cut this strip into four pieces, each 154.2cm long, or the measurement of your quilt top that you noted earlier. ♥ STEP FOUR Fold two of these border strips in half and mark the centres with pins. Mark the top and bottom edges of the quilt top in the same way. Matching the pins, the ends and with right sides together, pin and then sew border strips to the top and bottom of the quilt top. Press the seams toward the border. ♥ STEP FIVE Sew a 3.8cm solid colour square to each end of the remaining two strips. In the same way, pin and then sew the pieced strips to the sides of the quilt top. Press the seams toward the border. FOR THE OUTER BORDER ♥ STEP SIX Sew the seven 11.4cm text strips end-to-end to make one long strip. ♥ STEP SEVEN Sew seven 6.3cm solid colour squares and seven 6.3cm text squares into pairs. Press the seams. ♥ STEP EIGHT Sew seven 6.3cm sheet fabric squares and seven 6.3cm text squares into pairs. Press the seams. ♥ STEP NINE Measure your quilt top through the centre in both directions – it should be 159.4cm square. If it is not, make a note of the measurement. From the long strip, cut four pieces 159.4cm long, or the measurement of your quilt top that you noted earlier. ♥ STEP TEN Sew three pieced pairs, one 6.3x11.4cm text rectangle, two pieced pairs, one 11.4cm text square, and one pieced pair together in this order. Sew this to the end of one text border strip and trim the length to

159.4cm or the measurement of your quilt top. This is the top border. ♥ STEP ELEVEN Fold this pieced border strip and one text border strip in half and mark the centres with pins. Mark the top and bottom edges of the quilt top in the same way. Matching the pins and with right sides together, pin and sew the border strips to the top and bottom edges of the quilt top. Press the seams toward the border. ♥ STEP TWELVE Sew four pieced pairs, one 11.4cm text square, two pieced pairs, one 11.4cm text square, one pieced pair, one 17.8x11.4cm text rectangle, and one pieced pair in this order. Sew this to the end of one text border strip and trim the length to 159.4cm or the measurement of your quilt. This is the left-hand side border. ♥ STEP THIRTEEN Sew a 11.4cm solid colour square to each end of this border strip and to the remaining text border strip. In the same way as in step 11, pin and then sew the strips to the sides of the quilt top. Press the seams toward the border. FOR THE SUNFLOWER CENTRE ♥ STEP FOURTEEN Fold a piece of newspaper or similar into quarters. Place Template C on the folded corner and trace around the outside curved edge. Unfold the paper template to reveal a full circle. ♥ STEP FIFTEEN Sew the 3.8cm strips of sheet fabric together end-to-end to make seven strips at least 52cm long. Press the seams. Repeat with the 6.3cm strips. Sew the strips into rows of alternating widths, starting with a 3.8cm strip. Press all the seams toward the 3.8cm strips. The piece does not have to be an accurate square. ♥ STEP SIXTEEN Pin the paper circle template to the right side of the pieced square, and

HAND-QUILTING ♥ STEP ONE Thread the needle with about 46cm of thread. Knot the end of the thread with a one-loop knot and take the needle down through the quilt top into the batting, a short distance from where you want to start quilting. Tug the thread slightly so that the knot pulls through the fabric into the batting, making the starting point invisible. ♥ STEP TWO With your dominant hand above the quilt and the other beneath, insert the needle through all three layers at a time with the middle or index finger of your dominant hand (use a metal thimble to make this easier) until you can feel the tip of the needle resting on your finger at the back. ♥ STEP THREE Without pushing the needle through, rock it back to the top of the quilt and use your underneath finger to push the tip up. Put your upper thumb down in front of the needle tip while pushing up from the back, as shown. This will make a small ‘hill’ in the fabric. ♥ STEP FOUR Push the needle through the fabric. This makes one stitch. To take several stitches at once, push the needle along to the required stitch length, then dip the tip into the fabric and repeat the above technique. Gently pull the stitches to indent the stitch line evenly. You should always quilt toward yourself, as this reduces hand and shoulder strain, so turn the quilt in the required direction. TIP You can protect your underneath finger using a stick-on plastic shield such as a Thimble-It. You could use a leather thimble, although this does make it more difficult to feel how far the needle has come through, and thus more difficult to keep stitches neat and even.

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create texture with the quilting – the squares within squares add the touch of depth the background lacks. SMILE QUILT HOW TO... trace around the edge of the circle using the silver gel pen. Remove the template and cut out the pieced fabric 6mm outside the silver gel line.

♥ STEP TWENTY When the glue has dried (about 2 minutes) finger-press around the gel pen line of a yellow petal. Thread a straw needle with thread to match the petal fabric, and knot the end of the thread.

FOR THE APPLIQUÉ

♥ STEP TWENTY ONE Following the instructions on page 39 opposite, appliqué around the outside of the shape. In the same way, appliqué the petals, leaves and bias stem to the background fabric. Appliqué the sunflower centre in place.

♥ STEP SEVENTEEN First make a bias strip for the stem. ♥ STEP EIGHTEEN Arrange the sunflower stem, petals and leaves on the pieced background, using the quilt photograph and the background squares as a guide. The petals and the end of the green stem should be completely underneath the sunflower, and the end of the leaves should be underneath the stem. Note that the sunflower, leaves and stem extend into the borders. ♥ STEP NINETEEN Carefully lift the edges of the appliqué and put small dots of glue on the appliqué fabrics without moving them out of place. To ensure you can still turn the seam allowance under, avoid putting the glue too close to the edges.

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♥ STEP TWENTY TWO When the appliqué is complete, turn the quilt top over to the back and carefully cut the background fabric away from behind the sunflower centre, leaves and petals, 6mm from the stitching line, to reduce the bulk.

along the long edges. Press the seam open and press the backing. ♥ STEP TWENTY FOUR Layer the backing, batting (wadding), and quilt top. ♥ STEP TWENTY FIVE Using masking tape, mark squares of different sizes within each background square. Use Aurifil Mako’ Ne 12 weight cotton thread in various colours to hand-quilt the square shapes. Quilt along the strips in the sunflower centre. Quilt around the outside of the sunflower, stem and leaves. Using the shapes as guides, outline-quilt on the appliquéd petals and leaves. Quilt the word ‘SUNFLOWER’ several times in the outer border and then fill the rest of the border with diagonal quilting lines. ♥ STEP TWENTY SIX Bind the quilt.

FOR THE BACKING, QUILTING AND BINDING ♥ STEP TWENTY THREE Cut the backing fabric in half crosswise into two 2m pieces. Remove the selvages and sew the pieces together

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NEEDLE-TURN APPLIQUÉ ♥ STEP ONE Using a sharp 2B pencil, trace the template shapes onto template plastic or cardstock. Using paper scissors (not your fabric scissors), cut along the traced line. ♥ STEP TWO Place the template on the right side of the fabric and trace around it, taking care to leave space between the pieces for a seam allowance. I use a silver gel pen for marking sewing lines, first, because it’s reflective and shows up on any fabric, and second, because it’s really easy to see whether you have turned your shape under neatly. If you can still see silver, you haven’t got the shape right. However, gel pen does not wash off. Once you have traced your shape onto the fabric, you’re married to it, so do be careful with that tracing.

TEMPLATES AT 50%

♥ STEP THREE Cut the shapes out a scant 6mm from the gel line. Finger-press along the line all around the shape, including into any curves or points. Don’t be tempted to iron the seam in; a finger-pressed line is easy to manipulate, whereas an ironed line is difficult to change if you iron a point into a crease or a line in the wrong spot, not to mention the fact that you’d be very likely to burn your fingers. Finger-pressing is a guide to help you turn the fabric as you sew. ♥ STEP FOUR Position the pieces on the background block, using the traced outline or photograph supplied with the pattern as a guide. Dotted lines on the templates indicate which parts of each piece should be placed under adjacent pieces. ♥ STEP FIVE Instead of pins, I use appliqué glue to fix the pieces temporarily onto the background. You can glue all the appliqué shapes onto a quilt and carry it around with you, without worrying that the pins have come out. You only need a few dots of glue on each shape to make them stick. Leave for a few minutes for the glue to dry. Don’t worry if the glue smudges, as it is easily peeled back later or washed off.

♥ STEP SIX Thread your appliqué needle with thread to match the appliqué fabric. Always match your appliqué thread to the colour of the fabric shape that you are appliquéing, not to the background. I use very long, fine straw needles for appliqué – the finer the needle, the smaller you can make your stitches for invisible appliqué. You can start anywhere, but try not to start on an inside curve or a point. ♥ STEP SEVEN Tie a knot in the thread and come up from the back to the front of the background fabric, catching the very edge of the appliqué shape with your needle, as shown. ♥ STEP EIGHT Go down into the background fabric right next to where you came up, run your needle along underneath the background, and come up again on the edge of the appliqué shape. Don’t try to turn the whole edge under before you sew it; just turn under the small section you are working on. This makes it easier to keep track of the gel-pen line and make sure that you turn it all under. ♥ STEP NINE Sew all around the cut edge of the appliqué shape in this manner. Your stitches should just catch the edge of the fabric and be small and close together, which will make the appliqué strong and avoid it being torn or looking puckered. Continue until you have sewn all around the outside of the shape and then tie the thread off at the back with a small knot. ♥ STEP TEN Turn the block over and make a small cut at the back of the shape, taking care not to cut the appliqué. Cut away the background fabric underneath the appliqué. Be sure not to cut closer than 6mm away from the seam lines. Although it is not necessary, removing the fabric in this way makes the appliqué sit nicely and creates fewer layers to quilt through, especially where appliqué pieces overlap. Repeat this process with each shape. Remove the background from under each piece before you apply the next one.

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Christmas branch wreath

M ID W E E K

MAKE

When you’ve got the right tools for the job it can be quick and easy to put together great decorations like this wreath made of intertwined twigs and branches. Get out there and gather yourself some bendable branches... Project and photography by Dremel (www.dremeleurope.com/gb/en/)

MATERIALS

White branches

White touch-up stick Ribbon

Binding wire

Paint spray can

Medium-density fibreboard 3mm thick

About 50 small Christmas balls

EQUIPMENT Set square Pencil

Dremel 4200

Dremel glue gun 930

Dremel 7mm multipurpose low temp glue sticks Dremel EZ SpeedClic Mandrel Dremel EZ SpeedClic wood cutting wheel Wood drill bit set

♥ STEP ONE Buy branches that have been coloured white to make an attractive wreath or us white spray paint to colour twigs and branches you’ve collected. Bundle them and bend them carefully, so they don’t snap, into a wreath, then fix them unobtrusively with wire at regular intervals. ♥ STEP TWO Draw a star on a sheet of wood using a set square and a pencil. How? You superimpose two equilateral triangles on each other. Each has an angle of 60°. The apex of the first triangle points upward and the superimposed one points downward.

♥ STEP FOUR Put a 6mm wood drill (636) bit in your Dremel® 4200, which thanks to the EZ Change quick switch system does not involve using a wrench or spanner. Drill a hole between two sharp points of your star. You will use it later to fix the star in the wreath. ♥ STEP FIVE Spray paint the star red on both sides and allow it to dry. Write your Christmas greeting – “Merry Christmas”, for instance – on the star. Run the ribbon through the hole you drilled and make it just long enough for the star to hang in the centre of the wreath.

♥ STEP THREE If the hexagram, as the equilateral six-pointed star is also known, is a success, sawing is the next step. Use the Dremel® 4200 and the EZ SpeedClic woodcutting wheel SC 544 to cut off the superfluous wood along the pencil line.

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Oilcloth diner style table Transport yourself to a classic American diner with a round table, transformed with an oilcloth top to create the look. Project and photography by Ashlee Park from My So Called Crafty Life (www.mysocalledcraftylife.com)

F U R NI T RE VA MUPRE

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You can easily cover any table with oil cloth with the same method, you just staple it to the underside oilcloth diner style table how to... Materials

 iner style table, mine was D 132cm round

Oilcloth (I used 2m)

Equipment

Screwdriver Awl

Staple gun and staples ♥ STEP ONE This table is pretty easy to cover. The first thing you need to do is take the tabletop off. It should be screwed on from the bottom of the tabletop. ♥ STEP TWO Remove the screws and set them aside for later. ♥ STEP THREE Lay your oilcloth out on the floor face down. Next, lay the tabletop face down onto the oilcloth. Centre the tabletop on the fabric. ♥ STEP FOUR Trim the fabric to 7.5-10cm excess from the table’s edge. ♥ STEP FIVE Start by folding one edge of your oilcloth up to the backside of your table. Stretch it tight and staple it down near the edge of the fabric. Continue pulling the fabric to the back side and stapling it down until you have stapled all the way around your table. I went back around and stapled my fabric down again, close to the edge of the table for extra security. ♥ STEP SIX Now, find the holes for the screws on the back of the tabletop by running your fingers over the fabric near the edge. When you find a hole, punch a hole in the oilcloth with your awl. Next, lay your table base upside down onto your table top. Screw the base back onto the top with the screws you set aside before. ♥ STEP SEVEN Once it is all screwed back together, flip it right side up and enjoy your new tabletop.

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UPCYCLING HEROES

Cut Out+Keep Alex Summersby meets Cat Morley, the creative inspiration behind the Cut Out + Keep website and book, and ďŹ nds out how it all got started...

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UPCYCLING HEROES

♥ Left Cat’s favourite design from her book, the Hollywood lampshade ♥ Below left Vintage frame converted into a headband holder ♥ Here Tom checks out some crazy architecture ♥ Top right Cat’s jackalope flower crown ♥ Middle right Make a marquee bar sign with Cat’s tutorial on her site ♥ Bottom right Felt cactus project from the book

M

any people dream of turning a hobby into a career, and Cat Morley has taken it further than most. Cut Out + Keep started out as her craft blog back in 2003 when she was studying at university, and today it is a thriving craft community with more than 100,000 members. Running it is a full-time job for Cat and her web designer fiancé Tom Waddington. “I’ve been really fortunate to stick to doing the job I love,” Cat admits. “Tom, who had spent some time working for tech companies in London, was able to join the site full-time in 2011, when we set off on a road trip to America to see all 50 states, continuing to work mainly from coffee shops.” It all grew from Cat’s love of crafting. “I’ve crafted ever since I was little,” she remembers. “My Mum was really creative too, so we were always baking, drawing and making something. My favourite time of year was Halloween, when we’d head to the craft store to pick out fabric for my costume, which she’d sew to look exactly like whichever Disney princess was in fashion that year. “As I grew up, I kept creative. But the craft bug really kicked in when I moved away for university and we got our first apartment – there was so much that needed decorating!” Cut Out + Keep began as a way to share techniques for all the things Cat was making for the apartment and recipes she was learning to cook. At some point, Cat reveals, “Tom took pity on me having to type in each

48

of the steps and lay out the projects the way I wanted. So he built a system to upload and organise my tutorials with all of the steps in order and a list of the materials needed. “After I had shared over 250 of my own craft projects using the system, we realised we might be on to a useful tool for other people. It wasn’t much code to change to allow other users, but it was a big moment in the site. I still remember how excited I was as other tutorials started to roll in! COMMUNITY WEBSITE “Today, Cut Out + Keep has grown into a huge craft community with members all over the world sharing recipes and tutorials for all types of crafts. There are no guidelines on which types of crafts you can post, but our top tutorials are for fashion and dressmaking, hair and make-up, jewellery and recipes for food and drink. We love how unique the projects are – it’s always a great place to find new twists or a different way to do something. “The site is free to sign up to,” Cat adds, “and you can start adding tutorials straight away. If you find a project you like on the site and decide to make it, you can upload pictures of your version. The site is for crafters of all skill levels, so anything you can share, no matter how basic, could be handy for other beginners. It’s such a supportive community, and their compliments made a big difference as I learned new skills.” Being part of a community is something Cat still values. “We still love waking up each

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morning to see what has been added to the site. The ideas are so unique and creative, making the community a really inspiring place to browse, chat and make new friends. It can be a little lonely crafting on your own at home, so having somewhere to share your creations and get feedback is really important. “One thing I really love,” Cat adds, “is when someone uses your tutorial to create their own version of your project – it makes sharing your ideas even more rewarding!” Alongside the tutorial content, there are regular craft contests and book giveaways, interviews and articles. Reflecting the international reach of the site, members can share local recipes and crafts from the city where they live in “Around the World in 80 Dishes”. In City Guides, they can guide other members to “crafty hotspots” in their towns. AROUND THE USA Running a website on this scale inevitably brings its own challenges. “We had absolutely no background in business,” Cat confesses, “so as the site grew, we had to learn all the skills we needed for maintaining and expanding. Tom takes care of all the technical and design aspects of the site, while I run with the community and hunt out content and crafters to feature. It requires a lot of emailing, Googling and chasing people up, but I’ve learned that the more organised we are, the more time we have for fun things like crafting and cooking.” So what are Cat’s own favourite crafting techniques? “I love crafting with Mod Podge and shrink plastic. They’re perfect for making jewellery, and it’s easy to revamp furniture with decoupage techniques. Baking and cooking is also a great craft for me, because I can make something new every day – and if it doesn’t work, you can eat the evidence!” The ethos of upcycling is a natural fit for Cat. “We hate to throw things away, especially when there’s still some potential life left in an item, so it feels fantastic when we find a way to reuse, revamp or recycle an unwanted object in our crafting. Often the things that get most worn out are the most special, so it’s great to hold on to favourite possessions by giving them a new life, such as making a throw cushion from a favourite T-shirt or melting a scratched record into a bowl.” Cat and Tom have now brought out a book, Around the USA in 50 Craft Projects. Cat explains: “After we both started working on the site full-time in 2011, we decided to move out of London and use the flexibility of being able to work anywhere. We headed to Omaha, Nebraska, learned to drive, and quickly became addicted to road-tripping. As we worked our way around each of the states, there was so much inspiration and so many unique characteristics that lend themselves perfectly to crafty souvenirs.

“We loved the idea of a book combining all the travel inspiration and tips with unique and quirky craft tutorials, and started writing it in 2013. We headed back for a second road-trip to take in Alaska and Hawaii (and all our favourite places for a second time round), before finishing the book. It came out in February, and it’s amazing to see hard copies after spending so long working on websites!” Cat reveals her favourite piece in the book is a lampshade, which reflects an LA skyline silhouette with pinpricks for lights and the Hollywood sign. Find out more and get involved at Cat and Tom’s website www.cutoutandkeep.net

ONE THING I REALLY

LOVE IS SOMEONE

USING A TUTORIAL TO

CREATE THEIR OWN VERSION

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CH

HOME R E F

RI

ST

M

AS

GI

FT

UR B

Cookbook Holder

Keep your recipes on hand and easy to read while you cook with an iconic retro Routemaster bus cookbook holder. Project and photography by Cat Morley from Cut Out + Keep (www.cutoutandkeep.net)

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The decking should hold most books steady, but glue or tape extra weights underneath if you want extra stability. COOKBOOK HOLDER HOW TO... MATERIALS

Short piece of decking Thin wood

White paint

Black chalkboard paint Masking tape Chalk pen

White paint pen

Red and black Milk or Chalk Paint

♥ STEP ONE Start by planning out the design on a piece of paper. You want your bus to be a bit wider than an average cookbook when it’s open. Cut out the template and trace around it onto a thin piece of wood. ♥ STEP TWO Use a Dremel inside a router table to neatly cut out the bus from the wood. Sand off the edges. You can also cut out four wooden circles for the wheels, but we found it easier to buy these at the craft store.

Wood glue or No More Nails 4 wooden circles

♥ STEP SIX Using masking tape to get a nice straight edge, paint a white strip along the bus, in between the two sets of windows. Paint a shorter white strip underneath the bottom windows. Paint a handrail on the door and paint white circles in the middle of your wheels. You can touch up any details and add outlines to the windows with a fine white paint pen. ♥ STEP SEVEN Paint a long strip for the advert and a small rounded rectangle for the bus number with chalkboard paint in between the two sets of windows.

EQUIPMENT Scissors

Sandpaper

Paintbrush

Paper and pencil for the template Dremel

Dremel hand router table ♥ STEP THREE Cut a strip of decking to the same width as your bus and cut a slant in the decking so that the wooden bus tilts back just a little to support the book. ♥ STEP FOUR Paint the bus and decking with one coat of red paint, leaving to dry before painting with a second coat and then painting the reverse side of the bus. ♥ STEP FIVE Paint the windows of the bus and both sides of the four wooden circles with black paint.

♥ STEP EIGHT Use a strong wood glue or No More Nails to glue the bus into the wedge you cut on the decking. Rest the decking on top of an object to get the bus to the right height and then glue two wheels to the front and back of the bus.

TOP TIP You can continue the iconic red and black theme by making a chalkboard of a postbox, with chalkboard paint for the slit and collection times panel, or a black London taxi cab.

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♥ STEP NINE Finally, use a chalk pen to give the bus a number, destination and advert! NOVEMBER

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1

2

3

THREE WAYS

Festive garlands We take it for granted as something to write on, but paper, even the page of this magazine you’re reading, can be used to create all sorts of fabulous decorations, so keep reading for three fun ways to create paper garlands. By Juliet Carr

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THREE WAYS

Honeycomb ball MATERIALS

2 old magazines (look for ones that have about 90 pages and are secured with staples)

1

Clear all-purpose glue Masking tape

Thick paper or thin cardstock Paper clips

Ribbon or string

EQUIPMENT Ruler

Marker pen Scissors

♥ STEP ONE Lay one of the magazines in front of you and open the first page. On the righthand page, use your ruler and marker pen to draw a series of horizontal lines that are 5cm apart, starting near the top of the page. Apply a line of glue along each marked line. Turn the page and press it down firmly, then draw another series of lines on the next righthand page, this time alternating the lines so that they are between the lines drawn on the previous page. Continue working like this through the magazine, alternating the lines each time. You may want to create a grid to help you: simply tape a piece of masking tape down the right-hand side and mark it at 2.5cm intervals, alternating between dots and stars. Repeat with the second magazine and leave both to dry for at least 2 hours. ♥ STEP TWO Now that your magazine honeycombs are complete, it’s time to make the honeycomb ball. Decide how big you want your ball to be and find a suitable round object, such as a plate. (You will need to make sure that the staples that hold the magazine pages together are within the circle.) Draw around this onto thick paper or thin cardstock to make a circle. Fold or cut your circle in half to create a perfect semicircle and then use this to draw a semicircle on each magazine, making sure the straight edge is lined up with the edge of the magazine. Cut out.

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♥ STEP THREE Glue one of the semicircles on top of the other and leave to dry. Open out both semicircles to reveal the honeycomb pages and gently bring the two outer edges together and secure with paper clips. ♥ STEP FOUR Glue a loop of ribbon or string into the fold – this will be your hanging loop. 54

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These handmade honeycomb balls are made from recycled magazines or newspapers, so are the perfect eco deco. Make them for birthdays, Christmas or any party you like.

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THREE WAYS

Rose garland MATERIALS

TEMPLATES AT 70%

26 white or unbleached coffee filters, 20cm in diameter

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Selection of food colourings – red, orange, yellow and green Templates

Wooden skewer

3m seagrass twine 4m florist’s wire

EQUIPMENT

Rubber gloves

Bowls or plastic pots for the dyes Scissors

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Hot glue gun

4

Secateurs

♥ STEP ONE Start by dividing up your coffee filters. Set aside two coffee filters to be dyed green for the leaves and then divide the rest equally between your chosen colours. Wear rubber gloves to protect your hands and then mix up your food colouring dyes, making some more diluted colours too. Dip your filters into the dyes – pinks, oranges and yellows for the roses, and green for the leaves. Wring them out and allow to dry. Experiment by adding splatters of the same colour in a darker shade to some of your filters. ♥ STEP TWO When the coffee filters are dry, use the template to cut 12 petal shapes for each flower. You can fold a few filters together to cut several petals at once. Fold the green-dyed coffee filters in half and use the leaf template to cut three leaves for each flower, plus a few extra to add along the twine between each flower. ♥ STEP THREE Make up the flowers, starting with the centre of the rose. Add a dab of glue to the end of a wooden skewer with the hot glue gun, and roll one of the petals around, twisting it to cover the end of the skewer. ♥ STEP FOUR Continue adding petals, rolling each one around the skewer and gluing it in place. Fluff the petals outward to make the flowers wider. ♥ STEP FIVE Use secateurs or sharp scissors to snip off the end of the skewer at the base of the flower and then repeat steps 3-4 to make 24 flowers. 56

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♥ STEP SIX Wrap the end of your florist’s wire several times around one end of the twine and secure it in place with a drop of glue from the hot glue gun. Start twisting the wire tightly around the twine at an angle until you get to the end of your twine. Wind the wire tightly around the end of the line and hot glue gun it in place. ♥ STEP SEVEN To assemble the garland, mark sections along the line every 12.5cm with a small piece of tape. Take one of your flowers and hot glue it to the twine and wire rope line that you have made. Repeat this every 12.5cm along the twine. Glue three leaves around the base of each flower to hide the glue and then add more leaves to the twine between each flower.

TO MAKE A HEADDRESS You will need eight or nine flowers, 1m of florist’s wire and 60cm of seagrass twine. Follow step 6 to make a wire and twine line that will fit around your head. Overlap the ends by 10cm and secure with florist’s wire. Cover the ends of the wire with leaves. Attach flowers and leaves as in step 7.

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This garland is lovely for a wedding. Tie it around the bride and groom’s reception chairs, or drape it around tables. Smaller versions make perfect bridesmaids’ headdresses.

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THREE WAYS

Vintage book bunting MATERIALS

16 book pages, makes 2.5m of garland

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Card

Pencil

Sticky tape

2.5m narrow ribbon

EQUIPMENT

Craft knife (optional)

Scissors or pinking shears Hole punch

♥ STEP ONE Carefully remove the pages from the book, using a craft knife if necessary. Create a card template by cutting it to the size of one page, then cutting a triangle at one end. Use this template to cut all the pages the same shape. ♥ STEP TWO When you’ve cut all the pages into pennants, take a hole punch and make a hole at each top corner of the pennant.

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♥ STEP THREE Decide what order you would like the pages to run. Wrap a small piece of sticky tape around one end of your ribbon – this will make it easier to thread through the holes (like a shoelace). Start threading the pages onto the ribbon, carefully moving the pennant to the other end of the tape. ♥ STEP FOUR Repeat until all your pennants have been threaded on, and then hang!

RE ADER OF FE R

To buy this book for the special price of £9 .99 including free UK P&P call 01256 302699 and quote code EC8.

These projects are from Paper Pom-poms And Other Party Decorations by Juliet Carr, published by CICO Books. Visit www.cicobooks.co.uk for more. RRP £12.99

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Have you ever found a tattered vintage book at a boot sale or thrift store that you don’t know what to do with? Don’t let it sit on a shelf collecting dust, give it a new life as a paper bunting.

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Vintage DOILY PILLOW

Most vintage horders have a good collection of hand-crocheted cotton doilies and vintage dish towels stashed at home. We’ve put them to good use in making this pillow. By Nadja Knab-Leers, Heiki Roland and Stefanie Thomas

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Scandinavia has an ocean of vintage and well-loved paraphernalia, which will look fab in your modern home. VINTAGE DOILY PILLOW HOW TO... MATERIALS

Two vintage dish towels

Selection of large and small white crocheted cotton doilies

120cm gingham ribbon, 1cm wide, to match the dish towels Polyester toy filling

White sewing thread Wooden spoon

♥ STEP ONE For this project, select two dish towels that have the same grid pattern, so that you can line them up precisely. Measure 35cm from the top edge down on one of the dish towels and set a pin there; this marks the bottom edge of the front of the cover and you now know how much space you have to play with. Lay out clean and ironed small and large cotton doilies in your chosen pattern and pin in place. ♥ STEP TWO Using white sewing thread, machine stitch the doilies in place, but leave the outer ‘leaves’ or points loose, so that the cover looks a little more alive.

EQUIPMENT

Basic sewing kit Sewing machine

♥ STEP THREE Cut the gingham ribbon into four equal lengths. Machine stitch two lengths to the top of each dish towel, 5cm in from the side edges.

RE ADER OF FE R

To buy this book for the special price of £9 .99 including free UK P&P call 01256 302699 and quote code ED6.

♥ STEP FOUR Place the decorated dish towel on top of the plain one and pin together. At 35cm down (the point you marked with a pin in step 1), cut a straight line across both layers with pinking shears to prevent the fabric from fraying.

♥ STEP FIVE Pin the two dish towels right sides together and machine stitch along the side and bottom edges, leaving the top edge open for now. Snip off the tips of the bottom corners for a neater finish. Turn the cover right side out and carefully push out the corners with the handle of your wooden spoon. Press the cover and check that everything is straight and even. ♥ STEP SIX Fill the cover with polyester toy filling and pin the two layers together along the top edge. Sew along the top, making sure that the ribbons on the front and back of the cover align.

♥ STEP SEVEN Finally, tie the ribbons in a bow and snip the ends of each ribbon into a V shape for an extra-pretty finish. Plump up the pillow and it’s ready to decorate your home with doily elegance.

This project is from Sew Scandinavian, published by CICO Books, visit www.cicobooks.co.uk for more information. RRP £12.99

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Leather wrapped basket

M ID W E E K

MAKE

A faded hanging basket can be used for more than just flowers. Clean it up, find some leather you can cut into strips and you’ll be able to make yourself a handy basket with handles for holding eggs or as a decorative piece. Project and photography by Almie Louis from Grand Recycler (grandrecycler.com)

MATERIALS

Old hanging basket

Leather trousers, jacket or shirt Old leather belt

Old decorative cupboard handles

EQUIPMENT

Fabric scissors

Fabric glue and brush Binder clips Pins

Single hole punch for leather Long nose pliers

vertical metal bars before I did the horizontal ones. Cut more strips if needed. This sounds like a lot of work, but it is very simple work and goes very quickly if you persevere. ♥ STEP FIVE When you have covered the entire frame, cut two 20cm pieces from the belt for the handles. Press two holes on both end sides of the 20cm pieces of belt with the hole puncher, big enough for the cupboard screw to fit. ♥ STEP SIX Fold the 20cm piece of belt around the top frame of the basket to form a leather handle. Press the screw of the cupboard handle through and fasten it onto the frame with pliers.

♥ STEP ONE Wash the hanging basket and make sure that it is free of dust and rust. If it has rust marks, treat it with a rust preventer. ♥ STEP TWO While the basket is drying, start to cut the leather strips. I used an old pair of leather trousers to make my strips. Cut the seams open so that you have flat pieces of fabric. ♥ STEP THREE You can draw long lines and cut along the lines, or just cut freehand if you have a good eye. ♥ STEP FOUR When you have a good number of strips and your basket is dry, start to coil the leather strips around the metal bars, fastening them with the pins, binder clips and fabric glue as you go along. I did all the

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Christmas doormat

Welcome your house guests in style this season with our DIY Christmas doormat. Try our ‘Season’s greetings’ mat or add a festive message of your own. By Jenny Brownlees

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This project is brilliant for making a festive welcome or use the same techniques to create an all-year-round mat. CHRISTMAS DOORMAT HOW TO... MATERIALS

One coir doormat (we got ours from Homebase for £7.99)

2 tester pots of Crown matt acrylic paint in ‘Rebel’ colour

EQUIPMENT

Stencil brush (a 1.25cm stencil brush is ideal for this project, you can get a pack of 3 sizes for £2 at Hobbycraft) Ruler

Black Sharpie pen

Microsoft word and printer ♥ STEP ONE Cover the surface you will be working on. ♥ STEP TWO To make the border, measure 2cm in from the edge of youwat and mark a faint line with a black Sharpie pen.

♥ STEP SIX Dip your stencil brush lightly in the paint. Paint in a dabbing motion so the paint is distributed into the bristle of the mat. Do this to fill in the entire border. Having the black Sharpie lines already drawn out means a nice neat edge, so no need to go too close. ♥ STEP SEVEN Leave the border to dry for half an hour and, if needed, add a second coat of the paint.

♥ STEP SIXTEEN Once you’re happy with the final size, lay out your writing on the mat in the position you desire. ♥ STEP SEVENTEEN Using a Sharpie, draw lightly around the writing to give you an outline of where to paint. Don’t worry if you can’t trace it perfectly, you can join up the writing as needed by looking at your template.

♥ STEP EIGHT Decide on your festive message, we went with a simple but welcoming, ‘Season’s Greetings’. ♥ STEP NINE Open a Word document (or another word processor) on your computer and change the page setting to landscape. ♥ STEP TEN Write your chosen phrase across the page and increase the font size to about 150. (Don’t worry if the text breaks up and goes onto different lines or pages, we can correct this later.) ♥ STEP ELEVEN Change the font to a scripted text. We used a pre-installed script that was cursive but legible, and slightly thick, to make it easier to paint. Play around until you find the perfect font for your mat.

♥ STEP EIGHTEEN Once you have your word templates, using your stencil brush, add the paint in dabbing motions into the bristle of the mat, filling in the words.

♥ STEP TWELVE This is where you have to experiment a little, depending on the size of your mat and font, the size you need to print at will differ. ♥ STEP THREE Do this all the way around the mat, then join up your lines. To ensure the line is as sharp and straight as possible, draw with a ruler. ♥ STEP FOUR Once you have this solid line, to make a nice border, measure another 2cm into the centre of the mat, and make a faint line again with your pen. ♥ STEP FIVE Repeat this all the way around the doormat, then join up the lines again with a ruler.

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♥ STEP THIRTEEN Set your printer settings to ‘draft’ so as to not waste ink. Print the phrase, place in the centre of your matt and alter the font size to go bigger/smaller as needed. ♥ STEP FOURTEEN It is probable that, like ours, the font size needed to be so large that the text broke up over lines/pages. ♥ STEP FIFTEEN Simply print your phrase as it is, and cut out the words on each page so you are left with just the writing. Line up the broken words and fix together with adhesive tape so you have a completed word again.

♥ STEP NINETEEN Allow to dry for half an hour and, if needed, add another coat of paint. ♥ STEP TWENTY The acrylic will dry into the mat and be hard to the touch, making it able to withstand wear.

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Shadowbox table

F U R NI T RE VA MUPRE

Display your collection of souvenirs, like pressed pennies, miniature ceramics or other small items, in a stylish shadowbox coffee table. Project and photography by Cat Morley from Cut Out + Keep (www.cutoutandkeep.net)

MATERIALS

Sheet of glass cut to size

Pine strip wood, 4x12mm Wood 12x20mm White paint

Squashed pennies or other collection of small items Coffee table

Nails and small tacks Dowels

EQUIPMENT Mitre saw Hammer

Chisel or screwdriver Drill

♥ STEP ONE We used a basic Lack table from IKEA for this project, but you could use any coffee table you have in your home already. Double check your measurements and cut four pieces of the thicker wood to make a frame. ♥ STEP TWO Nail the frame together and make sure that it matches the corners of the table perfectly. ♥ STEP THREE Once you’ve decided on the size of each compartment, divide up the wood into those lengths. Set your mitre block to cut to half the depth of the thin wood. In groups of 45 strips, work your way along, making two cuts, as far apart as the width of the wood. ♥ STEP FOUR Using a small chisel, or a small flathead screwdriver, chip the inner piece of wood out to leave a small notch.

♥ STEP FIVE Slot each piece of wood together. The notches should match up. Use a soft mallet to flatten out any tough ones and then paint the whole frame white to match the table. ♥ STEP SIX Lay all of your pieces together and take a final measurement of the inside area for the glass. Take off 1-2mm to allow the glass to fit snugly. Head to a glazer and ask for some glass cut to size. We picked 4mm safety glass. ♥ STEP SEVEN The inner frame is nailed to the table with small tacks. The outer frame is held in place with small dowels. Drill holes into the tabletop and into the outer frame at each corner, then the outer frame sits snugly on top and you can change the display by lifting the outer frame, and then the glass. Fill the table with pennies to finish.

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Table runner and napkins This is the perfect project to use your Sizzix® dies to give new life to an old tablecloth that may be marked in places, but is still in good condition overall. By Jo Carter for Sizzix (www.sizzix.co.uk)

MATERIALS FOR THE TABLE RUNNER

4 different printed fabrics, each about 46x46cm (there is plenty of fabric in a standard men’s shirt)

Solid fabric, about 112x117cm (we used an old white tablecloth) Applique fabric, about 41x14cm

Iron-on adhesive (fusible web), about 41x14cm

Backing fabric, about 150cm (will need to be pieced together to give a length of about 240x50cm) Batting, about 240x50cm

6 pieces of printed fabric (for deer), each about 10x14cm Iron-on adhesive (fusible web), about 30x28cm

Stabiliser, about 30x28cm (optional)

EQUIPMENT

Sizzix® Big Shot™ Plus machine 660020

Sizzix® Bigz™ die – HalfSquare Triangles, 11.5cm finished square 659832

Sizzix® Bigz™ die – Square, 10cm finished (11.5cm unfinished) 659838

Sizzix® Bigz™ die – Prancing Deer 660033

Binding fabric, about 50cm Stabiliser, about 41x14cm (optional)

FOR SIX NAPKINS

Napkin fabric, at least 138x138cm (we used the rest of the old tablecloth)

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FINISHED SIZES Table runner – approximately 224x41cm Napkin – approximately 42x42cm Seam allowance – 7mm unless otherwise stated.

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TO MAKE THE TABLE RUNNER

lock have deer which face the opposite directions.

♥ STEP ONE From the solid background fabric cut 16 squares and 72 half square triangles using The Big Shot Plus machine. From each of the four printed fabrics cut a further 18 halfsquare triangles.

♥ STEP EIGHT Right sides together, join the table runner together so that the deer alternate pointing up and down and face the centre of the runner and the fabric pairing along the side of the rectangular blocks border an opposite fabric pairing in the star block. The central rectangular block will be an opposite way up to the side ones.

♥ STEP TWO Right sides together, sew each of the printed half-square triangles to a solid half-square triangle to give a total of 72 squares. Press the seams. Divide the printed fabrics into two pairs, as each pair feature in two blocks in alternate positions. ♥ STEP THREE To make the star block, select one solid square, two matching solid/print squares and one solid/print square from the paired print and, right sides together, sew together. Repeat to make three more 2x2 squares. ♥ STEP FOUR Right sides together, sew the four 2x2 blocks together to form a star. Repeat steps 3 and 4 to give four star blocks in total. Press the seams. ♥ STEP FIVE To make the rectangular dividing blocks between star blocks, firstly select a solid/print square featuring each of the 4 prints and right sides together, sew together. Repeat to give two 2x2 squares. ♥ STEP SIX Right sides together, sew the 2x2 squares together. The ‘paired’ prints should alternate down one long side of the resulting rectangular block. Press the seams. Repeat steps 5 and 6 to give three rectangular blocks in total. ♥ STEP SEVEN Apply the iron-on adhesive following the manufacturer’s instructions to the reverse of the appliqué fabric. Using the prancing deer die, cut out 2 pairs of deer. Remove the backing paper and position the deer, right side up in the centre of one of the star blocks and press into place. Sew all around the deer. Repeat with the other 3 deer, ensuring that each paired fabric

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♥ STEP NINE Make a quilt sandwich and baste together using your preferred method. Quilt as desired. ♥ STEP TEN Square up the runner. From the binding fabric cut six 6.5cm x width of fabric strips and join together end to end using either diagonal or straight seams. With wrong sides together, fold and press in half along the length. Bind the runner and mitre the corners. TO MAKE A NAPKIN ♥ STEP ONE Cut six 46x46cm squares from napkin fabric. Fuse iron-on adhesive to the back of the appliqué fabric and cut out 6 deer all the same. ♥ STEP TWO Press 1cm to the wrong side all around the sides of a napkin and then press 1cm to the wrong side again. Open out the sides and, using the folds as a guide, cut away the tip of the corners. Re-fold the sides once along the first crease and then fold the corner in at 45 degrees to the sides at the point that the two second folds meet. Lastly, re-fold the second fold along the sides so that the corners form a mitre and press well. ♥ STEP THREE Position the deer in one corner of the napkin, press in place and stitch around. ♥ STEP FOUR Sew the edges of the napkins close to the edge. Repeat with remaining 5 napkins. For more information on Sizzix ®, visit www.sizzix.co.uk

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Fruity baubles

Christmas in Australia is in the summer, so bring that sunny spirit to your own festivities with hot colour baubles. Project and photography by Cintia Gonzalez-Pell from My Poppet (mypoppet.com.au)

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Visit Cintia’s website at mypoppet.com.au to find a fruity Christmas stocking design to match your baubles. FRUITY BAUBLES HOW TO... MATERIALS

Clear glass ball ornament with removable top

Acrylic paint in red, orange, yellow, bright green and dark green Acrylic paint medium

Light green and dark green felt Clear quick-dry craft glue

Nail polish in yellow, green, white, orange and brown Empty toilet roll

EQUIPMENT Scissors

White fabric pencil or chalk Plastic container and spoon Nail art dotting tool Fine nail art brush

Nail polish remover ♥ STEP ONE Carefully remover the metal tops from the glass baubles. ♥ STEP TWO In a plastic container, mix a small amount of paint with equal parts paint medium. Mix well, it should have a runny custard consistency. ♥ STEP THREE Spoon some paint into the bauble. Don’t add too much, you can always top it up if you need a bit more. ♥ STEP FOUR Cover the opening with your finger and shake, shake, shake. Pour out any excess paint and allow to dry. ♥ STEP FIVE Go ahead and paint the other baubles in the following colours. Red = strawberry Orange = orange Yellow = pineapple Bright Green = apple Dark Green = melon If you can’t find the perfect colour in the tube you can do a bit of custom mixing to get the colours just right.

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STRAWBERRY ORNAMENT

MELON ORNAMENT

This strawberry turned out super cute and the red, white and green work well if you are decorating with traditional Christmas colours. They would look awesome en masse on a lovely green tree.

I’ve got to admit, this little melon is my favourite of the lot. I suppose it reminds me of Japan where melons are prized and given as very special gifts. It took me a few tries to get the striping design just right, so nail polish remover came in handy to clean up any mistakes and start again.

♥ STEP ONE Mark a circle in the dark green felt by tracing around something round, I’ve used a lens cap. ♥ STEP TWO Fold the circle in quarters and snip a small bit to make a hole in the centre.

♥ STEP ONE With a nail art brush or fine paintbrush, mix a little yellow and green nail polish together.

♥ STEP THREE Cut some pointy leaf shapes around the outside.

♥ STEP TWO Paint some irregular stripes down the sides and allow to dry.

♥ STEP FOUR Glue the felt strawberry leaves onto the bauble, slipping the neck of the bauble through the hole in the felt. It should fit nice and snugly.

♥ STEP THREE Mix up a paler batch of green nail polish by mixing some white in and add some extra highlights to the stripes.

♥ STEP FIVE With the nail art dotting tool, make little polka dots all over the bauble with white nail polish.

♥ STEP FOUR Replace the tops and tie on the hanging loops. PINEAPPLE ORNAMENT

♥ STEP SIX Use an empty toilet roll to keep your glass ball from rolling away. Let the dots on one half dry before you turn the ball around to work on the other side.

No fruity selection is complete without a pineapple! Pineapples are a hot decor trend right now and would fit right in on any modern tree.

♥ STEP SEVEN Replace the top and tie on the hanging loop.

♥ STEP ONE With brown nail polish, paint small crosses over the bauble and allow them to dry.

APPLE AND ORANGE ORNAMENTS

♥ STEP TWO Replace the top on the bauble and cut a long rectangular piece of light green felt that will wrap around the top several times. Cut pointy zig-zag shapes from the top of the felt to form the leaves.

I love the contrast between these bright orange and green fruits, and the simple graphic shapes remind me of mid-century style vintage fruit illustrations. ♥ STEP ONE Cut one dark green felt leaf for each fruit. Glue onto the baubles ♥ STEP TWO Optional – paint small clusters of orange dots with orange nail polish onto the orange bauble. It’s hard to see in the photo but it does add an extra dimension and detail to the ornament.

♥ STEP THREE Working quickly, apply a small bead of glue around the top of the bauble at the base of the metal cap. ♥ STEP FOUR Wrap the felt leaves around the top of the bauble and attach hanging loop.

♥ STEP THREE Replace the tops and tie on the hanging loops.

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Vintage sewing box Upholstering a vintage sewing box is quite quick and requires a relatively small amount of fabric, making it perfect for using beautiful vintage remnants, like the Scandinavian prints we’ve picked, with bright and geometric colourful patterns. By Vicky Grubb

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MASTERCLASS

Vintage sewing box MATERIALS

Fabric, 100cmL x 120cmW

Lining fabric, 50cmL x 120cmW

Platform cloth, 30cmL x 50cmW

56g (2oz) polyester wadding, 1mL x 67cmW 2.5cm grey foam, one sheet measuring 50cm square

fit. Lay the calico on your table and place the lid on top, foam side facing down. Starting at the middle of each edge, staple the calico to the underside of the lid using 6mm staples, making sure to cut around the hinge holes using a ‘V’ cut. At each corner, make a bed sheet pleat (B).

Thick cardboard, 45cmL x 25cmW

♥ STEP FIVE Turn the lid top-side up and apply one layer of polyester wadding over the calico, making sure that any excess wadding is removed.

Medium piping cord, 100cm

♥ STEP SIX Lay your top fabric over the lid to see where you want to apply the pattern, and mark with chalk.

Size 6mm and 8mm staples, one box of each Back tack tape (cardboard tack strip), 100cm Ribbon, 25cmL x 1cmW

Upholstery thread, 50m Decorative tacks, four Spray glue

Wood filler (optional)

Magi mix, linseed oil or varnish (optional) Spray paint for legs (optional)

EQUIPMENT

Basic toolkit

Basic health and safety kit Notepad and pencil

RE-ASSEMBLE LID SECTION ♥ STEP ONE To make a domed seat for your sewing box, cut a small rectangular piece of 2.5cm foam to fit in the centre of the lid about 10cm from the edge in all directions. Spray glue on one side of the foam in a well ventilated area, leave for 30 seconds to go tacky, then stick it to the top of the lid (illustration A on page 78).

♥ STEP SEVEN Staple the fabric to the underside of the lid using 6mm staples as with the calico (see step 4). Trim off any excess fabric and calico around the staples. ♥ STEP EIGHT Now measure the circumference of the lid and make some single piping, one longer length and one to fit between the hinges. ♥ STEP NINE Attach the longer length of piping first, using 8mm staples, and working from the mid point of the piping to attach it to the front of the lid. Continue to staple the piping around the lid to the hinges – your piping should just peek over the edge of the lid, but none of the selvedge should show. When you reach the hinges, snip off any excess piping cord, fold the ends of the fabric in and staple to secure.

♥ STEP TEN You can now screw the hinges back in. Apply the shorter length of piping between the hinges in the same way, making sure you do not cover the hinges. ♥ STEP ELEVEN Now apply the lining to the inside of the lid. Start by measuring and cutting a small piece of calico to fit inside the lid; staple it in place around the edges close to the piping using 6mm staples, and then trim off any excess. ♥ STEP TWELVE Cut the lining fabric to size, leaving a 1.5cm turning allowance on each side. Turn the lining to the wrong side and attach it along the top edge using back tack tape, cutting the tape to fit between the hinges (C). ♥ STEP THIRTEEN Add one layer of polyester wadding up to the piping, then fold the fabric over the wadding (the fabric will hide the hinge plates). Turn the fabric under at the edges and pin along the piping line all the way around.

This project is taken from The Beginner’s Guide to Upholstery by Vicky Grubb, published by David & Charles RRP £15.99

FABRIC FOCUS These little sewing boxes come in all styles, so too do your fabric choices, from 1950s novelty to a chirpy barkcloth, or maybe a modern atomic.

♥ STEP TWO Cut another piece of 2.5cm foam to fit exactly to the edge of the lid. Spray glue on one side and stick down over the smaller piece of foam. Trim excess from the sides. ♥ STEP THREE Cover the foam with two layers of polyester wadding across the top and down the sides of the lid. Pinch the wadding together at the corners and trim off any excess from the underside of the lid. ♥ STEP FOUR Measure across the top of the lid to the underside and cut a piece of calico to 76

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These 1950s sewing boxes with removable legs come in many different shapes, leg sizes and colours. I have two brimming with vintage ribbons, braiding, buttons and other crafty bits.

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MASTERCLASS

Vintage sewing box BASE SECTION ♥ STEP FOURTEEN Cut a piece of calico to fit around the outside of the frame of the base. Staple the calico in place using the 6mm staples (D). Trim off any excess calico close to the staples. ♥ STEP FIFTEEN Measure and cut the fabric for the outside of the base. The fabric will be cut in two sections: one to fit around the front and sides and the other to fit across the back. When planning for the cutting of your fabric, try to get the pattern on the base to line up with the pattern on the lid when closed. Remember to allow for the turning allowances to fix the fabric over the top edge of the box and underneath the base. ♥ STEP SIXTEEN Add one layer of wadding over the calico on the front and sides, allowing it to fold over the top edge and trimming it at the bottom. Attach the top edge to the inside of the box and the bottom edge to the underside. Start stapling from the middle of the front of the box and make a small pleat to fold the fabric around the corners. Staple the sides to the back of the box. These will be covered up by the back panel of fabric. Trim off any excess fabric. ♥ STEP SEVENTEEN Now measure, cut and staple the fabric for the back panel. Staple the top and bottom edges in the same way as the front panel. Fold under the side edges and pin along the corner edge.

Attach the front/sides piece first. Use back tack tape to attach the fabric to the frame’s top edge (F); fold the fabric over to the inside of the box, pull it taut and staple to the base. Use back tack tape to attach the back piece of lining fabric, fold the fabric to the inside of the box, fold under the side edges, pull the fabric taut and staple it to the base. ♥ STEP TWENTY Make a paper template to fit the base of the box and use to cut out a piece of thick cardboard to fit. Spray glue the underside of the cardboard base insert, place a piece of polyester wadding on top and wrap with the lining fabric, and stick the fabric in place on the underside (G). Push the covered insert into the base of the box.

d

e

THE FINISHING TOUCHES ♥ STEP TWENTY ONE Sew the pinned areas of the base and the lid using slip stitch. ♥ STEP TWENTY TWO Turn the box upside down and cut a piece of platform cloth to fit the base. Fold the edges under and staple in place using 6mm staples. Screw in the legs: to allow the screws to pierce through the fabric without it buckling, snip a small cross over each hole with a quick unpick.

b

f

c

g

♥ STEP EIGHTEEN To line the base, start by adding some pieces of wadding to fit the spaces of the inner frame (E). ♥ STEP NINETEEN The fabric for the lining is measured and cut in three sections: the front and sides (one piece), the back and the base.

a

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Once the transformation is complete, this bright and cheery sewing box, with its domed lid and fabric base, can now have pride of place in your craft room.

MEASURING UP Take measurements for the box across the top of the lid, around three sides of the base (one piece), and the back section of the base. The inside of the base is lined, so also take measurements for the inside lid, all four sides and across the bottom. Remember to always add turning allowances to your measurements. It’s best to wait until you have covered the lid and base with calico before you cut the fabric, particularly if you choose a fabric with a pattern. I like to place the fabric onto the lid first and to measure the base pattern lines from there.

STRIPPING DOWN Use a staple or tack remover, mallet and pliers to remove all the plastic wicker, plastic edging, foam and fabric from the outside of the box and the lining from the inside – you may need to cut the wicker to remove it. Don’t panic about the flimsy looking frame, it will be reinforced by the layers as you build the new upholstery. Dispose of all the old materials. Remove the lid by unscrewing the hinges from the box base, but leave the hinges attached to the lid. Put the screws in a safe place.

REPAIRS The wooden tapered legs on these sewing boxes are either black, white or natural wood. If there are lots of scuffs, gently sand down and re-apply paint. To restore natural wood legs, oil with linseed oil.

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SALVAGE SISTER COLUMN NOVEMBER 2015

Charis Williams

W

hat a month! I have so many photos for you I don’t know how much writing I can fit in! How’s my intrepid army of upcyclers? It has been a truly great month for upcycling and woodwork for me, and I’m going to tell you all about it. You may remember in my last column I told you to head over to The Handmade Fair in September on the Friday morning, to catch Kirstie Allsopp and I live on stage in the super theatre – making an awesome pallet trough. Thank you so much to those of you who came along. It was just like old times working with Kirstie again, I forgot how much fun we have! We had a good laugh at ourselves when our

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TV presenter, reuse expert and Salvage Sister Charis Williams is our expert on all things upcycled. This month Charis takes unwanted pallets and turns them into perfect planter troughs and lovely wooden letters... safety glasses steamed up and we couldn’t see because the lights over the stage were so hot! Once we had that issue sorted we got started and in just 45 minutes we turned two scrap pallets (which I had found for free at my local wood recycling store in Brighton – www. woodrecycling.org.uk) into a beautiful trough. It was as easy as cutting one pallet in half and using this for the sides of the trough, and cutting a section off the other pallet for the base of the trough and using some slats from it to fill in the gaps. My main aim for this demo was to show people how quick and easy it is to make something beautiful and useful out of something free and unwanted. I made up my mind before I even found the pallets that

I wanted the trough to have a ‘V’ shape rather than a rectangle. I think the shape is much more pleasing to the eye and doesn’t seem as bulky as the rectangle ones, even though you have the same planting space. People can be apprehensive of working with angles, but in this demo I gave a simple format for creating the angles without having to measure them with a roofers square or angle divider, which can be quite confusing for those with creative brains, and we certainly didn’t have time for a maths lesson too! If you would like to learn how to make one of my pallet planters for yourself, head over to my website for a free how-to. You literally won’t believe how easy this make is, you’ll be kicking yourself and asking why you had never done this sooner. I gave this trough away on my Facebook page a week after the Handmade Fair, to one very excited household. Were any of you lucky enough to win one of my handmade letters in B&Q’s Facebook giveaway last month? I did warn you to find us on Facebook. There were 26 winners, one for each letter of the alphabet, spread over 26 days of September.

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UPCYCLING SOS ♥ ‘Dear Auntie Charis. What’s the best way to dismantle a wooden pallet, without the planks disintegrating into a bunch of useless splinters?’ Instagram – @markus_reeves – UK

I was honoured to host B&Q’s awesome masterclass in London to launch the competition. It was a great event, where I taught the 11 attendees how to make their own wooden letter using power tools. Only as I started the masterclass did I learn that only one of them had used a jigsaw before and none of them had ever used a circular saw. ‘Hhhmmm, this is going to be interesting!’ I thought. Although, never one to be put off at the thought of a mere challenge, I went over some basic health and safety and gave a demonstration on how to use the tools, before unleashing them on the brand new power tools and keeping a beady eye on what was going on. Silence reined as the girls got their concentration-faces on and started marking out their planks. The silence was soon interrupted by the whirr of the saws and the dust slowly invaded the room. Needless to say, they all did incredibly well

and by the end were accomplished girls-withpower-tools. That’s what I like to see. Plus, much to the ladies amazement, B&Q gave away all the power tools used that night. That’s one heavy goodie bag to carry home! If you want to have a go at making one of my pallet planters or one of my wooden letters, head over to my Salvage Sister website, where I upload new how-to’s and videos regularly. I also host giveaways on my Facebook page. In the last month you could have won one of my handmade wooden letters, or one of my pallet planters. You gotta be in it to win it, so make sure you find me. And remember to send me photos of your projects through my FB or Twitter. I love to see what you’ve been making! Facebook – Charis Williams AKA The Salvage Sister; Twitter – @CharisWilliams; Instagram – @CharisWilliams777; YouTube – TheCharis777; www.salvagesister.co.uk

Hi there Markus, yes, any accomplished upcycler knows that a first attempt at a pallet break-up usually ends up just that – splintered wood and a bewildered and disappointed you! I’ve been there myself and less haste, more speed is the rule of thumb here. If you go all guns blazing on a pallet and try to pull up one end of a slat too much before you’ve eased the other joins up, it will split. I find if you use a foot long ‘wide blade pry bar’, which is pretty flat, with just a very slight curve to one end, you will have more luck than with your average crowbar. It also helps if the wood is a little damp – very dry wood has a tendency to split. I find some pallets are easier to dismantle than others – I like the ones with no big lump of wood in the corner, constructed with lengths of wood going one way and slats in the other. So, you have your pry bar as described and your pallet is damp. Now put the end of your pry bar under a join at one end of the slat. Hammer it under the slat and lever it slightly, not too much. Replicate this the other side of the join, and then follow this again all the way down the slat at either side of the joins. Then go back to where you started and ease that up again. You should find on your second go down the slat it comes up pretty easily. Always stop as soon as you hear a cracking sound, but if you’re following this you hopefully won’t hear the dreaded noise! Some DIY stores stock a ‘demolition and lifting bar’, which is for lifting floor boards and heavy paving slabs and this can work pretty well for pallets too.

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Globe light ornaments

M ID W E E K

MAKE

Salvaged globe-shaped light fixtures can be completely re-imagined as oversized Christmas ornaments. Use them in your garden, along your front steps or around the house to add vintage holiday charm on a bigger scale. Project and photography by Sarah Norton Ramberg from Sadie Seasongoods (www.sadieseasongoods.com)

MATERIALS

Salvaged glass ceiling light fixtures (round/globe shape) Short aluminium tin cans

Eye bolts from hardware store Metallic spray paint Glue (optional)

EQUIPMENT Awl/drill

♥ STEP ONE Remove the base/electrical parts and clean the interior and exterior of the glass light globes. ♥ STEP TWO Spray paint the interior of the glass globes and allow to dry. I used metallic silver and gold to evoke a vintage mercury glass look. ♥ STEP THREE Measure the opening of the painted glass globes and use short aluminium/tin cans to create an ornament cap that fits over the globe opening.

TOP TIP If you want to actually hang these ornaments, you will need to make sure the caps are glued firmly enough to take the weight – you don’t want one of them dropping from a great height.

♥ STEP FOUR Paint the cans silver or grey and allow to dry. ♥ STEP FIVE Use an awl or drill to poke holes through the bottom of each tin can and insert an eye bolt through each, with the eye on the outside of the can bottom. ♥ STEP SIX Place the caps on the globes and, if desired, permanently attach with glue. Set out as decoration and enjoy the holiday spirit!

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HOME R E F

UR B

Driftwood tree

Hang your decorations from these weathered wood branches instead of your pine tree, and you can bring this tree out year after year too. Project and photography by Hester van Overbeek from Hester’s Handmade Home (www.hestershandmadehome.com)

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Much of the enjoyment of this project is collecting the driftwood, a pleasurable means to a decorative end. DRIFTWOOD TREE HOW TO... MATERIALS

Driftwood in different lengths

Wood off-cuts, big enough for 2 squares of 10x10cm and 2cm thick Twine and super glue (optional) Wood glue

♥ STEP ONE Find a driftwood branch big enough for the vertical stand. If you only have short pieces, glue them together with super glue and wrap a bit of masking tape around the pieces until the glue has set. Wind and glue bits of twine around the area of the bond to hide the joint.

♥ STEP SEVEN Order your other driftwood pieces to size. You want to create a tree shape, so largest piece goes at the bottom and the shortest piece on top.

Screws

Small nails

EQUIPMENT

Screwdriver G clamps Hammer Paint

♥ STEP TWO From your wood, saw two squares of 10x10cm. If you make a smaller tree your base can be smaller, but the bigger the base the more stable your tree will be.

♥ STEP EIGHT Screw the branches to the main vertical piece. Be careful when you attach them, as driftwood can be very brittle.

♥ STEP THREE In one of the squares, drill a hole in the middle the same diameter as your vertical driftwood branch. ♥ STEP FOUR Apply wood glue to one side of the squares and glue the two pieces together. Hold them together with G clamps to make sure the wood stays in place while drying. ♥ STEP FIVE Paint the base. I did mine in white but you could go gold or red for a more festive look.

♥ STEP NINE Hammer little nails into your tree’s branches to hang the decorations on.

♥ STEP SIX Apply wood glue to the hole in the base and insert your large driftwood piece. Make sure it is as straight as it can be. Let the glue harden completely. 86

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HAVE YOU MISSED A COPY?

ORDER ONLINE AT ANTHEM.SUBSCRIBEONLINE.CO.UK/BACK-ISSUES/ RELOVED-BACKISSUES CALL US ON 0844 848 8423

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Cross stitch chair Plain cane weave chair bases can be given a marvellous makeover with some velvet ribbon and a few stitches. By Hannah Sturrock

F U R NI T RE VA MUPRE

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Velvet ribbon is an excellent choice, providing not just colour and texture, but extra comfort for sitting too. CROSS STITCH CHAIR HOW TO... MATERIALS

Chairs with a woven cane seat base

40m of velvet ribbon, 7mm wide, in each of two colours Gold acrylic paint

EQUIPMENT

Tapestry needle, size 16 Paintbrush

FINISHED DESIGN SIZE

27.5cm long x 30cm at the widest point, narrowing at the back to 24cm – 22 x 20 stitches

♥ STEP ONE Find a pair of chairs with a woven cane seat base. Try to make sure that the grid created by the weave is as even as possible. Also make sure that the holes in the grid are big enough to fit your ribbon. ♥ STEP TWO Paint a 5cm strip of the outer edges of the cane seat base with one coat of gold acrylic paint and leave to dry for 24 hours. (There is no need to paint the whole base, as most of it will be covered with your cross stitches.) ♥ STEP THREE Cut a 1-2m length of ribbon and thread your needle. ♥ STEP FOUR Stitch into the base of your seat as you would onto aida, stitching into every square of the cane weave “grid”. Take care

to catch the ribbon underneath the first few stitches to secure it. You can turn the chair upside down if that helps. ♥ STEP FIVE Try to stitch right up to the edge of the seat base, although this does get more difficult as you get closer to where the cane is secured to the wood. Stitch as close to the edge as you possibly can. ♥ STEP SIX Finish each length of ribbon in the same way as you would with thread, by turning the chair upside down and passing your needle underneath the back of a few stitches to secure the ribbon. ♥ STEP SEVEN Once you have finished your stitching, simply stand back and admire!

TOP TIPS

This project is taken from Modern Cross Stitch by Hannah Sturrock, published by CICO Books, photography by Jo Henderson. RRP £12.99

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If your chairs are larger than the ones I used, just continue the base colour stitches until you reach the edge. Try using leather or faux suede cord or a chunky tapestry yarn to give the chair a different look and texture.

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THREAD COLOUR KEY

O Velvet ribbon, 7mm wide, burgundy (gold for reverse version), 1 strand

X Velvet ribbon, 7mm wide, gold (burgundy for reverse version), 1 strand

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♥ Here Lia loves to experiment with texture in her rooms ♥ Below Paper flowers and plants last all year ♥ Right Lia’s industrial lights are a real statement piece

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MY

vintage HOME

Craftsman style house Lia Griffith is a designer, maker and DIY lifestyle expert from Portland, Oregon. Most known for her paper flower designs, Lia shares her upcycled home with us... By Lia Griffith

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MY

vintage HOME

I

live in a small but beautiful craftsman style house in Portland, Oregon. I chose it for its potential to become the perfect home for my life as a full-time maker and designer, but because it’s rented, I’ve had to be clever about how I made it ‘my own’. I have always believed that to make your house a home you have to infuse it with parts of you, with things you create, find or alter. It’s those little, personal touches that make a house unmistakeably yours. It’s not always been easy, but over the years I’ve developed tried and tested methods and in the process have made my little rented house into a place I am wholeheartedly in love with. One of the things I love about my life as a designer and maker is that my home is always evolving. Every now and then I’ll get the urge to freshen things up, to add a pop of colour or a new piece of art for the wall. So making my own accessories or updating 94

favourite pieces of furniture is the natural thing for me to do. I share all of my designs via my website, so designing, making and upcycling is literally what I live and breathe! When I’m thinking about the rooms in my house I always start with a fresh new colour palette in mind, to make sure that my choices complement one another. I stick to colours that are similar in tone, then mix it up by incorporating a range of different textures. One of the simplest ways to update the decor in any room is with pillows and throws. It’s a simple change that can have a surprising impact. I like to design my own fabrics using sites like Spoonflower and then make a variety of throw pillows to form the basis of my new look. It can be daunting to think about designing your own fabrics, but if it’s for you and your home, it just takes a little imagination and the desire to create something beautiful. I’d encourage anyone

to give it a go and I’ve been so pleased with some of the results I have achieved – it’s a very satisfying process! Having an open fireplace in the main living area of my home is great for chilly winter nights in front of the TV, but that large hole in the wall is nothing but an eyesore for the rest of the year. I had seen various fireplace covers on the market, but nothing that suited my space perfectly – so I made my own. Using sawn discs of silver birch I secured them onto a wooden backboard using a hot glue gun. I can easily slot it into the space whenever the fire is not in use. It was a simple and inexpensive DIY project that I think complements the geometric pattern of the tiled surround and mantle perfectly. It was important to me to bring natural texture into the room so this project ticked all the boxes! Another of my favorite DIY projects is the framed artwork television cover above

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♥ Here Wooden panels create a natural centrepiece ♥ Middle top Blues and greys work well together in the living room

♥ Middle near left Decoupage sewing mannequin ♥ Far left Gorgeous plant and vase combinations

♥ Middle left bottom Shapes are a good way to add interest to a space

give it pleased a go with the results IT’S A VERY satisfying process I’D ENCOURAGE ANYONE TO AND I’VE BEEN SO

the mantle. I have made a couple of these in the past and I love them because they allow me to change the canvas seasonally. I began by purchasing a canvas in the same measurements – or as close as possible – to my television set. I built a solid wood frame around the edge of the canvas that would allow me to hang the canvas from the wall and sit comfortably over the television set. Then I set about painting it with a simple, abstract pattern in muted tones. I get a lot of comments about this piece and I always tell people they don’t have to be an artist to give

it a go. The great thing about paint is you can start over if it’s not turning out as you hoped! The industrial chandelier in my dining space is one of the most popular DIY projects on my site and I still maintain that it’s achievable by anyone who can use an electric drill! I scooped the wooden board from the side of the road on my way home one day – a discarded piece that became the basis of this eye-catching light fixture. I drew up a simple design inspired by pieces I’d seen online, drilled holes through the wood, then threaded vintage style fittings through and attached

them at the back. I called in a professional electrician to wire it to the mains for me – there’s a point at which I won’t DIY! Handmaking and upcycling pieces for my home has been such a wonderful way to bring a little of ‘me’ into this space. I firmly believe that our home should reflect who we are, that it should be the space in which we feel most at home and putting a little soul into the pieces I bring into my home has been the perfect way to achieve that. As a designer and maker there isn’t a room in my house that doesn’t have a couple of prints, paper flowers, pillows or pieces of furniture that I have made or upcycled myself. These pieces breathe life into a space that otherwise could belong to anyone. They make this space my own and for that reason I won’t ever stop designing, making and upcycling. Visit liagriffith.com to find out more. NOVEMBER

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Vintage Toy Truck

A little creativity can go a long way to turn a tired old toy into wonderful, whimsical piece of holiday decor. Project and photography by Sarah Norton Ramberg from Sadie Seasongoods (www.sadieseasongoods.com)

M ID W E E K

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If you don’t have trees to load the truck, then fill it with little wrapped presents to create Santa’s delivery van. VINTAGE TOY TRUCK HOW TO... MATERIALS

Vintage toy truck

Lollipop/wooden craft sticks Ribbon (optional) Wood stain

EQUIPMENT Ruler

Heavy duty scissors or craft knife Craft mat

Wood glue or glue gun

Alphabet stamps and ink (optional)

♥ STEP ONE Since my broken toy truck was missing the back end, I decided to build my own set of rails to give it that old-fashioned delivery truck look. I purchased some lollipop/ craft sticks from the craft store and used wood stain to make them appear vintage and weathered.

♥ STEP FOUR I set my new truck bed in the back of my truck and filled it with vintage bottle-brush Christmas trees.

♥ STEP TWO After the stain dried, I measured and snipped my stained sticks to size, so that they would fit on the back of my truck.

TOP SAFETY TIP Vintage toys may have been coated in lead-based paints, so bear that in mind when handling them and make sure no one (children especially) can accidentally ingest any.

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♥ STEP FIVE (optional) I decided to make a little Christmas sign to hang on my truck using more wooden sticks, some ribbon and a set of alphabet stamps! “Seasongoods” Greetings, to one and all!

♥ STEP THREE When I had all the sticks cut to size, I glued them together to form rails.

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Gluten-Free

H E AV E N

ON SALE ! NOW

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F U R NI T RE VA MUPRE

loose chair cover

One way to change the look of a chair or to make it complement a room scheme is to create a loose cover for it. By Cassandra Ellis

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Once you have your basic chair cover you can adorn it with any kind of motifs you want to fit your decor. LOOSE CHAIR COVER HOW TO... MATERIALS

A chair (a simple armless wooden chair is best. It can have a rounded or square top) Fabric of your choice (a simple chair uses approximately 1-1.25m of 140cm-wide fabric) Matching cotton thread

Embroidery thread (optional)

EQUIPMENT

Iron with steam option

Pins and fabric scissors Paper scissors

Sewing machine

Embroidery needle (optional) Pattern-making paper Pencil with soft lead

♥ STEP ONE Wash your fabric. You need to remove any shrinkage before you make the slipcover or you’ll end up with one size too small issues. Press your fabric and set aside.

often ‘kick-out’, so you may need to make the skirt piece wider at the bottom. To create the final cutting measurement, add 2cm to the height and 8cm to the width measurements.

♥ STEP TWO Lay the pattern paper flat on a clean table or floor. Lay the chair on top of the paper, back side down. Trace around the back of the chair, adding approximately 3-4cm all around. Cut this shape out roughly. Chairs are usually symmetrical, so fold the paper shape in half and even out your tracing marks, erring on the generous side. Check against the chair, make any adjustments and cut this final shape as a pattern for the front and back of the cover.

♥ STEP SIGHT Either create a paper pattern or draw the measurements straight onto the fabric. Cut the fabric. Turn up a 1cm hem on the bottom end, press, then stitch. On the two short ends, turn 1cm to the wrong side and press. Turn over another 3cm to the wrong side on the side edges and press again. Top stitch the sides close to the edge.

♥ STEP THREE Lay the fabric flat, then fold in half and pin the pattern piece to it. You can shuffle the fabric fold so that you don’t waste any cloth. Cut two. ♥ STEP FOUR With right sides together, pin and sew the pieces together using a 1cm seam allowance, leaving the bottom edge open. You need to leave a 1cm gap at the beginning and end of this seam so that you can attach the seat and skirt. Press the seams flat, then open. If using wool or linen, remember to use a pressing cloth as well as the steam option on your iron. ♥ STEP FIVE Slip the fabric over the seat back to check it fits. It should be a loose fit rather than snug. ♥ STEP SIX Trace the seat shape using the same method and lining it up to the sewn back pieces. Fold the pattern paper and straighten up the pattern lines, then cut the final pattern shape and check it against the chair again. Pin the pattern to the fabric and cut one piece. Remove the slipcover back from the chair and pin the front bottom hem to the back of the seat piece, right sides together. Sew a 1cm seam, then press. ♥ STEP SEVEN Measure the circumference of the chair at two points – at the seat and where you want the skirt to finish. Chair legs

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♥ STEP NINE Turn the slipcover back and seat inside out. Starting at the middle of the back, pin the skirt to the back and around the edges of the seat. When you get back to the start, the remaining short end should overlap where you started. For visual reference, think of it as a skirt with a split at the back. Sew a 1cm seam, then press. ♥ STEP TEN Turn the slipcover right side out and slip it over the chair to check the fit. If it’s looser than you would like, you can nip and tuck by sewing a wider seam allowance. I like my covers loose. I washed the cover again and left it un-pressed so that it is a truly rumpled affair and totally in keeping with the state of the chair. However, to show it a little respect, I embroidered simple Boro stitch crosses on the front of the slipcover back. You don’t need a lot – about 15 minutes worth, but I think it makes all the difference.

This project is taken from Home Sewn by Cassandra Ellis, published by Kyle Books. Photography by Catherine Gratwicke. RRP £19.99

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We’re now

on Instagram – come and say hello!

e n i z a g a m _ d e v o @rel

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NOVEMBER

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Jumping jacks

Transform odd scraps into these delightfully nostalgic jumping Jacks – pull the string to make these Cossacks dance. By CICO Books

M ID W E E K

MAKE

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A row of these dancing Cossacks would make a quirky display, with repeat patterns in gorgeous festive colours. JUMPING JACKS HOW TO... MATERIALS Thin card

Scraps of coloured paper from book dust jackets Glue

String or waxed cotton thread

EQUIPMENT

Tracing paper Pencil

Scissors

Cutting mat Craft knife

Bookbinder’s awl, hole punch or something else sharp to make holes Split craft pins

♥ STEP ONE Using the tracing paper, pencil and the templates, trace the body, arms and legs. Transfer the shapes to the thin card and cut out the sets of body parts.

♥ STEP SIX Join all the pieces together with the split craft pins, making sure the arms and legs move freely. Cover the boots and gloves with colourful paper and stick in position.

♥ STEP TWO Cover the body parts with different scraps of paper from the colourful dust jackets. To do this, first cut out a piece of paper that is slightly larger than the body part. Cover the back of each piece of paper with a thin layer of glue, and then lay the thin card body part in position on the glued paper. Cut around the edge of each body part with the craft knife to remove the excess paper.

♥ STEP SEVEN Thread a piece of string or thread, about 12cm long, through one hole at the top of the arm and up through the hole on the other arm. If you find this difficult to do with the arms clipped in position, slip them out of the split craft pins and then reposition.

♥ STEP THREE Using the tracing paper and templates, trace and cut out the facial features, then glue them into place. Use an awl or hole punch to make the eyes. ♥ STEP FOUR Use the awl or hole punch to make holes in the body and limbs, following the templates as a guide. The holes should be large enough to fit a split craft pin. ♥ STEP FIVE Make another slightly smaller hole between the first hole and the top edge of both upper arms and upper legs. (You will be threading the string through these.)

♥ STEP EIGHT Tie the two ends of string or thread together, so that a loop is formed between the two arms. The loop should be neither too loose nor too tight. Tie it with the arms in a down position and test to see that if you pull the loop in the middle, pinching both bits of string, the arms will move up. ♥ STEP NINE Do the same for the legs – repeat steps 7 and 8. Then take a piece of string about 30cm long and tie it first around the top loop centred between the two arms and then around the loop between the two legs. You may need to adjust the strings to get the tension right.

4 3

2 106

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ENLARGE TEMPLATE TO YOUR DESIRED SIZE

5

8

RE ADER OF FE R

To buy this book for the special price of £1 0.99 including free UK P&P call 01256 302699 and quote code EE2.

9

This project is from Handmade Christmas published by CICO Books. For information visit www.cicobooks. co.uk RRP £14.99 NOVEMBER

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CH

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antique sari quilt

Using hand-dyed velvet, silks and Indian block prints, this quilt transports you to a different time and place. By Cassandra Ellis

HOME REFURB

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The fabrics you choose to use for the quilt will imbue it with the feelings and memories that they bring with them. Antique sari quilt how to...

T

he quilt is 210x210cm, which is the perfect size for a double or queen-sized bed. If you’ve a king or super king you can make the quilt wider by adding a second column A on the quilt’s other edge (see pattern opposite). I’ve marked the pattern so it makes sense. If you’re making this for a single bed or as a throw, then remove column A altogether. Materials

You’ll need 5-7m of fabric for the front and 5-6m for the back of the quilt. Look at the pattern before you buy/choose your selection of fabrics, as you need to make sure that you have large enough pieces of cloth for the individual sections. You can, of course, just join some further pieces together, so don’t worry if you’ve gone one cut too far Use the pattern to plan your placement of cloth. You’ll find there is a natural balance between the colours and patterns that you use. You can quickly trace the pattern and colour it in, if you find that helps. Alternatively, you could take the ‘go-with-the-flow’ approach. Either method is completely correct  ou can use different fabric for Y your backing or use leftovers from the front. Cotton sheets are excellent for the backing too

 ou’ll also need approximately Y 1-2m of fabric for the binding – again something new or from the remnants from the front or back

230x230cm of wadding of your choice. You can buy wadding as a precut roll for the quilt’s size you are making. Remember to increase or reduce this if you are making a different sized quilt  atching cotton thread plus M contrasting thread for basting

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 otton quilting thread in the colour C of your choice (I usually go neutral) Equipment

Iron with steam option Sewing machine

Pins and fabric scissors

Basting needle

Quilter’s ruler and cutting mat. If this is the only time you’d use these, then you can use scissors, a long ruler and pencil instead Pencil with soft lead

Tailor’s chalk or dressmaker’s pencil

Masking tape

♥ STEP ONE Your seam allowance is 1cm and has been built into your cutting sizes i.e. a 12x12cm becomes 10x10cm once sewn. ♥ STEP two Wash, dry and press all of your fabric. Cut out all your pieces in order, A1–E4, following the measurements on the pattern. You may want to clear a floor space to place your fabrics as you cut them, which will also allow you to adjust your design. Even though I plan everything first, I still do this to give me a little more ‘creative license’. As you cut, mark the number of each piece i.e. A1 on the back of the fabric using the soft pencil. ♥ STEP three This is a very simple quilt to sew together as it has been divided into five blocks, each containing smaller pieces. Start with block A and pin piece A1 to A2, right sides together. Sew then press the seams flat, then open. Pin A3 to A4 right sides together, then sew and press. Pin this block to A1/A2, sew and press. Then repeat to attach A5. Press the whole block. ♥ STEP four Repeat this process with the remaining four blocks, B-E, simply following the pattern. Press every seam as you go as it ensures a smarter finish.

♥ STEP five Join the blocks together in the following order, pressing as you go: A+B C+D C/D + E A/B + C/D/E. ♥ STEP six Press again and now your quilt top is complete. ♥ STEP seven Your quilt backing needs to be a minimum of 230x230cm. Join together your choice of fabric until you have a backing the right size. Press the seams flat, then open, then press the whole backing again. If you are making a single quilt, your backing needs to be 180x230cm. If king/super king it needs to be 280x230cm. ♥ STEP eight At this stage, you can send the quilt top, backing and wadding away to a long-arm quilter for quilting and binding. If you want to hand-stitch your quilt instead, keep reading. ♥ STEP nine If your wadding has been folded, open it out flat and leave it for a few hours to relax the wrinkles. ♥ STEP ten Lay the backing right side down on a clean hard floor space that is larger than the quilt. If you have made your quilt backing out of a mixture of fabric, decide if there is a natural head and foot to it (i.e. the direction it will be on the bed) and plan for this when putting your quilt together. ♥ STEP eleven Smooth the backing flat and use masking tape to secure the sides (not the corners as this can distort the backing) to the surface and keep it taut. Lay the wadding on top, making sure it is smooth and matches the backing edges. If the wadding is larger, then trim it down to match the backing. ♥ STEP twelve Press your quilt top again and remove any loose threads. Lay the quilt top down right side up on the wadding, making sure it is centred and square to the backing and wadding.

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Antique sari quilt how to... ♥ STEP thirteen Although you can pin your quilt together, I think the simplest method is to baste it with a darning needle and contrasting thread. Working from the top down, baste the layers together using approximately 5cm stitches. You need to create a grid by basting both horizontally and vertically, each row being approximately 10cm apart. ♥ STEP fourteen Now you can hand-stitch your quilt. Use masking tape and a ruler to create lines to follow or simply freestyle your stitching as I have done. Use a simple running stitch and don’t be tempted to make your thread too long as it will tangle. On a practical level, you need to stitch enough so that the quilt layers are firmly stitched together and won’t move about. From an aesthetic point of view, stitch as much and in whatever style you please. Remove the basting stitches after you’ve finished quilting. ♥ STEP fifteen Now for binding. Again you can send this to a long-arm quilter, but if you want to tackle it, read on. Also look at YouTube videos for visual lessons, recommended for beginners. ♥ STEP sixteen Trim the edges of your quilt so that you have four straight sides. Use a long metal ruler and pencil to give you a good guide – pencil in all four lines before you snip, so that you don’t over-trim. ♥ STEP seventeen Measure all four sides of your quilt and add 20cm to calculate the length of binding required. Cut 5cm strips of fabric across the grain. Sew all the strips together into a continuous length and then press the strip in half along the length, wrong sides together. ♥ STEP eighteen Leave approximately 10cm of the binding strip free. Start at the centre of one side and pin one raw edge of the binding to the edge of the quilt top, right sides together and through all layers. The folded edge of the binding strip will be facing towards the centre of the quilt. 112

♥ STEP nineteen Pin the binding all the way around the quilt. When you reach a corner, fold the binding strip to one side and then back on top of itself to make a triangle. ♥ STEP twenty Machine sew the binding around the quilt using a 1cm seam allowance. Stop about 0.5cm from the edge of the corner and then start the next seam 0.5cm after the corner. ♥ STEP twenty ONE When you get back to the beginning, backstitch and remove the quilt from the sewing machine. Trim off the excess binding and fold and pin the binding under itself. Hand-sew the last few stitches. ♥ STEP twenty two Fold the binding over to the backside of the quilt and pin. Slip stitch the binding closed all around the quilt.

This project is taken from Home Sewn by Cassandra Ellis, published by Kyle Books. Photography by Catherine Gratwicke. RRP £19.99

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* Project by Amanda Russell and Juliet Bawden from R&B Design (www.randbconsultants.co.uk). Photography by Antonio Attwood.

December issue...

LAST-MINUTE FESTIVE MAKES Beautiful Christmas upcycling projects you really won’t want to miss! ♥

Make your own yarn from old clothes and get to grips with rag crochet ♥

How to transform a bicycle with washi tape * contents subject to change NOVEMBER

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AN UPCYCLED LIFE...

making memories

FabFunky is the artistic outlet for Kelly Stevens-McLaughlan, but you might also know it as LoopyLolly, NauticalNell or DottyDictionary, and all inspired by antiquarian books...

♥ How did you start upcycling books? I think old books are ‘in my blood’. When I was a young child my Dad worked at a paper mill and he regularly brought home bits of paper that he thought seemed interesting. A lot of them were old letters from before the postage stamp was invented and old indentures from churches around the country. And of course he brought home old books, from the 18th and 19th century sometimes. I still have a hand written recipe book from 1712, and subsequently I can tell you how to collar a rabbit or boil a calves brain… yuk! So old books have been part of my life forever and I’ve upcycled them in various ways over the years. Using real book pages means the printed word comes through my images, and whilst the content of the book page is not generally connected to the image, I love the idea that the words won’t stay quiet, and the way that they blend into the images. ♥ What was the first design you ever did? The first image I put on a book page, I think was a fox. And the picture I’ve most recently completed was a fox. I’m a huge animal lover, but British wildlife is particularly important to me in my images, and of course foxes are a passion. We have foxes visit our front garden every evening and they are usually sitting patiently waiting for us by about 7pm most nights. The big plate of dog food might have something to do with that. ♥ How did you decide to turn your passion into a business? I thought that I would just put a few things on Etsy and see if anyone bought one. I didn’t expect much to happen, but I hoped that maybe someone would like one enough to buy it. So I opened a shop and put a few pictures up and a few days later one sold. If 114

♥ How would you sum up your style? Silly is the first word that springs to mind. But whimsical sounds much more marketable! I’m not sure that I have one particular style. I enjoy painting an image from scratch, but I also have a passion for taking old illustrations from books and using them in pictures as well to give them new life.

I’d won the jackpot on the lottery I don’t think I would have been more excited. And then a day later, another one sold, and then another one. Within 3 months it got to the point where I was leaving my work early every day to get home to process orders. It didn’t take long to work out that if we looked at additional avenues for sales, then this could be a full time business for us. So that’s what we did. ♥ Where did you learn your artistic skills? Nowhere, I’m self taught. I did art at school like anyone else and scraped a C on my ‘O’ level. And then I never drew or painted another thing for about 30 years. I only started again because I had made a bird box, and after painting it I felt that it needed some other embellishment on it, so I drew a picture on it. Then I decided to make another bird box, because I enjoyed doing the first one. 32 bird boxes later, it occurred to me that perhaps I didn’t need a bird box in order to create a picture.

♥ What appeals to you most about using vintage books? The books that we use are unlikely to actually ever be read. Some are collectable for other reasons, but they would still just sit on a shelf untouched. Many of our customers read the text behind the image, and all of the hard work that was put into collecting that information and printing it 180 years ago is realised all over again, and the pages come to life. And to me, the creators of the books live on a little with that. ♥ Where do you source your book pages from? People tend to think that I spend a lot of time going through charity shops and second hand book sellers, but our book pages are almost entirely from books printed around 1830 and they have to be of a certain size as well. So they very rarely turn up anywhere other than specialist antiquarian book dealers. So we have a network of dealers all over the world who are looking out for the specific books that we use. ♥ What has been your favourite design to date and why? I think it has to be Deer and Chair. I think I managed to capture a certain arrogance about him, which suits a stag perfectly. And he looks quite good in that suit. See more at www.fabfunky.com

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CHALK PAINT

ANNIVERSARY

SOURCE BOOK

32 PAGES OF PROJECTS, INSPIRATION & TECHNICAL ADVICE

MAGAZINE

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welcome!

Upcyclers all over the world have come to know and love Annie Sloan’s unique brand of Chalk PaintTM, and this year celebrates the 25th anniversary since Annie first brought the miracle onto the market. Over that time, Annie has tirelessly worked to spread the word on just how easy it is to transform furniture and even fabric with her versatile paint, and upcyclers everywhere have responded by making it one of the essential tools for our hobby. So in this special source book we are celebrating 25 years of Chalk PaintTM with four exclusive projects designed by Annie, two tutorials from her special Painters in Residence, plus Annie and her son Felix show us how to inject a little colour and pattern into our homes with their guide to bohemian style. Plus, if you’ve used Annie’s Chalk PaintTM in the past (which we’re sure you all have!) and have any ‘how-to’ questions, turn to page 28 to see if you can find the answer in our Ask Annie section. We really hope you enjoy this special, and don’t forget to join us every issue in Reloved as Annie shares her advice and updates us on her upcycling adventures in her monthly column. See you there!

JOIN US ♥ FACEBOOK Find us at www.facebook. com/Relovedmag and click ‘Like’ to join. ♥ TWITTER Go to www.twitter.com and search for @RelovedMag to follow our tweets. ♥ RELOVED MAGAZINE Go to www. relovedmag.co.uk to find out the latest news from Reloved.

SALLY FITZGERALD Editor

P.S. For details of your nearest Annie Sloan stockist head to www.anniesloan.com and see page 14 in the November issue of Reloved.

SUBSCERTOIBREELOTVEODDANADY.GE..T

SUBSCRIB KBOOK ANNIE SLOAN’S NEW WOR NOW. FREE! TURN TO PAGE 30

ANNIE SLOAN SOURCE BOOK TWO

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SOURCE BOOK

What’s at’ in the issue.e.. PROJECT S

Learn the latest upcycling techniques

P10 Painted picture frame

P8 Retro Heal’s side table

P14 Painted curtain

P18 Shibori dyed fabric cushions

subscribe to P20 Stencilled fabric screen

today

P30 Save money on the mag and get an Annie Sloan workbook free!

P26 Paint-dyed fabric chairs

FE AT URES Even more upcycling inspiration & advice 4

P6 Upcycler’s inspiration board

P22 Bohemian style home

P28 Ask Annie!

ANNIE SLOAN SOURCE BOOK TWO

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who’s who SENIOR EDITOR Sally FitzGerald sally.fitzgerald@anthem-publishing.com DEPUTY ART EDITOR John Thackray john.thackray@anthem-publishing.com PRODUCTION EDITOR Bob Wade CREATIVE DIRECTOR Jenny Cook SENIOR ADVERTISING EXECUTIVE Laura McLean laura.mclean@anthem-publishing.com ACTING MARKETING MANAGER Verity Travers verity.travers@anthem-publishing.com MARKETING EXECUTIVE Deirdre Attinger deirdre.attinger@anthem-publishing.com COMMERCIAL DIRECTOR Simon Lewis EDITORIAL DIRECTOR Paul Pettengale MANAGING DIRECTOR Jon Bickley jon.bickley@anthem-publishing.com PRINT Polestar UK Print Ltd, 1 Apex Business Park, Boscombe Road, Dunstable, Bedfordshire, LU5 4SB Tel +44 (0) 1206 849 500 DISTRIBUTION Marketforce (UK) Ltd, Marketforce (UK) Ltd, 5 Churchill Place, Canary Wharf, London, E14 5HU Tel: +44 (0) 20 378 79001 SUBSCRIPTION ENQUIRIES anthem.subscribeonline.co.uk Call UK 0844 848 8425*, Europe & World +44 1795 419 854 USA – Call Toll Free 800.428.3003, Email: reloved@servicehelpline.co.uk With special thanks to the entire Annie Sloan team!

Anthem Publishing Ltd, Suite 6, Piccadilly House, London Road, Bath BA1 6PL Tel +44 (0) 1225 489985 Fax +44 (0) 1225 489980 All content copyright Anthem Publishing Ltd, 2015, all rights reserved. While we make every effort to ensure that the factual content of Reloved is correct we cannot take any responsibility nor be held accountable for any factual errors printed. No part of this publication may be reproduced, stored in a retrieval system or resold without the prior consent of Anthem Publishing Ltd. Anthem Publishing recognises all copyrights contained within this issue. Where possible we acknowledge the copyright holder. Reloved is a trade mark owned by Anthem Publishing.

ANNIE SLOAN SOURCE BOOK TWO

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upcycler’s inspiration board Use Wall Paint to give a room a fresh look.

Sketch out designs before applying them.

Check out the full range of Chalk Paint colours to work with for each piece. 6

Gather inspiration in the new Annie Sloan’s Chalk Paint Work Book, published by CICO.

ANNIE SLOAN SOURCE BOOK TWO

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The right colour can set the mood for the room.

Experiment with different waxes to get the perfect finish. Be inspired by other designers’ work.

Annie’s new stencils add elegance and intricacy. Workshops can help you enhance your skills.

All the products on this page are from the Annie Sloan range - for stockist details visit www.anniesloan.com ANNIE SLOAN SOURCE BOOK TWO

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Retro Heal’s side table What was once an unassuming stand for a family Christmas tree can be whisked away and given the gift of a brand new life. This table from iconic furniture store Heal’s gets a modern makeover to bring out the best in it. Project and photography by Annie Sloan (www.anniesloan.com)

A

friend had moved house, downsizing from London to a country cottage and reluctantly had to say goodbye to this piece of furniture. It’s a sleek piece of 1960s furniture bought, my friend thought, by his parents in Heal’s – an iconic London store, the epitome of good taste and style. It had seen a lot of wear and tear, and had been the family Christmas tree table and now needed a new lease of life. When I was asked if I wanted the table, I was very happy indeed. I think it has great style and shape. MATERIALS

♥ STEP THREE For the edges, I chose Arles and I used the smaller of the two flat brushes for this, wiping the paint gently along the strip. Don’t use too much paint, so that it does not slide onto the table top. ♥ STEP FOUR I normally use my Clear Soft Wax on all my furniture and it is certainly my finish of choice by a long way. However, many people ask if they can use my lacquer on the paint and on furniture too. Here I have applied my lacquer on the furniture, using the lacquer thinly and using long straight lines and brushing a couple of times to get a good flat finish. Let it dry overnight, so that it’s really set hard and firm.

TOP TIP The two colour scheme works beautifully well for this piece. If it doesn’t suit your decor, then look for a different two colour complementary combination that works in your room.

Water

Annie Sloan Arles, Provence Chalk Paint™ Annie Sloan Lacquer

EQUIPMENT

Wide flat paintbrush

Small flat paintbrush ♥ STEP ONE As the piece of furniture is modern it needed a flat, even paintwork, not anything rustic or distressed. To do this I have used my widest flat brush, made of a high quality synthetic smooth material. To help make the paint run smoothly, it’s advisable to add some water to the paint and mix well. Charge the brush well with paint and apply the paint, working it in all directions to spread the paint evenly, then work it straight up and down to get an even coat without leaving brush marks. ♥ STEP TWO I chose Provence, a bright, clear, clean modern colour, to paint the main part of the table.

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Painted Picture Frame Save yourself a stack of cash and have fun at the same time by painting a picture frame directly onto the wall instead of buying a wooden one – it’s a head-turner! Project and photography by Annie Sloan (www.anniesloan.com)

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The beauty of the frame is that if you get new prints you can simply paint over the old frame and paint a new one. PAINTED PICTURE FRAME HOW TO...

T

his project started with a visit to a wonderful inspiring house called Stola, a manor house in southwest Sweden, for my book Annie Sloan’s Room Recipes for Style and Colour (published by CICO). This was part of a much anticipated visit to Sweden, the land of painted furniture. I went with my son Felix, who I wrote the book with, and my photographer Christopher Drake. The whole house was very inspiring, but the room that I loved the most was the dining room, which had been decorated with prints and hand-painted frames around them. A young mother and her children had done the room about 200 years ago, and I think it was the lovely painterly charm of the room that I loved. I was so fired up by the room that I vowed to do one of my own when I got home. I was lucky to find a big collection of prints in a charity shop, and my first thought was to use them for my print room. And that is exactly what I have done in the hallway of the warehouse at HQ! It’s a moment of calm and quiet. The finished room is a dado area painted in a scrubby wash of Coco Chalk PaintTM. And above a layered mix of Old White, Original, Duck Egg Blue and Country Grey with the frame and print above.

MATERIALS

Picture of a photo frame to use as a template

♥ STEP THREE Using a ruler, I drew a rectangle on the wall that is the exact shape of the print to be framed.

A print to frame

Chalk Paint™ in the colours Graphite, Cool Duck Egg Blue, Louis Blue, Château Grey, Country Grey and Cream Panel pins

EQUIPMENT Pencil Ruler

Paintbrush

Small wooden paintbrush Hammer

♥ STEP ONE I found a photo of a frame to use as a template and very loosely ‘copied’ it – actually, I think I cobbled together two or more frame designs to create my frame. Don’t worry too much about getting the drawing within the colour bands, it all adds to the final look of it.

♥ STEP FOUR Using Graphite paint I painted a band roughly 10cm wide around where the print will be, allowing the paint to go over the line by a few centimetres – this is so you see no unpainted wall peeking out from behind the print.

♥ STEP TWO I marked where I wanted the print on the wall to be. I don’t like measuring, as I usually get it wrong, but you do need to make certain it’s straight and central. I tend to rely on my eye, because quite often ceilings and walls are not straight!

TOP TIP The beauty of this project is that the print can quickly be replaced by others of the same size. Different sizes can either be enlarged or reduced on a photocopier if the quality of the copy is good enough.

12

♥ STEP FIVE I made a collection of colours I wanted to use – all similar tones. Cool Duck Egg Blue, Louis Blue, Château Grey and Country Grey and a little Cream, all based around some Old White. I love mixing these colours – probably any three together with

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some Old White in a partly mixed way, so when you mix, a splurge of one of the colours might appear as if by chance. As long as the colours are tonally similar, these chance appearances have a way of looking interesting and give your work depth. ♥ STEP SIX Paint a thin line along the edge – don’t do too wide a stripe, as you have to work into the paint while it is still wet. ♥ STEP SEVEN Using the other end of a small wooden brush, draw firmly into the wet paint, to remove the paint and reveal the black paint underneath. Doodle freehand lines, circles, dots and scrolls. Work quickly, but if you go wrong, simply paint over and start again. As long as the paint is wet you can work. Practise some designs beforehand so you have an idea of what you would like to achieve in your mind.

♥ STEP TEN Add another fresh line of wet paint and create more patterns. ♥ STEP ELEVEN Apply a third strip of paint, this time with a little more Château Grey into the mix. My wobbly design is inspired by a type of egg and dart design. Simple lines can also be very effective.

♥ STEP TWELVE To give extra depth, I added a little bit of much lighter paint to highlight the edges of some of the areas.

♥ STEP THIRTEEN Lastly, I knocked a small panel pin into the wall to secure the print to the wall.

♥ STEP EIGHT I am inspired here by the carving designs on frames, so you could look for inspiration there and on architraves. Don’t get too caught up in the detail here and try not to get it too tight and accurate. Take care not to draw too hard, as you don’t want to damage the Graphite paint underneath. ♥ STEP NINE Each fresh line of wet paint is a slightly different colour or tone. The strip here is slightly more Louis Blue. The wider the strip, the looser the drawing. Remember, once the paint is dry you can’t draw into it. ANNIE SLOAN SOURCE BOOK TWO

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Painted curtain

Take a plain curtain design and turn it into something special using just a little paint and a stencil Project and photography by Annie Sloan (www.anniesloan.com)

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Creating your own unique curtains isn’t complicated, but try out the design on some scrap fabric first. Painted curtain how to...

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could not be more pleased with the curtains I made for my studio. There’s no other pair quite like them. That’s the joy of making your own. I did the lot – I dyed the fabric, painted it and stencilled it too! I recommend trying out your design ideas on scrap fabric and on paper beforehand. It’s pretty scary committing to the fabric without a clear plan of what you are after first. If you do make a mistake, don’t panic! Hint – I made a mistake and simply painted over the error with paint mixed to match the ground colour. Don’t get too obsessed with perfection! Materials Curtain of your choice

Chalk Paint™ by Annie Sloan Annie Sloan stencils

Equipment Water bath

Masking tape Paintbrushes

I made a simple curtain using my Pure Linen fabric (which is a warm stone colour), dyeing and painting it with Chalk Paint™, and using a single curtain tape to make it hang in a casual, loose way. My curtain hangs against a wall painted in my Wall Paint in the colour Graphite. The chair in front is painted in Old White, picking up the same colour in the curtain.

This is not a definitive recipe, because the amount of water and paint will depend on the type and colour of fabric you use, as well as the colour of the paint you choose. A fine white cotton or muslin will take the paint much better than a thick, already coloured, fabric. Reds and blues dye fabric very easily. Yellows and very muted colours, plus colours with more white in them, need a lot more paint to make a difference. ♥ STEP Three Dip the curtain in the bath and swish the fabric all around to make it cover well and evenly. I find it best to be quite systematic, so you can be sure that each bit has been done and there’s no fabric that’s scrunched up – this can leave you with a dry or heavier area of dyed paint. You only need to have the fabric in there for a short period of time, 2-3 minutes is usually enough. ♥ STEP Four I then allowed the curtain to drip dry outdoors (on a cold and rainy day, you can do this next to a heater). ♥ STEP Five I laid my curtain out on a long table, and then started to create the stripes down the curtain using masking tape – I made the stripes 13cm wide with a gap of 20cm. I laid my masking tape down and made certain it was stuck to the fabric securely to help the paint stay within the area.

♥ STEP SIX I took Château Grey and diluted it with a very small amount of water, so it would run smoothly and thinly. If the paint is too thick, the fabric will be stiff and hard when dry. Too watery and the paint will run under the tape and end up with blurred lines. ♥ STEP SEVEN Paint the fabric using a dry brush and a small amount of paint at a time and start with the paint in the centre of the stripe. When the brush has less paint on it, work from the tape to the fabric. This helps your line to be crisp. Do all the rest of the stripes. ♥ STEP EIGHT Allow the paint to dry before removing the tape and starting stencilling. ♥ STEP NINE I used my Branches stencil with Chalk Paint™ in Old Violet. I used it to make a line along the edge of the Château Grey stripe. I made no measurements – I try to measure as little as possible (as it usually ends in tears) – but instead made certain the ends of the Branches pattern touched the stripe in the same place each time. ♥ STEP tEN It needed a lift, so I then added my Circles stencil in Old White down the centre of the Chateau Grey strip. After the first line of Circles was done, I used the last circle in the pattern as a guide to work out the position of the next line, so the gaps remained the same between each circle.

♥ STEP ONE Using a fabric with a little texture, like my Pure Linen, helps to give the curtain a varied feel with the paintwork too. ♥ STEP TWO I ran a bath with a small amount of water in it – about 40 litres of water, you just need enough to make certain the fabric is well covered and so you can swish it around easily. I then added about a third of a litre pot of Chalk Paint™ – I used Château Grey – and using my hand, I made sure it was completely mixed into the water. 16

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Painters in residence Handpicked by Annie for the creative ways they use her Chalk Paint, the Painters in Residence program brings you inventive and beautiful pieces. Turn the page for fantastic projects from two of this year’s residents – shibori dyed fabric by Abigail and Ryan Bell, plus a stencilled fabric screen by Janice Issitt... ANNIE SLOAN SOURCE BOOK TWO

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Shibori dyed fabric cushions Chalk Paint™ isn’t just for using on furniture it can be used as a dye as well, which is exactly what Abigail and Ryan did to create gorgeous cushions using the ancient Japanese shibori technique to make tie-dye patterns. By Abigail and Ryan Bell (www.abigailryan.com)

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usband and wife designduo, Abigail and Ryan Bell of Abigail*Ryan, created beautiful shibori dyed fabric using Chalk Paint™, a decorative paint by Annie Sloan. The pair were inspired by Japanese shibori – a tie-dying method which uses real indigo. Chalk Paint™ is highly pigmented and works incredibly well as a dye, which made it a great substitute for indigo. The couple used their shibori style fabric to create cushions, and to re-upholster the seat cushion of their Parker Knoll chair – but there are no limits to what you can do with your dyed fabric!

MATERIALS

Chalk Paint™ in the colours Aubusson Blue, Greek Blue and Napoleonic Blue Water

Fabric

Fabric scraps

EQUIPMENT

TOP TIP Alter the ratio to use more paint and less water for a stronger colour. Bear in mind that the final colour will be slightly lighter than the dye used.

Rubber bands Bucket Iron

♥ STEP ONE Take three blues from the Chalk Paint™ palette; Aubusson Blue, Greek Blue and Napoleonic Blue, and mix each one with water – using a rough ratio of 1 part paint to 20 parts water – to create your dye. ♥ STEP TWO Moisten your fabric by submerging in warm water and squeezing out the excess – this helps the dye to absorb easily and evenly. ♥ STEP THREE Fold and manipulate your fabric using rubber bands to secure your folds. The creases and areas hidden beneath the bands will remain un-dyed. ♥ STEP FOUR Stir your pre-made dye to ensure that the paint is thoroughly mixed into the water before adding your folded fabric to the dye mix – soak for 10-15 minutes. ♥ STEP FIVE Unfold your fabric and hang to drip-dry, if possible by a heater. Once the fabric has dried, iron or tumble dry to seal the colour. (If ironing, place a piece of scrap fabric above and below the dyed fabric, this protects your ironing board and iron. Hand wash or wash the fabric on its own.)

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Stencilled fabric screen Instant elegance can be yours with an upcycle that makes the most of basic materials. A simple screen frame, missing its panels, gets a facelift with a splash of gold and fresh fabric, stencilled with an intricate design. Project and photography by Janice Issitt (janiceissittlifestyle.blogspot.co.uk)

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small pencil mark where you would like to place your stencil. Janice applied Freya – a floral stencil from the Annie Sloan Stencil Collection – with Chalk Paint™ in Graphite.

MATERIALS

♥ STEP FIVE Lightly dust your hands with talcum powder and gently stick the leaf to the area covered with Gold Size. Use a soft brush to fix the leaf to the Gold Size. Continue applying the leaf, overlapping to cover the whole area.

nterior stylist and photographer, Janice Issitt, used decorative Chalk Paint™ by Annie Sloan, to give a client’s summerhouse a serene makeover. As the summerhouse doubles up as an office and a yoga room, Janice sourced an old room divider screen to create a sense of privacy and to be able to divide the room. The screen was missing its panels, but had its original poles, so Janice painted and gilded the poles and made new panels using an old French sheet. She added elegant detail by stencilling onto the fabric. Old room divider screen

Chalk Paint™ in the colour Graphite

♥ STEP FOUR Once the paint has dried, apply a thin layer of Annie Sloan Gold Size to the areas that you would like to gild. As the Gold Size dries it has a purple tinge, and finally becomes clear and sticky – this is when it is ready for the leaf to be applied.

Annie Sloan Dark Wax

♥ STEP SIX Apply Annie Sloan Dark Wax directly onto the paint – this richens and darkens the Graphite. Wipe the Dark Wax over the gilded surface to seal the surface. You can use an Annie Sloan Wax Brush to make this really easy, or use a lint-free soft cloth instead.

Pencil

♥ STEP SEVEN Once the wax is completely dry, attach your fabric screens to the poles.

Fabric

Stencils

Annie Sloan Gold Size Gold leaf

EQUIPMENT

Talcum powder

TOP TIP To create texture, use an Annie Sloan Pure Bristle Brush to paint with.

Small brush Wax brush

Paintbrush ♥ STEP ONE Paint your poles in Graphite, a soft black from the Chalk Paint™ palette. ♥ STEP TWO While your paint is drying, measure out the fabric for your screens – remember to include your hem allowance. Hem the sides of your screens if you wish, or leave un-hemmed for more of a rustic finish. ♥ STEP THREE Lay your fabric on a flat, even surface. Find the centre point and add a

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♥ Opposite The ‘ART’ letters, leftovers from an old store sign, were picked and painted by Felix to go on top of the old cabinet.

♥ Right The textured, red velvet Victorian throw sits well in front of the kitsch, 1950s Las Vegas scene.

♥ Below The random elements of this bedroom are unified by the graphite wall colour.

© Debi Treloar

© Debi Treloar

Debi Treloar

♥ Here The wall map of Scandinavia with its strong blues, orange, and yellow works well beside the greenyturquoise study desk.

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© Christopher Drake

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vintage HOME

Bohemian The essence of bohemian style is combining different elements, so creating a coherent look is a challenge that’s fun to take on. By Annie Sloan and Felix Sloan

Pages 22-25 are extracted from Annie Sloan’s Room Recipes for Style and Colour by Annie Sloan and Felix Sloan, published by CICO Books. RRP £25 Photography © CICO Books ANNIE SLOAN SOURCE BOOK TWO

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© Debi Treloar

vintage HOME

© Andrew Wood

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e’re big fans of bohemian or “boho”. This arty style has lots of brio – clashing colours, patterns, and cultures are somehow all pulled together to look fabulous. The knack for today’s boho devotee is how to give the style a coherent feel, without it looking muddled and ‘messy’. The bohemian home has its heart in Paris in the 1920s, when artists, writers, actors and musicians of the Jazz Age were drawn to the French capital. Many were flamboyant and uninhibited by social constraints or morals. They lived frugally in shabby studios and attics, in gypsy neighbourhoods, stuffed with decorative bits and pieces they collected as decor and as ‘set designs’ for their paintings. These artists adopted and adapted the exotic, folksy and freewheeling lifestyle of the local gypsies, who were believed to have come from Bohemia, and the name stuck. As artists ourselves, we feel a natural affinity to this ‘having no boundaries’ approach. I have been influenced by Charleston’s vibrant interiors – the early 20th century country retreat of the Bloomsbury Group. A worldwide vocabulary of patterns, colours, 24

designs and textures is there for the taking, often with a touch of the surreal and absurd. CLASHING PATTERNS The whole point of bohemian is that patterns should be mixed together – and liberties taken. That is fundamental to this style. So why not run together, for example, tartan with paisley patterns, paisley with flowers, or circular patterns with zigzags? To do this without one pattern being negated, there has to be something to bring them all together. This is usually a common colour, or an item such as a trim, that can bring a unifying theme. When using lots of patterns and colours in a bold and harmonizing way, it can help to have a dark colour, such as graphite, as a backdrop. The sources for the patterns, such as the cultural references, should be deliberately diverse, from across the globe and from different centuries. Old World, New World, modern or ancient, the source, shapes and sizes are up to you. However, try to keep a unifying colour or design. In the room shown above right, for example, highly varied patterns work because the colour palette harmonizes them and they are set against a

backdrop of a single-colour painted wall. Getting it right is not easy, and your first combinations might look messy and a muddle. You may need to experiment to find the links that bring everything together, perhaps trying out more patterns with similar shapes, or more patterns that come with complementary background colours. CLASHING CULTURES The most important element of bohemian style is the clashing of cultures, the juxtaposition of differing cultural decorative elements. The other styles in the Room Recipes book tend to have one single dominant cultural theme. Neoclassical is a good example, with its overarching stylized form. But with bohemian, you might turn neoclassical on its head, literally. You could take a classic Greek bust and paint it orange, thereby transforming it. You are now using it in a surreal way, yet taking care that it works alongside other cultural elements. You have gone bohemian! Surrealism has influenced this style. A knowledge of art and culture is not essential, but it does help to have a sense of the absurd. It’s about taking an educated guess

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♥ Far left A collection of objects that might be found in an artist’s studio make an intriguing room interior.

♥ Here The open book, paintings, glass and flower vase on the piano combine vintage with ethnically diverse references.

closer and you’ll find a henna glove. The effect works visually.

of clashing of

THE MOST IMPORTANT ELEMENT ISTHE ,THEJUXTAPOSITIONOFDIFFERING

bohemian style cultures cultural decorative elements. and being confident. You might, for example, feel sufficiently playful to put a vintage flapper’s cloche hat on a bust of Napoleon. All ‘bohemians’ will have their own sense of the absurd and surreal. Felix has a really nice pair of pliers on his mantelpiece because he likes them, and it is a little bit absurd. The Bloomsbury Group painted and installed an amazing variety of cultural references and artefacts in their country retreat at Charleston, for example, but kept the whole vision unified by using a very painterly effect of subdued colours in all the interiors. Bohemian style is open to many interpretations and difficult to get right. You source your decor from worldwide cultures, civilizations, and possibly religions (and that could be a statement about your beliefs or just what you find attractive), and from primitive tribal art to pop art or surrealism.

Your choices may be eclectic but the trick is to harmonize them by placing them with sympathetically coloured and patterned furniture, pieces and decor. In the room interiors shown here, you can see that bohemian is as much a lifestyle choice as a style. These rooms are about deconstructing, and then making a statement. They reference the idea of the artist’s studio where collections of interesting objects are placed, perhaps to be painted later as still-life portraits. CLASHING COLOURS So what are clashing colours? They are two, mainly secondary and tertiary, colours that sit in a similar part of the colour wheel but that are separated by a colour. Red and purple, for instance, sit in the warm part of the colour wheel and are separated by deep crimson/

© Catherine Gratwicke

© Christopher Drake

♥ Left What unifies ♥ Right There’s a Nordic theme on the patterns in this wall, but look this bedroom is the colour scheme, which is predominantly warm pinks and purples, with black and white.

burgundy red. Used well, these colours look stunning together. Bright purplish-pink and orange (a pink made by mixing Emperor’s Silk with Pure and then Barcelona Orange) is a great ‘hot’ example of clashing colours, and we’ve used it to great effect on several projects. Other clashing combinations might include turquoise and lemon-lime, turquoise and purple, bluish-emerald green and turquoise. Using clashing colours doesn’t mean a riot of colour and pattern is essential – the painting can be restrained and still eye-catching. My paint colours are based on the artist’s palette approach, rather than the colour chart. This means the colour range is deliberately limited, but you get endless colour variation possibilities from that palette, because the pigments are designed to be mixed. My paints give you more creative freedom – tailor-made for bohemian style. Sometimes the clashing colours can look slightly uncomfortable together, so you need to be careful when combining a lot of bright colours. If you start with purple and bright pinky-red, or go with the blues and greens, you will find these easy to clash because there’s so much colour variation in between. ANNIE SLOAN SOURCE BOOK TWO

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Paint-dyed fabric chairs Annie discovered this set of dining chairs languishing in an attic and knew she had got her hands on hidden treasure. A little paint and fabric and these chairs change from neglected relics to fabulously fashionable. Project and photography by Annie Sloan (www.anniesloan.com)

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his set of dining chairs were owned by an elderly couple, who had owned them since the 1960s. The chairs languished in the attic, because they were thought old fashioned. Little did the couple know that these are now highly sought after! This design originates with the Danish designer Hans Wegner, and since then the basic design has been imitated many times over with various interpretations. Generally, the shaped backrest is a more decorative grained wood than the legs, which are often made of beech, a very sturdy wood with little marking. We have enhanced the basic modern feel by painting the legs and staining the fabric with Chalk Paint™.

painted in one direction. I kept a small pot of water nearby, so I could ensure the paint was of the right consistency.

MATERIALS Chalk Paint™ in the colours Aubusson, Olive, Primer Red, English Yellow and Graphite

♥ STEP FOUR Using masking tape, I marked the area I wanted to paint.

Annie Sloan Gentlemen fabric Danish oil

Small pot of water (extra for dyeing) Polyester wadding

♥ STEP TWO The existing seat pad was in relatively good condition, so I reused it, adding a new piece of polyester wadding and fire retardant calico. ♥ STEP THREE I chose Gentlemen fabric, part of the Annie Sloan range in Europe and the UK, it’s a 100% cotton fabric and 280cm wide. It has a very fine check in a charcoal grey and suits a variety of styles, it was particularly in keeping with the style of this chair. Once the top cover had been secured, we covered with a black bottom lining. This gave the piece a professional finish.

TOP TIP You may not be lucky enough to find a set of chairs like this in an attic, but a bit of time spent scouring markets, charity furniture shops and secondhand stores should unearth something you can similarly upcycle.

♥ STEP FIVE To add some colour and make the chairs unique, I made a dye using Chalk Paint™. I mixed one part paint to 10 parts water in a small container. I then applied the mixture using a small flat brush, working it into the fabric.

Fire retardant calico Black cotton lining Masking tape

EQUIPMENT

Small flat paintbrush

♥ STEP ONE The upholstery had sunk with age and was looking dull and shabby in an old sage velvet, so I stripped it back to the plywood base. The wood on the back of the chair was polished with a Danish oil to give it back its lustre. I then painted the legs with Graphite Chalk Paint™. In order to achieve a smooth finish I used a small flat brush and

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Photo © Harriet Matthews

Ask Annie...

There are lots of terrific products in the Annie Sloan range, so how do you go about getting the best out of them? You ask Annie of course! We got Annie to share her tips and advice with you...

♥ Are there any surfaces that Chalk Paint™ doesn’t stick to? Chalk PaintTM sticks to more or less anything, but doesn’t like teak furniture and some really shiny plastics. They are just too oily! Having said that, I recently painted a very old dining table of mine in my house in France. I had no idea it was teak until the paint wouldn’t stick and then my husband said – “oh that’s made of teak.” ♥ How do I mix my own colours? Mixing and combining paint is easily done if you know how colour works. My book Colour Recipes for Painted Furniture and More

(published by CICO) and a colour wheel can help with this or go to one of my stockists and they can help as I train them all to become Colour Experts! One of my tricks is using the complementary colour rather than black to change colours and the result is more stimulating, complex and interesting. ♥ Can I use Chalk Paint with fabric? Yes, Chalk PaintTM can be painted on fabric and leather and it can also be used as a dye. ♥ How do I make sure my wax doesn’t end up looking patchy? I always say less is more when it comes to waxing, think of it like hand cream

– and apply it the same way. Make sure you work small areas at a time, so the wax doesn’t dry before you get it worked in. Wipe excess off with a clean cloth. ♥ What techniques can I try to take my furniture painting to the next level? Learning about colour combinations and mixes will help you up your game! Get to grips with styles and use the appropriate style and technique for a piece of furniture. Printing and stencilling are also hot new ways to work! ♥ I left my tin open for too long and now my paint has thickened, what do I do? It’s simple – you just add some water to it! If you add too much, just take the lid off and it will thicken again. ♥ Can I use Chalk Paint on my kitchen work surface? How do I protect it? Painting kitchen cabinets is a great idea, but I don’t think a work surface where food

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is chopped, hot saucepans are placed and the surface is frequently wiped with cleaner, should be painted. ♥ How does Chalk Paint weather – can I use it on my garden furniture? Yes, absolutely. Chalk PaintTM can be used on exterior walls, garden furniture (except teak), metal, concrete, matt plastic and even terracotta. Just leave it to harden in a hot sun, preferably. It’s always best to do these projects in the warmer months, as there’s less chance of rain. This will allow the paint to harden and cure, as there’s no need to wax. ♥ How does craqueleur work? Craqueleur is a two-step process. Once you have painted your piece of furniture, the first step is to apply either a thin coat for small cracks or thickly if you would like large cracks. Allow this to dry naturally. For step two, craqueleur should be applied with a brush, as it can be a little difficult to spread. Try to avoid any lumps and make sure you cover all areas. Immediately after you have finished, blow a warm hairdryer on the surface. After about a minute, cracks will start to appear. Allow to cool and then you can apply dark wax making sure you push it into the cracks. Remove any excess using a clean cloth and then further using my clear wax. This gives your piece a wonderful aged look. ♥ How do I use metal leaf? Metal looks really scary to use, but it couldn’t be easier! First paint the piece of furniture with Chalk PaintTM. Traditional colours are Primer Red and Old White, but really you can use any colour at all! There is aluminium, copper and brass for silver, copper and gold. For something a little off beat try English Yellow Chalk PaintTM with aluminium (silver), which looks very contemporary. You need to decide before you start if you want to gild by covering the whole piece or just highlighting certain features. Coat just the areas you want to cover with the leaf. It will first appear white in colour and eventually change to a luminous violet colour before becoming clear. (This normally takes 5 minutes or so.) It’s now ready to be used. Once ready, take your brass leaf and place gently onto the size areas. Using your other hand, take a firm but soft haired brush and push the leaf onto the sized areas. Brush firmly to make sure it’s stuck. Use the brush to push the leaf into any crevices. Brush away all excess leaf. If you find there are any gaps you may find you want to repeat this step. Brass will tarnish, so you need to wax it with clear wax very gently to seal it.

coats. For the first coat, move the brush in all directions to give it a little texture. Apply the second coat thinner than the first. Once dry, apply the wax using a brush or a lintfree cloth and remove any excess as you go. Remove a little of the paint using a fine to medium grade sandpaper, you only want to take off the second coat to expose the first coat in certain areas. Finish by making sure the whole piece is sealed with wax.

♥ How do I get the two-colour distressed look? Apply two coats of Chalk PaintTM, in coordinating colours as the first and second ANNIE SLOAN SOURCE BOOK TWO

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SU R S P B EL EC SC O I A OF R V L F IPT ED E I R O N

FREE ANNIE SLOAN BOOK when you subscribe to Reloved magazine. Just £22.45 every 6 issues by Direct Debit, saving you 25%* YOUR FREE GIFT Paint and sketch, stick and collect, write and reflect – Annie Sloan’s Chalk Paint™ Workbook provides a canvas for all of your colourful thoughts and design epiphanies. There are also six pocketed card dividers where you can store fabric swatches, paint charts, and more. This beautifully designed journal will become a record of your creativity, as well as a chance to reflect upon your various projects.

WOR T9H9 £14.

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SOURCE BOOK NOT FOR RESALE

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