Lynne Lanning portfolio & cv

lynne lanning d e s i g n & a r t d i re c ti o n

Updated Winter 2023

About me…

A HIGHLY SKILLED AND EXPERIENCED Editorial Designer and Art Director working for numerous titles from weeklies to glossy monthlies. I went freelance 3 years ago, having been the Design Director for Psychologies Magazine with sole responsibility for its entire art and design production; beginning as a regular freelancer, then employed as Deputy Art Director and finally, 5 years as the Design Director.

I was also the Art Director for Mother & Baby magazine for 2 years while working for 13 years on the magazine, again beginning as a part-time freelance designer and then spent 8 years as Deputy Art Editor.

Since 2021, I have been mainly involved with editorial magazines as well as book design, working on monthly issues, supplements and special projects for various magazine companies, and with book design for several different publishers across a wide range of subjects from Cookery and Art to Homes and Textiles, modernising old books being reprinted to designing new publications and book layout from approved samples.

For the past 3 years since starting to freelance again, I have repeated a short contract each summer for Cedar

Communications for Tesco, working on their Christmas Food To Order brochures and hybrid festive magazines for the UK and the Republic of Ireland.

Extremely hard working and able to work well under pressure, I am reliable and organised with meticulous attention to detail.

I am also comfortable with online press passing and digital workflows.

I am completely at ease with most Photoshop reproduction and retouching and also picture research with a wide variety of agencies. I also have some digital experience and have designed graphics and branding for Powerpoint presentations, web and social media advertising.

Working remotely at home for the last 6 years, has given me the focus to organise my time efficiently, communicate effectively and use initiative when other team members are not available. I live in South East London and am available to travel to London for work.

I have also specialised in the production, casting, concepting and art direction of many photographic shoots. While mums, babies and toddlers are a speciality, I also have photoshoot and art direction experience across all areas from covers to fashion, food, beauty and still life to homes and interiors.

lynnelanningdesign@ @gmail.com

lynne lanning d e s i g n & a r t d i re c ti o n

CONTACT

lynnelanningdesign@gmail.com OR linkedin.com/in/lynne-lanning

EDUCATION

Dane Court Grammar School, Broadstairs Road, Broadstairs, Kent

QUALIFICATIONS

8 x ‘0’ Levels, 2 x ‘A’ Levels in Art and English Literature

FURTHER EDUCATION

University for the Creative Arts, UCA, Canterbury Campus, (2 year B’tec National Diploma in Graphic Design) University for the Creative Arts, UCA, Rochester Campus, (2 year B’tec HND with Merit in Graphic Design)

Career to date CURRENTLY

FREELANCE EDITORIAL DESIGN, ART DIRECTION & BOOK DESIGN l A repeat summer contract for the past 3 years for design and production on Tesco Festive Food to Order

Brochures and festive hybrid magazines for the UK and Republic of Ireland with Cedar Communications. l Magazine design, supplements and bookazines for Good Housekeeping, Red, Prima and House Beautiful

for Hearst Women's Lifestyle and Homes Hubs and also with Future publishing on their Homes Hub. l Design and layout of interior book layouts from approved concepts for Pavilion and Batsford Books,

GMC Publications Ltd, Harper Collins and Watkins Books

SEPT 2013-MAY 2021

PSYCHOLOGIES MAGAZINE: DESIGN DIRECTOR Sole responsibility for the magazine’s entire art and design production. I was initially employed as Art Editor and then Art Director after regularly freelancing with the team on the magazine. At ease with Photoshop for reproduction and retouching, digital workflows and online press passing. I designed all the Psychologies’ ads and slides for Social Media weekly posts as well as some digital and web designs for Marketing and Advertising. I commissioned many illustrations for the magazine and I also have excellent picture research skills. Photographic shoots, organisation, production and art direction are a speciality in all editorial subject matters from covers, fashion & beauty, mums, babies&toddlers, as well as food & interiors.

OCT 2008 – 2013

FREELANCE DESIGN/ART DIRECTOR & PHOTO SHOOT ART DIRECTION 5 years freelance design, working continuously from weeklies to glossies and client publishing.

One contract was a 2 month undertaking to produce and art direct all Boots Parenting Club Magazine covers; whereby I sourced locations, cast models, organised the crew and art directed on the shoot days Clients included: Psychologies, Boots Health & Beauty and Parenting Club Magazines, Lonely Planet Traveller, Asda, Zest, Good Homes, Style at Home, 25 Beautiful Homes, Chat, Pick Me Up, Prima & Prima Baby, Junior, Practical Parenting, Closer, Woman & Woman Specials, and Creative Solutions Teams

EARLY WORK

MOTHER & BABY MAGAZINE: DESIGNER AND ART DIRECTOR Initially part-time freelance design and then Deputy Art Editor. Creative picture selection from internal picture library and from photographic agencies. Monthly organisation and art direction of all photo shoots, including two, 10-day shoots to Cape Town, South Africa. Day-to-day running of the department, overseeing and mentoring designers and freelancers, managing budgets, commissioning illustrations, and photographers.

FREELANCE DESIGNER: Mother & Baby, Pregnancy & Birth, Slimming, Period Homes, Prima, Best ME MAGAZINE: GE PUBLISHING Position: Senior Designer BEST MAGAZINE: NATIONAL MAGAZINES/HEARST Position: Senior Designer BROCHURE DESIGN: THOMPSONS HOLIDAYS Position: Junior and Senior Designer

lynnelanningdesign@gmail.com

lynne lanning d e s i g n & a r t d i re c ti o n

lynnelanningdesign@ @gmail.com

Psychologies Magazine Art Direction

lynnelanningdesign@ @gmail.com

lynne lanning d e s i g n & a r t d i re c ti o n

The Retreat l

Food

l

Books

l

Podcasts

l

Travel

Love yourself like your life “depends on it, because it does

l

Wisdom

“

Home

PHOTOGRAPH: DARIA SHEVTSOVA/PEXELS

ANITA MOORJANI

M A R C H 2 0 2 1 P SYC H O LO G I E S M AG A Z I N E 71

PSY_MARCH-retreat opener.indd 71

17/12/2020 10:56

lynnelanningdesign@ @gmail.com

Psychologies Magazine Art Direction Real Wellness

Wellbeing

l

Movement

l

Connection

l

Health

l

Nutrition

EDITED BY ALI ROFF FARRAR

would be brave. She would be heroic.

“SheShe would make her own destiny

PHOTOGRAPH: GETTY IMAGES

“

MARISSA MEYER

F E B R U A R Y 2 0 2 1 P SYC H O LO G I E S M AG A Z I N E 61

PSY_FEB-wellness opener.indd 61

23/11/2020 14:44

#360me p77 Holistic Grail / p79 The Plan prepare to feel great / p89 One Good Thing nut milk / p90 Living Well with the Hemsleys / p93 Real Beauty Madeleine Shaw / p94 Well Network Henrietta Norton / p96 Ask the Dr the last word on supplements / p99 Real Nutrition sourdough / p100 Well Travelled UK wellness special

PHOTOGRAPH: ORIGINS

EDITED BY EMINÉ ALI RUSHTON

J U N E 2 0 1 6 P S YC H O L O G I E S M A G A Z I N E 75

lynnelanningdesign@ @gmail.com

lynne lanning d e s i g n & a r t d i re c ti o n

lynnelanningdesign@ @gmail.com

Psychologies Magazine Art Direction

lynnelanningdesign@ @gmail.com

lynne lanning d e s i g n & a r t d i re c ti o n

lynnelanningdesign@ @gmail.com

Psychologies Magazine Art Direction THE LIFE LAB } special report

THE LIFE LAB } special report

W

SPECI A L R EPORT

hen I was a child, I had all kinds of ambitions, such as wanting to be an actress (didn’t ever happen) and climbing Machu Picchu (did it three years ago).

But none shone more brightly than my desire to have a family – a nuclear family. I put this need for ‘normality’ down to being a sad child of divorced parents.

I’d dream of chaotic happy meals round the Christmas table with a husband and two or three children, in a house full of love and security – a traditional family to right the wrongs of yesteryear.

It didn’t work out – four years ago my nuclear family dreams were shattered when my husband left. Now, I’m a single parent whose child is part of another family, too, where his dad has a new wife and another child – my son’s half-sister.

So, the festive season in my house has involved spending Christmas Eve without my seven-year-old while he goes to his dad as part of this other life.

I then look on wistfully as friends whose marriages are working set off to decorate the Christmas tree together.

With my nose metaphorically pressed against the windows of their warmly lit rooms, it can feel as though everyone else is part of an extended, functional, happy family. Yet the reality in Britain right now is that, of course, my family is a long way from being ‘different’ and what we think of as ‘normal’ is increasingly an anachronism. Statistics have

THE FUTURE FAMILY Christmas is all about family, but what does that mean today? The majority of us no longer live in a nuclear family, fewer still will do so in the future.

Instead many different models are blossoming.

Extended families. Blended families, including children, step-children – even step-children from previous relationships. Single-parent families. Samesex-parent families. So if you’ve ever worried about yours being ‘different’, take heart. They are all equally valid, there’s more acceptance of diversity than ever before, and there’s no reason why ‘different’ can’t equate to successful and happy, says Martha Roberts

THE LIFE LAB } special report

IN 2012, THE NUMBER OF LONE PARENTS IN THE UK ROSE TO ALMOST

2 million FOR THE FIRST TIME

tracked the decline of the nuclear family for decades, and this trend is only set to continue. In its place is a rich tapestry of increasingly complex structures, which we are becoming skilled at navigating, to create all sorts of happy, successful, modern families.

What’s happening?

The Organisation for Economic Co-operation and Development published The Future of Families To 2030 report in 2012, stating: ‘The extended family has all but disappeared in many places and the traditional family – a married couple with children – is much less widespread than it used to be.’

The Office for National Statistics (ONS) also reflects this. In 2012, the number of lone parents had risen to almost two million for the first time, up from 1.7 million in 2011. The number of

cohabiting-couple families increased from 2.1 million in 2001 to 2.9 million in 2011, and the number of children living with them rose from 1.3 million to 1.8 million. The number of married-couple families dropped from 4.8 million in 2001 to 4.5 million in 2011. This is still the most common single model in the UK but, overall, more of us are living in a different way.

Alongside these changes has come a gradual change in attitudes. Family, published by the Centre for the Modern Family in December 2011, reported that a huge 84 per cent of families now define themselves as not being ‘traditional’ (where traditional is two married parents living together with two or more children). And these changes have really happened since the early 1970s, it found.

I remember my own mum explaining why she felt the need to marry again so soon after she and my father divorced – life as a single mother in 1971 was one of stigma. Forty years on, it can still be hard, but there’s definitely more acceptance of diversity, not to mention safety in numbers. And that gives people confidence. The Family report also found that 59 per cent of people now see gay couples as a family and 77 per cent see single-parent households as a family.

Figures from single parent organisation Gingerbread show that in 1971, just eight per cent of families with children were single parents compared to 26 per cent in 2011.

So where do we go from here? ‘Families are pulling society in multiple directions to such an extent that soon there will be no typical family model,’ says Dr Katherine Rake, chief executive of the Family and Parenting Institute.

She highlights the renaissance in the importance of extended family. Financial pressures mean children are being raised by grandparents, aunts and uncles more as their parents struggle to earn enough, she says.

This may go beyond childcare, too.

Anjula Mutanda, psychologist and author of How To Do Relationships (Relate, £9.99), says: ‘People from different generations are increasingly saying, “We need to live together for economic reasons”.’ So as well as grandparents moving in with adult offspring, rising house prices now routinely keep ‘children’ at home well into their twenties.

The influence of other cultures is also

84%

OF FAMILIES NOW DEFINE THEMSELVES AS NOT BEING ‘TRADITIONAL’

20%

playing a part. ‘We talk about the decline of the traditional family, but immigrant families with several generations in one household are helping to redefine our understanding of what UK families look like,’ says Dr Gordon Ingram, lecturer in psychology at Bath Spa University.

‘Family structures will become more, and not less, complex,’ agrees Catherine Thomas, from family lawyer Vardags.

She points to ‘a number of new family types emerging’ – a blended family, for example, where two parents with children from previous relationships get together with those children then possibly have a child of their own. ‘Families got smaller for a while as grandparents became more invisible, but I predict they will get bigger again, with stepparents, step-siblings and half-siblings in one household more common.’

It seems that as relationship breakdown and non-conventional family structures become more usual, we’re getting more expert at handling the fallout. Rather than wanting to move from one nuclear family to the next after a break-up, we’re more ready to embrace step-children and other relatives in new families; more prepared to look at radical solutions to benefit the welfare of everyone. Another example of this is co-custody families where parents, after a separation, continue to live in the same house, out of financial necessity, or for the sake of the children.

Gay parents – almost unheard of 20

116 P S YC H O L O G I E S M A G A Z I N E J A N U A R Y 2 0 1 4

OF PEOPLE HAVE CONSIDERED BREAKING UP WITH THEIR PARTNERS OVER STEP-CHILDREN years ago – are more visible, too. The ONS report estimated 63,000 families with children in Britain in 2011 consisted of a same-sex cohabiting couple and an additional 59,000 a civil-partnered couple – a figure that’s risen steadily since the introduction of civil partnerships in December 2005. ‘We will see more children with same-sex parents and potentially with three parents if you include a biological father or mother or donor who wants to be involved in the child’s life,’ says Thomas.

The rise in adoption will also continue to change how families look.

Between April 2012 and March 2013, there was a 15 per cent rise in adoptions in the UK – the highest figure than in any year since records began in 1992.

‘We’re moving towards a much more open-minded society, which shows >>>

J A N U A R Y 2 0 1 4 P S YC H O L O G I E S M A G A Z I N E 117

J A N U A R Y 2 0 1 4 P S YC H O L O G I E S M A G A Z I N E 115

Does your life LIFE feel like a series of mundane activities, dotted with occasional bursts of excitement? It might be time to change your perspective, says Eleanor Tucker, and learn to embrace the everyday

A life more ecently, I met a friend who I hadn’t seen for a while.

Once we’d established that we were both fine, in good health, and that our families, jobs and homes were all in working order, she said to me, ‘I just need something exciting to happen.’

Instead of thinking, ‘So do I’, I actually thought, why? What is ‘exciting’, anyway? We live in a society obsessed with fame, wealth and beauty, and it’s making us lose sight of the everyday – and the pleasure that can be found in being in the present moment, no matter how humdrum it might seem to be.

Michael Foley explains in his book

Embracing The Ordinary (Simon & Schuster, £7.99) that there are ‘cultural factors, such as the new obsession with celebrity, that makes anonymous, mundane life seem worse than death.’ But would you really want to be living in your own version of a reality TV show, lurching from one drama to the next?

‘Escapism… by means of entertainment, travel, partying, alcohol, drugs or sex… does not work,’ Foley continues.

‘Sooner or later the escapee is back in prison, more depressed than before, also very likely out of pocket, hungover, exhausted and afflicted by guilt, shame, dread and a nasty, state-of-the-art STD.’ Well, that all sounds a bit depressing,

doesn’t it? However, our escapist attitudes are not entirely our own fault.

Foley believes western history itself, and our religious preoccupation, has pre-programmed people to see the everyday as some sort of ‘suffering to be endured in order to earn a more rewarding existence in the afterlife.’

But what if you’re not planning on an eternity in paradise? I’m not, so I’ve decided to start revelling in the routine, leading a life that’s more – not less – ordinary. And it’s turning out to be the best decision I’ve made in years.

I spoke to Jessica Chivers, author and career coach (jessicachivers.com), about this. ‘Finding joy in the mundane

“Finding joy in the mundane helps you look at life ‘in the round’ and see that it’s good”

PHOTOGRAPHS: GETTY IMAGES

R

ordinary helps you to look at life “in the round” and see that, in the grand scheme of things, it’s good,’ she explains. ‘There isn’t that sharp contrast between the “good bits” and the “dreary bits”, more a sense of “totality”. This attitude also makes you more appreciative and more likely to make downward comparisons’ – in other words, not wish for better for yourself, but rather see yourself as fortunate. If you’re more grateful for your lot, you’ll be more content. People who are happy to do humdrum things are more relaxed and less stressed.’

But it’s not about ‘putting up with’ the day-to-day; it’s about learning to delight in it. It’s not about avoiding

excitement. Quite the opposite. It’s about finding excitement where you didn’t know it existed, not about becoming some kind of martyr to dullness.

A cunning ruse

In fact, Foley describes this as ‘not a worthy act of self-improvement, but an audacious and cunning ruse.’ I like the thought of having a ruse. It’s like playing a trick on life – an act of one-upmanship.

I started planning my own personal ruse and spoke to journalist Lola Borg, a busy working mother of teenage children.

‘Every month or so I block off a day, get a playlist ready, then spend the entire day sorting out my house. And it’s very

52 P S Y C H O L O G I E S M A G A Z I N E D E C E M B E R 2 0 1 3

therapeutic. I just love the feeling of creating order out of chaos, sorting things for the charity shop, cleaning, and I prefer a dramatic grand clean-up than the drip-drip-drip of endless daily chores. The trick for me is to set a time limit – say, between 10am and 6pm – and do as much as I can in that time. For me, doing it this way turns a dull, mundane task into something I even (whisper it) look forward to.’

Cathy Sidaway is a doula – a pregnancy and labour coach – which means her working days are often full of lifeaffirming, moving experiences. But, she tells me, the simple act of boiling an egg can also give her a real moment of >>>

D E C E M B E R 2 0 1 3 P S Y C H O L O G I E S M A G A Z I N E 53

THE LIFE L AB } special report

worth doing, it’s worth doing badly”. If you can do something but do it badly, it takes the pressure off.’

SPECI A L R EPORT

TINY CHANGES, HUGE RESULTS

Why is it so tricky to change a habit? We all know deep down there’s no easy route – it’s hard. And it isn’t fast: new research suggests that on average it takes about 66 days to turn even a small change into a routine habit. But it is possible. And even tiny changes can have a ripple effect that eventually creates big results. Journalist Martha Roberts spoke to psychologists and experts working at the cutting edge of behavioural science to discover the latest thinking on what makes for lasting change.

As Andy Warhol put it, ‘They always say that time changes things, but you actually have to change them yourself.’ >>> ILLUSTRATIONS BY ANNA GODEASSI

DAYS 22-27

Replace bad with good

>>>

HOW TO MAKE SMALL CHANGES THAT LAST DAYS 1-14

Observe your habits

Dr Gardner suggests spending two weeks preparing before implementing any changes. ‘Make a note of what you do but also the environment in which it happens,’ he says. ‘Much of what we do is shaped by the environment we do it in.

Once you have observed what you do in relation to things you’d like to change, you’ll be in a far better position to set yourself a plan to rectify it.’ He suggests: l Record daily (or more often) each instance of unwanted behaviour. If you want to give up unhealthy snacks and eat healthier ones, for example, record the unhealthy ones you eat each day. l Note the circumstances in which you enacted that behaviour. For example, what time of day was it? What were you doing beforehand? What was your mood immediately beforehand? How did you feel after? Who were you with? ‘That

should give the individual an insight into the situations in which they are tempted to enact the unwanted behaviour, so making them better able to anticipate and prepare for these situations once they’ve initiated a behaviour change attempt,’ he says.

Duhigg talks about a woman called Mandy, who sought help for chronic nail-biting. The first task given to her by a psychologist was to mark a cross on an index card each time she felt the urge to bite her nails. A week (and 28 crosses) later, she could recognise the urges that came before she bit her nails and situations that made her vulnerable (say, watching TV). The psychologist then gave her strategies for doing something else when she was in those situations and got the nail-biting urge.

Action: Carry a diary with you to chart whatever behaviour it is you want to change. Look out for the cue, routine and reward and note them down.

Kicking a habit is easier if you replace a ‘bad’ reward with a good one, instead of going cold turkey. Duhigg says more than 36 studies found that when smokers identified the cues and rewards they associated with cigarettes and found a new routine with a similar pay-off – a piece of Nicorette or taking a few minutes to relax, for example – they were more likely to quit. Is the reward really a love of nicotine or a break in your routine, or a chance to socialise with others, or something else?

Action: Think of how you could replace a bad habit with a good one.

DAYS 28-34 DAYS 15-21

Practise daily action

Leo Babauta was an overweight, sedentary chain-smoker who wasn’t sure how to change his life. Ten years on and he has, among other things, quit smoking, lost 80lb, and tripled his income. In his popular blog, the zenhabits.com author talks about how each of these achievements had the same genesis.

‘Nothing will change unless you make a daily change,’ he says. ‘I’ve tried weekly action steps, things I do every other day, big, bold, monthly goals – lots of permutations. None of them work except daily changes. In fact, if you’re not willing to make it a daily change, you don’t really want to change your life in this way.’

Action: Whatever you’re hoping to change, do it daily, however imperfectly.

Psychologist Beverley Stone, author of Stay Or Leave? (Watkins, £8.99), says: ‘Think of GK Chesterton – “if a thing’s

Enlist some support

A study cited in the Journal Of Consulting And Clinical Psychology found that people who recruited three friends or family members to assist them in their

quest to lose weight had better results than those who didn’t. But broadcasting the news that you are trying to change something will not work for everyone.

‘The pressure of other people knowing may be too much for some, while others find it gives them the support and drive they need,’ says Dr Gardner.

Action: Consider going public, but only if you believe it will work for you.

DAYS 35-41

Do it differently

‘One of the best ways of changing an existing habit is to change the situation,’ says Dean. New situations force us to think consciously about what we do, and that, in itself, can help us change our habits. For example, research shows that when food is stored in bigger containers, people tend to eat more. The same is true of drinks served in big containers and food served in larger packets or with bigger serving spoons.

‘This suggests that there are a whole series of environmental changes that can easily encourage healthy eating,’ Dean points out.

Action: Think about changes to your

environment that will steer you towards a good reward not a bad one, e.g. have fruit or nuts to hand as a healthy option, if your reward tends to be a snack.

DAYS 42-66

Don’t stop believin’

If you feel like you’re not making any headway, remember 66 days is an average, habit change can take up to a year or more. ‘Don’t think after three weeks if you haven’t succeeded there’s no point,’ says Dr Gardner. ‘If you’re doing it every day you’ll still be making progress. As habits form, associations are being made and you’ll gradually find you won’t have to put so much mental effort into it.’

Some habits are more difficult to change than others. ‘Everything we know about from all the available science is that different behaviours will take different amounts of time to change for different people,’ says Duhigg.

Action: Continue to keep a record of how you are doing. That way you can see at a glance how much progress you’ve made and you’ll be a lot more inclined to carry on – and to find making habit changes in future easier.

88 P S Y C H O L O G I E S M A G A Z I N E D E C E M B E R 2 0 1 3

lynnelanningdesign@gmail.com

lynne lanning d e s i g n & a r t d i re c ti o n

HEARST Good Housekeeping Coronation Celebration Design of the 52 page special supplement, working with the wider team and the Special Projects Editor

lynnelanningdesign@ @gmail.com

Freelance design

HEARST Women's Lifestyle Hub Good Housekeeping,Red and Prima Magazine team

lynnelanningdesign@ @gmail.com

lynne lanning d e s i g n & a r t d i re c ti o n

HEARST Women's Lifestyle & Homes Hubs Good Housekeeping, Red, Prima and House Beautiful

lynnelanningdesign@ @gmail.com

Freelance design

lynnelanningdesign@ @gmail.com

lynne lanning d e s i g n & a r t d i re c ti o n

a showcase of great design

lighting

Great design has to be so much more than functional. It has become

BEST FLOOR L AMP

increasingly more important to appeal to the senses and tap into the way we feel, enhancing our lives, outlooks and perhaps even souls. The right design, whether because of the colour, shape or material, can

ORTA FLOOR LAMP

BY LIGHTS & LAMPS

A heavy burnished brass cylinder base balances an elegantly curved antique silver stem, finished off with a perfectly proportioned cone shade. It has a clear, timeless appeal and is indicative of the way the brand approaches designing, blending fuction perfectly with form.

‘Lights & Lamps has cornered the market on keenly priced yet well crafted pieces – I can see its designs fitting into all sorts of decor styles,’ says Pip Rich.

hold an extraordinary power, not only to invigorate our homes but our wellbeing, too. This is why we launched the Livingetc Style Awards, to shine a light on the products that not only have visual appeal but can have a transformative effect on our day-to-day lives. Now in its second year, these accolades celebrating considered design are more crucial

‘Lights & Lamps has cornered the market on keenly priced, well crafted pieces’

than ever. We received hundreds of entries covering everything from big-ticket items like sofas to home fragrances that promise to bring calm. With our esteemed judging panel we managed to whittle these down to the best of the best, which we share across the next 10 pages.

We also highlight Design Icons, which remain as relevant as ever, alongside Wise Buys, those clever purchases offering good quality as well as value for money. Get ready to enter the world of enduring style.

BEST CEILING LIGHT PILL BY EMPTY STATE

Pill is a capsule-shaped design that combines hand-blown glass with luxurious brass accents. As it is made to order, customers can personalise the drop height, glass colour, metal finish and configuration, to create a unique piece for a specific space.

‘I like the fact you can customise it to your own installation and give it individuality,’ says Staffan Tollgård.

meet the judges

DE SIG N ICON

FEATURE BUSOLA EVANS

livingetc.com

S TA F FA N TOLLGÅRD CREATIVE DIRECTOR OF TOLLGARD DESIGN GROUP

29

30

E VA SONAIKE

ALICE PA N D O R A TE M PE R LE Y S Y K E S FASHION AND HOMEWARE DESIGNER

DESIGNER AND FOUNDER OF EPONYMOUS BRAND

JOURNALIST AND BROADCASTER

SAR AH SPITERI

PHOTOGRAPHS (ANGLEPOISE) TARAN WILKHU; (HEAL’S) NICK REES

NATIONAL TRUST FLOOR LAMP BY ANGLEPOISE

It’s back! Our panel of experts have awarded the best products for your home in a celebration of modern design

PIP RICH EDITOR OF LIVINGETC

EDITORIAL DIRECTOR OF LIVINGETC

This Sage Green finish, based on the archetype of Anglepoise’s Original 1227, is a nod to the work of Europe’s largest conservation charity, with every sale raising funds for the National Trust.

‘Some may describe their look as industrial but I think there is a surprising elegance about the shape,’ says Pandora Sykes.

B E S T TA B L E L A M P

DORIC TABLE LAMP BY HEAL’S

Drawing inspiration from classical architecture, the Doric table lamp

by Heal’s is a simple yet standout piece. It gives a contemporary nod to the iconic form of traditional Roman pillars and the architectural bones of the lamp are softened by a white opal glass shade.

‘It is a really cool lamp because of the contrast of materials and I like the play on scale with the oversized version,’ says Eva Sonaike.

livingetc.com

kitchens & bathrooms

furniture

Ekstrem by Varier features playful curves and organic shapes which allow for endless seating positions.

The judges felt no other chair offered such versatility tailored to individual comfort, personalisation being a key future trend.

‘It’s a real talking point and I love the velvet knitted fabric used. It’s the perfect chair for adding a pop of colour,’ says Alice Temperley.

SOLIDWOOL HEMBURY CHAIR

BY ROGER OATES

ON TAP BY WATERWORKS

B E S T S O FA

The curves of the two-seater Arbor sofa make it instantly inviting. Manufactured in a carbon neutral factory, the piece has hardwood framing, and the foam interiors make it supremely comfortable. ‘It looks great from different angles, which is quite unique for a sofa, giving it flexibility on where you position it’ says Staffan Tollgård.

The On Tap kitchen tap is the classic draft beer tap, reinterpreted for modern homes.

The intricate detailing and craftsmanship makes a statement and the faucet is available in new mixed materials and finishes.

‘I love the combination of materials here – it’s a really inspired take on a tap,’ says Sarah Spiteri.

A kitchen created with biophilic principles at its core. Blakes London helped achieve the incorporation of a 1.5m-long marble planter to be used as a herb and plant trough.

‘I absolutely love this idea – it’s stakes upstands to the next level,’ says Eva Sonaike.

‘I like the flow and shape, It’s a very versatile piece.

Galotti&Radice always gets it right’

ARBOR SOFA BY MATTHEW HILTON FOR THE CONRAN SHOP

WISE BUY

GEORGIAN KITCHEN BY WREN KITCHENS This Georgian kitchen is an elegant design with classic detail. The combination of a monochrome palette with luxurious textures gives the look an enduring appeal.

‘There are some strong design credentials at a relatively affordable price,’ says Sarah Spiteri.

B E S T D I N I N G TA B L E GRISOLLES DINING TABLE BY JULIAN CHICHESTER

With its polished red travertine top, aged brass inner square and contrasting African walnut legs, this dining table is all about the details that elevate it to exceptional status.

‘The interesting combination of materials makes it an incredibly elegant piece,’ agrees Staffan Tollgård.

This collection combines Marc Newson’s unique design style with Drummonds’ classic, handmade pieces. It includes a spectacular freestanding bath, shower controls and a range of taps and mixers.

‘This collection feels very forwardthinking,’ says Staffan Tollgård.

42

EMERALD BY LUNDHS REAL STONE

The darkest in the Lundhs Real Stone collection, the Norwegian stone is a blend of glistening blue feldspar crystals. Boasting from high heat, water, scratch, UV and stain resistance, Emerald is not just an eye-catching hue but is easy to maintain.

‘The stone is very appealing to look at and this is an interesting new direction for the brand,’ says Pip Rich.

livingetc.com

livingetc.com

43

decorating PA I N T C O L O U R O F T H E Y E A R FADED TERRACOTTA BY FARROW & BALL

Faded Terracotta is part of The California Collection, a partnership with American designer Kelly Wearstler.

A soft, pale orange – the singular colour of terracotta pots and tiles baked to a pale hue by the California sun – it is a great alternative to pink and neutral shades.

‘It looks and feels really fresh, ‘ says Eva Sonaike.

‘It would bring a lot of warmth.’

B E S T PA I N T N E W C O M E R YESCOLOURS

An industry disrupter, YesColours is a new brand focusing on innovative sustainable paints. ‘I love its 1ltr pouches. I think it is a real game-changer in terms of packaging,’ says Eva Sonaike.

‘Faded Terracotta looks and feels really fresh. It would bring warmth to any room’

Made from a combination of high-quality acacia wood, veneers and MDF, this mid-century inspired sideboard provides useful storage with a retro feel.

‘I really like the look of this.

The price is reasonable and it is a classic look that will work in many different interior schemes,’ says Eva Sonaike.

livingetc.com

33

Graphenstone’s paints contain no chemicals, plastics or microbeads and only trace VOCs less than 0.1%. ‘The eco credentials are second to none,’ says Pip Rich. ‘I am very excited to see how the brand continues to drive change going forward.’

CORNUBIA BY BEN PENTREATH FOR MORRIS & CO

SYMMETRY SIDEBOARD BY JOHN LEWIS & PARTNERS

PHOTOGRAPH (TOM DIXON) PEER LINDGREEN

B E S T S U S TA I N A B L E PA I N T B R A N D G R A P H E N S T O N E ( O L I V E , S H O W N O N WA L L S )

B E S T FA B R I C COLLEC TION

WISE BUY

livingetc.com

design buzz

B E S T K I T C H E N S U R FAC E

LION PAW OTTOMAN BY STUDIO HAM This striking ottoman, upholstered in high quality hessian with charming hand carved paws, certainly grabbed the attention of our judges. An enthralled Pandora Sykes says: ‘I absolutely love the individuality of the piece and the attention to craftsmanship. It is so unique and will always make an impression.’

CORK BY TOM DIXON

The judges were unanimous in their admiration for this piece, which can adapt to anything from a wall console to an oval table. Created in 1975 by Japanese architect and designer Kazuhide Takahama, its clean lines and minimalist design have stood the test of time.

‘It is a beautiful, iconic piece – as relevant now as it was then,’ says Sarah Spiteri.

Inspired by the natural tones of marble, yet with all the durability and versatility that ceramic offers, Meteora Gris is available in three thicknesses – 6mm, 12mm and 20mm – the slimmest of which can be used for bathroom walls to create a spa-like, wetroom style shower area.

‘It’s a great ceramic with a beautiful textured finish and it’s also cost-effective over large surfaces,’ says Sarah Spiteri.

B E S T C O F F E E TA B L E

The resurgence of cork as a tactile, beautiful and even covetable material has been taking the design world by storm. And Tom Dixon has managed to harness its beauty for this sculptural collection, made with virtually no waste for a range of rounded silhouettes.

‘Cork isn’t an elegant material, and Tom Dixon has played off this to instead create pieces that feel chubby, friendly even,’ says Pip Rich.

ANTELLA BY CONRAN SHOP

PHOTOGRAPH (LUNDHS) MORTEN RAKKE PHOTOGRAPH

B E S T B AT H R O O M COLLEC TION

MARC NEWSON FOR DRUMMONDS COLLECTION

BEST USE OF S U S TA I N A B L E M AT E R I A L

DE SIG N ICON

BESPOKE KITCHEN BY ROUNDHOUSE A kitchen that ticks the boxes on form and functionality.

The kitchen cabinetry is finished in the warm, muted Farrow & Ball Setting Plaster and is combined with finishes of antique brass on the island and tinted bronze mirror splashback.

‘It had all the elements of luxury and practicality and a clever combination of materials,’ says Pip Rich.

METEORA GRIS BY CRL STONE

B E S T VA N I T Y

The Stami collection draws inspiration from the gentle curves of nature, from the flower stems to leaf ribs. It works as both a vanity and a desk and the judges loved its beauty and multifunctionality.

‘I like the flow and shape of this. It’s a very versatile piece. Galotti&Radice always gets it right,’ says Sarah Spiteri.

BEST KITCHEN

B E S T B AT H R O O M S U R FAC E

STAMI BY GALLOTTI&RADICE

‘The Arbor sofa looks great from different angles, which is quite unique for a sofa, giving it flexibility on where you position it’

32

‘This Roundhouse kitchen has all the elements of luxury and practicality and a clever combination of materials’ BEST KITCHEN FIXTURE B E S T K I T C H E N I N N O VAT I O N BONHAM BY BLAKES LONDON

B E S T FA B R I C ( S I N G L E D E S I G N ) KALEIDO BY JANE CHURCHILL

This distinctive woven fabric instantly catches the eye, is tactile and has a high quality upholstery weight. A real statement piece. ‘I was really drawn to the geometric design and I how usable are the colourways it is available in,’ says Pip Rich.

The second collaboration of fabrics and wallpapers between Morris & Co. and architect and interior designer, Ben Pentreath, Cornubia is joyously nostalgic with a palette of tangerine, lemon yellow and bright apple greens.

‘Ben is very clever – he always makes the traditional feel fresh,’ says Pandora Sykes.

‘The eco credentials are second to none. I am very excited to see how Graphenstone continues to drive change going forward’

SAYURI WALLCOVERING IN HUNTER BY ROMO An immersive, panoramic, woodland scene, Sayuri offers a contemporary take on a traditional chinoiserie design. The judges were captivated by how the silhouette of elegant trees form a dramatic wallcovering.

‘I think it is beautiful and particularly striking. Also the quality of the printing is really superior,’ says Alice Temperley.

WISE BUY

This sustainable fabric offering is woven with 80% recycled cotton, using offcuts from the fashion industry and is chemical free.

‘The price is reasonable so you can access it without having a huge budget,’ says Sarah Spiteri.

38

Semma’s modern borders balance beautifully natural linen grounds with patterns made with semi-lustrous embroidery. ‘These are a great way to elevate curtains,’ says Pandora Sykes.

AMECHI BY DADO ATELIER

BEST MURAL

VERDE COTTON COLLECTION BY LINWOOD

B E S T FA B R I C T R I M M I N G THE SEMMA PASSEMENTERIE COLLECTION BY SAMUEL & SONS

B E S T S TA N D O U T DESIGN Celebrating the indigenous traditions of West Africa, Amechi Mandi’s characterful textiles have been reworked into a series of papers for Dado. ‘It’s an exciting new range,’ says Pandora Sykes.

‘And it gives a lot of versatility in terms of where you’d use them.’

PHOTOGRAPH (LINDWOOD) JOHN BAILEY

The Hembury chair shell showcases the beauty of Solidwool, which mixes unwanted wool with a bio-resin for a more eco-friendly alternative to injection moulded plastics and fibreglass.

‘I am so impressed by the innovation of taking something unwanted and giving it another life and form,’ says Pandora Sykes.

ECOSPEED HEAT PUMP TUMBLE DRYER BY MIELE

The EcoSpeed range offers significantly better energy ratings and reduces the average drying time by 20 minutes thanks to the use of an environmentally friendly R290 gas. The dryer has a PowerFresh option to freshen up dry clothes.

‘It has a dispenser for scented oil which I love,’ says Staffan Tollgård.

EPOCH BY C.P. HART

Epoch is a classical brassware range manufactured in Britain. Echoing the glamour of the art deco era, it combines swivel spouts and crosshead handles with etched detailing, available in eight finishes.

‘It is simple and effective and also feels nice to hold which is important with a tap,’ says Pip Rich.

EKSTREM BY VARIER AT BACK IN ACTION

B E S T S U S TA I N A B L E FURNITURE

B E S T S U S TA I N A B L E APPLIANCE

B E S T B R A S S WA R E

BEST CHAIR

B E S T WA L L PA P E R CO L L E C TI O N

B E S T PA I N T C O L L E C T I O N

MARQUETERIE BY ARTE

THE ARCHIVE COLLECTION, MYLANDS (CORAL ORANGE 227 SHOWN ON WALLS)

Sisal forms the basis of the Marqueterie collection. The natural woven pieces are cut and arranged by hand while traditional marquetry reveals striking geometric figures.

‘I love the texture and intricate detail,’ says Eva Sonaike. ‘It feels very elevated.’

A collection of 12 shades from the company’s archives, this is a celebration of Mylands’ heritage and colour legacy. While it is rooted in the past, it has a timeless appeal which suits modern interiors.

‘They have taken older colours and given them a brilliant modern twist,’ says Staffan Tollgård.

livingetc.com

immerse yourself

livingetc.com

And relax… the custom-made bench seat

39

2COOKING STATION

A cleverly configured shallow-depth drawer stores cleaning products below the sink in front of the water tanks

Sleek integrated appliances include a touch-control Miele oven, combi steam oven, microwave, warming drawer and induction hob, offering multiple functions that suit the owners’ love of cooking. A furniture mantel conceals the extractor and brings a traditional look to the scheme, which is echoed in the design of the adjacent cabinetry. It is easy to reach for ingredients in the pantry, left, and the fridge to the right of the microwave, and a simple step and turn to the island for washing veg in the sink or chopping herbs on the worktop.

T H E C A P I TA L’ S C R E AT I V E S C E N E I S B A C K T O G E T H E R , C E L E B R AT I N G T W O D E C A D E S O F L O N D O N D E S I G N F E S T I VA L ( 1 7-2 5 S E P T ) W I T H A N E XC I T I N G

NEW REVE L ATIONS PA R K R OYA L DESIGN DISTRICT

D E S I G N D I S T R I C T, G R E E N W I C H P E N I N S U L A

Marking its one-year anniversary, Design District will open its studios and workshops alongside a range of one-off experiences. With its diverse roster of tenants, the blossoming creative hub will centre around Bureau, its coworking members club, with a programme of talks to attend. Topics such as sustainability and inclusivity are at the top of the district’s agenda, all led by industry thought leaders. Soak in the atmosphere with good food, drink, and live music, as well as a birthday

To mark the 30th anniversary of MDF Italia, the brand will showcase new takes on some of its best-loved pieces at Aram’s Covent Garden showroom. The limitededition collection – polished steel interpretations of its classics – will accompany the recently launched Universal Collection of seating by Jean-Marie Massaud. For design lovers, it’s a must-see

20:20 VISION

166

livingetc.com

R AW TA L E N T

PA R K R OYA L D E S I G N D I S T R I C T

As one of LDF’s newest additions, this thriving creative district is helping to broaden and continue the festival’s story. With an array of open workshops and activities, this year will see the neighbourhood hold exclusive events set within its industrial buildings. “An area full of raw potential, alive with experimentation and the spark of innovation,” comments Bill Amberg, the District’s co-founder. Park Royal, North-West London. parkroyaldesigndistrict.com

A built-in upholstered bench seat links the kitchen and living areas, offering a comfortable spot to relax with a coffee or for the children to sit and read. It is centred on the window and beams above for a symmetrical look, and faces the new French doors with views out to the garden. The bench is covered in an EasyClean weave – designed so that household stains can be removed with water – with drawers below providing storage for the children’s books. Two cupboards flank the bench, offering more storage and a surface for resting mugs.

TREASURE T R OV E

‘ C L AY L A R K S ’ AT T H E NEW CRAFTSMEN

Hunting for treasures on the banks of the Thames (or mudlarking, as it is known) has inspired this new collection designed for The New Craftsmen. Focusing on found objects and pottery shards as well as pieces from the archive of the Museum of London, 16 makers – including Viv Lee, Matthew Raw and Michael Ruh – will bring their own interpretation to the project.

As one of LDF’s newest additions, this thriving creative district is helping to broaden and continue the festival’s story. With an array of open workshops and activities, this year will see the neighbourhood hold exclusive events set within its industrial buildings. “An area full of raw potential, alive with experimentation and the

T W E NT Y BY TO M D IXO N

Celebrating its 20th year, Tom Dixon is hosting its second iteration of ‘TWENTY’, an exhibition which kicked off at Milan Design Week in June and features 20 new designs. As part of the Kings Cross Design District, this showcase will explore materiality and innovation as the brand reinvents existing designs and

3BENCH SEAT

A R A M X M D F I TA L I A

DAW N O F A N E W AG E

‘ M E E T M E I N T H E M E TAV E R S E ’, I T ’ S N I C E T H AT X T H E C O N R A N S H O P

Their first foray into the virtual world, The Conran Shop have teamed up with creative agency It’s Nice That who have brought together a group of 3D artists that will bring to life the retailer’s new AW22 collection. Set to merge humour with impact in a variety of digital formats within their Chelsea flagship store, the installation is an insight into the Metaverse and its application within the design sector.

Running throughout LDF at The Conran Shop, Chelsea. conranshop.co.uk

Minulla pliqui quam qui di inus adi officaepel est, vcbvnvbnvbmmue num faceate molorum aspit FUTURE FOCUSED M AT E R I A L M AT T E R S

FEATURE RORY ROBERTSON PHOTOGRAPHS (THE FLOOR STORY) NATALIE DINHAM; (THE EXHIBITION) ALBERT KERSTNA

ONE YEAR IN

30 YEARS YO U N G

Bringing Grant Gibson’s popular podcast series to life, this exhibition will showcase a wide range of innovations as visitors discover new materials and products for themselves through installations, an interactive learning space and a chance to see the work of creatives at the cutting-edge of the industry. The exhibition poses a poignant question: how will materials shape our future? It

A PA I N T P I C K M E U P

B E T H A N G R AY P R E S E N T S I N K Y D H O W U N I V E R S E AT S K E T C H

In an immersive space set within the iconic Mayfair venue, enjoy a drink while witnessing artistry in action as Bethan hand-paints her signature Inky Dhow in a live show. The space will also showcase furniture pieces from the UK designer’s collection, offering visitors the chance to see the vision, inspiration and artisanal

1WET ZONE

C R A F T C U LT U R E ANTHROPOLOGIE X C R E AT E AC A D E M Y

For aspiring makers, designers and creatives who share a passion for learning new skills, this event has your name written all over it. Taking place in Anthropologie’s Kings Road gallery, online learning platform Create Academy are exhibiting a range of new artworks and installations designed by course instructors such as Julius Arthur and Molly Mahon. This runs alongside a bank of panel talks, live demonstrations, and workshops. Starting 15th

0123456789

livingetc.com

167

MAKING LIFE EASIER

DESIGN 3CLEVER SOLUTIONS 108

COUNTRY HOMES & INTERIORS

lynnelanningdesign@gmail.com

To create a smart clearing-up zone that functions well for the owners’ busy family life and love of hosting parties, the island houses a large double bowl sink and two dishwashers, built in on either side. Two pull-out waste bins, one at each end of the island, are also included.

The neat single spout dispenses hot and cold water, as well as boiling, chilled filtered and sparkling water. Its tanks are concealed below the sink behind a specially designed shallow-depth drawer for storing cleaning products and soaps.

FEATURE AMELIA THORPE PHOTOGRAPHS PAUL CRAIG

milestone moments

Freelance design 2

Units painted in Rebecca’s Red, from £35 for 1ltr, Francesca’s Paint

3

HOW TO

If your living room is lacking colour or pattern, try introducing some with a fabric wall hanging on a simple rail as a pleasing focal point. Go for one that has a reversible design and you’ll have the option for an easy change-up, while complementary cushions will perk up a plain sofa.

REFRESH A KITCHEN ISLAND WITH WOODEN PANELLING

If your island is looking a bit tired, give it an instant lift by covering it with wooden batons.

■ Give the surfaces a good clean and protect the floor with dust sheets.

■ Cut batons to size to fit between the worktop underside and the

ROOM DECOR Nyplockad plate holders in beech (two used), £3 each, Ikea

HANG FABRIC ON THE WALL

floor. If you want to paint or varnish them, do this first and leave to dry.

■ Using strong adhesive, attach each baton to the sides of your island, using tile spacers to create neat gaps. Hold in place for a few seconds before working your way around.

Wall in Blackboard paint, £21.95 for 1ltr, Rustins

COLOUR C HE AT 3

1

4

EET SH

2

1 Red 05 matt, £42 for 2.5ltr, Lick 2 Citrine absolute matt emulsion, £52 for 2.5ltr, Little Greene 3 Sage eggshell emulsion, £29 for 2.5ltr, Dunelm SEPTEMBER 2022

FUTURE

1

5

STYLE TIP

Paint a selection of cupboard and drawer fronts in a punchy shade

100 IDEALHOME.CO.UK

Make your own artwork by stretching a favourite piece of fabric or scarf over a canvas and staple into place.

SEPTEMBER 2022

IDEAL vs GREAT DEAL

6

WHAT TO BUY

HOUR

CREATE KITCHEN SHELVING WITH PLATE RACKS Mount beech plate holders to the wall, lining them up next to each other at your desired height and position. Arrange pieces of reclaimed wood on the dowels for shelves, covering them first with a couple of coats of chalk paint for a finished look.

The plate rack dowels double as hooks for kitchen utensils, too. Give it a twist by painting a rectangle of contrasting colour behind the unit to make it a real focal point.

101 IDEALHOME.CO.UK

ROOM DECOR Wallpaper borders, from £64 for 10m, Studio Atkinson

WALLPAPER THE INSIDE OF STORAGE CUBBIES

HOW TO

PAINT A MURAL

Elevate your office space and add colour to your walls by papering behind shelving and inside storage. Choose a print that complements your scheme, and take time to make sure the repeat lines up neatly across the wall.

Make a striking focal point on a budget by hand-painting a wall mural for added personality.

■ Research and come up with a design you love, then choose your colours.

■ Give your walls a quick MOT, checking they are free from dirt, sticky patches or peeling paint. Once they’re clean and dry, apply your base colour.

■ Next, sketch out your design on the wall in pencil. There are a few ways to do this, from freehand, to using a projector or even a basic grid method.

■ Then paint your design! Decorator’s tape is great for creating crisp lines and edges, and have your base colour to hand to use as an ‘eraser’.

Bring order to your hallway with these neat and stylish buys BEVELLED FINISH Laura Ashley Clemence mirror, £140, Next

SWAN NECK Hadano wall light, £66, Dar Lighting

K I TC H E N P R OJ E CT

TO THE WIRE Round gold wire mirror, £39.99, Homescapes Online

8 Baxter Swirl wallpaper in Nerine Blue, £30 a roll, John Lewis & Partners

7

MODERN CURVES Citrine marble and brass wall light, £40, Habitat

1

HOUR

ADD CHARACTER TO A BEDROOM WITH BORDERS While wallpaper borders might conjure up memories of their dated predecessors, thankfully these days they are more elegant, more stylish and much more beautiful and available in an exciting range of colours and patterns. Use to add panel-style detail to a bedroom, or a border a door or window frame.

Rearrange the layout of your furniture in a living or dining room to give your space a whole new feel.

SEPTEMBER 2022

WAL LPA P

Homes Hub Living etc , Ideal Home and Country Homes & Interiors

Glycine wallpaper in Violet, £180.73 for 4 x 50cm drops, 2m wide, Casadeco range at Jane Clayton

OW OW ST ER 1

2

3

1 Tropical Palm wallpaper mural, £100 for 10m, John Lewis & Partners 2 Laura Ashley Gosford Cranberry Floral matt mural, £250 for 8.5m, B&Q 3 Restore Midnight bespoke mural, £35sq m, Graham & Brown

102 IDEALHOME.CO.UK

SEPTEMBER 2022

103 IDEALHOME.CO.UK

The newly designed open-plan room has ample space for cooking, entertaining and relaxing

OFF THE PEG Vitra Eames Hang it All coat rack, £259, Nest

HAND WOVEN Etta jute runner, £139, Cult Furniture

FRINGE BENEFITS Natural jute runner, £69, Piglet in Bed

Tucked around the corner is custom-made wine storage with integrated LED lighting, next to the built-in freezer

ABOVE The microwave is conveniently built in at eye level, above a warming drawer and a cutlery drawer

HAIRPIN LEGS Ottawa console table, £169, Dunelm

SOLID OAK Parquet console table, £279.99, Oakfurnitureland

Suzani wallpaper in Pink, £138 a roll, Dado Atelier

13

HOW TO

SASSY STRIPE Green Stripe jute basket, £20, Sass & Belle

PANTRY

These essentials can often be an eyesore, especially if they’re looking a bit worse for wear. But rather than a costly replacement, painting them the same colour as your walls helps them blend with your décor.

■ Make sure your heating is turned off and the radiator is cool. Give it a quick clean, vacuum away dust and remove flaking paint. Protect floors and carpets with a dust sheet.

■ Apply a base layer of primer if your radiator has an uneven surface or is a very dark colour.

■ Once dry, apply your paint. Although you can buy specialist radiator paint, you can use any paint that is suitable for multi surfaces.

■ Use a slim brush and keep brush strokes in the same direction, smoothing out drips as you go. Apply additional coats as needed and wait until completely dry before turning on heating.

GREEN WEAVE Organic jute basket, £40, The Braided Rug Company

WINE RACK FREEZER

THE LAYOUT The island seats six and houses a sink, wine cooler, dishwashers, storage and bins. The tall run includes a pantry, cooking zone and fridge, with wine storage and a freezer around the corner. A bench seat with built-in cupboards completes the design.

SEPTEMBER 2022 COUNTRY HOMES & INTERIORS

107

0123456789

FEATURE LISA FAZZANI

TWO OVENS

107 IDEALHOME.CO.UK

Match seat cushions or even table linen to your blind fabric for a cohesive feel

REPLACE TIRED WINDOW DRESSINGS WITH SMART BLINDS

PAINT A RADIATOR

SINK DISH DISH WASHER WASHER

COUNTRY HOMES & INTERIORS

12

Turn a rattan basket into a pendant shade by making a small hole in the bottom for the light cord.

SEPTEMBER 2022

104 IDEALHOME.CO.UK

Updating your window dressing is an easy way to change up the feel of your space and add a splash of colour. Blinds are fuss free and super smart, plus even if you’re not confident at the thought of fitting them, or don’t want to damage your window frame, Blinds2Go’s new Click2Fit headings simply fit into place without having to use any tools.

SEPTEMBER 2022

105 IDEALHOME.CO.UK

PROMOTIONAL FEATURE

sandy hues

t

Lights & Lamps x Livingetc

T H E S E N E W N E U T R A L S , F R O M S O F T C R E A M TO G LO R I O U S G O L D, A R E P E R F E C T A D D ITI O N S TO WA R M U P A N Y I N T E R I O R Amber Rills glasses, £22 for set of 4, House Doctor at Earl of East

STYLE TIP

10

WINE COOLER ISLAND

FRIDGE

Margarita Guatemalan basket, £45, Wicklewood

Limited edition jug in Buttermilk, £37, Falcon Enamelware

he response to our first collection with Lights of Lamps was so incredible that we couldn’t wait to do it again. And so we’ve created nine new lights which work seamlessly alongside our existing designs, ready to be curated artfully into your home.

VMFDHHGJFHKJHE Once again, craft is key to these designs. We’ve focussed on rattan, brown marble sourced from Spain, crackle-glazed ceramic and smoothly lathed concrete. Rattan is the great softener, bringing a bit of levity to even the most formal schemes, while the industrial vibe of the concrete is made homelier by its beguiling rounded edges.

VMFDHHGJFHKJHE We really respect what Lights and Lamps have managed to do since launching in 2020. The pedigree of the creative visionaries behind the brand is remarkable - they have worked with some of the most renowned names in the industry - and they have managed to distil that knowledge into a fleet of keenly priced, well made and beautifully designed lights. They understood exactly how to bring the decor vibe we love so much at Livingetc to life - a cosy sense of glamour that makes you feel smart while allowting you to kick off your shoes. These lights are for reading by, cooking by and enhancing

OUR SECOND LIGHTING COLLECTION LAUNCHES TH I S M O NTH , R E A DY TO ADD STYLE TO EVERY CO R N E R O F YO U R H O M E

Lemon squeezer, £25.80, QÄSA QÄSA Hoop broom, €40, Collective Stories

From left: Denari marble pendant, Coto concrete pendant, Muno crackle ceramic pendant, Morola marble pendant, £xx each, all Lights and Lamps x Livingetc

Tortoiseshell teaspoons, £36 for set of 6, Artemis Deco at Glassette

Eta cushion, £45.88, Bloomingville at Made In Design Corazo flower pot on stand, £50, Light & Living at Amara

PHOTOGRAPHS XXXXXXXXX

106

RIGHT The pantry cupboard has oak shelves and drawers, a quartz shelf and sockets for small appliances

BUILT-IN SEATING

0123456789

flooding into the space. They also took the opportunity to convert the old kitchen into a boot room.

‘The brief was to make the best possible use of the large, high-ceilinged space,’ says Rachel, who designed a generous 3x1.6m island, able to comfortably seat six on bar stools, as the focal point of the kitchen. Painted in a rich, dark blue-black, it anchors the design and accentuates the island’s role as the social hub. ‘When you want to create a light space, it can be tempting to paint everything in pale tones, but the results can be bland,’ says Rachel. ‘It’s better to introduce some stronger colour for a touch of drama and interest.’

An run of extra-tall cabinetry on the back wall was designed to suit the grand proportions of the room, and to provide a practical cooking station housing appliances and lots of storage. ‘The classic Shaker style of the cabinets sits compatibly with the age of the barn, while the latest appliances and open-plan design add a contemporary edge,’ says Rachel. ‘The room has been transformed into a very welcoming family space.’

Roman blind in Inky Botanical in Leaf Green from £38.50 plus £19.19 for Click2Fit, Ideal Home range at Blinds2Go

Small Biggie Snuggler armchair in Oatmeal, £1,049, Snug

LOUNGE AREA

fter buying a converted barn in the Nottinghamshire countryside, the new owners found themselves facing a conundrum. ‘The house dates back to the early 1800s, and the kitchen was dark, cramped and too small for a six-bedroom family home,’ says Rachel Stanley, senior designer at bespoke kitchen specialist Krantz Designs. ‘At the same time, the living room was vast – and largely empty. It also had a rather strange and narrow minstrels’ gallery, complete with chunky wooden staircase, which had been built at one end in the 1980s, and was really a waste of space.’

In an effort to make the layout more suited to family life with two young children – as well as to their love of socialising and entertaining – the couple decided to remove the minstrels’ gallery and replace it with a new kitchen, creating a large open-plan cookingdining-living space. They replaced a pair of windows with extra-tall French doors to the garden, which instantly boosted the amount of natural light

ROOM DECOR

TAKE WALLPAPER TO NEW HEIGHTS Instead of wallpapering below a picture rail and painting the wall above, take the paper all the way up to the ceiling. This will make the room seem larger and will create an enveloping feel. And why not pick a paint for the woodwork to match your wallpaper.

FEATURE HOLLY WALSH PHOTOGRAPHS FUTURECONTENTHUB.COM

A

11

SHAKER STYLE Hook wall mounted coat rack, £39.99, Wayfair

Fanosa indoor/ outdoor lantern, £20, La Redoute

Shell candle, £11, Beachampton Hall at Harrods

livingetc.com

119

Pari floor lamp with rattan shade, £xx, Lights and Lamps x Livingetc

From left: Pari wall light, £xx, Aneto table lamp, £xx, Pari rattan pendant, £xx, all Lights and Lamps x Livingetc

Roha marble table lamp with rattan shade, £xx, Lights and Lamps x Livingetc

SEE ALL OUR DESIGNS AT LIGHTSANDL AMPS.COM/COLLECTIONS/LIVINGETC

lynnelanningdesign@ @gmail.com

lynne lanning d e s i g n & a r t d i re c ti o n

2 1

3

107 5

4

easy trips

you can book now

6

8

celebrate summer with Haydn in Vienna, the scent of lavender in Provence or cocktails in London

10

9 SLUG HERE

21

G O O D F O O D, G O O D T I M E S

BLACKBERRY AND APPLE CURD PIE

LITTLE PINKY ROWAN BISCUITS

PINEAPPLE WEED OAT SLICES

HAW BERRY AND CHOCOLATE BAKED CHEESECAKE

Prep 15 mins, Cook 25 mins

Prep 15 mins, Cook 15 mins

MAKES 9, VEGAN AND GLUTEN FREE

SERVES 8-10, CAN BE MADE GLUTEN FREE

With their crumbly oat topping, chewy pineapple weed centre and moist base, these oat slices are so moreish that my friend H once ate four of them for dessert as we sat on his boat one summer evening. They also make a great breakfast treat.

This unusual and earthy cheesecake is rather scrumptious. It’s enriched with fruity Haw Berry and Star Anise Jam, which combines beautifully with its soft chocolate base.

300g oats, gluten-free if needed (I use half

300g Pineapple Weed Preserve (see below) below

45g light brown sugar 2 large free range eggs,

jumbo rolled oats, half porridge oats)

125ml vegetable oil

beaten 55g plain flour (or gluten-

3-5 tbsp boiling water

1 Preheat the oven to 150°C/130°C fan and grease a square 20cm cake tin.

2 In a large mixing bowl, place the oats, onethird of the preserve and the oil, combine well, then gradually add the boiling water until the mixture sticks together (you may not need to use all the water). Spoon two-thirds of the oat mixture into the tin and press into an even layer.

3 Use a teaspoon to dot the remaining preserve across the oats, then carefully spread to join up the dots and create a sweet layer. Evenly spread the remaining oat mixture on top and press it down firmly with the back of a spoon. Bake for 40 minutes and leave to cool before slicing into squares.

weet

123456789

G O O D F O O D, G O O D T I M E S

Wild & SWEET

FORAGE YOUR OWN DESSERT AND TURN HUMBLE HEDGEROW INGREDIENTS INTO THE MOST DELECTABLE TREATS. CORNISH COOK AND WILD FOOD EXPERT RACHEL LAMBERT SHOWS HOW 1

COUNTRY HOMES & INTERIORS

COUNTRY HOMES & INTERIORS

2

FOR THE BASE 65g butter, softened

free flour) 50g porridge oats (glutenfree if necessary)

1 tbsp cocoa powder FOR THE TOPPING 175g Haw Berry and Star Anise Jam (see below) below 1 tsp cornflour 300g full-fat soft cheese 75g golden caster sugar 75g natural yoghurt

1 Preheat the oven to 180°C/160°C fan and grease a 20cm loose-bottomed cake tin.

2 Start by making the base. In a bowl, cream together the butter and sugar until light and fluffy. Add a quarter of the beaten egg (put the rest aside for the topping) and beat to combine, then stir in the flour, oats and cocoa powder. Thoroughly mix together, before pressing into the tin. The base will be quite thin, so take your time to press into the edges either with the back of a spoon or clean fingers.

3 Now, make the topping. Place 100g of the haw berry jam in a small saucepan with the cornflour. Stir over a medium heat until bubbling, then lower the heat and let the jam thicken for a couple of minutes, stirring occasionally. Put aside and leave to cool.

4 In a bowl, whisk the soft cheese and golden caster sugar together. Next beat in the yoghurt, then beat in the remaining egg left over from the base, a little at a time.

5 Gently spread the remaining 75g of haw berry jam across the chocolate base, then spoon over half the cheese mixture. Use a teaspoon to drop spots of the thickened, cooled haw berry jam across the cheese mixture (using about half of the jam). Pour in the remaining cheese mixture, spread evenly and make dots with the remaining jam, dragging the teaspoon a little to make swirled shapes.

6 Bake for 40-45 minutes or until the cheesecake is set but still with a wobble in the centre. Turn off the oven, leaving the cake inside for a further 1 hour, then take out and allow to cool to room temperature before serving. Keeps well in the fridge for up to 4 days.

0123456789

lynnelanningdesign@gmail.com

HAW BERRY AND CHOCOLATE BAKED CHEESECAKE

FEATURE EATURE ANDRÉA CHILD PHOTOGRAPHS RITA PLATTS

June 2009

Freelance design THE BOOST } beauty

THE BOOST } beauty

THINK

kle. The secret with this is to think about how you naturally flush – it needs to look life-like and not cartoonish.’

That pink flush semaphores pure sex with a post-coital glow. Should I get the metaphorical cleavage and legs out? ‘Eyes or lips – but not both at the same time or it’s overload,’ Jamie Coombes, make-up artist for Dior, tells me firmly. ‘But do clash the pastels with pop shades that are avantgarde and more of a statement.’

And of course, nails are the perfect place to showcase the new perky pink polishes, which

PINK

scream joy after all those dull blue and grey nail shades that shouted economic misery. As soon as we get a glimpse of sun, I am throwing my toes back into the brightest fuchsia shades and my nails into sunshine-soaked corals.

PHOTOGRAPHY CARL FOX/GALLERY STOCK

G

Rimmel Colour Rush Balm in Rumour Has It, £5.99

Paul & Joe Lipstick in Peony, £21

Eve Snow Nail Lacquer in Pucker-up, £15

The key with pink, as with any trend is how you wear it, and that applies particularly to make-up”

It’s always been a popular make-up colour but now, more than ever before, there is a riot of pinks appearing at cosmetic counters, from palest rose to deepest fuchsia. Beatrice Aidin analyses the possible reasons behind the rise in popularity of pink

rowing up in north London in the 1970s, I barely even noticed that the three-day week was leaving the economy with strike-induced power cuts and the streets laden with rubbish: my priority in early life was to be allowed to wear pink.

My mother was horrified. This was the era of second-wave feminism and along Islington’s Upper Street stood Sisterwrite, a bookshop that sold the latest feminist literature and helped steer the national movement towards female equality. And pink was a feminist issue.

The colour was perceived as out of date, like Barbara Cartland, the author of more than 700 romance novels who wore only vast pink dresses as she lay on a chaise longue dictating her bon mots. The thinking of the time was that women, and certainly young girls, should not be encouraged to wait around in pink for their knight in shining armour to show up, but to stand up for themselves and the sisterhood.

As a fully grown adult I am firmly in accordance

Lancôme in Love Gloss Volumizer, £20

>>> a rosier, almost brown hue with a hint of spar-

Powerful in pink

with this perspective. But little girls will be little girls and we three sisters hated those muddy brown 1970s dungarees passionately. My sister Rose would argue with the conviction of a lawyer that given her name she should be allowed to wear pink daily. Our other sister got rose-tinted hand-me-downs from a friend the same size and we were both furiously jealous. ‘I remember thinking these pink, flippy skirts with frilly bits were so beautiful and how unfair it was that I couldn’t wear them too,’ Rose says.

My mother now concedes that not letting us wear pink, despite her convictions, might have been illjudged. ‘Sometimes it’s more important for children to work through what they like rather than impose your so-called good taste onto them,’ she says now, with the resignation of a grandmother of two girls – both of whom wear pink.

Writing this piece has made me realise there is no need for stuck-in-a-rut thinking when it comes to the colour pink. Even the idea that blue is for boys and pink is for girls is an over simplification of complex Victorian history explains Jo B Paoletti, an associate professor of American Studies at the University of Maryland and founder of the website, pinkisforboys.org.

‘Blue and pink were introduced as baby colours in the mid-19th century and sometimes used to denote gender with blue for a boy and pink for a girl, but sometimes the reverse depending on culture and geography,’ she explains.

Indeed. I may wear more blue clothes than the longed-for pink now that I have the choice, but that doesn’t mean I identify more with my masculine side – it’s just that blue suits me. This season, I am wearing deep pinks on my face because they look great, make a statement of feminine strength and don’t half pack a punch. Be gone generalised assumptions – it’s time to make pink your own.

Pink reclaimed

Feminism has moved on and pink is perceived in a different manner these days, for now it doesn’t necessarily >>>

96 P S YC H O L O G I E S M A G A Z I N E A P R I L 2 0 1 4

Sally Hansen Complete Salon Manicure in I Pink I Can £6.99

RMS Lipshine in Scared, £22

POUTS AND TALONS THESE BOLD PINKS PROVE RED ISN’T THE ONLY COLOUR OLOUR OF LUST Liz Earle Strengthening Nail Colour in Awakening, £7.50

Elizabeth Arden Beautiful Colour Lipstick in Electric Pink, £20

Tom Ford Nail Lacquer in Indiscretion , £26

bareMinerals Marvelous Moxie lipgloss in Miss Popular , £16

Chantecaille Lip Chic in Wild Rose, £30

100 P S YC H O L O G I E S M A G A Z I N E A P R I L 2 0 1 4

FOR LESS

24

24

ew ook

24

24

24

24

ew ook

ew ook

ew ook

ew ook

ew ook

HAREEM PANTS

24

ew ook

So comfy you won’t want to take them off 0123456789

[[1L]] www.moremagazine.co.uk

MISCELLANEOUS Zest, More!, Psychologies, Lonely Planet traveller, Country Home & Interiors PLANT PORTRAIT

Quench your

skin’s thirst

GARDEN IDEAS

1

2

3

clear, your dry, spotty or e to face is oily ore boost. Here’s our guid Whether your n it needs… g for a moistur skin is dyin it gets just the hydratio make sure

1

1

Showstoppers

5 Huge coral pink blooms of D. ‘Great Silence’ make a big impression.

5

6 D. merckii is a rarely seen small species with delicate single lavender blue flowers on long stems.

For oily skin…

6

Don’t assume oily skin doesn’t need moisturiser. Without it, your skin will actually produce more oil to make up for the harsh dryness, so the frustrating vicious circle continues. Instead, choose an oil-balancing, mattifying moisturiser.

7 D. ‘Myrtle’s Folly’ has large ruffled coral pink and yellow blooms.

7 We recommend: TheBodyShop

8 D. ‘Twyning’s After Eight’ contrasts dark leaves with single white flowers.

8 5

4

Seaweed mattifying moisture Lotion SPF 15, £10. We love it because it’s bursting with smart particles that soak up excess oil

www.moremagazine.co.uk

4

7

A good moisturiser is essential for dry skin, as excess dryness can lead to over-sensitive skin and premature wrinkles. Look out for ingredients like shea butter and soothing oils. With dry skin, it's very tempting to slick on loads of moisturiser, but this’ll clog up your pores and cause spots – you only need to apply a pea-sized amount.

Tried And

Dr. Weil’s ‘Signature Six’ ingredients, including five types of mushroom, which lengthen the life of your skin cells. And thanks to a super-smart ingredient called lily bulb, it reduces your skin’s redness immediately. you can almost see it happening. The proof? After four weeks of using this face cream, 86% of testers felt their skin was less sensitive and reacted differently to the elements.

For blemished skin…

If you have spotty skin and think moisturising will only lead to more, think again. Go for a spot-targeting moisturiser and you’ll clear your skin. Look for salicylic acid, retinol and tea tree – the spot SWAT team.

We recommend: Garnier Pure Active Spot Fighting 24-Hour moisturiser, £6.12.

We love it because it keeps your skin moisturised for 24 hours and beats spots.

The blueberry extract smoothes skins texture and evens tone, while antibacteral salicylic acid battles oil production and dead-skin build-up. It’s a two-in-one formula! Just make sure you use a separate SPF to protect your skin from sun damage, as the powerful ‘spot SWAT’ ingredients make skin more sensitive (because they speed up cell renewal).

For wrinkle-prone skin…

6

COUNTRY HOMES & INTERIORS

7

8

COUNTRY HOMES & INTERIORS 134

Did you know moisture is a key factor in fighting wrinkles? Making sure your face is properly moisturised will not only give skin a boost, but can also prevent the first signs of ageing.

We recommend: decléor expression de L’Age radiance Smoothing cream, £55.50.We love it because it contains two strong ingredients called Bio-Retinol ap2TM maca extract, which remove dead cells, COUNTRY HOMES &andINTERIORS

6

0123456789

[[1L]] www.moremagazine.co.uk

leaving skin smooth. It’s also full of water lily extract, which soothes skin. And on top of all that, it protects against pollution, which can clog the skin, leading to annoying spots. We know it’s expensive, but this amazing cream settles into wrinkles, filling them out and creating a ‘patch-effect’, making it look plumped and smooth. It’s the perfect base for your Saturday night make-up.

6

By uS… TeSTed The BodyShop Vitamin E Body Butter£12.50

8

8/10

5

We recommend: Johnson’s daily essentials nourishing 24 Hour day cream SPF 15, £3.99. We love it becauseit contains shea butter, which conditions and soothes your skin, leaving it silky and soft. It’s also clincally proven to boost skin’s moisture levels for over 24 hours – it’s certainly the best we’ve tried! And it’s full of with vitamin A , which helps skin retain its new-found moisture.

5

N DRY SKI SOS Molton Brown Celestial Maracuja body Soufflé Moisturiser£36

Winner!

10/10

For sensitive skin…

If your skin tend to be more sensitive than a sister with PMT, you need a product that soothes and cools, so redness and tight skin are just distant memories.

We recommend: origins mega-mushroom Skin relief Soothing Face cream, £21. We love it becauselab studies have shown it increases skin’s moisture content by a massive 79%.

This magic face cream also contains

7

0123456789

moi VE vs SA END SP

6

throughout the day, meaning a less shiny face. The lotion also contains natural seaweed, which is full of minerals that nourish your face, and antioxidants that purify your skin and kill bacteria. Plus, the oil-free formula won’t block pores, so you’ll be less prone to spots and blemishes. Bonus!

And its SPF 15 means you can spend time in the sun without worrying

For dry skin…

4

[[2R]]

DYrs! BO sturise

5

TONED AND TANNED

WoRDS: PoPPy LARA. STyLING: SARAH-JANE BIGGS. PHoToGRAPHy: RoDRIGuEz MouLET. HAIR: AARoN CARLo AT HEADMASTERS uSING L'oRéAL TECNI.ART. MAkE-uP: ANDRIANI VASILIou AT PHAMouS uSING MAC. MoDEL: NICoLE AT AT BookINGS. BLuE DRESS: BooHoo.CoM. BANGLE: PRIMARk. SWIMSuIT, ANN SuMMERS. EARRINGS: FREEDoM AT ToPSHoP

134

3

[[1L]] www.moremagazine.co.uk

4

3

2

3 0123456789

3

1 2

3 The red and yellow, open-centred D. ‘Pooh’ is popular with bees.

4 D. ‘Freya’s Paso Doble’ has an unusual ruffled bright yellow centre.

2

Showstoppers

1

2 Bright pink blooms of D. ‘Meiro’ combine beautifully with mauve asters.

4

2

Showstoppers

1 Dahlia ‘Sarah Raven’ is rich and soft with tall, straight ebony stems.

FEATURE RACHEL CROW PHOTOGRAPHS (OPENING PAGE) SALSABIL MORRISON; (MAROON GARDEN, 2 & 8) LEIGH CLAPP; (1) JONATHAN BUCKLEY; (3 & 5) ALAMY; (4) DAVID BATES; (6) RHS (7), FARMER GRACY

0123456789

7

drAW!

8/10

8/10

Hawaiian Tropic Gradual Bronze Moisturiser £8.16 Clinique Self Sun Body Tinted Lotion £16

SMOOTH AND ER SHIMM

8

8

7/10

Winner!

9/10

Nars Body Illuminator£33

Marks & Spencer Daly Body Glow High Shimmer Moisturiser £9.50

www.moremagazine.co.uk

[[2R]]

lynnelanningdesign@gmail.com

0123456789

lynne lanning d e s i g n & a r t d i re c ti o n

GET AHEAD THIS CHRISTMAS

FREE

No-waste, no-fuss ideas to help you host

Festive Food to Order

2022

Every occasion covered | Easy menus | Helpful how-tos FOR FOOD INSPIRATION VISIT TESCO.COM/FESTIVE-FOOD

PART Y FOOD

Go on, then You don’t have to dig deep to throw a party with our luxurious light bites DON’T MISS

For full ingredients and allergen information, please go to tesco.com/festive-food from 18 October 2022

…our full range of nibbles, only available in store

Clockwise from top left: Tesco Nacho Cheese Samosas with Chipotle & Lime Dip £3.50,

er e g g t per er e p e ine t r ru e n n £6, serves 10 g g t per er e p e ine t a n rapped rawn £4.50, serves 10 (160g) g t per er e p e ine t u le e pura rawn with a weet hilli ip £5.50, er e g g t per er e p e ine t h le rawn e a e a t £4.50, serves 6 (180g) (£25/kg) cost per serve 75p; Tesco Finest Mini Coquilles St Jacques £4.50, serves 6 g g t per er e p e ine t ed add l au ent £4.50, serves 8 (150g) (£30/kg) cost per serve 56p; Tesco Finest Macarons £3.50, serves 12 (132g) (£26.52/kg) cost per serve 29p; Tesco Mini Lemon Meringue Tarts £3, serves 8 (160g) (£18.75/kg) cost per serve 38p

Order in-store or online at tesco.com/festive-food

lynnelanningdesign@gmail.com

55

Client Publishing CEDAR COMMUNICATIONS Tesco Festive Food A repeat short contract with responsibility for design and layout of two brochures for the UK and a hybrid magazine style brochure for Ireland. Extensive food mark ups for reproduction and remote liason with clients, press passing and proofing.

Let’s get the party started!

Circulate plates of brilliant party snacks around the crowd and team with festive tipples for extra joy

GREAT VALUE

Our party bites, opposite, come with multiple pieces that are perfect for a get-together – plus, they taste great the next day on the sofa!

1

Prosecco Mule

Serves 4 Want a kick? Mix 30ml vodka, 350ml prosecco, 140ml ginger beer and the juice of 2 limes over ice in a jug. Divide among 4 tumblers and garnish with wedges of lime and mint sprigs.

The Tesco twist Bash fresh blackberries and tip into the bottom of each glass before adding the mix, then garnish with frozen blackberries to upgrade to a Blackberry Mule.

32

2

Bloody Mary

Serves 6 Try with our breakfast spread on p4. Mix 900ml tomato juice, 1 tsp Tabasco, 2 tsp Worcestershire sauce, 1 level tsp celery salt and 2 tsp lemon juice in a jug. Chill for 30 mins to infuse. Pour 50ml vodka over ice into six glasses, add the tomato juice mix and stir.

Then garnish with a celery stick.

The Tesco twist Swap vodka with gin to make a Red Snapper rather than a Bloody Mary.

Please drink alcohol responsibly

3

Buck’s Fizz

Serves 2 Keep it traditional.

Pour 50ml orange juice into each prosecco glass and top with 100ml prosecco (or Champagne for a touch of festive decadence).

The customary Christmas morning tipple!

The Tesco twist Switch the orange juice for peach purée and your Buck’s Fizz is instantly turned into a Bellini.

2022

lynnelanningdesign@gmail.com

Tesco inest chilled party food range: any 2 for . lubcard rices offer is valid until 31 ecember 2 22 while stocks last and is sub ect to availability. To get Clubcard Prices, simply scan your Tesco app or tap your Clubcard at the checkout. Excludes Tesco Express stores

Republic of Ireland

HOW T BUDGET-F

Account for tas

There’s no point in plates of food nob afraid to ask your like, and cater acc appetites for the g

The right variet

Ask guests in adva dietary requireme time or money on need. Everyone w vegetarian and me

Bring a plate

It’s a time for shar loved ones to pitch party food, or a bo they’d rather. Be s whether sweet or so you have a little avoid doubling-up

Time it right

Finally, pick the ti if you have it at lu need to cater twic and in the evening day, you’ll only be – and you can ma

lynne lanning d e s i g n & a r t d i re c ti o n

2021

WELCOME

How to be the host with the most

Christmas countdown

FREE

It’s been a while since we’ve all celebrated properly, so here’s how to put together a festive spread without breaking a sweat.

Prep ahead

Make anything you can ahead of time (gravy, mince pies, sausage rolls) and freeze before the big day. Then prep your veggies and lay the table the night before to save time.

Finally, jot down a timing plan y w r ing a ward t gure out how many dishes your en an t at any ne ti e

It’s the most wonderful time of the year...and nothing’s going to stop us making the most of every festive moment. Thankfully, our delicious range of seasonal fare, including our many Irish award winners, can help you host without the stress, and there’s something

Keep your cool

Stock up on seasonal products with the ‘suitable for freezing’ logo on the packaging. You can then either defrost them ahead of time or pop them straight in the oven on the day.

Work it out

f y u re u t d ing nger f d, er e ar und e different type f anap t cater for all tastes – including veggie, vegan and gluten-free, if needed – and aim for at least six nibbles per person.

Self service

Set up a drinks station and make sure there’s wine, spirits, mixers, smart softs, bottle openers, glasses and garnishes. That way, everyone can help themselves away from the kitchen.

Set the mood

Consider the ambience ahead f ti e pt f r l w, attering lighting, plus tangles of fairy lights and grouped candles for twinkle. And trade cheesy festive tunes for old-school classics, or swing and jazz.

Get more from your Christmas shopping with the Tesco Clubcard With the Tesco Clubcard, you get special access to exclusive deals and prices in store. Plus, you can boost the vouchers you get with your Tesco Clubcard points for discounts on days out, nights in and trips away.

for every occasion and all tastes. From a beautiful breakfast to a decadent dinner and a perfect party, everything is made with quality ingredients, while it couldn’t be easier to prepare. Sit back and browse the sumptuous food and drink over the following pages, then pop in store, or add to your online order to have it delivered straight to your door. Now all that’s left to do is relax with a glass of something sparkling, and enjoy a Christmas to remember with those you love.

Shop in store or online at tesco.ie for your seasonal celebrations. Keep your eyes peeled for availability dates on selected products throughout and bag them while you can!

Tuck in

Festive Food to Order FOR FOOD INSPIRATION, VISIT TESCO.COM/FESTIVE-FOOD

4 Breakfast

20 Seasonal Specials

7 Brunch

22 Sides

8 Seafood

24 Desserts

10 Turkey

28 Cheese

14 Beef

31 Buffet

16 Ham

33 Canapés

18 Veggie & Vegan

34 Drinks

WINE MATCH Tesco Finest Vintage Champagne €35

For enquiries relating to Tesco Ireland, please contact Tesco Customer Services on freephone 1800 248 123, or visit tesco.ie/contact-us

Please drink alcohol responsibly

TERMS AND CONDITIONS Tesco Festive Food To Share is published for Tesco by Cedar Communications Ltd. Cedar believes in the highest standards in journalistic integrity; please email karen.huxley@cedarcom.co.uk with any comments or complaints. All products subject to availability in selected stores while stocks last. Garnishes, utensils, decorations and serving dishes are not included unless stated in product description.

All prices and information correct at time of going to press but subject to change. Prices quoted exclude Express and some Metro stores. Online prices may vary from those in store, and delivery charges apply. In certain circumstances, it may be necessary to withdraw products without prior notice. Alcohol available to over-18s only.

2

3

TURKEY

All together now

©2021 Cedar Communications Ltd, Bankside 3, 90-100 Southwark Street, London SE1 0SW Tel: +44 (0)20 3353 8300 Email: tesco.mag@cedarcom.co.uk Website: cedarcom.co.uk Colour origination by Rhapsody Printed by Boylan Print Group

Produced only in the best years in the Côtes des Blancs, this dry Champagne is a little bit special.

TURKEY

BUFFET

DO WE NEED THIS SLUG HERE???

The big ta-dah!

Our easy-to-prepare buffet food means less time in the kitchen and more time with loved ones

Put succulent turkey centre stage by plumping for 91 Tesco Finest Clementine a premium bird, or ready-to-carve crown or joint Topped Ham & Pork Pie £15

This magni cent pie is made with seasoned cured ritish pork, iltshire ham, cranberries, and orange zest in a rich hot-water pastry. Topped with a fruity orange elly and caramelised clementine slices.

Serves 12 1.1 kg 13. kg Contains: heat

15, 16 92 Tesco Finest Mulled Spiced Cherry Ham Joint £20 This easy bake-at-home oint is a prime cut of ritish pork, cured and matured for a fuller avour, topped with candied cherries and tangy orange zest, nished with a luxurious mulled dark morello-cherry glaze.

Serves 17 1.2kg 16.6 kg

91

93 EXPERT PICK ‘Our buffet’s jewel in the crown is the Tesco Finest Clementine Topped Ham & 13,14 Tesco Finest British Free Range Heritage Pork Pie – it’s Narragansett Whole Turkey £40-£65.10 a pork turkeys pie, but Our heritage breed, free-range Narragansett with a delicious grow very slowly on lush pastures on East Anglian farms, twist.’ making them naturally self-basting, with citrus exceptional

92 50

u ulen e and a ri h, full a ur ith gi let 13 Medium: Serves 10-12 g g Stephanie Bacon Tesco product 14 Large: Serves 13-15 g g development manager g

10

Guests will love these irresistible treats, whether as an indulgent end to a meal or something to accompany afternoon tea

n oy the taste of sunshine this colourful antipasti selection features classics such as grilled vegetables, marinated slow-roasted tomatoes, cherry peppers stuffed with soft Scan the code... cheese, Spanish pimento-stuffed how to carve anzanilla olives and…toodiscover iblanca y ur tur ey li e a pr olives with heddar cheese, pitted Visit tesco.com/groceries/enalkidiki olives in aGB/zone/turkey-carving-guide lemon and garlic dressing and crunchy salted corn kernels and broad beans.

Serves 10 g Contains: ilk

This turkey from trusted British farms is full of avour and makes the perfect hristmas centrepiece. vailable in two sizes to suit every feast. ith giblets.

17 Medium: Serves 11-14 (4.5kg-5.99kg) £18-£23.96 18 Large: Serves 15-18 (6kg-7.49kg) £24-£29.96 £4/kg

19,20 Tesco Basted Whole Turkey £18-£29.96

asted with turkey stock for a mouthwatering avour and uicy, tender meat, this ritish bird is a great choice for your festive table. ll those extra cooking uices make a lovely gravy, too. ith giblets.

19 Medium: Serves 11-14 (4.5kg-5.99kg) £18-£23.96 20 Large: Serves 15-18 (6kg-7.49kg) £24-£29.96 £4/kg

19, 20

Order online at tesco.com/festive-food

51

DESSERTS & CAKES

DESSERTS & CAKES

Keep them sweet

Raised on British farms committed to the highest welfare standards, our Bronze turkeys roam free and forage naturally. Their varied diet ensures tender and full- avoured meat. ith giblets.

15 Medium: Serves 10-12 (4kg-5.25kg) £32-£42 16 Large: Serves 13-15 (5.26kg-7kg) £42.08-£56 £8/kg

17,18 Tesco Fresh Whole Turkey £18-£29.96

93 Tesco Mediterranean Inspired Sharing Platter £8

Order in-store or online at tesco.com/festive-food

17, 18

15,16 Tesco Finest British Free Range Bronze Whole Turkey £32-£56

11

DESSERTS & CAKES

72 Tesco Finest Chocolate Orange Cheese-Lova £10

75 Tesco Finest Woodland Black Forest Cake £13

Slowly baked for a light, creamy texture, this delicious cheesecake is topped with chocolate sponge, a uffy wreath of meringue and smooth Belgian chocolate sauce before being hand- nished with caramelised orange zest.

Serves 8 (970g) (£1.03/100g) Contains: Milk, egg, soya, wheat.

May contain peanuts and nuts

This cake has layers of soft Madeira sponge and sour cherries, with a kirsch soak and morello cherry a lling ated in elgian white chocolate ganache, it hand ni hed with edible decorations, including a cute toadstool, and du ted with edi le par le Serves 16 g g Contains: Milk, egg, soya, wheat May contain peanuts and nuts

73 Tesco Finest Raspberry & Peach Bellini Trifle £8

Layers of fruity raspberry compote, Madagascan vanilla custard, smooth prosecco and peach curd topped with creamy Belgian white chocolate mousse, hand-decorated with Belgian white chocolate stars and snowballs for a festive nish.

Serves 8 (780g) (£1.03/100g) Contains: Milk, egg, soya, wheat.

May contain peanuts and nuts

72

76

elgian chocolate and orange mousse- lled chocolate pots topped with cocoa biscuit crumb, hand-decorated with white chocolate stars and edible gold lustre.

Serves 4 (330g) (£2.42/100g) Contains: Milk, egg, soya, wheat.

May contain peanuts and nuts

77 Wicked Kitchen Brownie Bliss Dessert £7

73

Indulgent dark chocolate and coconut milk ganache topped with rich Belgian chocolate mousse and hand- nished with chocolate brownie pieces and crunchy cocoa nibs.

Serves 6 (500g) (£1.40/100g) Contains: Soya, wheat.

May contain peanuts and nuts

74 Tesco Finest Triple Chocolate Celebration Cheesecake £10

74

White chocolate cheesecake topped with smooth chocolate sauce, hand-decorated with chocolate cigarillos, tru es and malt balls, then dusted with a layer of edible sparkle.

Serves 8 (860g) (£1.16/100g) Contains: Milk, egg, soya, wheat, barley. May contain peanuts and nuts

Order in-store or online at tesco.com/festive-food

42

77 76 Tesco Finest Four Chocolate & Orange Christmas Plant Pots £8

Order in-store or online at tesco.com/festive-food

78 Tesco Finest Croquembouche £15

78 41

This towering dessert comes as an easy-to-build kit that includes 6 choux pastry pro teroles lled with cream, and a display stand. Simply drizzle the chocolate sauce over the top, then decorate with the bronze honeycomb. A perfect showpiece for any table.

Serves 20 (1.1kg) (£13.64/kg) Contains: Milk, egg, soya, wheat.

May contain peanuts and nuts

Order online at tesco.com/festive-food

lynnelanningdesign@gmail.com

43

Client Publishing BRUNCH

BREAKFAST

TOP PICKS

Make it brunch

Every good brekkie needs a few little extras

What do you get when you combine a slap-up breakfast with a boozy beverage? Brunch, of course! Mix and muddle one of these cocktails to add a little magic to your morning

3 Tesco Finest Sicilian Lemon Curd Yogurt €1

4 Tesco Finest Dark Chocolate & Berry Granola €3.29

A thick, creamy blend of yogurt and lemon curd for a luxurious start to the day.

Clusters of oat and seed granola with freeze-dried fruit and dark Belgian chocolate curls.

(150g, 67c/100g)

BAKE YOUR OWN PLAYFUL FESTIVE PASTRIES Kick-start proceedings on Christmas morning by tucking into this indulgent spiced bake. It’s just begging to be snapped for social and shared with family T E A R-A N D - S H A RE S P I C E D C H O C O L AT E C H RI S T M A S T RE E Serves 8 Takes 45 mins 25g salted butter, at room temperature 25g demerara or soft light brown sugar 1 orange, zested 2 tsp mixed spice 2 g pa rea y rolle p pastry 50g dark chocolate with orange, chopped For the decoration

Republic of Ireland

3 tbsp icing sugar 1 tsp white chocolate stars (optional)

1 Preheat the oven to gas 6, 200°C, 180°C fan. Mix the butter, sugar, orange zest and spice in a bowl. Unroll the pastry and evenly spread with the spiced butter, leaving a 1cm strip along one long edge.

Sprinkle over the chocolate and gently press onto the butter to stick. Brush the uncovered strip with water.

2 Starting at the opposite side, roll up the pastry into a spiral, pressing to seal the pastry at the ends.

Slice into 19 x 1cm pieces with a serrated knife.

3 Arrange in a Christmas tree shape on a large, lined baking try, seam sides

inward, leaving a 1cm gap between the swirls.

4 Bake for 18-20 mins, turning halfway, until puffed and golden. Remove from the oven and cool slightly.

5 Sieve the icing sugar into a bowl, add 1 tsp water and beat until smooth. If it’s not thin enough to drizzle, add more water, a drop at a time. Drizzle over the pastries and scatter with chocolate stars, if you like.

TRENDSPOT Breakfast may be the most important meal of the day, but brunch can be more fun, particularly when paired with a festive cocktail (see right) or mocktail. Brunch is eaten any time between midmorning and lunchtime and is just right for lazy starts or when you’re not planning to eat again until evening. Set the table smartly, as you would any other meal this season, and put some music on to get everyone in the mood.

Each serving contains Saturates

Sugars

Salt

18g 10g 13% 25% 50%

Energy

7g 7%

0.3g 4%

1065kJ 256kcal

Fat

(500g, 66c/100g)

of the reference intake.

Carbohydrate 20g Protein 4g Fibre 2g

6

FOOD RECIPE NANCY ANNE HARBORD FOOD PHOTOGRAPHY TOM REGESTER FOOD STYLING JOY SKIPPER FOOD PROP STYLING LUIS PERAL

1 Tesco Finest 2 Tesco Finest Fairtrade Raspberry Guatemalan Conserve €1.49 Coffee €2.79 (340g, 44c/100g) (227g, €1.23/100g) Tangy raspberry A rich, singlejam is a classic origin coffee choice to spread with notes of on toast, muffins blackberry. and croissants.

1

Prosecco Mule

Serves 4 Want a kick? Mix 30ml vodka, 350ml prosecco, 140ml ginger beer, and the juice of 2 limes over ice in a jug. Divide among 4 tumblers and garnish with slices of lime and mint sprigs.

The Tesco twist: Bash fresh blackberries and tip into the bottom of each glass before adding the mix, then garnish with frozen blackberries to upgrade to a Blackberry Mule.

2

Bloody Mary

Serves 6 Hair of the dog! Mix 900ml tomato juice, 1 tsp Tabasco, 2 tsp Worcestershire Sauce, 1 level tsp celery salt and 2 tsp lemon juice in a jug. Chill for 30 mins to infuse. Pour 50ml vodka over ice into six glasses, add the tomato juice mix and stir. Then garnish with a celery stick.

The Tesco twist: Swap vodka with gin to make a Red Snapper rather than a Bloody Mary.

3

Buck’s Fizz

Serves 2 Keep it traditional.

Pour 50ml orange juice into each prosecco glass and top with 100ml prosecco (or Champagne for a touch of festive decadence). The customary Christmas morning tipple!

The Tesco twist: Switch the orange juice for peach purée and your Buck’s Fizz is instantly turned into a Bellini.

7

Please drink alcohol responsibly

CEDAR COMMUNICATIONS

CANAPÉS

BUFFET

Tesco Festive Food A repeat short contract with responsibility for design and layout of two brochures for the UK and a hybrid magazine style brochure for Ireland.

Extensive food mark ups for reproduction and remote liason with clients, press passing and proofing.

Tesco Finest Continental Meat Platter with Iberico Cheese €8 (310g, €2.58/100g)

Perfectly seasoned cold cuts really make a buffet. This dry-cured selection includes 32 slices of chorizo with smoked paprika, nutmeg and oregano, 32 slices of salchichón with garlic and pepper, and 16 slices of serrano and paprikacoated serrano, plus Iberico cheese.

Create a canapé Choose an ingredient from each row to build tasty buffet bites – and get creative with different combinations!

BASE

l In selected stores from 29 November

Tesco Spanish Inspired Selection €3 (120g, €2.50/100g)

You can never have too much of a good thing, so add even more of your favourites: six slices of serrano and nine slices each of chorizo and salchichón.

Stock up with two packs for €5!

Mini tartlet cases

Little gem leaves

Cucumber slices

Toasted leftover sourdough

Roasted baby potatoes

l In selected stores from 29 November

WINE MATCH

TOPPING

Tesco Finest The Trilogy Malbec €18 Dark, juicy fruits and chocolate aromas produce a velvety red to savour with deli favourites.

Caramelised onion chutney

Houmous or guacamole

Soft creamy cheese

Tangy cranberry sauce

Garlicky lemon pesto

Please drink alcohol responsibly

TOP PICKS

TRENDSPOT Not every festive gathering has to be formal. Grazing tables are the hot new way to enjoy your cheese and charcuterie. Fashionable for special events, from Christmas to birthdays and weddings, they do away with boards in favour of tables groaning under the weight of food. Why not combine a couple of our products to bolster your table, like we’ve done above, to offer a trendy spin on the traditional buffet and provide a fun focal point for feasting? Less stressful and more casual than hosting a sit-down dinner.

FILLING

It’s not a buffet table without a choice of tangy green and black marinated olives on the side

Finest 1 Tesco Garlic Stuffed Olives €2.49 (210g,

€1.19/100g)

Add a taste of the Med with these large, pitted Greek Halkidiki olives stuffed with whole garlic cloves for an intense bite.

Finest 2 Tesco Greek Kalamata Olives

€2.49 (210g, €1.19/100g)

Their distinctive and intensely fruity flavour makes them so moreish with dry-cured cold meats.

Finest 3 Tesco Jalapeño Stuffed Olives

€2.49 (210g, €1.19/100g)

Dip into pitted Halkidiki olives, stuffed with green and red jalapeño peppers in brine, for a fiery kick.

Pitted 4 Tesco Black Olives 69c (330g, 21c/100g) These Spanish olives are a must-have for any spread. Their saltiness is the ideal foil to the creaminess of a cheeseboard.

32

Fresh smoked salmon

Thinly sliced prosciutto

Brie or Camembert

Leftover cooked chicken

Sundried tomatoes

GARNISH Dill, thyme, chives

Finely cut chillies

Cornichons or capers

Lemon zest and juice

33

VEGGIE & VEGAN

CREATE YOUR OWN CRACKING VEGGIE CENTREPIECE

Make it meat-free

Ever heard of a pastry ‘crown’? This veggie sensation is just the ticket for Christmas S H A RI N G C A M E M B E RT W I T H P O RT - ROA S T E D G R A P ES Serves 4 Takes 1 hr 25 mins

500g pack black seedless grapes, snipped into small bunches 2 ½ tbsp olive oil 1 tbsp caster sugar 4 rosemary sprigs 4 tbsp port 6 sheets (125g) filo pastry 200g whole vegetarian Camembert 50g walnut halves crusty bread, to serve (optional)

Mix things up by giving a veggie or vegan main a starring role on the table so there’s something on the menu for everyone

18

RECIPE ALICE HART PHOTOGRAPHY GARETH MORGANS FOOD STYLING BIANCA NICE PROP STYLING JENNY IGGLEDEN

TOP TIP

Give your dishes real standout by serving them on show-stopping plates – contrast between the colour of the food and the crockery is key!

1 Preheat the oven to gas 6, 200°C, fan 180°C. Lay the grapes in a roasting tin lined with nonstick baking paper, keeping them on the vine. Drizzle over 1 tbsp oil, season, then roast for 20 mins. Scatter over the sugar and the leaves from 3 rosemary sprigs, then pour the port around the grapes. Return to the oven for 15 mins, then set aside. Turn the oven down to gas 5, 190°C, fan 170°C. 2 eanwhile, lay a sheet of lo on a work surface and brush lightly with olive oil; top with a second sheet, brushing with olive oil as before. dd a third sheet, offset so the corners sit slightly to the right of the previous layer. Brush with olive oil and cover exactly with a fourth sheet, brushing with olive oil. ay a fth sheet down, offset again, brush with oil and cover with a nal sheet.

3 Place the whole Camembert in the centre and bring the pastry up around it evenly like a moneybag, pressing together gently and arranging so the pastry corners form a spiky ‘crown’ on top. Don’t press together too tightly or the bunched-up pastry won’t cook through. Brush the entire surface with oil and transfer to a lined baking sheet. Dip the remaining rosemary sprig in the remaining drops of oil and set aside.

4 ake the lo parcel for 2 mins, then tuck the rosemary sprig in the top. Bake for 10-15 mins more until the pastry is golden and crisp. Spread the nuts on a baking tray and roast alongside the pastry for the nal 6- mins until golden. Allow to cool, then roughly crush or chop. Serve the pastry crown with the roasted grapes and their syrup, scattering the nuts over to nish.

Wicked Kitchen Spiced Rum Christmas Pudding €2.50 (100g)

Loaded with succulent vine fruits, golden spiced rum, whole blonde glacé cherries and crunchy split almonds, this deluxe vegan Christmas pudding has a light texture and a distinctive deep, rich avour. etter still, it s delicately spiced with cinnamon and ginger for a subtle kick, and doused with an additional shot of golden spiced rum. And for an extra-special treat (it is Christmas, after all), why not make it a feast with a vegan mince pie chaser (see below)?

TOP PICKS Whoever you’re catering for, these plant-based favourites promise happy tums.

Simply pop in the oven for flavour in a flash

Each serving contains Energy

2336kJ 561kcal 28%

Fat

Saturates

Sugars

Salt

34g 10g 27g 1.2g 48% 50% 30% 21%

of the reference intake.

Carbohydrate 47g Protein 14g Fibre 2g

Plant 1 Tesco Chef 6 Mince Pies €1.50 (25c each) Light, buttery shortcrust pastry cases packed with fruity spiced mincemeat – and no dairy or suet in sight.

Plant 2 Tesco Chef 12 No Duck Spring Rolls €3 (240g, 25c each) Jackfruit and veg in an aromatic hoisin sauce, all wrapped up in crispy filo pastry.

Plant 3 Tesco Chef 4 No Meat Pies €3 (568g, 75c each)

Shortcrust pastry filled with chunks of vegan protein in gravy, topped with a puff pastry lid.

19

2021

lynnelanningdesign@gmail.com

lynne lanning d e s i g n & a r t d i re c ti o n

COVER FOR REF ONLY

lynnelanningdesign@ @gmail.com

Book design

PAVILION BOOKS Good Food Fast Design and layout from sample pages, setting up all style sheets.

lynnelanningdesign@ @gmail.com

lynne lanning d e s i g n & a r t d i re c ti o n

COVER FOR REF ONLY

PAVILION BOOKS City Sketching Reimagined Design and layout from sample templates but with free reign to design the pages for the best flow of text and images across the flatplan.

lynnelanningdesign@ @gmail.com

Book design

BIRO

TOP Atmospheric Battersea Biro (P) ABOVE Battersea Power Station sketch Biro (P) OPPOSITE St Paul’s Cathedral Biro on photo paper (P)

Everyone has a pen on them.

If you’re caught without art materials but find something that you really want to capture, a biro is the easy answer. Along with convenience does come limitation; being almost entirely linear, biros will begin to struggle on larger sizes of paper, but they can capture an idea with ease and intensity. They’ll glide across paper pretty smoothly

18

lynnelanningdesign@ @gmail.com

lynne lanning d e s i g n & a r t d i re c ti o n

Working with weeds Plants become weeds when they obstruct our plans, or our tidy maps of the world. If you have no such plans or maps, they can appear as innocents, without stigma or blame.

RICHARD MABEY

‘Weed’ is a negative term for a plant growing in what we consider the wrong place.

As Richard Mabey explains: with weeds context is everything (see Further Reading, page 124). He goes on to point out that: Weeds made the first vegetables, the first home medicines, the first dyes.

I feel that ‘wild plants’ is a more positive label for these common self-seeders, which are often growing where they can take advantage of conditions that we’ve created through our own activity. I am trying to use things that are classed as weeds just as much as I might use the things I plant – there are possibilities with weeds just as for cultivated plants. Wild plants are the key to biodiversity, providing food for invertebrates and all the rest of the food chain beyond.

My garden and allotment are a slightly riotous mix of cultivated plants, sown Above: Woven bindweed vessel.

Random weave with dried bindweed stems.

COVER FOR REF ONLY

Left: Sketchbook drawing of whole dandelion (Taraxacum officinale) plant.

Drawing pen with home-made botanical inks.

or planted specifically, and self-seeded plants, which I can choose whether to leave in place or ‘weed’ out. This is an ongoing conversation between gardener and plants. In turn, this mix of cultivated and wild allows for a variety of insect life, pollinators and predators all doing their thing as part of the natural life cycle.

I’ve really enjoyed getting to know some of the less obvious materials available on my allotment – dandelions, for instance, which have lovely shiny stems when used in soft basketry techniques. This successful and tenacious plant can be a

40 | Foraged

Foraged | 41

BATSFORD BOOKS Wild Textiles Design of interior pages from sample templates but with completely free reign over each page’s design, choosing all the pictures to use to make the best visual design .

Re-purposed plastics Using the same technique for rolling and twisting plant

stiffer plastics were not so easy to work with, but with a bit

material or strips of paper, found plastics can also be made

of perseverance, could be manipulated in interesting ways.

into cordage or string. Exploring the objects and materials

Considering the potential of a plastic carrier bag from

that I inherited with my allotment plot saw me trying

a supermarket that had been re-used many times and was

assorted types of plastic from plant pots that could be cut

no longer reliable as a bag, I cut the bag into strips and

down into fine strips, plastic sacks, deconstructed plastic

twisted it into a length of cordage. One carrier bag made

rope and bubble wrap.

approximately 7m (23ft) of cordage. A second bag was

The bubble wrap was a pleasant surprise. I hadn’t

treated similarly, but this time the cordage was formed for

expected it to be nice to work with, but its softness in the

about 1m (3ft) then looped into a new smaller bag shape.

fingers meant it made a good string with strength and

Once that section was looped then the next length was

a silvery sparkle that contrasts with the matt nature of

formed, then looped and so on, until the whole bag had

many of the other materials I work with. Some of the

been re-formed as a new, much smaller kind of bag.

Left: Experimental sample using found plastics from the allotment: cable tie with looped strips of plastic sacking.

Above right: Cordage made with re-purposed bubble wrap found in the allotment shed and looped onto a broken plant-pot shard.

Right: Cordage made from one whole supermarket carrier bag and looped plastic bag, made from one whole supermarket carrier bag.

110 | Re-purposed

Re-purposed | 111

Offcuts When working with materials that are hard won or limited in supply, I find that even the smallest scraps When paper does twist well into cordage it can make a surprisingly strong string and this can be used to make some robust structures. Newspaper is an ideal starting point as the paper is relatively soft and is easy to source. The ink will rub off on your fingers as you work, but this easily washes away.

If you are used to using a drop spindle or spinning wheel you could also spin strips of newspaper into a spun thread.

This will just have twist in one direction but the stiffness of paper will tend to hold the twist in place. Two strands could be plied together to make a stronger or thicker yarn.

Each type of paper will have different characteristics, and may be too stiff and not so easy to twist or roll cleanly. The best way to find out how paper feels in the fingers is to try

discard these leftovers once you notice and start to appreciate their value. I often keep these tiny snippets, allowing them to accumulate and collect them together in paper boxes, curating them on my studio desk. Sometimes they eventually find

Paper string some will lend themselves well to cordage-making. Others

and offcuts can become important. It is difficult to

their way into the compost bin, but only after Above left: Cordage made from newspaper.

I’ve considered and contemplated their use.

Above right: Cordage made from re-purposed tissue-paper packaging.

Playing about with these small pieces can lead

twisting a bit. The width of the strips you use may also affect

to interesting developments, noticing the detail in

how easily a type of paper twists. Try cutting strips but also tearing against the edge of a ruler for a softer edge. Wetting

the ever-decreasing units and looking for ways to

paper before twisting, as you would do with plant fibres, is generally not going to work, as it may weaken it. I find that a damp sponge will wet my fingers just enough to help roll the

Left: Newspaper Vessel (2021). Looped cordage made from newspaper.

12 x 12 x 7cm (4¾ x 4¾ x 2¾in).

paper, touching the sponge between every few twists, helping to make a firm and smooth string.

106 | Re-purposed

Re-purposed | 107

work with them. A set of nettle stems that were left

Above: Sketchbook drawings of plant galls, used to inform 3D sampling for Galling.

over after I had stripped off the useable fibre were explored in this way. Exploring ways of joining them led me to thread them together, making new units that could be experimented with further. Not yet (and maybe never) resolved more than this, they

A series of drawn sketches and then quick three-

remain on my studio desk, waiting to see where

dimensional experiments using paper, which could also be

they might lead me.

Formed objects

Below: Paper samples for Galling (left) and (right) beachcombed toothbrush with paper and found plastics wrapped and stitched, part of Galling (2016).

Above: Origami paper boxes with dandelion- and nettlestem offcuts, left over after trimming cordage and braiding works.

thought of as sketches, was my starting point for developing Galling (shown right). These 2D and 3D sketches were of as many different types of gall as I could find. Galls are swellings or structures on the surfaces of plants that are formed in response to parasitic insects. I collect oak galls

Cordage Above: Cordage samples using a variety of materials from the allotment plot, including plant stems, leaves, found cloth, paper and plastic.

Archaeologists have found evidence of string-making from between 20,000 and

There are different techniques for making the twist and forming cordage.

30,000 years ago. It is recognized that the making of spun or twisted threads was a necessary development that allowed things to be tied, bound and carried, and for

appropriate for diverse materials. Some techniques are just personal preference.

I have tried various ways of making cordage and find that I prefer to add the twist

fibres opens up a whole range of possibilities for constructing and joining.

in my right. I roll the fibre of the furthest strand (top in diagram) away from me

thread that is generally much stronger than the individual fibres. Adding twist

between my fingers and then bring that strand across the other one and towards

in two opposing directions creates a ‘Z-S’ twist, which won’t unravel.

me, thus twisting them against each other. I am not left-handed but seem to have

There will need to be joins between units of fibre; the frequency of these

ended up with a left-handed approach becoming my established and intuitive

will depend on what the fibres are. For instance, a daffodil or iris leaf may be

way. I make cordage largely by feel once I am in the rhythm of working with a

30cm (12in) or more, whereas a piece of sweetcorn husk will be more like

particular material.

10–15cm (4–6in). Joins in the two twisted elements should be stepped, so that your string can be as even as possible. Most leaves or stems will vary in thickness from base to tip, so care should be taken to keep the string as even as possible, by adding new fibres in before the existing cordage gets too thin or cutting off thicker sections at the base before adding in.

54 | Foraged

of different plant species, and I became interested in the

remembered. Records made in these various ways can then inform the surfaces

way that the plant creates a structure as a response to the

and structures that we develop, either as a direct and obvious influence or as

disruption of the insect.

Sketching and drawing found objects is a useful way of getting to know them,

by rolling between the fingers of my left hand while holding the developing string

Cordage or string-making involves the addition of twist to fibre to make a

for making ink with, but there are galls that form on lots

physically. They can of course be studied, photographed, drawn, described and

part of a general understanding of surface and form.

A look through some online videos will show you a variety of approaches

woven cloth to be made. This very basic but fundamental method of manipulating

Some found objects and materials are too fragile or fleeting to be made use of

The series started by making small ‘growths’ to attach to found natural objects (a stick and a bone) and initially

understanding their detail and exploring their properties. I find that making a

appeared as if they might be naturally formed galls, then

series of visual studies, either as loose and quick or as slow detailed drawings, helps

moved onto more gaudy plastic objects. This embodied a

provide a way into knowing the item and unlocking the inspiration that might

fanciful suggestion that insects might eventually evolve to

come from it.

make use of the plastics persisting in our environment.

Roll away Roll away Twist across front

Twist across front

116 | Re-purposed Foraged | 55

lynnelanningdesign@gmail.com

Re-purposed | 117

Book design

Chapter

Gathered

Above: Blackthorn ‘pins’ through linen cloth.

5

Nine Wrapped Stones This group of objects, made for an exhibition, brings together a combination of some of the techniques we’ve looked at in this section. All the materials used here were gathered from my allotment, either found in the sheds, around the plot or grown, gathered and processed there. The nine stones were also from the plot, dug up when I was making a new path along one of the beds.

The stones gave me a starting point for scale and provided a form to work around. This was particularly important for some of the softer materials, which benefitted from the support of the stone to keep the constructed form.

Clockwise from back: Looped newspaper cordage with stone; looped sweetcorn husk cordage with stone; hand-spun flax (linen) twined onto soft rush with stone.

Other leaves, such as many of the broad-leaved tree species, are less robust

paper and under the weight of a few books. Once they are fully dried, they should

when fresh and tear easily. I find that these can benefit from drying for a week

stay flat. You may prefer to let the stitched leaves to dry without pressing, allowing

or so, pressed between paper and under the weight of a couple of books.

them to curl and take on whatever sculptural form they find for themselves.

I am often asked about whether the stitched leaves will disintegrate. They will

Once you’ve learnt which leaf types or species are most satisfying to work Bringing different materials together in this way is something I find satisfying.

Left: Nine Wrapped Stones. Clockwise from far left: plastic grid with looped iris-leaf cordage with stone; twined dandelion stems with stone; looped daffodil-leaf cordage with stone; braided dandelion stems with stone and stitching in re-purposed found plastic; looped bramble fibre cordage with stone; random weave bindweed stems with stone.

I am intrigued by the mixture of found objects and grown fibres and I like the fact that there are so many potential ways to bring them together: there are endless possibilities for creating and responding to conversations between the different materials.

Each of these objects stands alone and could be removed from the group to tell its own story, but bringing them together, arranging them in different ways and allowing them to remain in each other’s company seems fitting.

with, you can extend the different ways you might use them. Patching and joining

certainly become brittle as they dry, and the colours will fade slowly. Fading will

leaves in different combinations can result in some interesting surfaces. If you

happen quicker if they are exposed to bright daylight. But if they are kept dry

work with fresh (or partly dried) leaves then they will need a period of drying after

and protected (for instance, if they are mounted in a frame) then they have the

your construction is complete. For flat pieces this means pressing them between

potential to stay as they are for many years.

Above: Eucalyptus Quilt.

Leaves with hand stitch in plant-dyed cotton/ silk thread. 40 x 20cm (16 x 8in).

They are of the same place, even though their constituent parts have diverse starting points.

88 | Found

Found | 89

44 | Foraged

Foraged | 45

Grass Grass is the most widely accessible of plant materials. If it is worked fresh, then some shrinkage will occur as it dries. If it is gathered dry, or is allowed to dry out, then it should be dampened to work with, just like any other plant material.

Picking a handful of grass in whatever location you are in and twisting it into a cord is one of the most immediate ways you can respond creatively to the environment around you. This can also be a useful way of creating instant string

Right: Walking Balls.

A series of balls made with various materials gathered whilst walking and used as a record of each place visited.

Materials include different grasses (twisted into cordage), seaweed, moss and bracken.

for tying something up in the garden if you don’t have any other twine to hand.

Once twisted into a cord or string, this can then be used to form a constructed surface or structure. When making a looped structure with cordage, it is best to twist a section up to 1m (3ft) in length, loop that into the structure and then add

Needles and pins

another section onto the length. This is because the looping requires the whole length to pass through the previous hole, which is different to constructing a knitted or crocheted structure (where you work off a ball of yarn and just a small part is passed through previous holes to construct the surface).

Using tools that are made from found and gathered materials can be particularly satisfying. Experimenting with found mark-making tools such as feathers, sticks

Walking balls

and home-made brushes can result in some wonderfully expressive lines and

Walking in different places and habitats means coming

marks. Extending this into tools for textile work could be equally meaningful.

across different types of material that can be gathered and worked with to make creative responses or records of the

The collection of needles and hooks shown here are items from my own studio

location. A series of balls of material made in different places

tool kit. Using a needle that you know is handmade and crafted from a found

formed such a record for me. These objects, which were

natural resource adds a layer of engagement with material that will enhance

place, form a tangible link to their respective places. Each

made sometimes quickly and sometimes slowly in each material required slightly different handling and I learnt

the process.

about the physical properties of each as I worked with them.

Blackthorn grows abundantly in the UK, making a common appearance in the

This process of wrapping material found on location is an immediate way of responding to the material of that place

hedgerows. The thorns can be long and strong, which makes hedgerow foraging a

and can be used for natural or synthetic materials. It can be done while on the move, literally making as you walk.

prickly activity, but these thorns can also be used as improvised pins and needles.

Or material can be gathered and brought together while

Other species with thorns of different dimensions could be used to pin textile

stationary but still made on location.

Above: A piece of cordage quickly made with fresh grass.

elements together. Pruning my fruit bushes on the allotment each winter results in a pile of prickly gooseberry branches. These could just be composted along with

92 | Gathered

other plant debris, but the spikes are fine and sharp and can be removed from the

Gathered | 93

twigs with care and kept for use as natural pins.

Far left: Blackthorn (Prunus spinosa) branch with thorns still attached.

Above left: Thorns removed from a blackthorn branch, trimmed and dried for use as pins.

Below left: Wooden needles and crochet hooks, gifted or whittled from found twigs.

Right: Blackthorn ‘pins’ through linen cloth, most with bark still present. Lone pin peeled to reveal lighter wood.

Braiding dandelions The technique for making cordage by twisting two strands together, as described on page 55, can be extended into braiding with different numbers of strands. The samples here show how dried dandelion

Gathered | 103

stems can be manipulated into different widths of braid, which have possibilities for joining together and therefore creating wider surfaces or three-dimensional structures.

Right: Dandelion stems mellow during drying from light green to golden yellows and browns.

Far right: Plaiting or braiding the stems using three and five stems.

source of annoyance for gardeners, but I have learnt to appreciate it as a valuable

Left: Braiding stems using seven, nine and eleven stems.

You can ask yourself:

Right: Stems woven in a plain weave with no twist (top) and dandelion stem cordage woven in a continuous warp/weft structure using a pin loom.

15 x 15cm (6 x 6in) (centre) and 5 x 5cm (2 x 2in) (bottom).

asset for wildlife and as a source of materials. It is also edible and there are a host of traditional tales and folklore attached to it. Bindweed (Calystegia sepium) is another plant that gardeners tend to dislike and will take over if you don’t keep on top of its rapid growth but I know I can gather, dry and make use of the stems.

• Which leaves are easier to work with? easily than others?

• How can you hold the

there are some materials that I know I can collect on local walks at certain times of year. Most of my materials come from my plot, but these are supplemented by others foraged elsewhere. Responsible gathering was discussed earlier (see page 15) and is something that should underpin any foraging activity.

62 | Foraged

• Which leaves tear more

I’m more of an opportunistic forager than a strategic one. I tend to gather things that I know I can use when I find them rather than going looking, although

Foraged | 63

leaves as you stitch so that they are less likely to tear or crumble?

• Which varieties are better to work with fresh and which will be easier to work with when they’ve been dried?

• Which type of needle and thread are easiest to work with?

Paper boxes Above: Origami boxes made from re-purposed papers from the allotment, including recipe pages from a gardening book and seed packets.

Below: Woven paper baskets, made from re-purposed seedcatalogue and bulb packaging (with runner bean seeds). .

Some papers that are crisp or stiff can be softened by scrunching, rolling and kneading in your hands. This softens the fibres and can shift the properties of the sheet to something much more cloth-like.

If a type of paper is too stiff for rolling into cordage then it may lend itself to other manipulation. I have experimented with various papers found in my allotment sheds, threading strips through other materials, folding small boxes and weaving strips of thicker card. Stitching through paper can be very satisfying.

Leaf stitching

I find it is best to make holes first with a round-headed pin, then I can stitch through from both sides without having to guess where to bring my needle up from behind.

I wrote about leaf stitching in Natural Processes in Textile Art. Since writing that book, I have continued to work with gathered fallen leaves in a variety of ways.

When I first started exploring leaf stitching, trying out different leaves that were

It is only by trying this out for yourself that you’ll really know what works and

available to me locally became really absorbing and led to a whole body of work

what doesn’t. I started off stitching leaves onto a paper background, which

based around the simple idea of stitching leaves together.

supported the leaves as I stitched. As I became more confident in handling the

I see leaf stitching as a good way to understand the potential of natural materials – I enjoy the process of getting to know a material by working with it.

42 | Foraged

leaves, I found ways to stitch them together without any additional support.

I find a sharp fine needle makes a real difference.

As discussed earlier, it is only by handling and manipulating a material that you

The eucalyptus tree at the bottom of my street drops leaves frequently.

can start to understand the nuances of its possibilities and limitations. Collecting a

These are lovely to work with when they are fresh, being strong and flexible,

series of different leaf types on a walk and then experimenting with them will lead

and releasing a lovely aroma as you stitch. As they dry, they become more brittle

you to a new set of practical knowledge.

and therefore less satisfactory to work with.

Above and opposite: Stitched eucalyptus leaves: a series of experiments stitching, patching, and joining eucalyptus leaves with hand stitch in plantdyed silk/cotton thread.

Right: Deconstructed seed packets used as surfaces for hand stitch, including (top) seed stitch in silk/cotton thread dyed using marigold (Tagetes) ( flowers grown from the seeds from this packet.

108 | Re-purposed

Re-purposed | 109

Foraged | 43

lynnelanningdesign@gmail.com

lynne lanning d e s i g n & a r t d i re c ti o n

COVER FOR REF ONLY

HARPER COLLINS Interior Portraits Design of interior book from sample templates but with free reign over each page’s images and positions.

Everything was supplied as artwork including every individual piece of handwriting across 200 pages!

lynnelanningdesign@gmail.com

Book design

lynnelanningdesign@gmail.com

lynne lanning d e s i g n & a r t d i re c ti o n

CROCHETED HOUSEPLANTS

Crocheted Houseplants BEAUTIFUL FLORA TO MAKE FOR YOUR HOME

T

IF

UL

FLORA

TO

BEAUTIFUL FLORA TO MAKE FOR YOUR HOME

EMMA VARNAM

E

BE

AK

AU

M

COVER 25 FUN FOR REF ONLY

Crocheted Houseplants

ABOUT THE AUTHOR Emma Varnam likes to create items that make people smile. As well as writing a number of popular crochet books, all published by GMC Publications – Crocheted Succulents, Crocheted Keyrings & Charms, Cute Crocheted Animals, How to Crochet, Granny Squares Home and Granny Squares Weekend – she has had a number of successful collaborations with the celebrated knitwear designer Debbie Bliss. Emma regularly shares her design inspiration on her award-winning knitting and crochet blog. She lives in Greater Manchester, UK with her husband and young son. emmavarnam.co.uk

A

Instagram: @emmavarnam

KE

U

TI

A

BE

◆ AND EASY ◆ ◆ PROJECTS FU

O L FLORA T

M

Emma Varnam £16.99 / US$26.99 ISBN: 978-1-78494-641-8

EMMA VARNAM

9 781784 946418 >

25/05/2022 11:25

CrochetHouseplants_001-015-LL.indd 2-3

10/05/2022 11:59

Primula auricula

Mountain Cowslip Striking, colourful and graphic, this plant is valued so much that some people make a special shelf to show off their collection called an ‘auricular theatre’. You can create a year-round flowering display by making the stunning crochet version.

Introduction When I wrote Crocheted Succulents, my first plant book, I never imagined how much fun and enjoyment these little projects would give me and my friends in the crafting community. I have seen my patterns made all over the world, including Australia, South Korea, South America and Europe.

as gifts and, by writing this book, I have added to my go-to list for hand-made presents. I had such fun making these patterns. You should feel sorry for my poor family and friends, who were sent endless photos with the caption, ‘isn’t this hilarious?’ whenever I came up with a new idea.

Many people have displayed their real plants alongside their crocheted creations.

Often there is a double take before people realise that a woolly specimen is sitting incognito among the genuine ones.

One thing to be aware of is that leafy plants with stems made from wool cannot defy gravity. Therefore, all the plants in this book have been made to fit posts of 2¼–4¾in (6–12cm). I have made them a modest size and have stiffened their stems using plant stakes and wire. If you want to make a 36in (1m)-high Swiss cheese plant, you will need to double up your yarn thickness and have a very robust plant stake for support. It is possible, but make sure it is stable and safe.

Houseplants have seen a fashionable resurgence in recent years. Chic interiors have been enhanced by elegant palms, huge Swiss cheese plants and glorious draping vines.

I enjoy gardening and I also enjoy having houseplants in our home; a combination of succulents and leafy plants. Some have survived many years, others I have unceremoniously killed through overwatering or neglectful drought. Luckily, using crochet, you can make a plant that is impossible to kill. Crocheted plants are still one of my favourite choices for giving

finished size

tension

The plant is approximately 5½in (14cm) tall.

Tension is not essential for this project.

you will need ◆ Scheepjes Metropolis, 75% wool, 25% nylon (219yd/200m per 50g ball): 1 ball in 032 Abu Dhabi (A) and 062 Valencia (B) Small amount each of 033 Atlanta (C), 078 Lyon (D), 053 Santiago (E) and 042 Lagos (F) ◆ 3mm (UK11:US–) crochet hook ◆ Polyester stuffing ◆ Tapestry needle ◆ Floristry wire ◆ Plant pot approximately 3¼in (8cm) pot

110

Note The plant leaves are worked in rounds, using the standard amigurumi technique (see page 128).

Place a marker at the beginning of each round so you know where you are in the pattern.

Crocheted Houseplants

CrochetHouseplants_068-117-LL.indd 110-111

10/05/2022 12:26

I must confess I have found it difficult to part with the finished products. I have mixed them in with my living plant collection on our mantlepiece, and it is often difficult to tell them apart.

Rounds 11–18: Work 8 rounds straight.

Round 19: (8 dc, dc2tog) 6 times (54 sts).

Arrange the petals so that one

Round 20: (7 dc, dc2tog) 6 times (48 sts).

petal edge overlaps the next petal

Round 21: (6 dc, dc2tog) 6 times (42 sts).

on one side.

Round 22: (5 dc, dc2tog) 6 times (36 sts).

Round 23: (4 dc, dc2tog) 6 times (30 sts).

Stems

Round 24: (3 dc, dc2tog) 6 times (24 sts).

Round 25: (2 dc, dc2tog) 6 times (18 sts).

Stuff firmly with polyester stuffing.

Cut three strands of floristry wire approximately 8in (20cm) long. Take a strand of wire and work chain stitches around the wire (see page133) using

Round 26: (1 dc, dc2tog) 6 times (12 sts).

Round 27: (Dc2tog) 6 times (6 sts).

A and 3mm hook. Place a sl st on your

Using a tapestry needle,

hook. With the wire in your hand which

weave this yarn through

holds your yarn, place the yarn under

the last dc sts of the round

the wire and your hook over the wire,

and gather hole together.

yarn over the hook and pull through

Fasten off and weave in ends.

your sl st. Put your hook under the wire and yarn over, pull up and then put your hook over the wire, yarn over, pull through both loops on the hook. Rep

Leaf (make 3) Using 3mm hook and A, make a magic

until you have covered two pieces of Round 24: (6 dc, dc2tog) twice (14 sts).

wire for 2½in (5cm). Do the same for

Fasten off leaving an 8in (20cm) tail

the 3rd piece of wire and then, without

of yarn.

fastening off, twist all three pieces

Flatten leaf.

together to form one stem. Encase all three strands with crochet for a further

ring (see page 129).

Round 1: 1 ch, 6 dc into the centre of the ring (6 sts).

Round 2: (2 dc, dc2inc) twice (8 sts).

Round 3: (3 dc, dc2inc) twice (10 sts).

6

of each petal.

Fasten off and weave in all ends.

Crocheted Houseplants

CrochetHouseplants_001-015-LL.indd 6-7

10/05/2022 12:00

112

2¾in (7cm).

Flower (make 3)

Soil

Round 4: (4 dc, dc2inc) twice (12 sts).

Using 3mm hook and C, make a

Round 5: (5 dc, dc2inc) twice (14 sts).

magic ring.

Using 3mm hook and B, make a

Round 6: (6 dc, dc2inc) twice (16 sts).

Round 1: 1 ch, 7 dc into the centre of

magic ring.

Round 7: (7 dc, dc2inc) twice (18 sts).

the ring. Fasten off yarn C.

Round 1: 1 ch, 6 dc into the centre of

Round 8: (8 dc, dc2inc) twice (20 sts).

Round 2: Change to yarn D, (dc2inc)

the ring.

Round 9: (9 dc, dc2inc) twice (22 sts).

7 times (14 sts).

Round 2: 2 dc into each st (12 sts).

Round 10: (10 dc, dc2inc) twice (24 sts).

Round 3: (1 dc, dc2inc) 7 times (21 sts).

Round 3: (1 dc, dc2inc) 6 times (18 sts).

Rounds 11–14: Work 4 rounds straight.

Fasten off yarn D.

Round 4: (2 dc, dc2inc) 6 times (24 sts).

Round 15: (9 dc, dc2tog) twice (20 sts).

Round 4: Change to yarn E, join with a

Round 5: (3 dc, dc2inc) 6 times (30 sts).

Rounds 16–17: Work 2 rounds straight.

sl st to any dc, *(1 htr, 1 tr, 1 dtr, 1 tr, 1 htr)

Round 6: (4 dc, dc2inc) 6 times (36 sts).

Round 18: (8 dc, dc2tog) twice (18 sts).

in next st, 1 sl st in next 2 sts; rep from *

Round 7: (5 dc, dc2inc) 6 times (42 sts).

Rounds 19–20: Work 2 rounds straight.

6 times (7 petals). Fasten off yarn E.

Round 8: (6 dc, dc2inc) 6 times (48 sts).

Round 21: (7 dc, dc2tog) twice (16 sts).

Round 5: Change to yarn F, work 1 dc

Round 9: (7 dc, dc2inc) 6 times (54 sts).

Rounds 22–23: Work 2 rounds straight.

in the top of each st around the edge

Round 10: (8 dc, dc2inc) 6 times (60 sts).

Making up Push the covered stem through the top of the soil.

Attach the flowers at the top of each of the flower stems. Place a strand of

floristry wire inside each of the leaves. Poke the wire into the soil and then sew the base of the leaf securely to the soil.

Crocheted Houseplants

Mountain Cowslip

CrochetHouseplants_068-117-LL.indd 112-113

Sansevieria trifasciata

This popular houseplant has helpful air-purifying properties and is sometimes known as mother-in-law’s tongue or devil’s tongue.

Try using a variegated yarn to recreate the natural variations in the markings of this plant.

finished size The leaves are approximately 10in (25cm) long and 1¾in (4cm) wide.

10/05/2022 12:27

CONVERSIONS

ABBREVIATIONS

Snake Plant

tension Tension is not essential for this project.

you will need ◆ Scheepjes River Washed, 78% cotton,

122

22% acrylic (142yd/130m per 50g ball): 1 ball in 962 Narmada (A)

Crochet hook sizes

alt

alternate

blo

back loop only

UK

Metric

ch

chain

14

–

chain space

13

2.25mm

B/1

centimetres

12

2.5mm

–

cont

continue

–

2.75mm

C/2

dc

double crochet double crochet increase by one stitch

dc2tog

double crochet two stitches together (decrease by one stitch)

dc3tog

double crochet three stitches together (decrease by two stitches)

dec

decrease

DK

double knitting

dtr

double treble

dtr2inc

work 2 dtr into same st

flo

front loop only

g

grams

11

3mm

–

tbl

through the back loop

10

3.25mm

D/3

tog

together

9

3.5mm

E/4

tr

treble

–

3.75mm

F/5

tr2inc

work 2 tr into same st

8

4mm

G/6

tr2tog

treble crochet two stitches together (decrease by one stitch)

7

4.5mm

7

yd

yard(s)

yo

yarn over

yrh

yarn round hook

WS

wrong side

28

5mm

H/8

5.5mm

I/9

4

6mm

J/10

3

6.5mm

K/10.5

2

7mm

–

0

8mm

L/11

htr

half treble

UK AND US DIFFERENCES

00

9mm

M–N/13

work 2 htr into same st

Some UK and US terms have different meanings, which can cause confusion, so always check which style the pattern you are using is written in. This will ensure that your crochet develops correctly.

000

10mm

N–P/15

in

inch(es)

inc

increase

m

metre(s)

mm

millimetre(s)

pm

place marker

UK crochet terms

rep

repeat

Double crochet

US crochet terms Single crochet

RS

right side

Half treble

Half double crochet

RtrF

raised treble front

Treble

Double crochet

sl st

slip stitch

Double treble

Triple crochet

sp

space

Treble treble

Double triple crochet

st(s)

stitch(es)

Note: This book is written in UK crochet terms.

Crocheted Houseplants

CrochetHouseplants_118-144-LL.indd 122-123

Note The plant is worked in rows.

Create strength in the leaf by working around a pipe cleaner or chenille wire on row 2. Work one side of the leaf, then the other side and then complete it by working a final row of dc in yarn B. When assembling the plant, use a bamboo skewer to create extra strength at the base.

Crocheted Houseplants

CrochetHouseplants_016-067-LL.indd 28-29

6 5

htr2inc

◆ Scheepjes Stone Washed, 78% cotton, 22% acrylic (142yd/130m per 50g ball): 1 ball in 812 Lemon Quartz (B) ◆ Scheepjes Merino Soft, 50% wool, 25% microfibre, 25% acrylic (115yd/105m per 50g ball): 1 ball in 607 Braque (C) ◆ 3.5mm (UK9:USE/4) crochet hook ◆ Tapestry needle ◆ Pipe cleaners or chenille-covered craft wire ◆ Bamboo skewer ◆ Plant pot approximately 4in (10cm) in diameter

US

2mm

ch sp cm

dc2inc

113

10/05/2022 12:04

lynnelanningdesign@ @gmail.com

Tools and Materials

123 10/05/2022 12:38

Book design Crochet Know-how All the information you’ll need to create your beautiful crochet plants is explained here. Whether you are a beginner or an expert with crochet, you will discover helpful hints and tips that will bring your woolly foliage to life.

Monstera deliciosa

Swiss Cheese Plant The Swiss cheese plant is the king of houseplants. They can grow to enormous sizes and the real version, as well as the crochet alternative, need staking to remain upright. This plant is distinguished by its heart-shaped glossy green foliage; the larger leaves have holes that resemble Swiss cheese.

finished size

tension

The plant in its pot is approximately 12in (30cm) tall from the base of the stem to the top of the leaves.

Tension is not essential for this project.

CrochetHouseplants_118-144-LL.indd 118-119

10/05/2022 12:37

you will need ◆ Stylecraft Special DK, 100% acrylic (323yd/295m per 100g ball): 1 ball in 1009 Bottle (A) and 1004 Dark Brown (B)

Row 9 RS: 1 ch, 8 dc, (1 dc, 1 ch, 1 dc)

Note The stems are made by encasing plant stakes and wire with crochet.

Create strength in the leaf by weaving floristry wire on the underside. It is useful to use a row counter for this project or a notebook to keep track of where you are in the pattern.

◆ 4mm (UK8:USG/6) crochet hook ◆ 3.5mm (UK9:USE/4) crochet hook ◆ Polyester stuffing ◆ Tapestry needle ◆ 0.35mm floristry wire ◆ 1.2mm garden wire ◆ Plant stakes ◆ Plant pot approximately

turn (18 sts).

Row 28: 1 ch, 27 dc, (1 dc, 1 ch, 1 dc)

Row 38 WS: 1 ch, miss 2 sts, 16 dc, turn

hook. Rep until you have covered

Rounds 11–18: Work 8 rounds straight.

in next ch sp, 27 dc, turn (56 sts).

(16 sts).

4in (10cm) of the wire.

Round 19: (8 dc, dc2tog) 6 times (54 sts).

in next ch sp, 9 dc, turn (20 sts).

Short Row 1 RS: 1 ch, 18 dc, turn,

Row 39 RS: 1 ch, miss 2 sts, 11 dc, miss

Row 11 RS: 1 ch, 10 dc, (1 dc, 1 ch, 1 dc)

Short Row 2 WS: 1 ch, miss 1 st,

2 sts, 1 sl st, turn (12 sts).

in next ch sp, 10 dc, turn (22 sts).

17 dc, turn.

Row 40 WS: 1 ch, miss 2 sts, 7 dc, miss

Using 3.5mm hook and B, make a

Round 24: (3 dc, dc2tog) 6 times (24 sts).

magic ring (see page 129).

Round 25: (2 dc, dc2tog) 6 times (18 sts).

Right side of the leaf

1 dc) in next ch sp, 13 dc, turn (28 sts).

Row 29 RS: 1 ch, miss 2 sts, 5 dc, turn.

Row 15 RS: 1 ch, 14 dc, (1 dc, 1 ch, 1 dc)

Row 30 WS: 1 ch, 5 dc, turn.

Large stem (make 2) Using 4mm hook and A, ch 46 sts.

Round 1: 1 ch, 6 dc into the centre of

Stuff firmly with polyester stuffing.

the ring.

Round 26: (1 dc, dc2tog) 6 times (12 sts).

Round 2: 2 dc into each st (12 sts).

Round 27: (Dc2tog) 6 times (6 sts).

Round 3: (1 dc, dc2inc) 6 times (18 sts).

Using a tapestry needle, weave this

in next ch sp, 14 dc, turn (30 sts).

Row 31 RS: 1 ch, 5 dc, turn.

Row 1: 1 dc in 2nd ch from hook,

Round 4: (2 dc, dc2inc) 6 times (24 sts).

yarn through the last dc sts of the

Row 16 WS: 1 ch, 15 dc, (1 dc, 1 ch,

Row 32 WS: 1 ch 5 dc, turn.

turn (45 sts).

Round 5: (3 dc, dc2inc) 6 times (30 sts).

round and gather hole together.

Fasten off and weave in ends.

1 dc) in next ch sp, 15 dc, turn (32 sts).

Row 33 RS: 1 ch, miss 2 sts, 3 dc, 12 ch,

Rows 2–4: 1 ch, 1 dc in each st to end,

Round 6: (4 dc, dc2inc) 6 times (36 sts).

Row 17 RS: 1 ch, 16 dc, (1 dc, 1 ch, 1 dc)

miss 10 sts, 10 dc, turn.

turn (45 sts).

Round 7: (5 dc, dc2inc) 6 times

Row 34 WS: 1 ch, 10 dc, 10 dc in ch sp,

Fasten off leaving tail of yarn

Row 18 WS: 11 ch, miss 9 sts, 8 dc,

1 dc, miss 1 st, 1 dc, turn (22 sts).

approximately 12in (30cm) long.

(1 dc, 1 ch, 1 dc) in next ch sp, 8 dc,

Row 35 RS: 1 ch, miss 2 sts, 20 dc,

9 ch miss 8 sts, 1 htr, turn (36 sts).

turn (20 sts).

Row 19 RS: 1 ch, 9 dc in ch sp, 9 dc,

Row 36 WS: 1 ch, 20 dc, turn (20 sts).

(1 dc, 1 ch, 1 dc) in next ch sp, 9 dc,

Row 37 RS: 1 ch, miss 2 sts, 18 dc,

9 dc in ch sp, turn (38 sts).

turn (18 sts).

Row 20 WS: 1 ch, 19 dc, (1 dc, 1 ch, 1 dc) in next ch sp, 19 dc, turn (40 sts).

Row 21 RS: 1 ch, 20 dc, (1 dc, 1 ch, 1 dc) in next ch sp, 20 dc, turn (42 sts).

Row 38 WS: 1 ch, miss 2 sts, 16 dc,

Using 4mm hook and A, ch 36 sts.

turn (16 sts).

Row 1: 1 dc in 2nd ch from hook,

Row 39 RS: 1 ch, miss 2 sts, 11 dc, miss

turn (35 sts).

2 sts, 1 sl st, turn (12 sts).

Rows 2–4: 1 ch, 1 dc in each st to end,

Row 22 WS: 1 ch, 21 dc, (1 dc, 1 ch,

Row 40 WS: 1 ch, miss 2 sts, 7 dc, miss

turn (35 sts).

2 sts, 1 sl st, turn (8 sts).

Fasten off leaving tail of yarn

Row 23 RS: 1 ch, 22 dc, (1 dc, 1 ch, 1 dc) Row 24 WS: 14 ch, miss 12 sts, 11 dc,

Row 29 WS: With WS facing, attach

(1 dc, 1 ch, 1 dc) in next ch sp, 11 dc,

yarn to the right of the leaf edge, 1 ch,

12 ch, miss 11 sts, 1 htr, turn (48 sts).

miss 2 sts, 5 dc, turn.

Row 30 RS: 1 ch, 5 dc, turn.

Row 31 WS: 1 ch, 5 dc, turn.

Cut a piece of garden wire 6in (15cm)

Row 32 RS: 1 ch 5 dc, turn.

long. Work chain stitches around the

Row 33 RS: 1 ch, miss 2 sts, 3 dc, 12 ch,

wire. Using A and 4mm hook, place

1 dc) in next ch sp, 25 dc, turn (52 sts).

miss 10 sts, 10 dc, turn.

a sl st on your hook. With the wire in

Row 27 RS: 1 ch, 26 dc, (1 dc, 1 ch, 1 dc)

Row 34 WS: 1 ch, 10 dc, 10 dc in ch sp,

your hand that holds your yarn, place

in next ch sp, 26 dc, turn (54 sts).

1 dc, miss 1 st, 1 dc, turn (22 sts).

the yarn under the wire and your hook

You will now work a couple of short

Row 35 RS: 1 ch, miss 2 sts, 20 dc,

over the wire, yarn over the hook and

rows to create shape.

turn (20 sts).

pull through your sl st. Put your hook

Short Row 1 WS: 1 ch, 18 dc, turn,

Row 36 WS: 1 ch, 20 dc, turn (20 sts).

under the wire and yarn over, pull up,

Short Row 2 RS: 1 ch, miss 1 st,

Row 37 RS: 1 ch, miss 2 sts, 18 dc,

then put your hook over the wire, yarn

Making up Weave a strand of floristry wire through the centre of the leaves and at the outer edge of each leaf on the wrong side.

Cut two pieces of garden wire about 12in (30cm) long. Cut one plant stake 8in (20cm) long. Place two uncut garden stakes and the cut plant stake in the soil. Take one piece of 12in (30cm)-long garden wire and poke it into the same hole as one of the plant stakes.

Slightly bend the wire at the end. Place a large leaf at the end of this wire. Twist the leaf wire around the top of the wire stem. Take a small leaf and its stem and poke this into the same hole as the stake. Then wrap the stem crochet around the stake and wire, encasing all with the crochet. Using the tail of yarn, sew the first and last rows of crochet together.

Securely sew the leaves in place. Repeat for the second large and small leaves.

Place the medium leaf at the top of the cut 8in (20cm) plant stake. Twist the wires around the top of the stake. Then wrap the stem crochet around the stem and, using the tail of yarn, sew the first and last rows of crochet together to encase the stem. Securely sew the leaves in place. Manipulate the leaves to create a natural plant shape.

Small stem (make 2)

(1 dc, 1 ch, 1 dc) in next ch sp, 12 dc, 12 dc in ch sp, turn (50 sts).

Row 26 WS: 1 ch, 25 dc, (1 dc, 1 ch,

Round 9: (7 dc, dc2inc) 6 times (54 sts).

approximately 12in (30cm) long.

Left side of the leaf

Row 25 RS: 1 ch, 12 dc in ch sp, 12 dc,

(42 sts).

Round 8: (6 dc, dc2inc) 6 times (48 sts).

Medium stem (make 1)

1 dc) in next ch sp, 21 dc, turn (44 sts). in next ch sp, 22 dc, turn (46 sts).

84

Round 22: (5 dc, dc2tog) 6 times (36 sts).

Round 23: (4 dc, dc2tog) 6 times (30 sts).

You will now work the top of each side of the leaf separately.

in next ch sp, 16 dc, turn (34 sts).

10/05/2022 12:24

Round 20: (7 dc, dc2tog) 6 times (48 sts).

Round 21: (6 dc, dc2tog) 6 times (42 sts).

Soil

2 sts, 1 sl st, turn (8 sts).

1 dc) in next ch sp, 11 dc, turn (24 sts).

Row 13 RS: 1 ch, 12 dc, (1 dc, 1 ch, 1 dc) in next ch sp, 12 dc, turn (26 sts).

CrochetHouseplants_068-117-LL.indd 80-81

Round 10: (8 dc, dc2inc) 6 times (60 sts).

in next ch sp, 8 dc, turn (18 sts).

Row 14 WS: 1 ch, 13 dc, (1 dc, 1 ch,

Crocheted Houseplants

over, pull through both loops on the

Row 10 WS: 1 ch, 9 dc, (1 dc, 1 ch, 1 dc)

Row 12 WS: 1 ch, 11 dc, (1 dc, 1 ch,

4¾in (12cm) in diameter

80

17 dc, turn.

Crocheted Houseplants

Swiss Cheese Plant

CrochetHouseplants_068-117-LL.indd 84-85

Tools and Materials The word ‘crochet’ means ‘hook’ in French. Unlike knitting, crochet is worked with just one hook, creating a series of connected loops from yarn.

CROCHET HOOKS Crochet hooks come in a range of materials and sizes. In this book, I use a relatively small range of sizes, between 2mm (UK14:US–) and 4mm (UK8:USG/6). For size 3.5mm (UK9:USE/4) or 4mm (UK8:USG/6), I like to use an ergonomic metal-pointed crochet hook.

YARN The key issue with crocheting these projects is to find a yarn that replicates the colours and textures of the plants. For example, I love using tinsel yarns to create the look of cactus spines, such as in the Fairy Castle project (see page 36), while I used a mohair blend yarn to recreate the fluffiness of the leaves of the African Violet (see page 16). Many plants look more realistic if you use a tweed yarn with little flecks of contrasting colour, or a variegated yarn with differences in tone, such as with the Curly Jade Plant (see page 52). To recreate the striped patterns of the Tiger Aloe (see page 32), I used a self-striping sock yarn.

plants are stuffed so that they are firm but not bulging, as this will distort the look of the overall project.

NEEDLES You will need a variety of needles for completing the projects, including a tapestry needle for sewing in ends and adding details.

GMC PUBLICATIONS

Real houseplants often benefit from a little support, and this is more the case when your plant is made out of wool. For some of the larger plants such as the Snake Plant (see page 28), or projects that require extra support such as the Moth Orchid (see page 106), I have used plant stakes or bamboo skewers to support the stem. Cut the stick to the right size so that when it is inserted into the pot the plant is placed just below the rim of the pot. The trunk of the Yucca (page 64) is supported with a cardboard tube. The Sweetheart Plant (see page 44) requires a cardboard insert to give some internal structure to the leaves.

SUPPORTING THE PLANTS WITH WIRE I have used floristry wire and gardening wire in some of these projects, as the leaves and stems often require some support. Several of the projects feature floristry wire being incorporated into the crocheted leaves for internal support, such as the Boston Fern (see page 98), whereas the Inch Plant (see page 68) incorporates wire into the stems. You could also thread a piece of floristry wire down the centre of the leaves on the wrong side, as is done for the Herringbone Plant (see page 86). The thin wire is useful to create a bend in the leaves of your plant and allows you to manipulate them to ensure they look as natural as possible.

Tip Instead of buying expensive stitch markers just cut a small amount of yarn, about 2in (5cm) long, and place this between the last stitch of one row and the first stitch of the next row. When you have finished making the project, you can easily pull out these strands without snagging the stitches.

You might want to use craft pipe cleaners or chenille-covered wire if you have them at home. Thicker gardening wire is ideal for creating the curve of a stem. In every case, make sure your wire is not poking out of your plant so it does not hurt you or any inquisitive admirer of your work.

STUFFING Many of the projects require polyester stuffing, for example, for the soil inserts. My preference is Minicraft Supersoft toy stuffing, as this material complies with BS145, BN5852 and EN71 standards and is safe for children. Make sure

120

SUPPORTING THE PLANTS WITH STAKES AND CARDBOARD

Crocheted Houseplants

Tools and Materials

CrochetHouseplants_118-144-LL.indd 120-121

121 10/05/2022 12:38

Crochet Techniques

CHAIN STITCH (CH ST ) 1 Start with a slip knot on the hook.

2 Wrap the yarn over the hook.

In this section you can learn the basic techniques needed for the projects in this book. Some will need practice, but once you have learnt them you can add texture and decoration to all your crocheted houseplants.

3 Pull the loop through the loop of the slip knot to form one chain stitch.

HOLDING A HOOK

85 10/05/2022 12:24

Crocheted Houseplants Free reign to choose images and design the interior pages using sample templates as a guide. The pattern copy pages needed to fit and have cut out shots on each spread, yet still maintain a nicely designed feel.

The ‘Techniques Section’ had to be clear and easy to follow, supplemented with cut out images of the crocheted plants on each page

1

Hold your hook in either your right or your left hand as you would a pen, in between your index finger and thumb.

SLIP STITCH (SL ST ) HOLDING YARN With the hand you are not using to hold the hook, wrap the yarn around your little finger and then drape the yarn over your hand. You can hold the tail of your yarn between the middle finger and your thumb and use your index finger to control the yarn.

This stitch is ideal for decoration and for attaching two pieces of crochet together.

1

Insert the hook into a stitch, and wrap the yarn over the hook.

2

Draw the loop through the stitch and the loop on the hook. Continue in this way for the required number of slip stitches.

124

Crocheted Houseplants

WORKING IN ROWS

WORKING IN ROUNDS

MAGIC RING

When making straight rows, you need to make a turning chain at the beginning of the row for the stitch you are working on.

A double crochet row will need one chain at the beginning of the row; this will be indicated in the pattern.

One wonderful thing about crochet is that you don’t always have to work in rows; you can also work in rounds. Many of the patterns in this book are worked in continuous spiral rounds with no slipstitch joins or turning chains.

The usual way to start an amigurumi shape is to use a ‘magic ring’. This is a neat way of starting a circular piece of crochet while avoiding the unsightly hole that can be left in the centre otherwise. Magic rings are nearly always made with double crochet stitches, as this creates a tight, dense crochet fabric.

3

Start by making a basic slip knot. Pull up the loop and slip this loop onto your crochet hook.

2

Before you tighten the ring, wrap the yarn over the hook (outside the circle) and pull through to make the first chain.

3

Insert the hook into the ring, wrap the yarn over the hook and pull through the ring so there are two loops on the hook.

4

Wrap the yarn over the hook again (outside the circle) and pull through both loops

5

You have made your first double crochet stitch.

6

Continue to work like this for as many double crochet stitches as are stated in the pattern instructions. Pull the yarn tail to tighten the ring and then continue working in the round as usual.

WORKING IN SPIRALS The majority of the patterns in this book are worked in spiral rounds, beginning with a magic ring. They are worked using the ‘amigurumi’ crochet technique, which involves crocheting in a continuous spiral with no slip-stitch joins or turning chains.

In this way, you can create one seamless cylindrical shape.

2

Crochet Techniques

125

1

2

3

4

5

6

In order to know where each row starts it is advisable to place a marker at the beginning of each row.

128

Crocheted Houseplants

CrochetHouseplants_118-144-LL.indd 128-129

CrochetHouseplants_118-144-LL.indd 124-125

1

1

MAKING A SLIP KNOT Make a loop of yarn over two fingers.

Pull a second loop through this first loop, pull it up and slip it onto your crochet hook. Pull the knot gently so that it forms a loose knot on the hook.

2

Crochet Techniques

129 10/05/2022 12:39

10/05/2022 12:38

lynnelanningdesign@ @gmail.com

lynne lanning d e s i g n & a r t d i re c ti o n Chapter 2

Development

CONSTRUCTION

FABRIC COVERINGS

Oak

Silk embroidery, oxhide

The following chart shows furniture periods and events which together trace the progress of styles in furniture making, furnishing, and textile manufacture. The dates and periods are approximate, but do give an indication of when an event occurred or a particular design or style became popular.

CONSTRUCTION

FABRIC COVERINGS

Oak, beech

Silk velvets, tapestry

DESIGNER, EVENT OR DEVELOPMENT

EXAMPLES IN UPHOLSTERY

Commonwealth (Cromwellian) 1649–1660

DESIGNER, EVENT OR DEVELOPMENT

Tapestry factory founded at Mortlake

Framed and turned chair (see page 84) Cromwellian chair (see page 110) Farthingale chair, c.

1650 (see page 40)

EXAMPLES IN UPHOLSTERY

Elizabethan (Renaissance) 1558–1603 Upholstered Winchester oak X-frame chair, c. 1590 (see page 35)

Early fixed upholstery Stuffed cushions

Framed and turned chair

Cromwellian chair

Late Stuart (Restoration) 1660–1688 Walnut

Turkey work, cane work

Huguenot silk weavers settle in England

French armchair, c. 1660 (see page 285) Walnut framed, winged sleeping chair, c. 1675 (see page 228)

Day bed Winchester X-frame oak chair

Day bed, c. 1675 (see page 274)

Early Stuart (Jacobean) 1603–1649 Oak, fruit woods

Tapestry

Knole House furniture Knole settee

The Knole settee, c.1600 (see page 264)

French armchair

Early oak chair, c.1600–1640 (see page 10)

William and Mary (Dutch influence) 1689–1702 Walnut

Damasks

Age of the cabinetmaker

William and Mary armchair

Knole settee

18

Springs and Suspension Systems E

arly supporting materials for chairs and

seating had little resilience or spring in them, but simply cradled the upholstery stuffings and cushions. The full weight of the sitter was absorbed by the seat webbings, strips of leather or strong canvas.

The fillings used at that time, such as hair, feathers and rags, would have soon compressed under these conditions and so had to be continually shaken and turned to keep the upholstery lively and comfortable. It was not until the middle of the nineteenth century that the metal coil spring was produced in quantity for use in upholstery. These early springs were made from heavy-gauge wire, with a large number of coils (Fig 12.1).

Sprung upholstery soon became very popular and fully upholstered chairs and sofas often had sprung arms, backs and seats. Chairs and sofas became larger and more cumbersome to facilitate the use of large numbers of springs. The development of the spring interior mattress and the spring cushion followed on from this – all hand-built, providing a great deal of work for the upholsterer (Fig 12.2).

The same double-cone-shaped compression spring is still produced and used today for handbuilt upholstery and in mattress making, and has changed very little in its shape and the way that it works. The steel wire used is now very much stronger and the number of coils per spring is fewer. The wire ends are machine-knotted rather than bound or clipped, but basically the spring remains the same.

The first half of the twentieth century saw many different developments in spring and suspension design, from large machine-made double-spring units to lightweight moulded rubber diaphragms.

During this period almost all upholstered seats had some kind of springing as a foundation. Even small drop-in seats for dining chairs were sprung with metal compression or tension springs.

Gradually, the need for sprung upholstery has lessened and seating design has turned full circle.

High-quality resilient foam fillings have made

162

suspension unnecessary in dining chairs, desk furniture and occasional seating. The strength and resilience of foam as a filling has enabled the upholsterer to produce comfortable chairs with platforms of webbing and boards. In lounge furniture, however, a variety of suspension systems still forms the basis of seat and back upholstery. These are generally in the form of ready-made units using compression and tension springs or a combination of both. The use of rubber and elastic webbings has increased to the point where the market is equally shared by the two materials, metal and rubber.

Chapter 2 DEVELOPMENT

UPHOLSTERY A complete course

The double-cone spring is reversible and knotted at each end.

The pitch of each coil is set by the coiling machine and is variable for different springs. As the diameter of the coils becomes narrower, a firm area is produced at the centre of the spring. A single-cone spring is firmest at its base.

Double cone

Single cone

Pitch

GAUGE 10 and 12swg

4in (100mm)

9, 10 and 12swg

5in (125mm)

9, 91⁄2, 10 and 12swg 9, 91⁄2, 10 and 12swg

7in (175mm)

9, 91⁄2, 10 and 12swg

8in (200mm)

81⁄2 and 9swg

9in (230mm)

81⁄2 and 9swg

10in (255mm)

8 and 9swg

12in (305mm)

8 and 9swg

Barrel

Modern high-speed wire-forming machines on which upholstery springs are made demand a higher quality and more consistent wire than at any time in the past. The tensile strength of modern spring wire may be as high as 110 tons per sq in and the carbon content in the range of 0.5 to 0.7 per cent. After forming, the steel springs are compressed by hand or machine for a few seconds to restore the elastic properties which may have been affected by cold working.

Soft

Height

Firm

Soft Knot

GAUGES AND SIZES Steel spring wires are produced in SWG (Standard Wire Gauge) thicknesses, from 7swg down to the very thin wires at 22swg. A range of typical compression-spring sizes and wire gauges are shown above. Bundles of these springs are made up and sold in quantities of 50 and 100. Fig 12.3 shows the double-cone, open-coil spring traditionally used for hand-built upholstery, together with the single-cone spring and the barrel type. These are manufactured on an automatic machine called a coiler and knotter, and are produced at a rate of several hundred per hour. The double-cone spring is also known as the ‘hourglass’ or ‘waisted’ spring.

Single-cone types are used in bed bases and supported on metal U-bars (Fig 12.4); but their main use is in spring units, where they are riveted on to steel laths and covered with a mesh top (Figs 12.5 and 12.6, page 164).

Metal Springs Spring-steel wire is the basic material used for making metal springs. The higher the carbon content in a wire, the stiffer and more resistant it becomes as a spring. Generally, the wires with a high carbon content and good tensile strength were used to produce tension springs, and standard spring-steel wire was used for the making of coneshaped springs and the barrel types used in mattress interiors.

Fig 12.2

A traditional fully sprung stuffover easy chair containing a large number of compression springs. Chairs of this type were large and heavy and were hand-built in the early years of the twentieth century.

Sprung arm

Fully sprung back

Spring-edge seat

Pocket spring unit

WIRE DRAWING Wire is produced by taking a high-carbon wire rod and, after suitable heat treatment and cleaning, drawing it through a series of tungsten carbide dies to reduce its cross-sectional area by 70 to 80 per cent. The cold working from the drawing process increases the tensile strength by about 40 per cent.

Direct cooling is necessary during drawing to stop the wire overheating, and after stabilizing, the new wire is wound on to reels or coils for use by the spring maker. Before and after the rods are drawn, microscopic and electronic checks are carried out to ensure consistent quality.

Fig 12.4

Single-cone springs mounted on a U-bar for use in a bed base.

Chapter 12 SPRINGS AND SUSPENSION SYSTEMS

UPHOLSTERY A complete course

Fig 12.14

Arc height and cut length of springs

Fixings into tube frames.

Cut end

163

GAUGES AND SIZES FOR ZIGZAG SEAT SPRINGS

Fig 12.15

Serpentine spring clips.

Two-hole staple fixing

GMC PUBLICATIONS

HEIGHT 3in (75mm)

6in (150mm)

Fig 12.1

An early hourglass, double-cone spring made from heavygauge wire and a large number of coils; the ends are wire-bound.

Kinked end

Nail fixing Hooked end

Inside seat dimension

gauge

11⁄8in (30mm)

11⁄2in (38mm)

18in (460mm)

91⁄2

163⁄4in (425mm)

171⁄4in (436mm)

175⁄8in (445mm)

19in (485mm)

9

177⁄8in (452mm)

18in (460mm)

183⁄8in (470mm)

20in (510mm)

9

185⁄8in (475mm)

19in (485mm)

193⁄8in (495mm)

195⁄8in (500mm)

21in (535mm)

9

195⁄8in (500mm)

20in (510mm)

203⁄8in (520mm)

205⁄8in (525mm)

22in (560mm)

9

205⁄8in (525mm)

21in (535mm)

213⁄4in (545mm)

215⁄8in (550mm)

23in (585mm)

81⁄2

215⁄8in (550mm)

22in (560mm)

223⁄8in (570mm)

225⁄8in (600mm)

13⁄4in (45mm)

2in (50mm)

GAUGES AND SIZES FOR ZIGZAG BACK SPRINGS A toughened quick-fixing clip

Twin-hole fixing for thicker gauges

Clip set to inside edge allowing good spring clearance

SELECTING AND MEASURING Single-hole fixing for thingauge springs

To obtain an accurate length measurement of a serpentine spring, one end of a spring should be balanced on a metre stick and the spring flattened out until the distance between the extreme outside ends can be taken. The length of the strip as measured will be less than the distance to be spanned. Springs should not be measured with a tape around a curved spring. In most cases the direction of springing is normally from top to bottom on backs, and from back to front in seats.

Where frames are of an irregular shape it can be an advantage to fix from side to side. The tables on the facing page give a guide to gauges and lengths for seats and backs.

Inside frame dimension top to bottom

gauge

cut spring length

163⁄4–215⁄8in (425–550mm)

111⁄2–12

163⁄8–211⁄4in (415–540mm)

215⁄8–235⁄8in (550–600mm)

11–111⁄2

211⁄4–231⁄4in (540–590mm)

245⁄8–275⁄8in (625–700mm)

101⁄2–11

Lengths should be found by fixing a spring at the bottom rail and pulling to the top rail, locating into the clip and adjusting until the suitable curve is found. This will give the length of the springs to be cut. Alternatively, measure the inside frame length and deduct 1in (25mm). This will give the cut length for an average seat strength.

Spacing of serpentine springs should fall between 4in (100mm) and 5in (125mm) centre to centre, with clips fixed at these centres. Link sizes will then be between 2 1 ⁄2in (63mm) and 33 ⁄8in (85mm).

241⁄4–271⁄4in (615–690mm)

Fig 12.17

Examples of serpentine springing.

2in (50mm) arc height

A kinked back spring

11⁄8in (30mm) arc height

A spring edge

Arcs Fig 12.16

Measuring and cutting.

A resilience spring cutter

Inside frame width

Measuring spring lengths

168

UPHOLSTERY A complete course

Full round 8in (200mm) arcs may be used for backs and seats with varying wire gauges. The 12in (305mm) arcs are mostly used in seats, and give a lower dome to the upholstery. Flat arc springs make a firm platform and are used particularly with reversible cushions in seats.

A fishmouth edge

Wire link

The fishmouth spring edge

Height Arced spring

William and Mary stool

Early oak chair

Fig 12.3

Chapter 12

A spring edge can be produced for seat fronts by applying and clipping formed strips on to the normal seat lengths. An edge wire is then shaped and clipped on to the front edge of the strips, and returned at the ends. The edge wire is of a heavy gauge and normally follows the frame outline (Fig 12.17).

William and Mary armchair, c. 1690 (see page 26) William and Mary stool, c. 1690–1700 (see page 292)

Linking zigzag strips with clips or tension springs

Chapter 12 SPRINGS AND SUSPENSION SYSTEMS

UPHOLSTERY A Complete Course Revamping a 300 page, 20 year old book to a smaller page size with a new cover design and bringing in new typography and updated style sheets. Requiring meticulous attention to detail to ensure even the smallest annotation on the illustrations were updated and repositioned correctly. Changing the text from Justified to Ranged Left gave a fresher more modern look. Each page had to fit from the original to the new page size with no overmatter.

Every page had to be individually refitted

169

lynnelanningdesign@ @gmail.com

19

Book design Chapter 20

Mid-Victorian Dining Chair with Buttoned Seat

Upholstery Projects The five projects described in this chapter illustrate just a small part of the versatile upholsterer’s work. They are chosen to give a taste of the kind of small-scale projects which are not beyond the reach of the beginner, and include examples of both new and restoration work. They all involve fairly simple, basic upholstery, apart from the buttoned seat in the last project, which is rather more ambitious.

Loose Seat for a Dining Chair

5

1

After careful stripping and cleaning, the bare chair frame is ready for reupholstery. The showwood has been revived and waxed.

3

2

The loose seat frame rests in a rebate, with a gap of about 1⁄10in (2.5mm) all round to allow for the thickness of calico and covering.

English webbing is tightly strained and interwoven with spaces of about 11⁄2in (38mm) between webs; 1 ⁄2in (13mm) fine or improved tacks are ideal for fixing.

Chapter 20 UPHOLSTERY PROJECTS

STITCH TYPES

No matter how sophisticated or well-developed an industrial sewing machine appears to be, the basic forming of a stitch remains the same.

Fig 9.21

Corespun thread.

l Lock stitch

l Overedge chain stitch

l Single-thread chain stitch

l Overedge with safety stitch.

is polyester, and the outer casing is cotton (Fig 9.21). Corespun machine threads are particularly suitable for high-speed sewing operations, and are very durable in most situations.

l Two-thread chain stitch

Most sewing-machine work produced for upholstery uses the lock stitch.

SEWING-MACHINE THREADS

Monofilament

Threads are produced from cotton and some synthetics, or blends of both. Cotton machine threads are made in three types: soft, glacéd and mercerized. Soft are the standard threads with no special treatments. Glacéd threads have a polished surface, which gives them extra strength and resistance to abrasion. The mercerized types have more lustre, and resemble silk; they have good tensile strength. There are two synthetics mainly used for machine threads; polyester and nylon.

These are produced as continuous filament, spun staple yarn, or monofilament (Fig 9.20).

Blends

A blend of cotton and synthetic fibre gives a thread with a combination of good strength and the feel, handle and friction-resistance associated with cotton. The synthetic content is usually higher than the cotton content. An example of a blended fibre is corespun, in which the core of the thread

These threads are extruded as a single, solid filament of nylon. They are produced as clear or coloured, but have a tendency to shrink.

Monofilament tends to produce harsh, stiff seams, and so is used only for specialized applications.

Fig 9.22 illustrates the construction of a variety of machine threads. Thread twist is very important. Most threads have a left or Z-twist to suit the sewing machines used today.

Thread sizes

There are two size gradings for sewing-machine threads: one for cotton and a separate range for synthetics and blends. In both, the higher the size number, the finer the thread. A range of sizes and their recommended applications are given below:

Fig 9.22

Machine thread made from cotton yarns.

Fig 9.20

The construction of synthetic machine thread.

Two-ply thread

Continuous filament

SYNTHETIC

NEEDLE SIZE Singer

Metric

3/14

20, 25

19–22

120 –140

Heavy

3/20

36

18–21

110 –130

Medium

3/24–3/30

40, 50

17–19

100 –120

Light

Spun staple yarn

Monofilament

130

Six-cord thread

Three-ply thread

COTTON

APPLICATION

2 295

306

Reupholstery begins with new English webbing, set three by three and interwoven. The webbing should be tight but not overstrained.

The Industrial Machine A general view of the lock-stitch machine is shown in Fig 9.24 overleaf, and the main features are indicated. The lock-stitch machine uses two separate threads: the needle thread and the bobbin thread. Both threads are fed under tension, with the tension mechanisms set to ensure balanced stitch-forming. To form the stitch, the threaded needle goes down into the fabric to a set depth, and as it is withdrawn a loop of thread is formed on the opposite side of the long needle groove. A rotating hook is timed to revolve and pick up the looped Fig 12.16 thread, which is then passed comMeasuring pletely around the bobbin and its case. As the needle emerges and cutting.from the fabric it pulls the stitch into place and the takeup lever tightens the needle thread. This take-up action is necessary because several inches of thread are needed to travel around the bobbin, but only a small amount is actually used to form one stitch.

METRIC CONVERSION TABLE MM

INCHES

MM

INCHES

MM

INCHES

MM

INCHES

MM

1⁄4

6

31⁄4

83

71⁄4

185

19

485

40

1015

3⁄8

10

31⁄2

88

71⁄2

190

20

510

41

1040

1⁄ 2

13

35⁄8

195

21

535

42

73⁄4

1065

5⁄ 8

16

33⁄4

95

8

200

22

560

43

1090

3⁄4

19

4

100

81⁄4

210

23

585

44

1120

22

41⁄8

81⁄2

215

7⁄8

105

24

610

45

1145

25

41⁄4–43⁄8

110

83⁄4

220

25

635

46

1170

11⁄8

30

41⁄2

115

9

230

26

660

47

1195

11⁄4

32

43⁄4

120

91⁄4

235

27

685

48

1220

125

91⁄2

13⁄8 11⁄2

35

5

38

51⁄8

130

93⁄4

15⁄8

40

51⁄4

133

10

13⁄4

45

51⁄2

140

101⁄8

240

257

28

710

49

1245

250

29

735

50

1270

255

30

760

51

1295

31

785

52

1320

2

50

53⁄4

145

11

280

32

815

53

1345

21⁄8–21⁄4

55

6

150

12

305

33

840

54

1370

23⁄8

60

61⁄8

155

13

330

34

865

55

1395

21⁄2

63

61⁄4

160

14

355

35

890

56

1420

25⁄8

65

61⁄2

165

15

380

36

915

57

1450

23⁄4

70

63⁄4

170

16

405

37

940

58

1475

3

75

7

178

17

430

38

965

59

1500

31⁄8

80

71⁄8

180

18

460

39

990

60

1525

To obtain the metric size for dimensions under 60in, not shown in the above table, multiply the imperial size in inches by 25.4 and round to the nearest millimetre, taking 0.5mm upwards. e.g. 9 1⁄8 X 25.4 = 231.8, say 232mm To obtain the metric size for dimensions over 60in, multiply the imperial size in inches by 25.4 and round to the nearest 10mm, taking 5mm upwards. e.g. 67 X 25.4 = 1701.8, say 1700mm

CONVERSION FORMULA TO CONVERT Length Inches to centimetres Centimetres to inches Feet to metres Metres to feet Yards to metres Metres to yards Area Sq inches to cm2 Cm2 to sq inches Sq feet to m2 M2 to sq feet Sq yards to m2 M2 to sq yards

308

UPHOLSTERY A complete course

MULTIPLY BY

TO CONVERT

2.54 0.3937 0.3048 3.2808 0.9144 1.0936

Volume Cu inches to cm3 Cm3 to cu inches Cu feet to m3 M3 to cu feet Cu yards to m3 M3 to cu yards

6.4516 0.155 0.0929 10.7639 0.8361 1.1959

Weight Ounces to grams Grams to ounces Pounds to grams Grams to pounds Pounds to kilograms Kilograms to pounds

MULTIPLY BY

16.387 0.06102 0.02831 35.3147 0.76455 1.30795

Pleats are straightened and adjusted with regulator and fingers before the buttons are tightened to full depth. Upholstery gimp finishes and decorates the curved seat edges.

Nail fixing

WORK-FEED MECHANISM

enda sewing machine at Fabric plies are fedHooked through the rate set by the stitch-length control. Feeding is achieved by the feed dog passing through the throat plate and rotating in time with stitching.

The plies are held down on to the feed dog by the presser foot. The pressure of the presser foot on to Twin-hole fixing the fabric should be just enough to ensure positive for thicker gauges feeding. Drop-feed systems are the standard type fitted to conventional machines and most domestic machines. For improved feeding of fabrics of the heavier upholstery weights, compound feeding SELECTING AND MEASURING systems, commonly called needle-feeding, were To obtain an accurate length measurement of a introduced some years ago. This system includes Single-hole serpentine spring, one end of a spring should be fixing for thina needle-rotating actionon which moves back balanced a metre stick and the spring flattened gauge springs and forward with Upper plies are out the untilfeed thedog. distance between the extreme therefore moreoutside evenly ends fed, and fromThe thelength of the strip can drag be taken. presser is reduced (Fig 9.25,will overleaf). as measured be less than the distance to be spanned. Springs should not be measured with a tape around a curved spring. In most cases the direction of springing is normally from top to Fig 9.23 bottom on backs, from back to front in seats.

Anand industrial Shank Where frames are of an irregular shape it can be sewing-machine an advantage toneedle, fix fromwith sidethe to side. The tables on the facing page thread give a guide path to gauges and lengths for seats and backs. dotted in.

Height

Short groove Arced spring

Scarf

US TERMS

11⁄2in (38mm)

91⁄2

163⁄4in (425mm)

171⁄4in (436mm)

175⁄8in (445mm)

19in (485mm)

9

177⁄8in (452mm)

18in (460mm)

183⁄8in (470mm)

20in (510mm)

9

185⁄8in (475mm)

19in (485mm)

193⁄8in (495mm)

195⁄8in (500mm)

21in (535mm)

9

195⁄8in (500mm)

20in (510mm)

203⁄8in (520mm)

205⁄8in (525mm)

22in (560mm)

9

205⁄8in (525mm)

21in (535mm)

213⁄4in (545mm)

215⁄8in (550mm)

23in (585mm)

81⁄2

215⁄8in (550mm)

22in (560mm)

223⁄8in (570mm)

225⁄8in (600mm)

13⁄4in (45mm)

2in (50mm)

Inside frame dimension top to bottom

gauge

cut spring length 163⁄8–211⁄4in (415–540mm)

163⁄4–215⁄8in (425–550mm)

111⁄2–12

215⁄8–235⁄8in (550–600mm)

11–111⁄2

211⁄4–231⁄4in (540–590mm)

245⁄8–275⁄8in (625–700mm)

101⁄2–11

241⁄4–271⁄4in (615–690mm)

Fig 12.17

Examples of serpentine springing.

2in (50mm) arc height

A kinked back spring

11⁄8in (30mm) arc height

A spring edge

A fishmouth edge

Wire link

The fishmouth spring edge A spring edge can be produced for seat fronts by applying and clipping formed strips on to the normal seat lengths. An edge wire is then shaped and clipped on to the front edge of the strips, and returned at the ends. The edge wire is of a heavy gauge and normally follows the frame outline (Fig 12.17).

Point

Linking zigzag strips with clips or tension springs

131

Chapter 12 SPRINGS AND SUSPENSION SYSTEMS

169

Useful Addresses UK

US TERMS

Associations and Societies Association of Master Upholsterers and Soft Furnishers (AMUSF)

Chancery Court Lincolns Inn, Lincoln Road High Wycombe Buckinghamshire HP12 3RE Tel: +44 (0)1494 429340 www.upholsterers.co.uk BLC Leather Technology Centre

Kings Park Road Moulton Park Northampton NN3 6JD Tel: +44 (0)1604 679 999 www.blcleathertech.com British Furniture Manufacturers’ Association (BFM)

Bibliography

BFM Ltd Bloxham Mill Business Centre Barford Road Bloxham, Banbury Oxfordshire OX15 4FF Tel: +44 (0)1295 724202 www.bfm.org.uk British Standards Institute

389 Chiswick High Road London W4 4AL Tel: +44 (0)345 086 9001 www.bsigroup.com

GLOSSARY

Furniture Industry Research Association

Maxwell Road Stevenage Herts SG1 2EW Tel: +44 (0)1438 777 700 www.fira.co.uk Guild of Traditional Upholsterers

Webbers, Gittisham Honiton, Devon EX14 3QA www.guildoftraditional upholsterers.org.uk The British Contract Furnishing Association

(BCFA) Project House 25 West Wycombe Road High Wycombe Buckinghamshire HP11 2LQ Tel: +44 (0)1494 896790 www.thebcfa.com The British Institute of Interior Design

9 Bonhill Street London ECZA 4PE Tel: +44 (0)20 7628 0255 www.biid.org.uk The Crafts Council

44a Pentonville Road Islington London N1 9BY Tel: +44 (0)20 7806 2500 www.craftscouncil.org.uk

USA

The Guild of Master Craftsmen

166 High Street Lewes East Sussex BN7 1XU +44 (0)1273 478 449 www.guildmc.com

Colonial Williamsburg Foundation

101 Visitor Center Dr Williamsburg, VA 23185 Tel: +1 855 756 9516 www.history.org

The National Bed Federation Ltd

Historic New England

High Corn Mill Chapel Hill Skipton N. Yorks BD23 1NL Tel: +44 (0)1756 799950 www.bedfed.org.uk

Tel: +1 617 227 3956 www.historicnewengland. org The Metropolitan Museum of Art

1000 Fifth Avenue New York, 10028 Tel: +1 212 535 7710 www.metmuseum.org

The Silk Association of Great Britain

3 Queen Square London WC1N 3AR Tel: +44 (0)20 7843 9460 www.silk.org.uk

The Smithsonian Museum

Tel: +1 202 633 1000 www.si.edu

The Textile Institute International HQ

8th floor St James’ Buildings Oxford Street Manchester M1 6EJ Tel: +44 (0)161 237 1188 www.texi.org

Winterthur Museum,

Garden and Library Tel: +1 302 888 4600 www.winterthur.org

The Worshipful Company of Furniture Makers

12 Austin Friars London EC2N 2HE Tel: +44 (0)20 7256 5558 www.furnituremakers.org.uk

MUSEUMS, NATIONAL TRUST HOUSES, AND PRIVATELY OWNED STATELY HOMES The buildings listed below are just a few of the many hundreds of interesting places where period upholstery and furnishings can be seen, in historic settings. l Aston Hall, Birmingham

or day bed with an upholstered back. Restore from Furniture hinged, upholstered lid forming the seat, the fixing or hook level down to the l Tapisserie d’Ameublement and storage space Claude under. Ossut (Editions H. Vial,Chenille hem.Association) Headings and turnings are added Eyrolles)A pile fabric in which the weft(Consumers’ to the drop. thread is specially prepared and twisted by Braid A flat, lnarrow fabric, usedPocketbook Thewoven Woodworkers’ machinery, or woven and cut, before being to decorate and finish upholstery, cushions Duck A strong, closely woven cloth of Charles H. Hayward (Evans) woven into the yarn to form the pile. Cotton and curtains. cotton or flax, similar to canvas. An average chenille is used in upholstery. weight would be 10oz per square yard.

UPHOLSTERY A complete course

11⁄8in (30mm)

18in (460mm)

Arcs Full round 8in (200mm) arcs may be used for backs and seats with varying wire gauges. The 12in (305mm) arcs are mostly used in seats, and give a lower dome to the upholstery. Flat arc springs make a firm platform and are used particularly with reversible cushions in seats.

Eye

Chapter 9 PREPARATION OF MATERIAL

UK TERMS

gauge

Lengths should be found by fixing a spring at the bottom rail and pulling to the top rail, locating into the clip and adjusting until the suitable curve is found. This will give the length of the springs to be cut. Alternatively, measure the inside frame length and deduct 1in (25mm). This will give the cut length for an average seat strength.

Spacing of serpentine springs should fall between 4in (100mm) and 5in (125mm) centre to centre, with clips fixed at these centres. Link sizes will then be between 2 1 ⁄2in (63mm) and 33 ⁄8in (85mm).

Measuring spring lengths

UPHOLSTERY A complete course

Inside seat dimension

GAUGES AND SIZES FOR ZIGZAG BACK SPRINGS

A resilience spring cutter

Inside frame width Section through needle and thread

307

Arc height and cut length of springs

Bridling A stitch used to hold down and Chill The cast-iron jointing block mounted cloth. Made from cotton, stabilize first on the head and foot ends of a metal Rollplain-woven or piece Bolt of fabric scrim coverings, usually overStool Ottoman coated on one side with linseed oil and stuffings. A bridle stitch is a large running may be single Loose seat Slip seat Loose coverbedstead. A chill, which Slip cover other materials which made it waterproof. stitch, which penetrates and sets the depth or double, has a tapered slot and supports Cutting plan Cutting chart Ruching Gathering of stuffing. the angle-iron bed frame.

Antimacassar Border Detachable cover for the Boxing strip Tub chair Barrel chair backs of chairs and settees, originally used Buckram A material stiffened by the use of Chintz A fine calico 90 or 120cm wide, Fibre Moss Ruche Loop fringe as a protection against Macassar hair oil.

45 per cent weight of some agent such as size usually roller- or screen-printed and glazed Hessian Burlap Fluting Channeling or glue. Base cloths are usually jute or cotton. or semi-glazed; Quilter chintz: from an Armchair Armed or arming chair as Wadding Batting Bottoning Tufting Indian word meaning ‘brightly coloured’. distinguished from a single or side chair Bump A soft, woven interlining, similar to a Calico Muslin Wool felt Excelsior having no arms. lightweight blanket material. It is used mainly Circ A commonly used abbreviation for the Edge roll Stuffed roll Bottoming Cambric in soft furnishings as interlining for curtains, small circular needles used for hand-sewing Back stool An early single chair or side Piping cord Welt cord Ripping chisel Tack puller screens and wall coverings. The new ‘polysoft’ and slip-stitching of upholstery and soft chair which developed from the stool and Zigzag No sag Dug roll Frame edging interlinings are flame-retardant and are used furnishings. the chest. Later examples were upholstered.

Dished seat Sag seat Platform Seat front more widely in upholstery as flame-retardant Collar A strip of cover sewn into an inside Ball fringe A decorative trimming in Spring unit Marshall unit Slip stitching Back stitching barrier cloths. back to provide a pull-in around an arm. which small balls, overwound with fine Back spring Pillow spring Blind tacking Bun foot A turned, bun-shaped foot Back fittedtackingCosy corner A seat cord, hang at intervals among the long with a high upholstered Lashed Tiedto chairs and sofas – early twentieth century.

Double-cone springs Coil springs threads of the fringe. back which could be fitted into a corner and Regulator Stuffing skewer Fly Stretcher enable two or more people to sit together.

Calico A white or unbleached cotton fabric Balloon-back chair A name given to Gimp pins Gimpwith tacks Double piping Double cording no printed design.

Victorian chairs with round or oval backs, Couch A long upholstered seat with Valences Flounces Close nailing Nail trim mostly mahogany or rosewood, and a back and one or two ends; originally a Cambric A fine, plain-weave cotton fabric, upholstered seats. double armchair. often glazed on one side, and used as a downproof casing.

Bedford cord A strong, finely corded fabric Counterpane A bedcover concealing with a plain weave in which the cords run bedding.

Canapé The French name for a divan or sofa lengthwise. Often used as a platform cloth. of Louis XV period or design.

Cretonne Originating from the French Bergère Louis XIV- and XV-style armchairs village of Creton and traditionally a copperCane edge A sprung edge built on to a with upholstered backs and sides and squab roller printed cotton fabric. The term is now chair or bed using hourglass springs and cushion seats. Later designs often have cane more generally used to describe almost any a flexible cane. l l American Furniture in the Metropolitan Upholstery: A Practical Guide backs and sides. type of lighter-weight floral-printed cotton.

Canvas A strong, heavyweight, plainMuseum of Art Desmond Gaston (Collins) Binding A narrow fabric used to support weave fabric, traditionally made from Damask Figured Jacquard fabric, the weft Morrison Heckscher (Random House) l and Furnishings and finish an edge, such as a tape or a biasflax or cotton; also a term often used by Upholsterers forming theInterior design and the warp composed l cut strip. upholsterers to describe the first coveringin England of a 1530–1840 comparatively fine yarn making the Discovering English Furniture over webbings or springs.

John Bly (Shire) Geoffreybackground.

Baird (Yale University Press) Bolster arm Large upholstered arm in a bolster shape,ltypical of thePeriod late nineteenth Denier The weight in Europe grams of 9,000 metres l English Furniture Casement A plain-weave, even-textured, Upholstery in America and century. used of Cooke, filamentJr.yarn, e.g. silk.

Charles H. Hayward (Evans) lightweight all-cotton fabric, traditionally Edward S. (Norton) for sun curtains on south-facing windows.

Bouclé French name for a cloth with a Divan chair Fully upholstered armchair l l First Stages in Upholstery: Traditional Upholstery: the Complete Guide to rough-textured surface, produced by using with long seat, often with scroll arms; late Chair bed A low chair made from wood or Hand Made Hilary Clare (Warne) Professional Results a fancy yarn. nineteenth century. metal which is dual-function: the seat and Malcom Hopkins (New Holland) l Practical Upholstery back frames are completely adjustable for Border A long strip or wall of fabric used Dogs Large iron staples with sharpened Clarence (Evans Bros) use as a single bed, with a minimumlof three Upholstery Styles to form the sides or boxing Howes on ends, used to brace and strengthen timber Gillian Walkling (Quarto) cushions. l Practical Upholstery and theloose Cutting a cushion or mattress, for example. chair frames.

312

9

Soft, even layers of curled hair and cotton felt combine to make the top stuffings.

GAUGES AND SIZES FOR ZIGZAG SEAT SPRINGS

this is not very longFig when machines are used at high 12.15 speeds. A machinist ensures that stopping time is Fixings into tube frames. reduced to the minimum by making Kinked sure that fresh Cut end end bobbins are being refilled during sewing. Prewound bobbins can be purchased in quantity, which can save the machinist’s time. They are manufactured to suit all types of lock-stitch machines.

Chaise longue The French term for l a couch of Loose Covers Palmer (Benn) Which?Drop Way to Repairmeasurement, and Box ottoman A divan or couch withFrederick a A curtain taken

28.3495 0.03527 453.59 0.002204 0.45359 2.2046

A small, even, stitched edge is formed around the seat using one blind stitch and one row of top stitches. At the pre-marked button points the scrim is cut.

Chapter 20 UPHOLSTERY PROJECTS

Upholstery Terms Glossary

INCHES

1

7

A first stuffing of coir fibre or Algerian grass is strung in and teased to a good even thickness over the seat.

Long groove

THE BOBBIN

UK TERMS American cloth An early form of leather-

92

4

Blade

Bobbin capacity is the limit to which a lock-stitch machine will run, after which a fresh bobbin must be inserted before sewing can restart. Improved bobbin sizes will allow extra stitching time, but

168

Conversions

The long double-point bayonet needle with flax twine is used to pull in the centre button to half depth. Diamond pleats begin to form as the buttoning continues.

UPHOLSTERY A complete course

NEEDLES Fig 12.14 Needle sizes are also given above.

It is important Serpentine spring clips. to relate thread size to needle size. In successful stitching much depends on finding a proper balance between the two. No matter how suitable a thread may be for an application, if the needle being used is too small, the thread cannot pass freely through the eye, or down the long groove.

Two-hole staple fixing This may result in fraying and weak seams. Too large a needle produces poor loop formation and causes missed stitches. It is always advisable to keep needle sizes as fine as possible, yet ensuring a free flow of needle thread. This helps to reduce damage to the fabric, and the likelihood of puckering. The sizes shown are a general A toughened guide only and manufacturers will advise and quick-fixing clip recommend on the use of particular products.

Fig 9.23 shows the thread path through a needle and details of needle construction. The range of needle sizes for use in upholstery sewingClip is generally set to inside edge from size 17 up to size 23. The approximate metric allowing good spring clearance equivalents are size 100 up to size 150. The higher numbers denote the heavier needles.

UPHOLSTERY A complete course

8

10oz or 12oz hessian is fixed and turned to form a tight covering over the webbings. Chamfered outer edges are kept clear. Bridle ties are then looped into the new hessian.

6

1

Fine 7oz scrim is temporary-tacked and tied down over the stuffing. The corners are folded back and cut around the two back legs.

Castle Howard, York

l Chirk Castle, North Wales l Dunrobin Castle, Golspie, Sutherland l Geffrye Museum, London l Ham House, Surrey

309

l Heaton Hall, Manchester

l

l Kew Palace, London

l Temple Newsam, Leeds

l Knole House, Kent

l Victoria and Albert

l Parnham House, Dorset l Royal Pavilion, Brighton l Scone Palace, Perth

St Fagans, South Wales

Museum, London

l Waddesdon Manor,

Buckinghamshire

USEFUL ADDRESSES

313

309

lynnelanningdesign@ @gmail.com

lynne lanning d e s i g n & a r t d i re c ti o n K N I T T E D

MENAGERIE

K N I T T E D

MENAGERIE

30 A DOR A BLE CR E ATUR E S TO K NIT

Sarah Keen is passionate about knitting, finding it relaxing and therapeutic. She discovered her love of the craft at a very early age – her mother taught her to knit when she was just four years old. Sarah now works as a freelance pattern designer, and has written numerous books for GMC Publications, including Knitted Cars and Trucks, Knitted Space, Knitted Wild Animals, Knitted Farm Animals, Knitted Safari and Knitted Fairy Tales.

30 A DOR A BLE CR E ATUR E S TO K NIT

Sarah Keen

SA R A H K EEN

COVER FOR REF ONLY

£16.99 US$26.99

09/12/2022 13:01

001-017-Knitted Menagerie-front section-LL.indd 2-3

09/12/2022 14:07

GMC PUBLICATIONS CLOCKWISE FROM TOP LEFT

LEFT TO RIGHT

ANGEL FISH » 150 OCTOPUS » 114 SEAHORSE » 68 LOBSTER » 76 BLUE WHALE » 90

8

ORANGUTAN WITH INFANT » 22 LLAMA » 40 SLOTH » 48 GUINEA PIG WITH PUPS » 58

9

K N I T T ED M EN AG ER I E

001-017-Knitted Menagerie-front section-LL.indd 8-9

09/12/2022 14:14

INDEX

First published 2022 by Guild of Master Craftsman Publications Ltd, Castle Place, 166 High Street, Lewes, East Sussex BN7 1XU Text © Sarah Keen, 2022 Copyright in the Work © GMC Publications Ltd, 2022 ISBN 978-1-78494-616-6 All rights reserved The right of Sarah Keen to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, sections 77 and 78.

No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means without the prior permission of the publisher and copyright owner.

This book is sold subject to the condition that all designs are copyright and are not for commercial reproduction without the permission of the designer and copyright owner.

While every effort has been made to obtain permission from the copyright holders for all material used in this book, the publishers will be pleased to hear from anyone who has not been appropriately acknowledged and to make the correction in future reprints.

The publishers and author can accept no legal responsibility for any consequences arising from the application of information, advice or instructions given in this publication.

A catalogue record for this book is available from the British Library.

Publisher Jonathan Bailey Production Jim Bulley Senior Project Editor Virginia Brehaut Pattern Checker Jude Roust Design Manager Robin Shields Designer Lynne Lanning Photographer Andrew Perris Illustrator Rhiann Bull Colour origination by GMC Reprographics Printed and bound in China

Acknowledgements Special thanks to the manager, Cynthia, of Clare Wools Aberystwyth, for her wonderful shop and all her wonderful wool, www.clarewools.co.uk; for the scores of yarns stocked, and her assistance in selecting only the best for each design to complete this book.

And, of course, her squeal of delight on seeing each new design knitted up!

Also, thanks to family and friends for their enthusiasm and enjoyment of the designs as they were completed.

And a huge thanks to all the team at GMC for making this book possible.

Dedicated to Cynthia and Helen, from my local Wool Shop.

Index A

aftercare abbreviations Angel Fish

B

backstitch Beaver Blue Jay Blue Whale Bumblebee

162, 163 64 98 90 102

C

casting on long tail method two-needle casting off chain stitch conversions

D

decreasing Duck-Billed Platypus Dragonfly

E

embroidery Elephant with Calf

F

finishing touches Fire Ant Fox

G

garter stitch Grasshopper Guinea Pig with Pups

166

162 164 150

Hedgehog with Hoglets

I

increasing intarsia

K

Kangaroo with Joey knitting on stitches knit stitch

L 156 160 161 163 165

160 80 132

163 28

163 110 44

159 140 58

Lizard Guinea Pig with Pups Llama Lobster Lovebirds

M

making-up instructions mattress stitch Meerkat with Pups moss stitch

O

Octopus over-sewing Orangutan with Infant Owl with Owlets

P

purl stitch Puffin with Puffling

R

reverse stocking stitch rib Red-Kneed Tarantula

106

160 161

34 160 157

18 136 40 76 128

162 162 144 159

114 162 22 118

T

techniques tension terminology Tropical Tree Frog twisted cord

W

Walrus

154–163 155 165 124 163

72

Y

yarn buying 155 threading through stitches 162

158 84

159 159 94

167

K N I T T ED M EN AG ER I E

154-168-Knitted Menagerie-techniques.indd 166-167

H

To order a book, contact: GMC Publications Ltd Castle Place, 166 High Street, Lewes, East Sussex, BN7 1XU United Kingdom Tel: +44 (0)1273 488005 S www.gmcbooks.com safety 155 satin stitch 163 Seahorse 68 shaping 160 slip knot 156 Sloth 48 special instructions 162 stem stitch 163 stitches embroidery 163 knitting 157–9 stocking stitch 159 straight stitch 163 stuffing 162 Swan with Cygnets 52

Knitted Menagerie Free reign to choose images and design the interior pages using sample templates as a guide. The pattern copy pages needed to fit and have cut out shots on each spread, yet still maintain a nicely designed feel. The ‘Techniques Section’ had to be clear and easy to follow, supplemented with cut out images of the knitted animals on each page

154-168-Knitted Menagerie-techniques.indd 168

09/12/2022 15:22 15:23 09/12/2022

lynnelanningdesign@ @gmail.com

Book design ORANGUTAN WITH INFANT

ORANGUTAN WITH INFANT

How to make Orangutan Body

Orangutan with Infant

Using the long tail method and yarn A, cast on 32 sts and place a marker at centre of cast-on edge.

Row 1 and foll 4 alt rows: Purl.

Row 2: *K5, (m1, k2) 4 times, k3; rep from * once (40 sts).

Row 4: *K7, (m1, k2) 4 times, k5; rep from * once (48 sts).

Row 6: *K9, (m1, k2) 4 times, k7; rep from * once (56 sts).

Row 8: *K11, (m1, k2) 4 times, k9; rep from * once (64 sts).

Row 10: *K13, (m1, k2) 4 times, k11; rep from * once (72 sts).

Rows 11 to 29: Work 19 rows in st-st.

Row 30: K16, (k2tog) twice, k32, (k2tog) twice, k16 (68 sts).

Rows 31 to 33: Work 3 rows in st-st.

Row 34: K15, (k2tog) twice, k30, (k2tog) twice, k15 (64 sts).

Rows 35 to 37: Work 3 rows in st-st.

Row 38: K14, (k2tog) twice, k28, (k2tog) twice, k14 (60 sts).

Rows 39 to 41: Work 3 rows in st-st.

Row 42: K13, (k2tog) twice, k26, (k2tog) twice, k13 (56 sts).

Rows 43 to 45: Work 3 rows in st-st.

Row 46: K12, (k2tog) twice, k24, (k2tog) twice, k12 (52 sts).

Rows 47 to 49: Work 3 rows in st-st.

Row 50: K11, (k2tog) twice, k22, (k2tog) twice, k11 (48 sts).

Row 51: Purl.

Row 52: K22, cast off 4 sts (23 sts now on RH needle) k21 (44 sts).

Row 53: P20, p2tog, turn and work on these 21 sts.

Row 54: K2tog, k to end (20 sts).

Row 55: Purl.

Rows 56 and 57: Rep rows 54 and 55 once (19 sts).

Information you’ll need Materials

Any DK (US: light worsted) yarn (amounts given are approximate) Yarn A orange (80g) Yarn B dark brown (10g) Yarn C beige (5g) Oddment of black for embroidery 1 pair of 3.25mm (UK10:US3) needles Knitters’ pins and a blunt-ended needle for sewing up Tweezers (optional) Acrylic toy stuffing 6 chenille stems

24

Row 58: (K2tog, k2) 3 times, k7 (16 sts).

Row 59: Purl.

Row 60: K2, (k2tog) 4 times, k6 (12 sts).

Row 61: P4, (p2tog) 4 times (8 sts).

Cast off.

Row 62: Rejoin yarn to rem sts, p2tog, p to end (21 sts).

Row 63: K to last 2 sts, k2tog (20 sts).

Row 64: Purl.

Rows 65 and 66: Rep rows 63 and 64 once (19 sts).

Row 67: K9, (k2tog, k2) twice, k2tog (16 sts).

Row 68: Purl.

Row 69: K6, (k2tog) 4 times, k2 (12 sts).

Row 70: (P2tog) 4 times, p4 (8 sts).

Cast off.

Head

Using the long tail method and yarn A, cast on 9 sts.

Row 1 and foll 2 alt rows: Purl.

Row 2: K1, (m1, k1) to end (17 sts).

Row 4: K1, (m1, k2) to end (25 sts).

Row 6: K1, (m1, k3) to end (33 sts).

Rows 7 to 9: Work 3 rows in st-st.

Row 10: K1, (m1, k4) to end (41 sts).

Rows 11 to 25: Work 15 rows in st-st.

Row 26: K1, (k2tog, k3) to end (33 sts).

Row 27 and foll 2 alt rows: Purl.

Row 28: K1, (k2tog, k2) to end (25 sts).

Row 30: K1, (k2tog, k1) to end (17 sts).

Row 32: K1, (k2tog) to end (9 sts).

Break yarn and thread through sts on needle, pull tight and secure by threading yarn a second time through sts.

Muzzle

Using the long tail method and yarn B, cast on 28 sts.

Row 1: Purl.

Row 2: K4, (m1, k4) to end (34 sts).

Rows 3 to 5: Work 3 rows in st-st.

Legs (make 2)

Row 6: *K3, (k2tog, k1) 4 times, k2; rep from * once (26 sts).

Row 7 and foll alt row: Purl.

Row 8: *K2, (k2tog) twice, k1, (k2tog) twice, k2; rep from * once (18 sts).

Row 10: (K2tog) to end (9 sts).

Break yarn and thread through sts on needle, pull tight and secure by threading yarn a second time through sts.

Face piece

Using the long tail method and yarn B, cast on 12 sts.

Row 1: Purl.

Row 2: K1, m1, k10, m1, k1 (14 sts).

Rows 3 to 7: Beg with a p row, work 5 rows in st-st.

Row 8: (K2tog) twice, k6, (k2tog) twice (10 sts).

Row 9: Purl.

Row 10: (K2tog) to end (5 sts).

Row 11: Purl.

Break yarn and thread through sts on needle, pull tight and secure by threading yarn a second time through sts.

Ears (make 2)

Using the long tail method and yarn A, cast on 12 sts.

Rows 1 to 3: Beg with a p row, work 3 rows in st-st.

Row 4: (K2tog) to end (6 sts).

Break yarn and thread through sts on needle, pull tight and secure by threading yarn a second time through sts.

Using the long tail method and yarn A, cast on 11 sts.

Row 1: Purl.

Row 2: K1, (m1, k1) to end (21 sts).

Rows 3 to 21: Beg with a p row, work 19 rows in st-st.

Place a marker on first and last st of last row and on centre stitch and keep markers on RS. Rows 22 to 27: Work 6 rows in st-st.

Row 28: K1, k2tog, k5, k2tog, k1, k2tog, k5, k2tog, k1 (17 sts).

Rows 29 to 41: Work 13 rows in st-st.

Row 42: K2tog, (k1, k2tog) to end (11 sts).

Row 43: Purl.

Cast off.

Feet (make 2)

Using the long tail method and yarn B, cast on 12 sts.

Row 1 and foll alt row: Purl.

Row 2: (K1, m1, k4, m1, k1) twice (16 sts).

Row 4: (K1, m1, k6, m1, k1) twice (20 sts).

Rows 5 to 11: Work 7 rows in st-st.

Shape big toe: Row 12: K6, (k2tog) 4 times, k6 (16 sts).

Row 13: P7, p2tog, p7 (15 sts).

Rows 14 to 17: Work 4 rows in st-st.

Row 18: K1, (k2tog) 3 times, k1, (k2tog) 3 times, k1 (9 sts) Row 19: Purl.

Break yarn and thread through sts on needle, pull tight and secure by threading yarn a second time through sts.

Row 18: K8, w1 (see special abbreviation), turn.

Row 19: S1p, p to end.

Row 20: K7, w1, turn.

Row 21: S1p, p to end.

Row 22: K6, w1, turn.

Row 23: S1p, p to end.

Row 24: K5, w1, turn.

Row 25: S1p, p to end.

Row 26: K4, w1, turn.

Row 27: S1p, p to end.

Row 28: K3, w1, turn.

Row 29: S1p, p to end.

Row 30: K across all sts.

Row 31: P8, w1, turn.

Row 32: S1k, k to end.

Row 33: P7, w1, turn.

Row 34: S1k, k to end.

Row 35: P6, w1, turn.

Row 36: S1k, k to end.

Row 37: P5, w1, turn.

Row 38: S1k, k to end.

Row 39: P4, w1, turn.

Row 40: S1k, k to end.

Row 41: P3, w1, turn.

Row 42: S1k, k to end.

Rows 43 to 53: Work 11 rows in st-st.

Row 54: K1, k2tog, k13, k2tog, k1 (17 sts).

Row 55: Purl.

Row 56: K2tog, (k1, k2tog) to end (11 sts).

Row 57: Purl.

Cast off.

Arms (make 2)

Using the long tail method and yarn A, cast on 10 sts.

Row 1: Purl.

Row 2: K1, (m1, k1) to end (19 sts).

Rows 3 to 17: Beg with a p row, work 15 rows in st-st.

25

K N I T T ED M EN AG ER I E

018-067-Knitted Menagerie-patterns-LL.indd 24-25

09/12/2022 14:31

ORANGUTAN WITH INFANT

Finished size

Orangutan measures 13in (33cm) high Infant measures 4in (10cm) high

Making up Orangutan

Legs and feet

Fold cast-on stitches of legs in half and oversew. Sew up side edges of legs from cast-on stitches to markers. Stuff upper legs and sew a running stitch at knee from markers at side to marker in the middle and back to the side again.

Finish sewing up side edges leaving a gap, stuff and sew up gap. Fold cast-on stitches of feet in half and oversew.

Sew up side edges of feet leaving a gap, stuff and sew up gap. Sew feet to legs with big toes pointing inwards.

Sew legs to body.

Note: Sew up all row-end seams on right side using mattress stitch one stitch in from the edge, unless otherwise stated; a one-stitch seam allowance has been allowed for this.

Tension

26 sts x 34 rows measure 4in (10cm) square over st-st using 3.25mm needles and DK yarn before stuffing, or needles to give correct tension.

Body and head

Sew up side edges of body, bring marker and seam together at base and oversew cast-on stitches.

Leaving neck open, stuff body. Gather round caston stitches of head, pull tight and sew up side edges of head leaving a gap. Stuff head and sew up gap. Place head into top of body and pin cast-on stitches to centre of chest. Sew head to body making a short horizontal stitch from head then a short horizontal stitch from body and do this alternately all the way round.

Abbreviations See page 164

Special abbreviation

w1 – wrap 1 stitch: take yarn between needles to opposite side, slip one stitch pwise from LH needle to RH needle and take yarn back between the needles to first side.

Arms and hands

Fold cast-off stitches of arms in half and oversew. Sew up side edges of arms from stitches pulled tight on a thread to elbow, and stuff this part. Finish sewing up side edges of arms leaving a gap, stuff and sew up gap. Sew up side edges of hands, bend a double chenille stem into a ‘u’ shape and insert into each hand. Cut excess chenille stem and sew hands to ends of arms.

Sew top of arms to body at either side.

Muzzle

Sew up side edges of muzzle and stuff.

Pin and sew muzzle to lower half of head at centre front.

Face piece

Sew face piece to head, sitting it on top of muzzle using back stitch around outside edge.

Sew up row ends of ears and sew ears to sides of head.

Features

23

K N I T T ED M EN AG ER I E

Using picture as a guide, mark position of eyes with two pins and embroider eyes in black making a vertical chain

26

018-067-Knitted Menagerie-patterns-LL.indd 22-23

09/12/2022 14:29

How to make Infant Orangutan Body and head

Using the long tail method and yarn A, cast on 9 sts.

Row 1 and foll alt row: Purl.

Row 2: K1, (m1, k1) to end (17 sts).

Row 4: K1, (m1, k2) to end (25 sts).

Rows 5 to 13: Work 9 rows in st-st.

Row 14: K4, (k2tog) 3 times, k5, (k2tog) 3 times, k4 (19 sts).

Rows 15 to 17: Work 3 rows in st-st.

Row 18: K1, (k2tog, k1) to end (13 sts).

Row 19: Purl.

Row 20: (K1, m1, k3, m1) 3 times, k1 (19 sts).

Rows 21 to 27: Work 7 rows in st-st.

Row 28: K1, (k2tog, k1) to end (13 sts).

Row 29: Purl.

Row 30: K1, (k2tog, k1) to end (9 sts).

Break yarn, thread through sts on needle and leave loose.

Face piece

Using the long tail method and yarn C, cast on 12 sts.

Row 1: Purl.

Row 2: K2, (k2tog) 4 times, k2 (8 sts).

Row 3: P2, (p2tog) twice, p2 (6 sts).

Break yarn and thread through sts on needle, pull tight and secure by threading yarn a second time through sts.

Muzzle

Using the long tail method and yarn C, cast on 14 sts.

Rows 1 to 3: Beg with a p row, work 3 rows in st-st.

Row 4: K1, (k2tog) 6 times, k1 (8 sts).

Break yarn and thread through sts on needle, pull tight and secure by threading yarn a second time through sts.

Ears

22

Hands (make 2)

Using the long tail method and yarn B, cast on 12 sts.

Rows 1 to 7: Beg with a p row, work 7 rows in st-st.

Row 8: (K1, k2tog) twice, (k2tog, k1) twice (8 sts).

Row 9: Purl.

Break yarn and thread through sts on needle, pull tight and secure by threading yarn a second time through sts.

stitch for each eye, then a second chain stitch on top of first. Embroider two nostrils in black using straight stitches and mouth in black using stem stitch (see page 163 for how to begin and fasten off invisibly for the embroidery).

Ears (make 2)

Muzzle

Arms and legs (make 4)

Using picture as a guide, mark position of eyes with two pins and embroider eyes in black making a chain stitch for each eye. Make a small straight stitch for nose and embroider mouth using stem stitch (see page 163 for how to begin and fasten off the embroidery invisibly).

Using the long tail method and yarn A, cast on 8 sts.

Break yarn and thread through sts on needle, pull tight and secure by threading yarn a second time through sts.

Using the long tail method and yarn A, cast on 12 sts.

Rows 1 to 3: Beg with a p row, work 3 rows in st-st.

Row 4: K2tog, k8, k2tog (10 sts).

Rows 5 to 9: Work 5 rows in st-st.

Row 10: K2tog, k6, k2tog (8 sts).

Rows 11 to 13: Work 3 rows in st-st.

Rows 14 to 17: Change to yarn C and work 4 rows in st-st.

Break yarn and thread through sts on needle, pull tight and secure by threading yarn a second time through sts.

Making up Infant Orangutan Note: Sew up all row-end seams on right side using mattress stitch one stitch in from the edge, unless otherwise stated; a one-stitch seam allowance has been allowed for this.

Sew up row ends of muzzle and place a small ball of stuffing into muzzle with tweezers or tip of scissors. Pin and sew muzzle to lower half of face.

Features

Ears

Sew ears to sides of head.

Arms and legs

Fold a chenille stem in half for each arm and leg and place folded end into stitches pulled tight on a thread. Sew up row ends of arms and legs enclosing chenille stems inside. Cut chenille stems to length of arms and legs and sew arms and legs to Infant Orangutan. Bend arms and legs.

Body and head

Gather round cast-on stitches of body, pull tight and secure. Sew up row ends of body and head and stuff body and head. Pull stitches on a thread tight at top of head and fasten off.

Face piece

Place face piece on face and sew all edges down.

27

K NIT TED M EN AGER IE

018-067-Knitted Menagerie-patterns-LL.indd 26-27

09/12/2022 14:33

SWAN WITH CYGNETS

Swan with Cygnets

TECHNIQUES

Information you’ll need

Shaping

Materials

Any DK (US: light worsted) yarn (amounts given are approximate) Yarn A white (130g) Yarn B black (5g) Yarn C orange (5g) Yarn D dark grey (20g) Yarn E silver grey (70g) Oddment of black for embroidery 1 pair of 3.25mm (UK10:US3) needles and spare needle of same size Knitters’ pins and a blunt-ended needle for sewing up Tweezers (optional) Acrylic toy stuffing

Increasing k2tog

M1 Make a stitch by picking up the horizontal loop between the needles and placing it onto the left-hand needle.

Now knit into the back of it to twist it on a knit row, or purl into the back of it on a purl row.

Finished size

Swan measures 12in (30.5cm) high Cygnets measure 3½in (9cm) high

Tension

26 sts x 34 rows measure 4in (10cm) square over st-st using 3.25mm needles and DK yarn before stuffing, or needles to give correct tension.

Abbreviations See page 164

Special abbreviation

w1 – wrap 1 stitch: take yarn between needles to opposite side, slip one stitch pwise from LH needle to RH needle and take yarn back between the needles to first side.

Decreasing 52

53

K NIT TED MEN AGER IE

018-067-Knitted Menagerie-patterns-LL.indd 52-53

To decrease a stitch, simply knit two stitches together to make one stitch out of the two stitches, or if the instructions say k3tog, then knit three stitches together to make one out of the three stitches.

09/12/2022 14:55

SWAN WITH CYGNETS

Rows 24 to 55: Rep rows 22 and 23, 16 times more.

Row 56: K5, (p1, k5) 5 times, cast off 6 sts kwise and fasten off (35 sts).

Row 57: Rejoin yarn to rem sts and k5, (s1p, k5) to end.

Row 58: K5, (p1, k5) to end.

Row 59: K5, (s1p, k5) to end.

Rows 60 to 65: Rep rows 58 and 59, 3 times more. **Row 66: Cast off 6 sts kwise, k4, (p1, k5) 3 times, cast off rem 6 sts and fasten off (23 sts).

Row 67: Rejoin yarn to rem sts and k5, (s1p, k5) to end.

Row 68: K5, (p1, k5) to end.

Row 69: K5, (s1p, k5) to end.

Rows 70 to 75: Rep rows 68 and 69, 3 times more.

Row 76: Cast off 6 sts, k4, p1, k5, cast off rem 6 sts and fasten off (11 sts).

Row 77: Rejoin yarn to rem sts and k5, s1p, k5.

Row 78: K5, p1, k5.

Row 79: K5, s1p, k5.

Rows 80 to 85: Rep rows 78 and 79, 3 times more.

Cast off.

Left wing Using the long tail method and yarn A, cast on 15 sts and beg in g-st.

Row 1: Knit.

Row 2: K1, m1, k to last st, m1, k1 (17 sts).

Rows 3 to 20: Rep rows 1 and 2, 9 times more (35 sts).

56

Row 21: K5, (m1, k5) to end (41 sts).

Row 22: K5, (p1, k5) to end.

Row 23: K5, (s1p, k5) to end.

Rows 24 to 55: Rep rows 22 and 23, 16 times more.

Row 56: Cast off 6 sts kwise k4, (p1, k5) 5 times, (35 sts).

Row 57: K5, (s1p, k5) to end.

Row 58: K5, (p1, k5) to end.

Rows 59 to 65: Rep rows 57 and 58, 3 times more then row 57 once.

Rows 66 to 85: Work from ** to end, as for right wing.

Cast off.

Making up Swan Note: Sew up all row-end seams on right side using mattress stitch one stitch in from the edge, unless otherwise stated; a one-stitch seam allowance has been allowed for this.

K N IT T ED M EN AG ER IE

018-067-Knitted Menagerie-patterns-LL.indd 56-57

Body, neck, head and base

Sew up side edges of head and neck and stuff. Sew across back, around tail and down to markers. Stuff body, pin on base and sew around base keeping base flat.

Beak and features

Sew up side edges of beak and stuff beak. Pin and sew beak to front of head pointing downwards. Using picture as a guide, embroider eyes in black making a vertical chain stitch for each eye, then two chain stitches on top of first (see page 163 for how to begin and fasten off the embroidery invisibly).

Legs and webbed feet

Sew up cast-on and cast-off stitches of legs and stuff. Place wrong sides of two pieces of webbed feet together matching all edges and oversew around outside edge. Repeat for second foot and pin and sew straight row ends of legs to feet with legs pointing inwards.

Sew shaped edges of both legs to body low down.

Wings

Oversew top edge of wings together and lightly stuff top of wings. Pin wings to sides of Swan and sew in place.

How to make Cygnets Body

Using the long tail method and yarn E, cast on 20 sts and work in g-st.

Row 1 and foll 2 alt rows: Knit.

Row 2: *K2, (m1, k2) 4 times; rep from * once (28 sts).

Row 4: *(K2, m1) twice, k6, (m1, k2) twice; rep from * once (36 sts).

Row 6: *(K2, m1) twice, k10, (m1, k2) twice; rep from * once (44 sts).

Rows 7 to 26: Work 20 rows in g-st.

Row 27: K15, (k2tog, k2) 4 times, k to end (40 sts).

Row 28: Knit.

Row 29: K13, (k2tog, k2) 4 times, k to end (36 sts).

Row 30: K8, cast off 20 sts (9 sts on RH needle), k to end (16 sts).

Row 31: K8, turn and work on these 8 sts.

Row 32: K2tog, k6 (7 sts).

Row 33: K5, k2tog (6 sts).

Row 34: K2tog, k4 (5 sts).

Row 35: K3, k2tog (4 sts).

Cast off in g-st.

Row 36: Rejoin yarn to rem sts and k to end (8 sts).

Row 37: K6, k2tog (7 sts).

Row 38: K2tog, k5 (6 sts).

Row 39: K4, k2tog (5 sts).

Row 40: K2tog, k3 (4 sts).

Cast off in g-st.

Head

Using the long tail method and yarn E, cast on 24 sts and work in g-st.

Row 1: Knit.

Row 2: K2, (m1, k4) to last 2 sts, m1, k2 (30 sts).

Rows 3 to 14: Work 12 rows in g-st.

Row 15: (K2tog, k1) to end (20 sts).

Row 16 and foll alt row: Knit.

Row 17: (K2tog) to end (10 sts).

Row 19: (K2tog) to end (5 sts).

Break yarn and thread through sts on needle, pull tight and secure by threading yarn a second time through sts.

Wings (make 2)

Using the long tail method and yarn E, cast on 10 sts and work in g-st.

Row 1: Knit.

Row 2: K2, (m1, k2) to end (14 sts).

Rows 3 to 8: Work 6 rows in g-st.

Row 9: K2tog, k to last 2 sts, k2tog (12 sts).

Row 10: Knit.

Rows 11 to 16: Rep rows 9 and 10, 3 times more (6 sts).

Row 17: (K2tog) to end (3 sts).

Break yarn and thread through sts on needle, pull tight and secure by threading yarn a second time through sts.

Webbed feet (make 2)

Using the long tail method and yarn D, cast on 17 sts.

Row 1: Purl.

Row 2: K3tog, k4, k3tog, k4, k3tog (11 sts).

Row 3: P3tog, p1, p3tog, p1, p3tog (5 sts).

Row 4: K1, m1, k3, m1, k1 (7 sts).

Rows 5 to 7: Work 3 rows in st-st.

Break yarn and thread through sts on needle, pull tight and secure by threading yarn a second time through sts.

Kfb Make a stitch on a knit row by knitting into the front then back of the next stitch. To do this, simply knit into the next stitch but do not slip it off.

Take the point of the right-hand needle around and knit again into the back of the stitch before removing the loop from the left-hand needle. You now have made two stitches out of one.

Knitting on stitches

1

(or two-needle casting on) 1

Insert the right-hand needle from front to back between the first and second stitches on the left-hand needle and wrap the yarn around the tip of the right-hand needle from back to front.

2

Slide the right-hand needle through to the front to catch the new loop of yarn.

3

Place the new loop of yarn onto the left-hand needle, inserting the left-hand needle from front to back.

Repeat this process until you have reached the required number of cast-on stitches.

Intarsia 2

Making up Cygnets

Body

Fold cast-off stitches in half and sew up.

Oversew side edges and stuff Cygnet pushing a small ball of stuffing into tail.

Fold cast-on stitches in half and oversew.

Sew up side edges and stuff head. Pin and sew head to body.

Beak and features

Sew up side edges of beak and stuff beak, pushing stuffing into beak with tweezers or tip of scissors. Using picture as a guide, sew beak to head. Mark position of eyes with two pins and embroider eyes in black making a vertical chain stitch for each eye, then a second chain stitch on top of first (see page 163 for how to begin and fasten off invisibly for the embroidery).

Knit two stitches onto the righthand needle, then slip the first stitch over the second and let it drop off the needle. One stitch remains on the needle.

2

Knit another stitch so you have two stitches on the right-hand needle again.

Repeat the process until only one stitch is left on the left-hand needle. Break the yarn, thread it through the remaining stitch and pull tight to fasten off.

At the end of a knit row, if these are the very last two stitches in the row, then knit together through the back of the loops.

Head

1

1

3

At the beginning of a knit row and throughout the row, k2tog by knitting two stitches together through the front of the loops (as shown above).

Note: Sew up all row-end seams on right side using mattress stitch one stitch in from the edge, unless otherwise stated; a one-stitch seam allowance has been allowed for this.

Blocks of colour are worked using the intarsia technique. Twist the two different yarns together at the back of the work with each colour change to prevent holes appearing. Once finished, weave in ends at the back of the work.

Casting off

To achieve a neat appearance to your finished work, this is done as follows:

Beak

Using the long tail method and yarn D, cast on 13 sts.

Rows 1 to 3: Beg with a p row, work 3 rows in st-st.

Row 4: K2tog, k to last 2 sts, k2tog (11 sts).

Row 5: Purl.

Row 6: K1, (k2tog) twice, k1, (k2tog) twice, k1 (7 sts).

Row 7: Purl.

Break yarn and thread through sts on needle, pull tight and secure by threading yarn a second time through sts.

Two methods are used in this book for increasing the number of stitches: m1, and kfb.

2

At the beginning of a purl row, if these are the very first stitches in the row, then purl together through the back of the loops. Purl two together along the rest of the row through the front of the loops.

Wings

Fold wings and sew up side edges and across cast-on stitches. Sew wings to sides leaving tips free.

Webbed feet

Sew up side edges of feet and with this seam at centre of underneath, sew across cast-on stitches. Sew feet to sides of Cygnet.

57

160

161

K N I T T ED M EN AG ER I E

09/12/2022 14:58

154-168-Knitted Menagerie-techniques.indd 160-161

09/12/2022 15:19

ELEPHANT WITH CALF

ELEPHANT WITH CALF

How to make Elephant Body

Right side Using the long tail method and yarn A, cast on 38 sts.

Row 1 and foll 2 alt rows: Purl.

Row 2: (K2, m1) twice, k30, (m1, k2) twice (42 sts).

Row 4: (K2, m1) twice, k34, (m1, k2) twice (46 sts).

Row 6: (K2, m1) twice, k38, (m1, k2) twice (50 sts).

Rows 7 to 29: Work 23 rows in st-st.** Row 30: Cast off 4 sts kwise, k to end (46 sts).

Row 31: Purl.

Row 32: K2tog, k to end (45 sts).

Row 33: P to last 2 sts, p2tog (44 sts).

Rows 34 to 37: Rep rows 32 and 33 twice more (40 sts).

Rows 38 to 39: Work 2 rows in st-st.

Row 40: K to last 2 sts, k2tog (39 sts).

Row 41: Purl.

Row 42: As row 40 (38 sts).

Row 43: P2tog, p to end (37 sts).

Row 44: K to last 2 sts, k2tog (36 sts).

Rows 45 and 48: Rep rows 43 and 44 twice more (32 sts).

Row 49: Cast off 4 sts pwise, p to end (28 sts).

Row 50: Knit.

Rows 51 to 60: Rep rows 49 and 50, 5 times more (8 sts).

Cast off pwise.

Left side Work as for right side from beg to **.

Row 30: K46, cast off rem 4 sts and fasten off (46 sts).

Row 31: Rejoin yarn to rem sts and p 1 row.

Row 32: K to last 2 sts, k2tog (45 sts).

Elephant with Calf Information you’ll need Materials

Any DK (US: light worsted) yarn (amounts given are approximate) Yarn A grey (140g) Yarn B white (5g) Oddment of black for embroidery 1 pair of 3.25mm (UK10:US3) needles Knitters’ pins and a blunt-ended needle for sewing up Tweezers (optional) Acrylic toy stuffing 2 chenille stems

30

Row 33: P2tog, p to end (44 sts).

Rows 34 to 37: Rep rows 32 and 33 twice more (40 sts).

Rows 38 and 39: Work 2 rows in st-st.

Row 40: K2tog, k to end (39 sts).

Row 41: Purl.

Row 42: As row 40 (38 sts).

Row 43: P to last 2 sts, p2tog (37 sts).

Row 44: K2tog, k to end (36 sts).

Rows 45 to 48: Rep rows 43 and 44 twice more (32 sts).

Row 49: Purl.

Row 50: Cast off 4 sts, k to end (28 sts).

Row 51: Purl.

Rows 52 to 61: Rep rows 50 and 51, 5 times more (8 sts) Cast off.

Trunk and head

Using the long tail method and yarn A, cast on 20 sts.

Row 1 and foll alt row: Purl.

Row 2: (K1, m1, k8, m1, k1) twice (24 sts).

Row 4: (K1, m1, k10, m1, k1) twice (28 sts).

Rows 5 to 9: Beg with a p row, work 5 rows in st-st.

Row 10: Cast off 6 sts (1 st now on RH needle), k6, m1, k2, m1, k7, cast off 6 rem sts and fasten off.

Row 11: Rejoin yarn to rem sts and p to end (18 sts).

Row 12: K1, m1, k to last st, m1, k1 (20 sts).

Rows 13 to 45: Beg with a p row, work 33 rows in st-st.

Row 46: (K1, m1) 4 times, k12, (m1, k1)

4 times (28 sts).

Row 47 and foll 3 alt rows: Purl.

Row 48: (K2, m1) 4 times, k12, (m1, k2) 4 times (36 sts).

Row 50: (K3, m1) 4 times, k12, (m1, k3) 4 times (44 sts).

Row 52: (K4, m1) 4 times, k12, (m1, k4) 4 times (52 sts).

Row 54: (K5, m1) 4 times, k12, (m1, k5) 4 times (60 sts).

Rows 55 to 79: Work 25 rows in st-st.

Row 80: (K2tog, k4) to end (50 sts).

Row 81 and foll 3 alt rows: Purl.

Row 82: (K2tog, k3) to end (40 sts).

Row 84: (K2tog, k2) to end (30 sts).

Row 86: (K2tog, k1) to end (20 sts).

Row 88: (K2tog) to end (10 sts).

Break yarn and thread through sts on needle, pull tight and secure by threading yarn a second time through sts.

Legs (make 2 right legs and 2 left legs following individual instructions)

Using the long tail method and yarn A, cast on 10 sts.

Row 1 and foll 2 alt rows: Purl.

Row 2: K1, (kfb) to end (19 sts).

Row 4: K1, (kfb, k1) to end (28 sts).

Row 6: K9, (m1, k2) 6 times, k7 (34 sts).

Rows 7 to 10: Work 4 rows in st-st ending on a k row.

Row 11: P11, (p2tog) 6 times, p11 (28 sts).

Rows 12 to 29: Work 18 rows in st-st.

Row 30 For right leg: K24, w1 (see special abbreviation), turn.

Row 30 For left leg: K14, w1, turn.

Row 31: S1p, p10, w1, turn.

Row 32: S1k, k8, w1, turn.

Row 33: S1p, p6, w1, turn.

Row 34: S1k, k to end.

Row 35: Purl.

Cast off.

Ears (make 2)

Using the long tail method and A, cast on 16 sts.

Row 1 and foll 3 alt rows: Purl.

Row 2: *(K1, m1) twice, k4, (m1, k1) twice; rep from * once (24 sts).

Row 4: *(K1, m1) twice, k8, (m1, k1) twice; rep from * once (32 sts).

Row 6: *(K1, m1) twice, k12, (m1, k1) twice; rep from * once (40 sts).

Row 8: *(K1, m1) twice, k16, (m1, k1) twice; rep from * once (48 sts).

Rows 9 to 17: Work 9 rows in st-st.

Row 18: K22, k2tog tbl, k2tog, k22 (46 sts).

Row 19 and foll 2 alt rows: Purl.

Row 20: K21, k2tog tbl, k2tog, k21 (44 sts).

Row 22: K20, k2tog tbl, k2tog, k20 (42 sts).

Row 24: K19, k2tog tbl, k2tog, k19 (40 sts).

Rows 25 to 29: Work 5 rows in st-st.

Row 30: (K2tog) twice, k14, k2tog tbl, k2tog, k14, k2tog, k2tog tbl (34 sts).

Row 31 and foll 2 alt rows: Purl.

Row 32: (K2tog) twice, k11, k2tog tbl, k2tog, k11, k2tog, k2tog tbl (28 sts).

Row 34: (K2tog) twice, k8, k2tog tbl, k2tog, k8, k2tog, k2tog tbl (22 sts).

Row 36: (K2tog) twice, k5, k2tog tbl, k2tog, k5, k2tog, k2tog tbl (16 sts).

Cast off pwise.

Tusks (make 2)

Using the long tail method and yarn A, cast on 9 sts.

Rows 1 to 5: Beg with a p row, work 5 rows in st-st.

Row 6: K1, (m1, k1) to end (17 sts).

Row 7: Knit.

Change to yarn B and dec: Row 8: K2tog, (k1, k2tog) to end (11 sts).

Rows 9 to 19: Beg with a p row, work 11 rows in st-st.

Row 20: K4, k2tog, k5 (10 sts).

Row 21: Purl.

Row 22: K4, k2tog, k4 (9 sts).

Rows 23 to 29: Work 7 rows in st-st.

Row 30: K3, k2tog, k4 (8 sts).

Row 31 and foll alt row: Purl.

Row 32: K3, k2tog, k3 (7 sts).

Row 34: K1, (k2tog, k1) twice (5 sts).

Break yarn and thread through sts on needle, pull tight and secure by threading yarn a second time through sts.

Tail

Using the long tail method and A, cast on 20 sts.

Rows 1 to 7: Beg with a p row, work 7 rows in st-st.

Cast off.

Making up Elephant Note: Sew up all row-end seams on right side using mattress stitch one stitch in from the edge, unless otherwise stated; a one-stitch seam allowance has been allowed for this.

Body

Place two halves of body together matching all edges and sew around outside edge leaving neck open, then stuff.

Trunk and head

Fold cast-on stitches of trunk in half and sew together. Sew up row ends of trunk and stuff trunk. Sew up row ends of head leaving a gap, stuff head and sew up gap. Pin and sew head to neck of body.

Legs

Gather round cast-on stitches of legs, pull tight and secure. Sew up side edges and stuff legs. Sew legs to Elephant.

31

K N I T T ED M EN AG ER I E

018-067-Knitted Menagerie-patterns-LL.indd 30-31

09/12/2022 14:41

Finished size

Elephant measures 9in (23cm) high Calf measures 4¾in (12cm) high

ELEPHANT WITH CALF

Ears

Fold cast-on stitches of ears in half and sew up.

Fold cast-off stitches in half and sew up. Sew up side edges and sew ears to sides of head.

Tension

26 sts x 34 rows measure 4in (10cm) square over st-st using 3.25mm needles and DK yarn before stuffing, or needles to give correct tension.

Tusks

Fold a chenille stem in half and place fold into stitches pulled tight on a thread.

Sew up side edges of tusks enclosing chenille stems inside, stuff wide part with tweezers or tip of scissors and cut excess chenille stems. Sew tusks to Elephant and curl forward.

Abbreviations See page 164

Special abbreviation

w1 – wrap 1 stitch: take yarn between needles to opposite side, slip one stitch pwise from LH needle to RH needle and take yarn back between the needles to first side.

Tail

Make a tassel using grey by winding yarn round two fingers ten times. Cut through all strands, tie a piece of yarn around centre and fold tassel in half.

Attach base of tassel to one end of inside edge of tail and sew up cast-on and cast-off stitches of tail along its length. Trim tassel to ¾in (2cm). Sew tail to Elephant.

Features

Using picture as a guide, mark position of eyes with two pins at top of trunk and embroider eyes in black making a vertical chain stitch for each eye, then a second chain stitch on top of first (see page 163 for how to begin and fasten off invisibly for the embroidery).

28

K N I T T ED M EN AG ER I E

29 32

018-067-Knitted Menagerie-patterns-LL.indd 28-29

09/12/2022 14:40

K NIT TED M EN AGER IE

018-067-Knitted Menagerie-patterns-LL.indd 32-33

How to make Elephant Calf Body

Right side Using the long tail method and yarn A, cast on 14 sts.

Row 1 and foll 2 alt rows: Purl.

Row 2: (K2, m1) twice, k6, (m1, k2) twice (18 sts).

Row 4: (K2, m1) twice, k10, (m1, k2) twice (22 sts).

Row 6: (K2, m1) twice, k14, (m1, k2) twice (26 sts).

Rows 7 to 15: Beg with a p row, work 9 rows in st-st.** Row 16: Cast off 3 sts, k to end (23 sts).

Row 17: Purl.

Row 18: K2tog, k to end (22 sts).

Rows 19 to 22: Rep rows 17 and 18 twice more (20 sts).

Row 23: Purl.

Row 24: K2tog, k to last 2 sts, k2tog (18 sts).

Rows 25 and 26: Rep rows 23 and 24 once (16 sts).

Row 27: Cast off 4 sts pwise, p to end (12 sts).

Row 28: Knit.

Rows 29 to 32: Rep rows 27 and 28 twice more (4 sts).

Cast off pwise.

Left side Rows 1 to 15: Work as for right side from beg to **.

Row 16: K to last 3 sts, cast off 3 sts and fasten off (23 sts).

Row 17: Rejoin yarn and p to end.

Row 18: K to last 2 sts, k2tog (22 sts).

Row 19: Purl.

Rows 20 to 23: Rep rows 18 and 19 twice more (20 sts).

Row 24: K2tog, k to last 2 sts, k2tog (18 sts).

Row 25: Purl.

Rows 26 and 27: Rep rows 24 and 25 once (16 sts).

Row 28: Cast off 4 sts, k to end (12 sts).

Row 29: Purl.

Rows 30 to 33: Rep rows 28 and 29 twice more (4 sts).

Cast off.

Trunk and head

Using the long tail method and yarn A, cast on 8 sts.

Row 1: Purl.

Row 2: K1, (m1, k2) 3 times, m1, k1 (12 sts).

Rows 3 to 13: Beg with a p row, work 11 rows in st-st.

Row 14: K1, (m1, k2) to last st, m1, k1 (18 sts).

Row 15: Purl.

Row 16: K4, (m1, k2) 6 times, k2 (24 sts).

Rows 17 to 19: Beg with a p row, work 3 rows in st-st.

Row 20: K6, (m1, k1) 6 times, (k1, m1) 6 times, k6 (36 sts).

Rows 21 to 29: Beg with a p row, work 9 rows in st-st.

Row 30: (K2tog, k4) to end (30 sts).

Row 31 and foll 3 alt rows: Purl.

Row 32: (K2tog, k3) to end (24 sts).

Row 34: (K2tog, k2) to end (18 sts).

Row 36: (K2tog, k1) to end (12 sts).

Row 38: (K2tog) to end (6 sts).

Break yarn and thread through sts on needle, pull tight and secure by threading yarn a second time through sts.

Legs (make 4)

Using the long tail method and yarn A, cast on 8 sts.

Row 1 and foll alt row: Purl.

Row 2: (Kfb) to end (16 sts).

Row 4: (Kfb, k1) to end (24 sts).

Rows 5 to 7: Work 3 rows in st-st.

Row 8: K4, (k2tog) 8 times, k4 (16 sts).

Rows 9 to 19: Work 11 rows in st-st.

Row 20: (K2tog, k4, k2tog) twice (12 sts).

Row 21: Purl.

Cast off.

Ears (make 2)

Using the long tail method and yarn A, cast on 14 sts.

Row 1: Purl.

Row 2: (K1, m1) twice, k4, m1, k2, m1, k4, (m1, k1) twice (20 sts).

Rows 3 to 11: Beg with a p row, work 9 rows in st-st.

Row 12: (K2tog, k6, k2tog) twice (16 sts).

Row 13: Purl.

Row 14: (K2tog) to end (8 sts).

Cast off pwise.

Tail

Using the long tail method and yarn A, cast on 10 sts.

Rows 1 to 7: Beg with a p row, work 7 rows in st-st.

Cast off.

Making up Elephant Calf Note: Sew up all row-end seams on right side using mattress stitch one stitch in from the edge, unless otherwise stated; a one-stitch seam allowance has been allowed for this.

Body

Place two halves of body together matching all edges and sew around outside edge leaving neck open.

Stuff body.

Tail

Make a tassel using grey by winding yarn round two fingers eight times.

Cut through all strands, tie a piece of yarn around centre and fold tassel in half. Attach base of tassel to one end of inside edge of tail and sew up cast-on and cast-off stitches of tail along its length. Trim tassel to 1/2in (13mm) and sew tail to Calf.

Features

Using picture as a guide, mark position of eyes with two pins at top of trunk and embroider eyes in black making a vertical chain stitch for each eye, then a second chain stitch on top of first (see page 163 for how to begin and fasten off invisibly for the embroidery).

Trunk and head

Gather round cast-on stitches of trunk, pull tight and secure.

Sew up row ends of trunk and stuff trunk with tweezers or tip of scissors. Sew up row ends of head leaving a gap, stuff head and sew up gap. Pin and sew head to neck of body.

Legs

Fold cast-off stitches in half and sew up.

Gather round cast-on stitches, pull tight and secure. Sew up side edges leaving a gap, stuff and sew up gap. Pin and sew legs to Calf.

Ears

Fold ears bringing side edges together and sew around open edges. Sew ears to Calf.

33

09/12/2022 14:43

lynnelanningdesign@ @gmail.com

lynne lanning d e s i g n & a r t d i re c ti o n

Many of life’s most satisfying moments can be found within your own four walls.

The comforts of home

COVER FOR REF ONLY

lynnelanningdesign@gmail.com

Book design 18

A rocking chair

Of all the furniture I have ever bought, the rocking chair has consistently delivered the most pleasure. Mine is wooden, a bit creaky and has a nice high back. It sits in a corner of the kitchen and is where I sit to take off my shoes, read any post and, most frequently, just nudge myself back and forth and daydream. A rocking chair is built for rumination.

As it tips backwards, the gaze of its occupant drifts upwards, and a dreamy, stare-at-the-ceiling posture is enforced. It is the ideal angle for a spot of musing. The swaying motion is also deeply soothing, resembling the movement of a mother’s arms as she rocks her child to sleep. President John F. Kennedy owned 14 rocking chairs, including one in the Oval Office, which he rocked on to ease his back pain. It is an essential piece of furniture, especially for daydreamers and presidents.

19

Pegging out washing in the garden

Hanging out washing is that rare thing: a pleasurable household chore. It’s a breezy sunny morning, you have a laundry basket full of freshly washed clothes and a bag of pegs. Off you go into the garden, feeling industrious and a little bit noble as other household members loaf about inside drinking coffee. This pleasing, methodical task gets you outdoors

and offers a few moments alone, to think. In my garden, the washing line extends across the lawn from the house to a tree, propped up midway with a rickety wooden pole. Nothing (domestically) pleases me more than pegging out white cotton sheets, then seeing them billow in the breeze, knowing that soon they will be dry. They will also smell amazing. The scent of linedried laundry is hard to pinpoint (many washing powder and scented candle companies have tried) but irresistible: it will have you burying your nose in the laundry and inhaling deeply before you know it.

26

27

PAVILION BOOKS Simple Pleasures.

Design from sample templates with free reign to make the best use of the pages, moving illustrations and organising the running order to make each page work visually.

‘We don’t stop playing because we grow old; we grow old because we stop playing.’

GEORGE BERNARD SHAW

64 63

Playing board games into the night

In my experience, this most often applies to Monopoly, a game that can stretch into infinity. Scrabble can also warp time. One player always wants just one more game to even up the score. Which is totally fine, excellent even, as both are totally compulsive.

Accompanied by snacks and beers, playing board games with friends and family is a most agreeable and companionable way to extend the day. (A jigsaw puzzle can also lock you into its sweet yet interminable embrace as you look for just another piece and another into the wee hours.)

74

The words ‘I’ve put a hot-water bottle in your bed’

These were uttered to me by a friend I was staying with one weekend and are among the most comforting I have ever heard. I thought about that little pocket of warmth and kindness waiting for me as we ate our meal.

It was anticipation of the most cosseting kind.

65

Helping a stranger

It’s tricky to acknowledge that an act of kindness towards others can be a pleasure. It feels as though it should be carried out without a whiff of self-interest, purely for the good of the other person.

The feeling of well-being or mild euphoria that arises post-charitable act – there is even a term for it, ‘helper’s high’ – however, isn’t a bad thing and shouldn’t make us feel guilty. Better to think of it as a reason to do more

75

lynnelanningdesign@gmail.com

lynne lanning d e s i g n & a r t d i re c ti o n

lynnelanningdesign@ @gmail.com

Photoshoot and Magazine Art Direction

lynnelanningdesign@ @gmail.com

lynne lanning d e s i g n & a r t d i re c ti o n

lynnelanningdesign@ @gmail.com

Photoshoot and Magazine Art Direction

lynnelanningdesign@ @gmail.com

lynne lanning d e s i g n & a r t d i re c ti o n

lynnelanningdesign@gmail.com

Photoshoot and Magazine Art Direction

lynnelanningdesign@gmail.com

lynne lanning d e s i g n & a r t d i re c ti o n

FREELANCE TYPOGRAPHY COMMISSION

lynnelanningdesign@ @gmail.com

‘‘

Lynne was our brilliant Design Director at Psychologies. Her design talents helped the magazine develop it’s own brand identity and created a joyful, beautiful product that readers loved.

Lynne was a mainstay in supporting the team when we started to work from home prior to the pandemic.

Working with all of our team, she kept the standard high, keeping everything running like clockwork. She genuinely cared for the magazine but also for all of the team at Psychologies.

Lynne always went the extra mile, whether working with the marketing and commercial teams, or the bookazine creation team, she would always deliver on time, and to budget. She was also the sole designer on the magazine for 4 years and is completely reliable and very hardworking with lashings of talent, Lynne is a massive asset to any creative team and business.”

SUZY WALKER, EDITOR-IN-CHIEF, PSYCHOLOGIES MAGAZINE

‘‘

Testimonials

Lynne is a very dedicated and meticulous Designer and Art Director. She puts her heart and soul into her work, never compromising or cutting corners and always working within ever-decreasing budgets. Lynne is also a great support and friend to her team-members, always going above and beyond to help others solve dilemmas - personal or professional.”

LAURA RICHARDSON, PICTURE EDITOR, PSYCHOLOGIES MAGAZINE

‘‘

Lynne is a brilliant creative mind, with an elegant artistic flair and the sharpest attention to detail. She creates beautiful pages with great sensitivity towards editorial content. Lynne is a pleasure to work with and always puts the high standards of the magazine first while also managing to form strong relationships that ease workflow and productivity and make for the happiest collaboration between art and words. She is a cool head in a crisis, the colleague you want by your side on good days and bad, and a loyal friend with a lovely sense of humour. She will go out of her way to help every member of our team.”

VEE SEY, PRODUCTION EDITOR, PSYCHOLOGIES MAGAZINE

‘‘

In my 25+ years working in publishing, Lynne is the most dedicated, talented and meticulous Art Director I have ever worked with. She is incredibly passionate about her work and will do all that she can to ensure all art direction is on brand & perfect. She has an amazing ability to make the tiniest of changes which creates a massive impact visually. I’ve learnt so much from her in terms of design. I will forevermore always ask Lynne’s opinion on anything design related.”

NIKKI PETERSON, TIGERBEE MEDIA

lynnelanningdesign@gmail.com