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WIN!

SIZZIX MACHINE & DIES WORTH £1000

THE CREATIVE GUIDE TO UPCYCLING

THE CREATIVE GUIDE TO UPCYCLING YOUR HOME

MAY 2015

28

YOUR STORAGE

SIMPLE YET STYLISH PROJECTS

Upcycle creative new displays for all your flea market finds

Upcycled box storage unit on p14

Try something new ♥ Printing curtains ♥ Wood restoration ♥ Chrome rust removal

Furniture Painting

Wine bottle lamp

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Mosaic basics

HOME REFURBS Painted rug

3 WAYS WITH... Mobile art

FURNITURE REVAMP Retro shoe tidy

9 772054 347004

MASTERCLASS

9 772054 347004

MIDWEEK MAKES

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30 TIPS FOR A PRO FINISH

MAY 2015 £4.99

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welcome!

I don’t know about you, but I can’t wait for the two bank holiday weekends in May. I have a long list of bigger upcycling jobs I’ve been saving up. It’s much nicer knowing you’ve got a solid three days to complete a project properly, rather than rushing to get it done over a normal weekend. Paint always takes longer to fully dry than you think, so your finishing touches don’t end up quite as polished as you’d like. Come the end of May, the pieces of furniture I’ve collected from various places over the last few months will all have a beautiful new look. That’s the plan anyway. This issue we’ve got a selection of projects waiting for you to try if you’re also thinking of doing a touch of DIY and upcycling over the long weekends. From the striking copper pipe tray that will help to make breakfast in bed feel extra special on page 18, to the wine box coffee table on page 36 and the planter on page 110, we’re sure you’ll find something to suit every style and time scale. Also this issue, furniture upcycler Clementene Coates joins us to share her invaluable top 30 tips for painting furniture on page 83. Plus we’ve got a great competition waiting for you on page 65 to win a Sizzix® Big Shot™ Plus machine, which will help you take your upcycling to a new level! I really hope you enjoy the issue and please join us over on our Facebook page to share photos of your latest projects – we love seeing them. See you next issue! SALLY FITZGERALD Senior Editor

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

DAY... 3 RIBE TO SUBSCTO AND GET D VE RELO

SUBSCRIBE RN ISSUES FOR JUST £5! TU W. NO TO PAGE 42

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What’s in the issue.. MID WEEK MA KE

Quick makes to create in an evening

P50 Postcard mini treasure chests

P16 Seashell candles

P26 Origami paper box lights

P32 Painted rug

P60 Patchwork trivet

P96 Craft case

P102 Butterflies vintage sign

P18 Copper pipe tray

P36 Custom headboard

P44 Printed curtains

P66 Fine wine bottle lamp

P70 Fitted bedsheet

P86 Sewing machine cover

HOME REFURB Refresh your home dĂŠcor with original upcycled pieces

P62 Wine crate coffee table

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E FURNI T URP R E VA M

P90 Tealight lantern

P106 Wall box

P22 Shoe storage

P31 Chrome restoration

Learn how to give your battered old favourites a fresh new look

P14 Upcycled box shelving unit

P46 Gilded side table

P80 Wooden cabinet restoration

P76 Fresh flower chandelier

P78 Himmeli

THREE WAYS

P110 CD rack planter

MASTERCLASS

P52 Mosaic basics

P74 Tassles and beads

MASTERCLASS

P93 Die-cutting – floral cushion

Features

P28 Chris Billinghurst – Eco Chic Interiors

30 TIPS

P83 Painting furniture

Every issue..

UPCYCLING HEROES: MAT DUSTING Turning old lorry tarpaulins into brilliant bags

P39

COMPETITION Win a Sizzix® Big Shot™ Plus machine & dies

P65

THE WARTIME VINTAGE HOME Get the make-do-and-mend look from the 1940s

INTERVIEW

P100

CREATIVE HUB P7 The latest upcycling news

ANNIE SLOAN’S DIARY P13 Using a range of new stencils P42

SUBSCRIBE P100

P108

Q&A MAKING MEMORIES

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who’s who SENIOR EDITOR Sally FitzGerald sally.fitzgerald@anthem-publishing.com DEPUTY ART EDITOR John Thackray john.thackray@anthem-publishing.com PRODUCTION EDITOR Bob Wade ART DIRECTOR Jenny Cook AD SALES REPRESENTATION Margaret Major Major Media Sales Ltd margaret@majormediasales.com Tel +44 (0) 1453 836257 MARKETING MANAGER Alex Godfrey alex.godfrey@anthem-publishing.com ASSISTANT MARKETING MANAGER Verity Travers verity.travers@anthem-publishing.com ADVERTISING DIRECTOR Simon Lewis EDITORIAL DIRECTOR Paul Pettengale MANAGING DIRECTOR Jon Bickley jon.bickley@anthem-publishing.com PRINT Polestar UK Print Ltd, 1 Apex Business Park, Boscombe Road, Dunstable, Bedfordshire, LU5 4SB Tel +44 (0) 1206 849 500 DISTRIBUTION Marketforce (UK) Ltd, The Blue Fin Building, 110 Southwark Street, London SE1 0SU Tel +44 (0)1582 678900 SUBSCRIPTION ENQUIRIES anthem.subscribeonline.co.uk Call UK 0844 848 8425, Europe & World +44 1795 419 854 USA – Call Toll Free 800.428.3003, Email: reloved@servicehelpline.co.uk

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

COMPETITION RULES By entering a competition you are bound by these rules. Late or incomplete entries will be disqualified. Only one entry per person will be accepted. The company reserves the right to substitute any prize with cash, or a prize of comparable value. Competitions are open to UK residents over 18 only, except employees of Anthem Publishing and any party involved in the competition or their households. By entering a competition you give permission to use personal information in connection with the competition, for promotional purposes. If you do not want your information to be shared, please state ‘no offers’ on your entry. If you are a winner, receipt of prize is conditional upon complying with the competition rules. A list of winners will be available upon request.

THIS ISSUE’S CONTRIBUTORS ♥ DEBBIE MCCOLL is Managing Director of Beautifully Boho (www. beautifullyboho. co.uk), a company which specialises in helping you create an individual, bohemian look for your home. It also stocks Miss Mustard Seed’s Milk Paint, and this month Debbie joins us for a tutorial in using milk paint and stencils to create a gorgeous vintage sign – take a look on page 102.

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♥ AMANDA RUSSELL AND JULIET BAWDEN Design duo Amanda Russell and Juliet Bawden, have set up R&B, www.randbconsultants.co.uk, creating design solutions from start to finish with exciting projects for the home and fashion. This issue they join us on page 44 with an easy way to transform a boring pair of curtains with homemade stencils and fabric paint.

♥ CELEMENTENE COATES After working as a solicitor for many years, Clementene decided to leave that world behind her to follow her dream of owning her own upcycling business. Clementene’s furniture is for hire and she takes commissions too at www.clementenecoates.co.uk. Read her 30 top tips for painting furniture on page 83.

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♥ Luxecycling p10

♥ Coffee sack bags p11

♥ Teacup candles p11

♥ Cushion history p9

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

♥ Artisan Craft Show Bristol p10

♥ Old School Club workshops p8 MAY

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RETRO ECLECTICISM

GETTING ARTY ON OXFORD STREET

Creative hub The Makery is a Bath-based company focused on crafting. Their aim is to pass on their passion – and they’re hitting Oxford Street with a calendar of workshops in John Lewis. You can learn how to sew a skirt, create a drum lampshade or make a quirky fabric stag head, with workshops for all abilities, there’s sure to be something you’ll love. Visit themakery.co.uk to find out more about the workshops.

Add a touch of vintage beauty to your home with pre-loved table lamps from The Other Duckling’s eclectic collection of home accessories. The teapot is embellished metal with a retro style bulb, oozing sophistication and eccentricity. A train table lamp is rustic yet elegant, perfect for a bedroom or study. They’re certainly unique. The Other Duckling search all over to find the most special, one of a kind items, forming, as they describe it, “a patchwork of the cute and quirky, rough and ready and pricelessly perfect”. For more delightful refurbished and upcycled items to add to your home, or to make the perfect gift, visit theother duckling.co.uk

HANDMADE HAPPINESS

The Old School Club is a collective of artistic teachers in Battersea, London, providing an array of innovative classes in sewing, dressmaking, creative calligraphy, furniture painting, upholstery and more. At the core of The Old School Club is founder Inma Mayhew, a self-taught entrepreneur teaching women “how to become queen of all things handmade”, in her friendly and inspiring classes. Their projects exude a modern bohemian style, giving classic items a new lease of life with a splash of colour or pattern. You’ll learn how to spot an upcycling opportunity, and the techniques needed to execute a successful revamp. For more information take a look at their website, theoldschoolclub.co.uk and discover the full range of workshops available.

PAPER SHAPER

We’ve developed a bit of a crush on etsy shop Peony and Thistle, especially their repurposed paper journals and diaries, made from old Beano book covers, mixed paper and even Monopoly boards. The shop’s travel journals are beautifully crafted from unwanted maps, envelopes, vintage books and bus timetables, creating a wonderfully unique way to document your thoughts or travel explorations. Peony and Thistle love all things recycling, especially finding uses for things which others were throwing away. Admire more of their handiwork by visiting online at etsy.com/uk/shop/PeonyandThistle 8

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CREATIVE COMMUNITY

Throughout April, Crafty Fox Spring Markets are offering a unique four-day event showcasing 200 designers and makers on 11-12th April in Peckham, and 25-26th April in Brixton. In Peckham’s iconic Bussey Building, you’ll have the opportunity to have a go at printing your own tote bag with Mr Wingate’s travelling screen workshop, or create some colourful greeting cards on an antique letterpress. In Brixton there will be a pop-up tea room amongst the creative workshops and artists’ stalls, which will feature some of the best creative talent working in the UK. What’s not to love? Head to craftfoxmarket.co.uk to find out all the details.

BLOGS WE L♥VE ♥ HOMEMADE BY CARMONA homemadebycarmona.com Blogger, “wannabe neat freak” and mum of three girls Ursula Carmona runs her site Homemade by Carmona, filled with DIY tutorials and tips on how to stay organised when it comes to your home. Focusing on organisation and high end style on a budget, her posts offer designer tutorials without the designer prices. Her blog also has contributors specialising in design and photography. Find her on twitter @HmMade byCarmona

♥ FYNES DESIGNS fynesdesigns.com

SITTING ON HISTORY

As soon as we laid eyes on the marvellous cushion creations by Hunted and Stuffed (www.huntedandstuffed.com), we knew we needed to share them with you. With history at its core, the company repurposes beautiful old fabrics and turns them into pieces of homeware delight. One such piece is a distinctive space-themed cushion, using a vintage silk twill scarf made in 1969 to celebrate the Apollo moon landings. We think it would be a perfect statement piece for any living room. Hunted and Stuffed also have a collection using rare vintage wedding kimono fabrics, embellished with ancient Japanese symbolism designed to instil the wearer with its good fortune. Each cushion is protected with a cotton lining and filled with a Britishmade quality feather pad. Find them on Twitter as well @huntednstuffed.

Virginia Fynes loves to share her tips and inspiration for everyday beautiful living, and we certainly appreciate it. Her simple to navigate blog is full of pretty home decor tutorials and design ideas, including mood boards which make you want to go and rejuvenate your home immediately. She also shares her tips on parental issues, like packed lunches and quick hairstyles to send your little ones off to school with. It’s also worth checking out her Pinterest, where she collects lots of crafty inspiration (@vfynes).

♥ TINY SIDEKICK tinysidekick.com Corey at Tiny Sidekick is all about making home your favourite place, by sharing ideas about making, decorating and organising easier. She has lovely printable items, like a weekly to-do list, pretty wall art, gift tags and meal planners. Discover an array of DIY tutorials, with everything from duvet covers, chandeliers, vases and curtains. If you’re a parent, you’ll also appreciate her ‘Kiddos’ section packed with ways to keep the kids entertained, with games, crafts and party ideas.

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ON DISPLAY

FLOWER POWER

The creative minds at Bulgarian-based store Paladim Handmade have come up with an ingenious way to use old light bulbs – by repurposing them as plant vases. With handmade lime wood stands, you can fill the light bulbs with your favourite flowers, herbs or dried plants for a pretty addition to your home. Or why not come up with your own use for them? The small team at Paladim seek to create simple, made-to-order designs, including lamps and clocks, getting rid of the unnecessary to create wonderfully minimalistic pieces that look beautiful in any room. Paladim are able to create unique custom designs. See more of their work at paladimhandmade.com and on facebook.com/PaladimHandmade

If you like a day out visiting art galleries (and let’s be honest, who doesn’t?) the Tate Modern (tate.org.uk) is showcasing a free display entitled Everyday Alchemy: Contemporary sculpture, exploring artists who use everyday objects in their work. Testing the boundaries of what makes something become a worthy piece of art, several of the items confuse the border between work of art and the museum plinth on which it stands. You’ll find a crystallised car engine, glass boxes, wooden statues and scales, all attempting to make us question the value of the objects through the way they are presented.

HIDDEN TREASURES

A new craft fair will be taking over The Passenger Shed in Bristol on 2-3rd May, featuring 80 handpicked exhibitors showing off their creations. The Artisan Craft Show by Outlaw Events includes fabrics and cushions, bespoke jewellery, hand illustrated bone china and lots more. The mother and son team behind the show are Judi and Josh Wildeman, and their event will have a fabulous array of artisan wares. As Judi explains, “This is the first time we have put on an event in Bristol and we have been blown away by the applications we’ve received from artists and makers locally and further afield.” Visit outlawevents.co.uk for more information.

TRASH TO LUXE

Muck N Brass is about turning one person’s trash into another person’s desirable furniture. They call their work ‘luxecycling’ – transforming ordinary items like chests of drawers into unique pieces. The products are covered in textured patterned paper, painted and sealed with a satin polish. Central to the idea is not wasting, and the company encourages visitors to exchange unwanted items with them for money off an item in the shop. Find them on Facebook @Mucknbrass and at etsy.com/uk/shop/MuckNBrassLondon 10

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BOOK CLUB

COFFEE TO GO

Ever wondered what happened to all the huge coffee bean sacks when cafes no longer need them? Helen at Windram Design (etsy.com/uk/shop/ WindramDesign) has a great solution, turning them into stylish tote bags, each with their own history. The hessian fabric is naturally hard wearing, so the bags will last a lifetime. At the core of Windram Design is eco-sustainability – Helen sources the sacks from her local cafe, Blenders. Helen also creates handmade items of fashion and homeware from recycled materials. She says, “I hope my products show my passion for life, and making the unusable into something beautiful.”

SNAIL MAIL

By MICHELLE MACKINTOSH PUBLISHED BY HARDIE GRANT, £14.99 Snail Mail is a treasure if you admire all things handmade and miss writing letters in the age of tweeting. Celebrate the lost art that is handwritten letters, with this gorgeously illustrated book from Michelle Mackintosh. The book is designed with all the personal touches of a journal, full of notes and ideas mingled amongst the easy to follow tutorials and pretty photography and illustrations. Learn to write the perfect love letter, make a handmade wax seal or even create your own paper.

TAKE A TEA TOWEL By JEMIMA SCHLEE PUBLISHED BY GMC, £12.99

UNIQUE BOUTIQUE

Sweetpea & Betty is an exciting boutique based in Falmouth, offering a collection of one-off home accessories, including vintage chandeliers, mirrors, timeless china and bespoke hand-decorated furniture. The shop runs workshops, where you can explore Annie Sloan’s Chalk Paint techniques learning how to make your own wall plaques or chalk boards, or discover how to revamp a lampshade, experimenting with ribbons and fabrics. Sweetpea & Betty’s ethos is all about encouraging you to unleash your inner creativity. Find out about the boutique and workshops at sweetpeabetty.co.uk

LIGHT THE WAY

This month we fell a little bit in love with the soya wax candle delights from easy artist Cliona aka Purity Belle (etsy.com/ shop/PurityBelle). Her passion for being environmentally friendly is evident in her use of stylish repurposed jars, pretty vintage teacups and wine glasses that contain her candles. The candles are free of the chemical phthalate and are made using 100% pure soya wax, combined with essential oils to create a gorgeous aroma. They are packaged in recycled cardboard boxes and the bags are biodegradable. These upcycled candles might just be a perfect gift.

The humble tea towel is usually overlooked as an upcycling project, but Take A Tea Towel, by former Laura Ashley art director Jemima Schlee, shows you its potential in different areas of your home – workroom, kitchen, laundry and bathroom, with lots of practical yet innovative uses. How about making a new chair seat, a toiletries travel bag, or even an apron for when you’re doing some baking? If you’re interested in sewing and want to learn more, this book is filled with beautifully simple ideas for the overlooked tea towel.

MATERIALLY CRAFTED By VICTORIA HUDGINS, PUBLISHED BY STEWART, TABORI & CHANG, £15.99 From creator of the popular design blog A Subtle Revelry comes Materially Crafted. It gets back to design basics, guiding you towards unleashing your crafty side. She takes you step by step through design – all the way from finding inspiration, through different mediums, including spray paint, wood, clay and fabric. Her guides are easy to follow and are accompanied by bright photography and illustrations. You’ll be inspired to create something and learn how to put design dreams into practice.

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WARWICKSHIRE

THE MARMALADE HOUSE 15, The Clifton Arcade, Clifton Village, Bristol & Bath French Chic painted furniture, stylish accessories and gifts www.themarmaladehouse.co.uk www.facebook.com/TheMarmaladeHouse 0117 973 4555 19 19, Alexandra Road, Clevedon, Nr Bristol Contemporary interiors with artisan feel. Painted and repurposed furniture, homewares, ceramics & art. www.19alexandraroad.co.uk www.facebook.com/19alexandraroad 01275 340563 YELLOW DOG WORKSHOPS Studio 8, Barleywood Walled Garden, Wrington, Bristol Chalk Paint techniques classes and Fused Glass Workshops for all ages. www.yellowdogworkshops.co.uk www.facebook.com/YellowDogGlass 07970 265 433 SURROUNDINGS 26 St Mary Street, Thornbury Rustic country with a hint of French and Coastal. Picture framing, furniture restoration and homewares www.surroundingsonline.co.uk www.facebook.com/pages/SurroundingsOnline/158100753073 01454 411000

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

Would you like to advertise in Reloved? Get in touch with Margaret Major margaret@majormediasales.com Tel +44 (0) 1453 836257

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BIRMINGHAM

HARTLEPOOL / COUNTY DURHAM ECO CHIC-IT Unit 5, Usworth Enterprise Park, Usworth Road, Hartlepool Elegant hand painted furniture & accessories; commisions taken www.ecochic-it.co.uk www.facebook.com/EcoChicit 07411 680311

The Vintage Hen House Beacon Farm, Beacon Road, Barr Beacon, Aldridge, Walsall, WS9 0QN

www.thevintagehenhouse.com contact@thevintagehenhouse.com 0121 3603680 The Vintage Hen House

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EL DORADO 22 Augusta Street, The Jewellery Quarter, Birmingham Stockists of Annie Sloan Chalk Paint, Wax, Brushes & Books specialising in upcycling & painting of vintage furniture. Regular introductory essential paint techniques workshops www.eldorado.uk.com 0121 448 4406 / 07837 810763 THE VINTAGE HEN HOUSE Beacon Farm, Barr Beacon, Beacon Road,Aldridge, Walsall 18th century barn brimming with painted and decoupaged furniture with an English Rustic and country flavour. www.thevintagehenhouse.com https://www.facebook.com/TheVintageHenHouse 0121 360 3680

The Vintage Hen House with its eclectic mix of vintage and hand painted furniture is found in a stunning 18th century loft barn with open beams and quaint windows, nestled on a working farm surrounded by stunning views. Stockists of Annie Sloan Chalk Paints & products Painting Techniques workshops available Local handmade crafts & gifts And a vintage room brimming with treasures from a bygone age. A little something for everyone! Come and say Hello to Jo and Dave, and of course Vincent and Claude the resident roosters!

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

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

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ANNIE SLOAN’S DIARY Photo Photo© ©Harriet HarrietThomas Thomas

MAY 2015

I

’m hugely excited about my new stencils that are just launching this month! They’ve been in the works for a while so I’ve had to keep them a secret – not something I find very easy! I can’t wait to start using them properly and share them with everybody. There are 21 designs in all – from floral to abstract, classical to contemporary and everything in between. The idea is that they are all a little different from what is currently on the market. In my designs, I have been inspired by painted furniture and motifs from painted furniture, design styles and basically anything that I have wanted and needed over the years. What I wanted to create were stencils that can be printed in many ways – repeated and overlaid so something new is revealed. I love to turn over the stencil and print so the pattern is mirrored. I like to isolate part of the pattern so it makes a simple single motif or a border. It depends on the stencil. I love the way stencilling has re-emerged as a terrific art form. It’s been in the doldrums for a

My new stencils

This month our columnist, Chalk Paint™ inventor Annie Sloan, introduces her new range of stencils and shows us how to make the most of them by upcycling a rustic little table with a relaxing coastal theme...

few years, but it’s back and feeling very sparky and sharp! I love the way I am able to have sleek and abstract designs that draw on a range of inspirations, as well as the more romantic and floral. The first stencil I have chosen to show you is Tallulah – it’s a name that started as a term of affection and then stuck. It was inspired by a folk art pattern in a detail from an Eastern European decoration. Tallulah is really adaptable, making a tile-like pattern used in its most straightforward way, or if you block out parts of the design with masking tape, you have a border or little motifs. Depending on the colours you use, it can look contemporary, Bohemian, folky or even coastal. In fact, this project started with the little bleached-wood look table, not the stencil. It’s been sitting in my studio for some time and I had been wondering what to do with it. Almost without thinking I had the inspiration for a watered wash of Provence brushed over it, then wiped off gently with a cloth leaving a veil of colour and a little white from the original wood. I think I was vaguely thinking of a slightly coastal theme in that the colours were light and summery as the sun was shining that day! Having chosen the piece of furniture, I then chose the stencil and I decided on Tallulah because of its square shape, echoing the shape of the table.

In fact, it turned out to be a good one to choose as it is so simple. For those of you who are new to stencilling, it’s a great one as it is easy to do repeats and it’s easy to isolate parts. It’s not too intricate. My attitude with stencilling is to keep it loose and relaxed. I don’t like measuring and I’m not very good at it, to be frank! So I prefer to rely on my eye to see that something is straight. Once I start having to measure, the whole process looses its appeal. Okay, I do need a few measurements just to keep me on the straight and narrow, but I usually don’t use numbers, just make tiny marks or at best I use a piece of string secured with some making tape or Blu Tack to guide me when I paint. On a little table like this, I just used the edges of the table to guide me. I love using a sponge roller when stencilling as you get a wonderful even finish either completely solid or if you prefer slightly graduated. It is also very quick and easy too and I love to move fast! I do use bristle brushes, particularly when I want a more shaded look, but for this project I preferred a roller as I wanted it to be fairly even. To finish, I then waxed over it all with my Clear Soft Wax. I did this without buffing, as I wanted it to have a matt look. The main thing to remember about stencilling is that it’s very easy. The trick is to use very little paint. The most common problem is that too much paint is loaded onto the brush or roller and it seeps under the stencil, all ending in tears. This whole project used very little paint altogether and it could easily be done using two of my 100ml small project pots. When it comes to cleaning your stencil, you need to wash it carefully and preferably while the paint is still wet – it’ll just make it easier. Once the paint is dry, it’s much harder. The finished piece has a delightful modernyet-rustic look that I can’t quite put my finger on. I like it even more because of that. The design is not quite central and that gives it an interesting look, too. Perfection is not really very perfect! www.anniesloan.com

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Upcycled box shelving unit

HOME R E F

UR B

The humble cardboard box can do more than just carry secondhand paperbacks to the market, with a few nuts and bolts and a splash of colour you can create a stunning shelving unit to display your objet d’art... By CameraPress (www.camerapress.com)

MATERIALS

Strong cardboard boxes or cheese boxes

Paint of your choice (optional)

Nuts and bolts Washers

EQUIPMENT Paintbrush Pencil Ruler Drill

♥ STEP ONE First assemble your cardboard boxes according to the instructions. If you’re just displaying collectibles and light objects, strong cardboard boxes will be fine. If you’d prefer to put books and heavier items in the shelves, cheese boxes are recommended. Ensure the cardboard boxes are as strong as they can be. ♥ STEP TWO If you like, you can now paint the inside of your boxes with your favourite colours like we did, line them with different off-cuts of wallpaper, or leave them plain, it’s entirely up to you. If you decide to paint them, leave to dry fully before moving onto the next step.

TOP TIP One of the beauties of this design is that you can easily change the box layout whenever you feel like it. Plan ahead and drill fixing holes so that all you have to do is undo the nuts, move a box and refix it in another spot in the layout.

♥ STEP THREE Align and sort the boxes into your desired arrangement. You can stagger them like steps, or arrange them in square or rectangular blocks. ♥ STEP FOUR Use a pencil to mark out where to drill holes through boxes for the bolts. We did ours 2cm in from the front edge. See the main picture for indications of where to place the bolts. ♥ STEP FIVE Pre-drill holes through each of the cardboard boxes or cheese boxes using a 5mm drill bit. ♥ STEP SIX Finally, fix the boxes together in your desired arrangement using the nuts and the bolts with the washers either side. Now you can display your books and flea market finds in style!

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Seashell candles

M ID W E E K

MAKE

Turn seaside treasures into beautiful decorative candles and add a beachinspired touch to your home. They are perfect for summer table settings and add a whimsical, romantic element to your home... Project and photography by Eileen Chow from Yes Missy (www.yesmissy.com)

MATERIALS

Wax candle flakes

Candle wicks or tea lights Seashells

Essential oils (optional)

EQUIPMENT

Glass container Pot

Saucepan

♥ STEP ONE If you already have candle wicks, feel free to use them. I have found that tea lights have the perfect size candle wicks for seashell candles. Just pop the candles out of the metal tins and push the wicks out with your fingers. (If you don’t have candle flakes handy, you can also use the wax from your tea lights.) ♥ STEP TWO Stand up each of the wicks in the deepest part of the seashells you’ve chosen. Make sure the wicks are standing up straight and not bent over.

TOP TIP As well as essential oils you can add colour to your melted wax, or wait until it’s poured into the shells and drag a stick dipped in colouring through the still molten wax to create streaks and swirls of colour.

♥ STEP THREE Fill a saucepan with water to about the halfway mark. Place your measured amount of wax flakes in the glass container, then place the glass container in the saucepan. Be sure the water level is low enough that it won’t splash into the wax flakes when it starts to boil. Turn your stove on to medium-high, and use a metal spoon to stir the wax occasionally. ♥ STEP FOUR This is an optional step if you would like to add scent to your candles. Simply add five to eight drops of essential oils of your choosing to your melted wax and stir them in well. ♥ STEP FIVE Place your shells on a flat surface lined with paper. Carefully pour your melted wax into each shell and stop at 1cm from the rim. Let the wax cool and set. ♥ STEP SIX Once the wax has cooled and set, you’re ready to light your candles and enjoy.

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copper pipe tray

Give your breakfast tray a shiny industrial look with this sparkling design made from scrap wood and copper pipe... Project and photography Š Katie Nathey from Upcycled Treasures (www.upcycledtreasures.com)

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Remember that you can customize the size and materials of this tray to whatever you want, so that it fits the dimensions of where you’ll be using it.

COPPER PIPE TRAY HOW TO... MATERIALS

3m of 1.25cm copper pipe (you will have extra left over). Pipe cut list – 2 x 20cm pipe (used for legs), 4 x 16cm pipe (used for legs), 2 x 19cm pipe (used for handles) 4 x 1.25cm floor flanges

4 x 1.25cm male adapters 4 x 1.25cm elbows

4 x 1.25cm end caps

4 x 1.25cm bell hangers

4 x 75cm of 2.5x10cm board (1×4 board in the USA) 2 x 30cm of 2.5x10cm board (1×4 board in the USA) Epoxy

Danish oil or stain {optional}

EQUIPMENT

Pipe cutter (or get the sizes cut at the hardware store) Ryobi mitre saw (or get the wood cut to size at the hardware store) Ryobi Airstrike nailgun (you could also just use screws) Ryobi drill Bar clamp

Wood glue

Measuring tape Square Pencil

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♥ STEP ONE The first thing I did was cut some of the 2.5x10cm scrap boards we had lying around in the garage. Depending on the project, we sometimes purchase the more rustic looking wood at Home Depot so that it has more character. I wanted this project to be a bit modern rustic, so I decided to go with some of the more interesting pieces of wood, especially since I didn’t plan on staining it – just adding some Danish oil. ♥ STEP TWO I cut four boards to be 75cm long using our mitre saw and then cut two additional boards to be 30cm long. The four boards would serve at the top base of the tray and the other two pieces would be the support that holds the boards together and where the handles would be placed. ♥ STEP THREE I first glued the four 75cm boards together, clamped them into place and then used the Ryobi Airstrike to attach the two 30cm pieces of wood for support – you could just use screws instead. Since the wood I was using was roughed up a bit and the edges were a bit rustic and not even, I decided to make these two side pieces smaller than the width of the tray. ♥ STEP FOUR Once I had the wood section of my tray built, I went over it a few times with some Danish oil rather than stain. Then, once it was dry, I started working on the pipe handles and legs. ♥ STEP FIVE There are several different ways you could do the legs, but I decided to use elbows and make U shape legs since I had extra pipe and elbows.

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♥ STEP SIX Once I had cut all of my copper pipes to size, I measured where I wanted my legs to go and screwed the flanges into the bottom of the tray first. Afterwards I screwed the male adapters into the floor flanges. ♥ STEP SEVEN I then began to add the copper pipes and elbows, making sure to add epoxy to the pipe fittings to make them secure. Usually epoxy comes with a small stick to use, but this pack didn’t so I just grabbed a lolly and cleaned off the stick.

♥ STEP TEN I measured out where I wanted the copper pipe handles to go, screwed the bell hangers into the side pieces of wood and then screwed the copper pipe inside of the bell hangers. Using epoxy, I glued some 1.25cm tube caps to the ends of the pipe to make them smoother and give a more finished appearance, but you could leave them open or find alternative caps.

♥ STEP ELEVEN You can clean the pipes with some steel wool and water (or ketchup and salt) and use high acetone nail polish remover to get rid of the red or blue markings printed on the pipe. Once the pipes are clean, you can spray them with some clear sealer to help protect them from getting dirtied up. I decided to hold off on this step until my tray was finished because firstly I’m impatient and secondly I figured I would just dirty them up while putting them together anyway. TOP TIP I used a 3m pipe as it was cheaper to buy. You could get two trays out of one 3m pipe by getting additional wood and pipe fittings, or buy them in packs.

♥ STEP EIGHT After the copper legs were attached, I set some heavy boards on top and let it sit for a few hours, just to be sure it was securely attached.

♥ STEP NINE Afterwards, I flipped the tray back over and began adding the copper pipe handles using bell hangers. I had purchased a couple of packs of these when we did our navy and copper dresser night stands and DIY curtain rods, so we had just enough left over for this project. MAY

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26/03/2015 09:01


F U R NI T RE VA MUPRE

Shoe storage

Your best shoes should be stored in style and a repurposed chest of drawers, complete with curtain, is ideal... By Jane Hughes

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SHOE STORAGE HOW TO... MATERIALS

A wooden chest of drawers with legs if possible, 2-3 drawers maximum Sandpaper

Paint – main colour plus extra if you are painting the legs

TO MAKE THE SHOE STORAGE

TO MAKE THE CURTAIN

♥ STEP ONE Remove the drawers and put to one side. Make sure the surfaces are clean and dry, then sand lightly to allow adhesion of the paint.

♥ STEP ONE Measure the open part at the front of the chest and then add an extra 14cm to the width and 8cm to the height for the seam allowance and for the channel along the top of the fabric to hold the wire. Use these measurements to cut the fabric to size. Fold over twice, press the two side hems and then stitch.

Masking tape

Plastic-coated curtain wire – measure the chest for an idea of how much you will need 2 small hooks and eyes

Fabric – measure the gap at the front of the drawers and add extra for seam allowances Thread

EQUIPMENT Scissors

♥ STEP TWO Paint the inside and outside of the chest. Apply a couple of coats for an even finish.

Tape measure

♥ STEP TWO Take the top hem and fold over twice to form a 2cm channel. Iron, pin and stitch down. Measure and mark with pins the length you want the curtain to be. The one shown here is the same length as the open front. Fold over twice, press and stitch down to hem. Press the curtain.

Pins

Paintbrush

Wire cutters

Sewing machine

♥ STEP THREE Allow to dry thoroughly. ♥ STEP FOUR I chose some white and pink fabric for the curtains, so I wanted to add some of this colour to the painted legs. If your unit has legs and you wish to do this, then carefully turn the chest upside down and mask off the parts you are going to paint. Apply the colours and allow to dry.

♥ STEP THREE Add the eye hooks to the outer edges of the chest, measure the distance between the two hooks and take off 4cm. The wire is slightly stretchy – you need it to be a little shorter than the actual length to keep it taut. Using the wire cutters, cut the curtain wire to that measurement and add the hooks to either end. Thread the curtain wire through the channel and hang in place.

TOP TIP This project is from Pretty, Organised – 30 Easy-to-Make Decorative Storage Ideas to Declutter Your Home by Jane Hughes, with photography by Sussie Bell. Published by Apple Press, RRP £12.99.

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You could turn this into a little seat by adding a cushion on top, and if you place a metal tray on the floor underneath you can sit muddy boots in there to dry.

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Vintage Weekends in France

Join us for a Vintage Weekend in Normandy to discover antiques and curios going for a song in French villages and country markets. Find out more:

www.VintageWeekends.eu

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Origami paper box lights

M ID W E E K

MAKE

Brighten up a room or add colour to the decking with these simple origami paper lights. The translucent quality of origami paper allows the string lights to shine through, bringing a dose of happy to wherever they hang... By Victoria Hudgins

MATERIALS

One package of origami paper (usually sold in packs of 30 sheets at craft stores) Length of white string lights

♥ STEP ONE Make the origami boxes following the instructions. It takes a little practice, so try a few and don’t give up! Continue making boxes until you run out of paper or have made as many boxes as there are bulbs on your string of lights.

♥ STEP FOUR Fold the four horizontal corners in toward the centre so that the tips meet. Take the four loose vertical flaps and fold them down. ♥ STEP FIVE Place each loose flap into the side paper pockets. ♥ STEP SIX Gently unfold the balloon centre and blow into it to form the box shape.

TOP TIP The bright primary colours make these box lights perfect for fascinating babies, so hang a cluster of lights where baby can see them. Always make sure any bulbs used near paper are low-heat to avoid any fire risk.

♥ STEP TWO Once the boxes are made, slip one box over each light, hang and enjoy.

HOW TO MAKE AN ORIGAMI BOX ♥ STEP ONE Start with a square of origami paper, then make creases by folding the paper in half width-wise and joining each diagonal corner. ♥ STEP TWO Collapse the pre-folded base at the crease lines until you have what is called a balloon base or folded triangle. ♥ STEP THREE Fold each of the four corners upward to meet the tip of the triangle.

This project is from Materially Crafted by Victoria Hudgins, published by STC Craft/A Melanie Falick Book © Photography by Jocelyn Noel. RRP £15.99

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IN CONVERSATION WITH...

Chris Billinghurst When you want to redesign your home or a room and do it in a sustainable and eco-friendly fashion Eco Chic Interiors comes in very handy. Keith Youngs meets its creator...

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hris Billinghurst has been immersed in the design and creative industry for over 30 years, which has seen her question the eco-friendly elements of her trade. Now the award winning interior style guru runs her art and design business so that it works with ecofriendly products and materials, enabling her clients to have the style they crave without damaging the environment in which they live. ♥ When did the eco element of interior design start to play a key part in your business? In 2009 a client asked me to upcycle some furniture as part of a design project. There

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were children in the household, so I wanted to ensure I wasn’t using potentially harmful products. I researched the paints, varnishes, and other materials available at the time and found the contents could be rather alarming. Over the next year I developed a business plan and, after further market research, it was clear that an affordable online service, offering advice on eco-sensible products as well as a design service for eco chic interior style and decoration including upcycling, was a real requirement. ♥ Do you find people are put off and avoid the greener option believing it to be more costly? There are undoubtedly some products that are more expensive, but

most are comparable price-wise. The big advantage of eco-friendly goods is the assurance of ethical manufacture and materials. I have a responsibility to clients to provide a service that not only considers style but sustainability as well. If people are sceptics, I invite them to join in with an Eco Chic Your Home workshop. ♥ What do you advise to minimize cost and encourage people to try the Eco Chic option? If you reduce waste, refuse to buy materials containing unacceptable levels of chemicals and consider upcycling a viable alternative, you’re taking important steps to a greener lifestyle. Upcycling and recycling aren’t new concepts, they’ve been around for a long time and I think it’s clever to make something unique or give it a different function, rather than buying something everyone else has. Eco Chic Interiors has a large Pinterest account that holds nearly 40 boards covering upcycling, providing a wealth of inspiration. As it’s free, it’s a great start point for a novice upcycler – I guarantee an hour spent looking at our boards will have anyone reaching for the paintbrush!

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♥ What can a novice expect to learn from one of your classes? The main aim of Eco Chic Your Home workshops is to inform and inspire, which then helps to instigate change. We do this by broadly covering three topic areas: ♥ What eco chic design is, how to apply it to interiors, and where to source inspiration. ♥ Eco marks and logos to look for. ♥ How upcycling offers community support. By the end of a class, participants are clearer on how to identify the eco friendliness of a product, how to make eco chic design work in their home and where to buy and be inspired to upcycle for themselves. ♥ What design or schemes you’ve created stand out as favourites and why? This is a difficult one, as I have to love every design or piece of furniture before I can let it go, although there is one that slightly nudges ahead. Last October I prepared a Room Redesign for a lovely couple. Theirs was a beautiful Art Deco home with a large, well lit living room, which had been rag rolled in bright orange in the 1990s and filled with furniture they had acquired over the years, with the result that there was no cohesion and the room felt oppressive, cluttered and old-fashioned. I envisaged painting the dark wood furniture in a cream or soft white, leaving some of the wood on show, sourcing bold textiles for cushions and rearranging their remaining items so that the room had a more sophisticated captain’s cabin feel. Thankfully they loved the design I prepared and it got them upcycling and turning their room around in just two weeks! ♥ How do you put a design together? I started my creative career as an artist, so I approach every design as if it were a unique piece of art. When I work on a Room Redesign, clients send photographs and details to me by email. From the photos, information the client provides and their Pinterest mood board, I build a unique picture in my mind of a new design, which I then transfer to a re-mastered version of their original photographs, making it easy to really see how the room will look. ♥ What information do you gather from a client before starting work on a particular design or layout for a room? With our Room Redesign service a questionnaire is provided to each client before beginning the design. We find out what the room dimensions are, the facing direction, what is to stay or go, what can be upcycled, colour preference, style preference and so on. I even check if the client wants Feng Shui principles taken into consideration! I create a

board on Pinterest and ask the client to pin inspirational images to it to consider. I also pin, so between us we build a comprehensive picture of the room they want designed. ♥ What are you currently working on? I hosted a series of workshops in London at The Great Home Hack in March, a fantastic event curated by celebrity upcycler Max McMurdo and it was incredible to see so many fantastic upcyclers and their products. I was so inspired that I decided to start work on creating a range of upcycled furniture for children. I am also working with our paint and product reviewer Jo Edge on exciting projects and in discussion with a chain of charity shops – you’ll have to wait a little longer to find out more about these! ♥ Would you like to put together and launch your own product range at any point? Yes indeed and, as mentioned above, I am working on a range of furniture for children as we speak! There’s so much furniture around that could be redesigned to form the basis of bespoke ranges, so it’s an exciting prospect – I am also a big fan of Lucy Turner and Zoe Murphy (see more at Pinterest) who have made upcycling into luxecycling! ♥ What criteria have to be met to say that products are eco based? This is the area that makes choosing ecofriendly products so difficult. There are so many different logos and eco marks – over 400 worldwide! Some are done on a voluntary basis, some are covered by legislation. Until we demand a mandatory and legally-enforced

greener approach by manufacturers, things won’t change – many manufacturers don’t bother because they don’t have to. ♥ Do you feel there are areas of the market that are behind the rest? In my opinion, the larger furniture and homeware stores don’t go far enough to make their position on sustainability clear to the general public. An example of this is the production of leather for sofas and chairs. Whether traditional, vegetable or aldehyde tanning, there are nasty chemicals involved in each process. There is an EU directive to restrict the level of chemicals present in leather and an option for manufacturers to sell goods with an EcoSure mark if eligible. However, with associated issues of cattle husbandry and deforestation, it’s a big subject and just one of many the high street furniture industry should be addressing sooner rather than later. Find out more on Twitter @EcoChicInterior or at www.ecochicinteriors.co.uk MAY

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Head online to visit the

new look website today! Love Gluten-Free Heaven and Free-From Heaven magazines? You can now enjoy free-from recipes and information all month long – even once you’ve read your magazine from cover to cover – with our new look Free-From Heaven website. Launching on 27 March, www.freefromheaven.com features essential information on gluten-free, dairy-free, sugar-free and vegan diets, plus exclusive features, product directories, your experiences, weekly giveaways and much more! Head online now to join our free-from community!

JOIN US ONLINE FOR Essential information on free-from diets Weekly giveaways The best free-from recipes Share your experiences!

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Chrome restoration

F U R NI T U R R E VA M P E

When you’re faced with a large amount of rusted chrome it can be a daunting prospect, but all you need is some ordinary kitchen tin foil and a little elbow grease to turn old rusty rubbish into new shiny chic... Project and photography by Heather Haynes Thibodeau from Heathered Nest (www.heatherednest.com)

MATERIALS

An old chair with rusted chrome Tin foil (basic kitchen variety) Water

Car chrome polish

EQUIPMENT

Clean soft dishcloth or rag

♥ STEP ONE Dip a piece of clean tin foil into some water. ♥ STEP TWO Wad up the tin foil a bit, and simply rub the wet foil onto the rusted chrome on your furniture. ♥ STEP THREE As you continue rubbing the rusted chrome, the tin foil will begin to degrade. As this happens, simply break off a fresh piece of tin foil, dip in water, and continue the process.

TOP TIP Once you’ve cleaned up the chrome you can spruce up the upholstery as well. Make a contemporary cover to match your room decor and your new chair will shine.

♥ STEP FOUR Once you have removed as much of the rust as possible, rub a small amount of chrome polish (a penny size at a time) onto the chrome, using a clean, soft cloth or tea towel. This will not only protect your piece in the future, but will also shine the piece so that it looks as good as new!

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Painted Rug

Rugs with woven geometric designs can cost a small fortune, so paint your own on a plain rug and have fun doing it too... Project and photography Š Katie Nathey from Upcycled Treasures (www.upcycledtreasures.com)

M ID W E E K

MAKE

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Buy remnant plain rugs for a fraction of the price of a patterned one and then create your own design. PAINTED RUG HOW TO... MATERIALS

Printer and paper Rug

Acrylic or latex paint

Fabric medium to mix with the paint

EQUIPMENT

Measuring tape Chalk

Sharpies

Foam brushes

Painter’s tape

Cardboard template of shapes to use Scissors

Drop cloth, newspapers or old sheet Fabric protector

♥ STEP ONE The first thing I did was create the shape templates in Illustrator. I’m not going to lie, I suck at mathematics and am a more visual person, so I thought planning it out on the computer would be easier. Plus, this way I could play around with where I wanted the shapes and what colour to make them too. I still messed it up, but I’ll get to that a little later. We have a template for you opposite. ♥ STEP TWO I decided to create three separate shapes, enlarge them and then printed each individual shape out from my printer. Each shape took up a few pieces of paper, so I used some of the Delicate Frog Tape to tape the pieces of paper together. I won some Frog Tape when I attended Haven (a DIY blogging and home decor conference), and I had never used the delicate kind before. It was perfect because it didn’t tear the paper and I even had to move it around a couple times. ♥ STEP THREE After each shape was taped together I cut the shape out, then placed it on a piece of cardboard. I traced it with a sharpie and then cut out the new cardboard template. The cardboard template is what I used to stencil onto the rug. The photos probably explain this better than I can. I did this for all three shapes until I had three separate templates cut out of cardboard.

as a guide for where my templates would start. This is when I realized I totally messed up my plan. When I enlarged the shapes on my computer I apparently made them too large, which threw off my original design plan. Oops. I had even tested out the first template to see how it would fit along the rug, but had only gone along the height of the rug and not the width. This meant that I had to alter my design a bit and went with just three columns of vertical shapes. I considered re-printing and cutting the templates, but decided just to roll with the punches instead. ♥ STEP FIVE It didn’t take long to line up where the shapes would go, since I lined the first column against the edge and 9cm apart, and then started the middle column smack dab in the centre. I also used my original printed out shapes as a guide in addition to my cardboard templates, as shown below. Once I had my template lined up I simply traced around it onto the rug using a Sharpie marker. I alternated between two different Sharpies to make it easier when one was running low on ink.

TOP TIP You can download free templates from Katie’s website. Visit www.upcycled treasures.com and search for the ‘painted rug’.

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♥ STEP FOUR After I had all of my cardboard templates printed out, I started marking out my measurements onto the rug using chalk

♥ STEP SIX The paint dried slightly darker than it originally looked when I painted it on, worth bearing in mind so you don’t end up with a colour darker than you wanted. It’s probably best to test an area first to see if the colour looks the way you want it to. I had started painting one of the patterns on my

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rug and then decided I wanted the colour a bit lighter, so I just painted over the part I originally painted.

shapes one more time, making sure the paint coverage was solid. ♥ STEP TEN I really liked how the rug looked with just the dark navy – it looks a bit darker in the photos than it does to the naked eye. Our dining room doesn’t get too much light though and is super beige, so I wanted to add a pop of turquoise to brighten it up a bit. ♥ STEP ELEVEN I was impatient, so after a few hours it seemed dry enough and I went ahead and started painting around the edges of the pattern using a smaller paintbrush and some custom mixed turquoise paint.

♥ STEP SEVEN Before I started painting I put a couple of old tablecloths underneath the rug, just to make sure no paint went through. You could use a dropcloth, newspapers or an old sheet. The paint didn’t go through the rug at all actually, but better safe than sorry, right? I worked on the rug in our bedroom with the door shut, so our pets wouldn’t run all over it or have their fur fly in the paint.

♥ STEP TWELVE It was so much fun watching the rug transform before my eyes, talk about instant gratification! I wanted more than the three columns in the design (make sure your design plan is more accurate than mine when you enlarge your templates), but I still think it turned out pretty awesome. In fact, I think it worked out well, because now there is more contrast in the dining room with the additional white showing on the carpet. ♥ STEP THIRTEEN The final step is to pick up some fabric protector to spray over the rug, just to make sure all that hard work lasts.

TEMPLATES (SCALE TO DESIRED SIZE)

♥ STEP EIGHT After I had my navy paint colour mixed I used a foam brush (several of them in fact) to apply the paint to the shapes on the rug. I originally tried a regular paintbrush but found that the foam brushes worked much better. If you have really large shapes or stripes you could also use a foam roller.

♥ STEP NINE After the paint had dried, I actually went around and painted over the MAY

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Custom headboard

Put your old picture frames to good use as a customised decorative headboard, made using Dremel tools... Project and photography by Dremel (www.dremeleurope.com/gb/en)

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CUSTOM HEADBOARD HOW TO... MATERIALS

Picture frames Shadow box

Wainscoting Plywood

Rope lighting

♥ STEP ONE Remove the glass from the current picture frames and the centre frame shadow box (enclosed glass front case). Trace the removed glass to determine the shape you need to cut. Using the DSM20 with the DSM500 blade, cut wainscoting for the two side frames.

♥ STEP THREE Draw your centre design onto the plywood. Using a Dremel® Trio with a TR563 cutting accessory, plunge cut your desired design.

EQUIPMENT

Dremel DSM20

Dremel Trio, plus Multipurpose Carbide Cutting Wheel and Carbide Cutting Bit

♥ STEP TWO Using the DSM20, still equipped with the DSM500 wheel, cut plywood for your centre shadowbox.

♥ STEP FOUR Place your cut plywood into the frames, fixing in place as with a normal picture, then use wood glue to attach the frames together. Leave to dry before hanging.

TOP TIP Place strip lighting inside the shadow box to illuminate your design. Use your Trio tool to plunge cut a hole in the back of your shadow box to pass the lights through.

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26/03/2015 16:35


UPCYCLING HEROES

Carry on hauling Bob Wade discovers the inspiring story of how Mat Dusting’s M-24 company takes old lorry tarpaulins and turns them into designer bags that keep them hauling...

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UPCYCLING HEROES

♥ Left Messenger bags for shoulder wearing ♥ Below Backpack designs for carrying more ♥ Bottom left Duffle bags come in gym, weekend (shown) and big sizes

I

♥ Top right Stylish iPad and Macbook sleeves are available ♥ Middle Every M-24 bag has character ♥ Bottom The M-24 store in Salcombe, Devon

It takes quite a leap of imagination to look at dirty, greasy, battered old lorry tarpaulins and see a desirable designer bag, but that’s exactly what Mat Dusting did when looking to set up his own business after graduating from university. That vision led to the creation of M-24 and a range of upcycled bags and luggage in which every piece is unique. M-24 started in 2012 after Mat graduated from Aston University. He studied industrial product design and had already spent a year working in the field for his degree course. That experience helped decide his next step, as he explains, “It was great to begin with, but after 6 months I began to see the reality of everyday working life. Many of the employees had been working there for 20-plus years and it was obvious they were fed up with it. From a young age I knew I wanted to be my own boss one day, but seeing the reality of a 9-5 working day first hand kick-started my enthusiasm to set up my own company sooner.” Mat put his mind to what business he could create – his travels provided the answer. “I always thought the next 50 years of global manufacturing would be more focused towards making things more environmentally friendly and greener. I travel a lot and found my bags didn’t really last very long. So after a bit of research on recycled materials and luggage brands, I soon found there was quite a demand for upcycled products. “Our family business is partly lorry haulage, so I decided to start experimenting

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with old bits of material from around the farm. This included polythene, sandbags and an old piece of lorry tarp. It didn’t take long for me to realise that old lorry tarp was the perfect solution for designing luggage.” Having an idea is one thing, but putting it into practice is quite another and Mat found himself facing his first challenge, “When I started, I was naive enough to think I could make all the bags myself. Although I had never used a sewing machine before, I bought one and immediately found I was terrible at sewing. Despite this, the first bag I made was a square backpack with a flap and it looked OK.” So what is it about lorry tarpaulins that inspired Mat to use them in the first place and that makes them suitable for designer bags? The answer Mat says is... “Simple. Lorry tarpaulin is designed to be hard wearing, waterproof and to protect the cargo inside. Added to this, each lorry tarpaulin is different – some have writing, others have big graphics or logos on. The material often comes with brilliant distress marks from its previous life on the road. All this means each bag we cut from the tarp is unique and it’s the perfect material to keep your possessions safe.” Now that Mat has given up on using a sewing machine himself to make the bags, the process has moved on. Mat walks us through it, “All of the material is sent straight from our suppliers to our recycling centre in Devon. Here a team of five strip the lorry tarp of all the scrap metal and waste plastic. The remaining 80% of the material is sliced into 8x4ft

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pieces, before being washed in XXXL washing machines. Once clean and dry, it’s folded onto a pallet before being sent 50 miles up the road to a small factory in Somerset. All the material is laid out while the designers decide which pieces of tarp should go on the front of the bag, inside and for pockets. “Once the bags are finished and checked thoroughly, they’re sent to the warehouse 10 miles away, before being shipped to the customer. The entire process happens within a 50 mile radius, which I think is quite a rare thing these days. It’s worth mentioning that the 20% of materials we can’t use from the lorry tarp is ALL recycled. Nothing goes to landfill.” A key aspect is what sort of bags M-24 creates and Mat takes inspiration from many sources, “Often when I’m out and about I’ll take tons of pictures of bags of all shapes and sizes, then cherry-pick tiny details I like from certain bags. I also love architecture and tend to use buildings for inspiration while drawing new ideas. I like looking at bags on sale in other countries like Japan, USA and Korea. I quite often find some interesting features, which I haven’t seen here in the UK.” Anyone not in the haulage trade may not know the life expectancy of a tarpaulin, we certainly didn’t, so Mat filled us in, “Normally tarps last 5-10 years. So we’re currently using tarps made in 2005-2010. Once turned into bags, the first one we sold over two years ago is still going strong. So we don’t actually know how long it will last, but there’s no reason why the bag shouldn’t last 10 years plus.” No matter where an upcycled product comes from, what matters is that people want it, so the reaction to Mat’s designs was crucial, and as he relates, “It was fantastic! The first show I ever did in 2012, we sold out! I launched the business at the national ski and snowboard show in London and I haven’t looked back since. The fact that each bag is unique really resonates with customers – each bag is special to them and no one else will have it. Some people don’t understand the need to turn old tarps into bags, but after a quick explanation of durability and life-span, they soon understand that one of our bags will last three times longer than most.” Mat’s not content to rest on his laurels though, “I’d quite like to expand on our current range, rather than making a completely new bag. Some used materials that really interest me are parachutes, denim and shoes. I’d like to line some bags with silky parachute. I’d like to experiment with denim for more malleable sections, such as corners and folds. And I really like the idea of using shoe soles for bases and the laces for fastenings.” Exciting developments to come then, and all based solidly on upcycling, which is really important to Mat. “I like the fact the material has moved onto its next journey. It has a story to tell and it’s very functional. But my real aim is to design

products that perform better and look better than new products bought on the high street. The fact my products are upcycled is almost a by-product. I believe this is key to unlocking a bigger audience and introducing upcycling to the masses. I love seeing people’s reaction when they learn where the material comes from. They love it!” Such a positive response to M-24’s bags bodes well for the future and Mat tells us about his plans, “The past two years have been a rollercoaster, but we now have the foundations to upcycle all of Britain’s waste truck tarpaulin. For 2015-2016 we’re planning a few pop up shops in London, to go with our permanent shop in Salcombe.” For more information and to buy a one-of-a-kind M-24 bag, visit www.m-24.co.uk

THE FACT THAT EACH

BAG IS UNIQUE

RESONATES, EACH BAG

IS SPECIAL TO THEM

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RL20.Printed Curtains.For Print.indd 44

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Printed curtains

M ID W E E K

MAKE

Amp up the feel of space in a room and create an exciting, contemporary twist by transforming old, plain curtains into upcycled delights. Achieve this great look by designing a bold, modern pattern to stencil onto the fabric... Project by Amanda Russell and Juliet Bawden from R&B Design (www.randbconsultants.co.uk)

MATERIALS

Old pair of cotton curtains Dylon fabric paint Drafting film

Tracing paper

Greaseproof paper

Repositionable spray adhesive

EQUIPMENT

OHP pens both permanent and water soluble Scalpel

Retractable steel rule and ruler Iron and ironing board Pencil and rubber Cutting mat Old blanket

Stencil brush ♥ STEP ONE Draw your design on paper, then trace onto drafting film using a water soluble OHP pen. Use a permanent OHP pen to mark the central line of the design on the film, this is to help when you come to position the design on the fabric. ♥ STEP TWO Using a scalpel on a cutting mat, cut the stencil from the drafting film. When the design is cut out, rinse the film with water to remove the water soluble pen lines, leaving the central guide line in permanent ink. Hang the film up to dry.

♥ STEP THREE Trace several copies of the design onto tracing paper, then cut out shapes. Lay the curtain out on the floor and arrange your tracing paper shapes on it to decide how you want to position your stencils. When you are happy with the pattern, measure up the design to help when you are stencilling onto the curtain. ♥ STEP FOUR Fold the curtain along its central line, then iron to make a crease – this is used as a guide when you stencil on your design.

TOP TIP Make sure you don’t overload your brush when stencilling, as excess paint can easily spread under the stencil and make your final design less crisp and clear.

♥ STEP FIVE Using the fabric paints, mix up the colour you want – we used about 100ml in all for our curtain. Put about a tbsp of your mixed colour on a flat palette – we used a lid from a plastic carton. Load the brush with a small amount of colour – the brush needs to be fairly dry. To coat the brush bristles evenly, swirl the brush around on a clean part of the palette. To check you are happy with the mixed colour, practice stencilling on a scrap of similar fabric.

♥ STEP SIX Spray the back of the stencil with a light coat of repositionable spray adhesive. Spread an old blanket on your table and put the curtain on top. Use the ironed-in central line to guide how to place your stencil. Press the drafting film onto the fabric so it adheres, then stencil with your colour. Gently lift the stencil, reposition and carry on stencilling.

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Adding a flash of gold leaf is the final flourish in refurbishing a vintage table that stored cutlery. GILDED SIDE TABLE HOW TO... MATERIALS

A piece of furniture to paint

A plastic or cloth sheet to protect your floor Sandpaper (220 grade) Primer (if required) Paint

Paint pot to decant paint into Wax or varnish (if necessary) Gold leaf and/or a tassel

EQUIPMENT

Paintbrushes

♥ STEP ONE First, lay down a protective sheet to avoid getting dirt or paint on your floor. Then give your piece of furniture a light sand to create a smooth surface and to get rid of any loose bits of wood, varnish and paint. Sanding also helps to create a ‘key’ which enables the paint to properly adhere to the wood surface. ♥ STEP TWO Next you will need to clean your furniture with soap and water. I use sugar soap which is great for cutting through grease and grime. Rinse off the soap with some clean water and wait for the furniture to dry before painting it. I tend to leave it overnight if possible. ♥ STEP THREE If necessary, apply a coat or two of primer. Some paint manufacturers claim that you don’t need to use a primer, but my advice is to always apply one if you’re using a light coloured paint and the piece you are painting is susceptible to bleed through (for example, antique mahogany furniture). ♥ STEP FOUR Once you have chosen your paint colour(s), give the paint a good stir to ensure all of its components are thoroughly mixed together. Decant the amount of paint you need into a paint pot so you don’t contaminate the paint in the tin. I love to use Annie Sloan Chalk Paint as it’s specifically designed for furniture and it’s environmentally 48

friendly too. She also offers a gorgeous range of colours. ♥ STEP FIVE Choose a paintbrush. It sounds an obvious thing to say, but the type of brush you use makes a big difference to the overall finish. I love to use an oval, pure bristle brush to get into nooks and crannies and to create a textured look with the paint. For a smooth finish I use a flat, synthetic brush, although any good quality brush will do. ♥ STEP SIX Apply your first layer of paint to your piece, making sure you use long even strokes – unless of course you want to create texture with short, more random ones. Avoid paint drips by not overloading your paintbrush with paint. ♥ STEP SEVEN Once the first layer of paint has dried, apply your second coat. For a completely unique touch, why not use two different colour paints – one colour for the exterior of a piece and another for the interior? Or, apply one paint lightly over the top of the other, so you can just see the first coat peeking through. If you want a smooth finish, try thinning the paint out by adding a little water.

read the instructions carefully as you will most likely have to apply this prior to using the wax or varnish. Alternatively, attach a pretty tassel to a handle – or even do both! ♥ STEP ELEVEN The table pictured here is a gorgeous little piece that I restored and painted a short while ago. It’s made of oak and it’s dated around the early 1900s. It was used to store fine cutlery and it would have doubled up as a side table. I used Annie Sloan’s Graphite Chalk Paint® on the exterior and Florence Chalk Paint® on the interior. I applied Annie Sloan’s dark soft wax over the Graphite and her clear, soft wax over the Florence. I then covered the whole piece with a further layer of clear wax and then buffed the whole piece to create a subtle sheen. I rubbed a little gold leaf on the detailed trim around the bottom of the box and added a stunning, long gold tassel to the key.

♥ STEP EIGHT When the second coat of paint is dry, distress the piece for a natural, weather-worn look. Aim for the corners and raised areas, which is where natural wear would occur. Use a fine grade sandpaper and start by sanding small sections, then build it up until you achieve the look you want. ♥ STEP NINE If you’re using a water-based paint, seal it with either a water-based varnish or wax. With decorative pieces of furniture I tend to use wax as I love the feel and texture of wax on paint. With pieces which are likely to get a lot of use, I will use varnish as it provides a more durable finish. Whichever option you choose, make sure you follow the instructions to a tee. ♥ STEP TEN For an extra special touch, why not finish your piece with a little gold leaf applied to decorative carvings. You’ll need to

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50

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RL20.Mini Treasure Chest.For Print.indd 50

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Postcard mini treasure chests

M ID W E E K

MAKE

Children love secret treasures that mean something to them, whether it’s pebbles from a beach or favourite bits of jewellery, and these decorated mini chests are an inexpensive and fun way to keep their things safe... By Jane Foster

MATERIALS

Masking tape

Tracing paper

A few matchboxes (these can vary in size) A few vintage postcards (or new ones if you prefer)

EQUIPMENT Pencils

Scissors

Glue stick Ruler

Cutting mat and craft knife (for adults’ use only) ♥ STEP ONE Place your matchbox on the back of the postcard and mark the height of the box. Draw a pencil line across the whole postcard at this level, then cut along your drawn line. ♥ STEP TWO Look at the front of the postcard and select an area in the centre that you want to feature on top of the box. Place the box in the appropriate position on the postcard strip (still on the reverse). Using a pencil, lightly draw around the vertical sides to mark where the first folds will be. Then turn the box on its side, place one edge on each of the vertical lines in turn, and draw along the other edge to mark the second set of folds. ♥ STEP THREE Using a craft knife (or a very sharp pencil) and a ruler, gently score along these lines to create sharp folds in the postcard, but be careful not to cut through to the other side!

♥ STEP FOUR Fold the postcard around the matchbox and trim off any excess card if there’s too much of an overlap. Using a glue stick, attach the postcard to the matchbox. (It’s a good idea to leave the matches in the box, as they help support the box and prevent it from caving in when you press the postcard onto it.) ♥ STEP FIVE Once your box is dry, empty out the matches and choose another piece of postcard to stick in the bottom of the drawer. You can find the appropriate size by drawing around the drawer and then cutting it out just inside the lines.

TOP TIP Make a mini treasure chest from a postcard sent by the child to themselves while on holiday. When they get back, they can make the chest and it can house their mementos of the trip.

USING SCALED-DOWN DRAWINGS ♥ STEP ONE I love drawing in black ink and usually choose to design one-colour prints in my everyday work. I decided to take a few of my illustrations and reduce them to 25% on my printer to produce mini versions to cover some matchboxes with. (I experimented with scaling these down by different percentages to enable me to cover both very small and larger boxes.)

RE ADER OF FE R

To buy this book for the special price of £12 including fre e UK P&P call 0844 57 6 8122 and quote co de CH1899.

♥ STEP TWO Cover the matchboxes with white paper first, so that the matchbox logo won’t show through. ♥ STEP THREE I chose characters with stripes to cover some boxes and then these became treasure boxes to house our mini striped pebble collection. (Striped humbugs would have been fun in a larger box too – although I’m not sure how long they would have lasted uneaten!) I also lined the drawer with the same illustrations. You could try the same thing with children’s drawings, which can be very charming.

These projects are from Creative Craft With Kids by Jane Foster, published by Pavilion. Photographs by Rachel Whiting. Illustrations by Kate Sutton RRP £14.99

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MASTERCLASS

Mosaic basics It’s always a wrench to throw away broken and chipped homeware, so repurposing ceramics and glass into mosaics is a superb way to avoid waste and give them a new lease of life in beautiful pieces of garden art. By Mark Brody

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Cutting techniques When you’re cutting and shaping tesserae, try to embrace variety and not get hung up on uniformity.

W

CUTTING CERAMIC TESSERAE hen you’re working with ceramic tesserae, you have to be comfortable with the luck of the draw. It’s impossible to get a precise, straight cut on ceramic without using a wet saw, which might seem overly work-intensive to the casual mosaic artist. However, often the roughcut quality of ceramic is exactly what makes it appealing, as it lends a raw and immediate look to a mosaic design.

♥ OPTION TWO A tile nipper is the second option. There’s not much technique to using the nipper – it’s mostly brute force. Simply take your tile (or your ceramic plate, if that’s what you’re using) and place the mouth of the nipper where you’d like to break the tile. Then, holding the tile over a suitable container (to catch any pieces that might fly off), squeeze the nipper handles firmly until the ceramic breaks.

MATERIALS

Ceramic tiles

EQUIPMENT

Ceramic tile nipper Wet saw

Hammer

Small container for discarded shards Safety glasses

BASIC CERAMIC-CUTTING TECHNIQUES There are three options for cutting ceramic: a wet saw, a tile nipper and a hammer. ♥ OPTION ONE If your design calls for straightedged tesserae, then a wet saw is the best tool. It carries a greater degree of difficulty, but if you’re up for the challenge, a wet saw allows you to achieve crisp edges and clean lines that are otherwise unattainable with ceramic. With a wet saw, you can cut a tile in half or in sticks, and you can cut tapered shapes too.

♥ OPTION THREE The third option is a hammer. Using a hammer to break ceramic offers the least amount of control, but it’s a quick way to create a bank of irregularly shaped tesserae. To break a ceramic tile or plate, place the tile in a piece of thick cloth (such as a bath towel) and lay it on the floor.

of ceramic sticks using a wet saw, you can then use a tile nipper to break the sticks into charmingly irregular shapes. BASIC GLASS-CUTTING TECHNIQUE 1. Score the glass. To score lines that are straight or gently curved, you’ll use a pistolgrip glass cutter. Place a sheet of glass, smooth side up, on your cutting board. Place the tip of the glass cutter on the surface of the glass, 6mm away from the bottom edge (cutting from bottom to top allows you to see where you’re going). Raise your wrist to set the cutting wheel on the glass and then cut the score firmly, applying even pressure from start to finish. The sound of the wheel scratching the surface of the glass is a familiar one in mosaic studios. If you score too lightly, the glass won’t break cleanly. And once the glass is scored, it’s inadvisable to score it again.

2. Run the score. Once you’ve scored a straight line (or gently curved line, if that’s the shape needed), you’ll break – or run – the glass with a glass runner. The head of the runner has a small line running perpendicular to its edge – the tool is designed to exert an even amount of pressure on both sides of this line. Match the line on the head of the glass runner with the line of the score on the glass. Then squeeze the runner firmly and quickly to break the score cleanly.

SAFETY NOTE A well-aimed hit with the hammer is all it takes to break the tile into three to four pieces, then you can use a nipper to cut custom shapes out of the pieces. For the most diverse set of tesserae, mix all three options – a wet saw, a tile nipper and a hammer. For example, if you cut a batch

When you’re cleaning your worktable, use a brush, not your hands, to sweep the surface clear of shards. It’s helpful to keep a container (such as an empty yoghurt pot or paint can) on hand to hold shards and other discarded bits. When the container is full, put a lid on it and dispose of it in a garbage can.

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MASTERCLASS

Grouting your mosaic

W

hen you mix grout, be sure to wear a dust mask to avoid breathing in the fine particles. Grout is activated by water and the inside of your nose, mouth and lungs are moist environments. MATERIALS

Cementitious grout Grout sealant

EQUIPMENT

Medium-size bowl

Flat mixing trowel

Rubber grout float for spreading grout

Cotton cloths for polishing the finished mosaic Small sponge for shaping grouted shoulders Small bucket of water Dust mask

♥ STEP ONE Mix the grout. Measure the amount of dry grout you’ll need – approximately 175g of dry grout per square foot of mosaic – into a bowl. On the side, have a bucket of water ready. Before adding water to the grout, use the flat mixing trowel to stir the dry grout to break up any chunks. The grout should be very fine. Then, slowly add water to the grout, a little at a time. You’ll use an approximate ratio of three parts grout to one part water, but it’s best to add the water bit by bit. Stir the mixture thoroughly until it’s thick but still fluid. Test the consistency of the grout by holding up a dollop on your mixing trowel – the grout should hold to the trowel but eventually slide off slowly. If the grout holds to the trowel steadily, it might be too thick, but if it drips off, it’s too thin. ♥ STEP TWO Let the grout slake. After you’ve mixed the grout, let it slake by leaving it undisturbed for 10 minutes. Once the grout has slaked, it will be active for two to three hours, after that you’ll need to throw it out. Break up the slaked grout with a trowel and stir it to an even consistency. While you’re working you can break up the grout and stir it again to reconstitute it, but do not add water. If you find that you didn’t prepare enough grout, mix more – but don’t forget to let it slake before using it. 54

♥ STEP THREE Apply the grout to the mosaic. Grouting a mosaic takes about 30 minutes per square foot, including grouting the edges. Before you apply the grout, elevate the mosaic if possible. Elevating the mosaic allows you to access the edges of the piece more easily and grout them without creating a mess on your worktable. First, grout the surface of the mosaic. Drop a blob of grout onto the middle of the mosaic and, using a rubber grout float, spread the grout in all directions so that it fills every channel. While you’re working, pull the grout float toward you to spread the grout rather than push it away from you, which can dislodge a tile. Once you’ve grouted the entire surface, pull any excess grout into the middle of the mosaic. This will give you the visibility you need to check for any cavities that still need to be filled and to make sure the grout is evenly applied. If you see any inconsistencies, fill them now. ♥ STEP FOUR Next, grout the shoulder, or edges, of the mosaic. The shoulder is the 3mm border between the edge of the mosaic and the edge of the substrate that you left when you made the mosaic. Wipe some grout into the shoulder. Hold the grout float at an angle to apply the grout to the shoulders. The shoulders should be grouted uniformly, but don’t worry about making them perfect – you’ll sculpt the shoulders later with a sponge. When you’re done grouting the edges, you shouldn’t see the substrate. ♥ STEP FIVE Finally, hold your trowel at an angle and do a final sweep across the entire mosaic to pull off any excess grout – this will help minimize cleanup later. Let the grouted mosaic sit undisturbed for about 15 minutes. ♥ STEP SIX Contour the edges of the mosaic. Begin by soaking a clean sponge in water. Squeeze the sponge thoroughly until it’s damp but not dripping, because you don’t want to add any water to the drying grout. Lightly run the sponge along the edges of the mosaic. You’re merely softening and evening the edges. At this time, you can smooth out any rough spots or add a touch more grout to any barren spots. In the end, the edges of the mosaic should be flush with the surface and appear relatively smooth. As you work, rinse and squeeze your sponge as needed to clean off any grout that it picks up.

♥ STEP SEVEN Apply the sprinkle coat of grout. A sprinkling of dry grout over the surface of the mosaic speeds up the drying process by absorbing moisture, and it provides grit for polishing the mosaic. As a rule of thumb, don’t begin this step until at least an hour after you’ve begun the grouting process. Gently sprinkle a fine coating of dry grout across the surface of the piece. Wait 5 minutes. Then, using a dry cotton cloth, angle your mosaic toward the trash can and, being mindful not to create too much dust, wipe off the bulk of the dry grout into the trash can. ♥ STEP EIGHT Polish the surface. This is the exciting part! Use a dry cotton cloth to remove the remaining grout from the surface of your mosaic. Polish in a circular motion, thoroughly cleaning the surface of every tessera. When you’re working on the edge of the mosaic, make sure to wipe toward the centre, being mindful not to disturb the grouting at the edge. It’s normal to see a ‘grout haze’ form even after polishing. You can remove this haze by simply coming back to your mosaic in the next three hours and repolishing the surface. ♥ STEP NINE Seal your mosaic. For added durability against the elements, you should seal your mosaic with grout sealant. (This applies to cementitious grout only.) To do so, wait 48 hours for the grout to cure completely. You can then use a paintbrush or sponge to apply the sealant according to the manufacturer’s instructions. Once you layer on the sealant, wait 20 minutes for it to dry and then polish the surface of the mosaic with a dry cloth. The sealant only seals the grout, it won’t stain the glass.

TOP TIPS It’s always a good idea to have some readymade thin-set mortar on hand while you’re grouting your mosaic. If a tessera becomes dislodged, you can butter the back of it with the mortar and gently reset it during the grouting process – you won’t have to stop grouting to prepare the mortar. The edges of your mosaic will be fragile for a day or two until the grout fully cures, so be careful not to hold your mosaic by the edges.

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Although most grouts have no adhesive properties, they strengthen the mosaic physically, add to its water-resistance and create a cohesive finished piece. 1

4

7

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MASTERCLASS

Flower tabletop ♥ STEP ONE Secure the template and sticky mesh to the substrate. Your template should fit on the substrate with a border of at least 3mm between the template edge and the edge of the substrate, so as to leave enough space for a shoulder that will be grouted later. Lay the template face-up on the prepared substrate and place sticky mesh – sticky side up – on top of the template. If the sticky mesh inhibits your view of the design, use a marker to darken the template lines. Then, tape down the corners with painter’s tape to affix the template and sticky mesh to the substrate so that your work surface and design will be secure and properly aligned while you lay the tiles. (You can also place long tiles around the edge of the sticky mesh, instead of tape, to hold everything in place, as I did.)

T

his sweet end table is an excellent way to reuse an old chair. Cut off the back, and voilà, you have table legs. Be sure the substrate is large enough to fit comfortably over the seat. This seat is 45x45cm, so I used a 50x50cm substrate for the mosaic. For this design, I cut a flower-shaped piece of paper and stencilled it onto the template in different places, reversing it and varying the size so the design wouldn’t look like wallpaper. I liked the vertical nature of the design, as it mimics the upward growth of flowers, so I put a border on only the long sides to enhance the sense of length. When creating flowers, use two different colour values to show depth. Placing the darker tiles toward the bottom of the flower adds a sense of volume. Tapered cuts work well as petals. For mosaic tabletops, I recommend using cement backer board because of its durability and weather resistance. MATERIALS

Cement backer board

Chair, with backrest removed 56

Template, page 59 Stained glass

♥ STEP TWO Dry lay the tesserae. Dry lay the entire composition directly on the sticky mesh over the template. When you get to the corners, remove the painter’s tape so that the tesserae can properly adhere to the sticky mesh. Finalize the design at this stage and check the borders to ensure that no tesserae have crept over the edges of the template. If they have, switch them out for smaller pieces to avoid creating a sharp edge or an insufficient shoulder for grouting.

Sticky mesh

Clear contact paper Thin-set mortar Urethane grout

About 188cm of 1cm wide moulding (for the frame on the mosaic back) Construction glue

EQUIPMENT

Felt-tip marker

Pistol-grip glass cutter Glass runner

Two-wheeled nipper Painter’s tape Dust mask

Bucket and bowl

Flat mixing, notched metal and small painter’s trowels Rubber grout float Cotton cloths Small sponge

♥ STEP TREE Cover the composition with contact paper. Take a sheet of contact paper, slightly larger than the composition, and gently place it – sticky side down – on the surface of the mosaic, locking all the tesserae in place. Press the contact paper firmly onto each and every tessera, being mindful of the sharp edges under the contact paper. To avoid cutting yourself, use a balled-up cloth to press the tesserae down.

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When you’re making a tabletop mosaic, consider mosaicking the edges. They add strength to the piece and they’re aesthetically pleasing.

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MASTERCLASS

Flower tabletop ♥ STEP FOUR Remove the composition from the substrate. Before you can apply adhesive to the substrate, you must first remove the template and sticky mesh from its surface. The easiest way to do this is with the aid of a flipper board – a board that you use to flip the composition over. The board can be any flat, lightweight board you have on hand – a spare piece of wood, plastic or wedi board. As long as it’s slightly larger than your mosaic, it will work. To safely remove your composition, place the flipper board on top of it. Hold both the top and bottom boards (the bottom being the substrate) securely – with the tesserae sandwiched safely in between – and simply flip them over. After you’ve executed the flip, your substrate will be on top of the pile. Remove it and face it rightside up on your work surface. ♥ STEP FIVE Remove the template and sticky mesh. Remove the template and gently pull the sticky mesh off the tesserae, being careful to pull slowly to avoid dislodging any tesserae from the contact paper underneath. Discard the sticky mesh.

flip them over. Remove the flipper board and set it aside. Now you can see your mosaic face-up. If necessary, centre the mosaic by pulling the corners of the contact paper with both hands. It’s fun to see the mosaic move as unit. ♥ STEP EIGHT Seat the tesserae. Smooth down the entire composition through the contact paper, pressing each tessera into the thin-set mortar to ensure adhesion. Use a balled-up cloth during this process to avoid cutting yourself on any sharp edges. Place an even weight (such as a book) on the top of the mosaic, to help the setting process, and let the mortar begin to cure for approximately 30 minutes. After 30 minutes, gently lift a corner of the contact paper. If you feel confident that you can pull away the contact paper without pulling up any tesserae, do so. The mortar will still be wet at this point, so if necessary you can do some final fine-tuning to the mosaic design.

harder to clean, so it’s best to grout and clean one section of the mosaic at a time, in less than 15 minutes each. Grout an area that is about 25x25cm, then stop grouting and use a damp sponge to clean the grouted area. Scrub repeatedly in a circular motion to get the excess grout off the mosaic surface. (You need to use more elbow grease when you’re working with urethane grout.) After you’ve cleaned the area, proceed with the next section of the mosaic. When you’re grouting a mosaic tabletop, be extra careful to protect the edges. You don’t want to use too much grout on the edges – use enough grout to give it an approximately 3mm coat. Any more than this would create a bump that would be more susceptible to breaking away.

♥ STEP SIX Prepare and apply thin-set mortar to the substrate, following the manufacturer’s instructions for mixing and application. ♥ STEP SEVEN Flip-and-set the composition back onto the substrate. Now that the substrate is covered with adhesive, transfer the composition to the substrate and seat the tesserae all at once. Keep in mind that, because you’ve flipped the mosaic over, you’re looking at the reverse side of the composition now. There are a few different techniques for transferring your design, depending on the size, shape and weight of the substrate. Here we’re using the flip-and-set technique. This manoeuvre requires that you pick up the substrate, so it’s best suited for small mosaics that are done on a lightweight substrate, such as wedi board. Pick up your substrate. Turn it over and hold it upside down, so that the side covered with thin-set mortar faces down. Measuring with your eyes, align the substrate with the composition and then gently lay the substrate with the composition. Don’t worry about perfecting the alignment just yet. Next, press the entire piece together, holding the top and bottom boards firmly, and 58

♥ STEP NINE Clean up any extra adhesive. The adhesive will be visible in the interstices. This is a problem only if it has squished up between the tesserae so much that it might block the grout. A good way to check for problem spots is to look at the contact paper after you pull it off – if it’s spotted with mortar, the adhesive has risen above the level of the tesserae. If you see any problem spots, clean them out using a small painter’s trowel or a thin piece of wire. Then let the thin-set mortar cure for 24 hours. ♥ STEP TEN Grout the mosaic with urethane grout. Urethane has a built-in adhesive to make it stronger, but it tends to dry fast and is

♥ STEP ELEVEN Place the mosaic on the chair. To secure the finished mosaic snugly to the chair, attach a frame that will fit around the chair and to the back side of the mosaic. Be sure that the inside dimensions of the frame are slightly larger than the chair, so that the frame fits over the chair. To make the frame, use construction adhesive to glue four pieces of 1cm-width wood moulding to the back side of the mosaic.

The project and techniques on pages 52-59 are from Mosaic Garden Projects by Mark Brody with Sheila Ashdown, photography by Justin Myers, published by Timber Press. RRP £14.99

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The greater exposure to moisture, dirt and fallen leaves of outdoor mosaics calls for urethane grout, which dries faster, is harder to clean and is stronger. TEMPLATE

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Patchwork trivet

M ID W E E K

MAKE

This trivet is easily and quickly whipped together with the tiniest fabric scraps and other leftovers from quilt making, creating a perfect potholder or a novel spot for putting your teapot... Project and photography by Cintia Gonzalez-Pell from My Poppet (www.mypoppet.com.au)

MATERIALS

Fabric scraps (cotton recommended) Backing fabric (cotton or wool recommended, minimum size 23x15cm)

Quilt batting scraps (cotton or wool recommended, minimum size 23x15cm)

Bias binding, 2.5cm single fold width, minimum length 90cm (optional – join a few lengths of binding together to make up a longer length)

EQUIPMENT

Sewing machine

the curve just stretch the binding around and pin or hold with your fingers like I do. Keep sewing and when you get towards the end, flip the start of the binding over (the bit where you started sewing) and sew over the binding. Stop at the edge of the trivet. Leave a binding tail of about 10cm.

TOP TIP Trim a tea towel in co-ordinating fabric or binding for a lovely house warming present or hostess gift.

♥ STEP FOUR Flip over and fold the binding over the edge. Pin the start of binding. With front facing up, sew the binding in half, starting at the tail. Continue sewing around over the pinned corner and around the curves. When you are close to the end, fold the binding tail under to make a loop and reinforce with some extra stitching.

General sewing supplies ♥ STEP ONE For the freestyle patchwork top, sort through and choose your scraps. Press and cut them into squarish shapes. Join small scraps randomly, pressing and trimming as you go. Keep adding larger pieces as you go. There is no right or wrong way to do this, just have fun. Create a few small freestyle blocks, then join those together. ♥ STEP TWO For the quilting, layer your top (facing up), one or two layers of batting (two is better) and the backing fabric (facing down) to make a mini quilt sandwich. Sew quilting lines closely together. (1.25cm or about the width of the presser foot is fine.) Trim to a rectangular shape. Mark three of the corners with a curve (I used a camera lens cap) and trim. ♥ STEP THREE Open the binding and on the back of the trivet match the edge of the binding with the edge of the trivet (in the one non-curved corner). Sew a seam on the folded mark of the binding. When you get to

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wine crate coffee table Coffee tables are best when they have character and making one out of old wine crates guarantees you lots of it... Project and photography by Becca Woodham from DIY Vintage Chic (diy-vintage-chic.blogspot.com)

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Genuine old wine crates may not be available, so mark plain crates with the wording and images of your choice. WINE CRATE COFFEE TABLE HOW TO... MATERIALS

4 wooden crates – the crates are sized 32x45x24cm (WxLxH).

2 pieces of wood for the frame – 2.5x10cm 2.4m boards (1x4 boards in the USA), I used pine 4 casters

Images (not necessary if you use a real wine crate) Mod Podge – matte finish

Stain – vinegar, steel wool and brewed tea

Variety of screws, nails, L brackets and bolts Satin polyurethane

EQUIPMENT Drill

Hammer

Screwdriver

Paintbrushes

Sanding equipment

♥ STEP ONE My first step should have been to stain all the crates before I started screwing them together. It would have made that job a whole lot easier. However, I started by building a frame. This would not only be a solid foundation, but it would give me a piece of wood much thicker than the crates to screw in the casters. You’ll notice I arrange the crates how I wanted them. I based my measurements for the frame on this, your measurements and frame size will vary depending on your crates. For extra support, where the sides of the frame connect I drilled holes in the sides of each board, filled the holes with wood glue, placed dowels into each hole and fitted the pieces together. For the middle boards (that create the + in the frame middle), I secured them to the frame using L brackets. ♥ STEP TWO I first nailed the crates to hold them in place temporarily. I then went back with screws and removed the nails when I was done. That hole in the middle... what to do with it? Make it one of the features! At first I thought about making it a planter box, but remembered all the times we’ve throw magazines, books and remotes onto the table and figured a plant wouldn’t survive. So I thought I’d tie it together with my River Rock side table. Unfortunately I’m out of rocks so I had to improvise. I flipped the crates upside down, used a few scrap pieces of wood and L brackets. I only wanted the hole to be about 10-12cm, but you could make it taller depending on where you place the brackets. Just remember it’s upside down, so the closer your L brackets are to you, the deeper the hole you’ll have. ♥ STEP THREE Next I transferred over my wine images. Again, I need to change the order of this step. Once I stained the wood, the images were almost completely gone, but at the time they looked great! ♥ STEP FOUR One week before staining I put about two cups of vinegar in a container, along with a steel pad (SOS pad) and let it

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sit for a week. Right before I planned to stain I heated about four cups of water until it was almost boiling and steeped two bags of tea. After the tea has steeped for a bit, use a paintbrush and coat your wood with the tea. The four cups I used was just enough to cover all the wood and a little more. ♥ STEP FIVE Grab another brush and use your vinegar/wool solution. It should be a nice, murky brown by now. Start painting the wood. Please don’t freak! The wood will look almost black. I had a slight panic attack and tried to quickly wipe away the stain, which doesn’t help. Feeling defeated, I continued on, counting the amount of money and time I’d already invested only to have to start over. Don’t stress too much if it’s darker than you think you’ll like, because over the next 24 hours the stain really soaked into the wood and the colour lightens. ♥ STEP SIX Next, sand the crates using sandpaper and a block or an orbital sander, wearing a mask as you work. ♥ STEP SEVEN I attached the casters to the bottom and was starting to get pretty pumped about the table. I went back and tried to redo my wine label transfers. ♥ STEP EIGHT Last but not least, polyurethane. I used a satin finish. Next time – if I choose to create another for some reason – I would use a lighter stain and I would like to try a beeswax sealer.

TOP TIP To fit in with your coffee table the casters should be aged and rustic. Use a rust antiquing solution to stop your casters from looking shiny and new.

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COMPETITION

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izzix is offering four lucky winners the chance to each win a brand new Big Shot™ Plus machine and a selection of dies from the new collection Tribal Adventure. Take a Tribal Adventure with this new collection from Craft Asylum® – with flowers and leaves featuring on Bigz™ dies, the creative possibilities are endless. Our Bigz™ dies use steel-rule technology to cut through anything from paper and card stock to leather and denim! Also featured in this collection are florals, feathers, elephants and birds with intricate tribal patterns on Thinlits™ 3-in-1 dies, which cut, emboss and stencil to give you even more creative reign on your makes. Not forgetting the two Textured Impressions™ Embossing folders with a fun and contemporary design to add dimension to your projects! For these products and more visit www.creativerox.com To enter now and be in with a chance of winning one of four prizes worth over a total of £1,000, answer the following question... The patterned dies in this prize centre around which theme? A Nautical B Tribal C Botanical

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RL20.Wine Bottle Lamp.For Print.indd 66

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Fine Wine bottle lamp

Don’t just toss a decorative wine bottle into the recycling crate – upcycle it into a stylish lamp for your home instead... Project and photography by Lana Red (www.lanared.blogspot.co.uk)

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You could keep the label on the bottle if it suits or add your own design to the exterior. Fill the bottle with glass beads through the neck for another decorative touch.

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Fine Wine bottle lamp how to... Materials

Wine bottle

Lamp wiring kit Lampshade

Equipment

♥ STEP four Make sure you’ve got enough wire and the fittings for the lamp – either get a kit or get your local store to supply you with the correct materials. The wiring and fittings vary by country (I live in Holland), so get the right lamp fittings for where you live.

Diamond tipped drill Soft towel

♥ STEP ONE Get an old wine bottle. ♥ STEP two Get a diamond tipped drill, or use a simple engraving device like I did. Place your bottle on a something soft like a towel and start drilling. If you are drilling with the diamond tipped drill, make sure to cool the glass every minute or so. The drilling process can take a while, it took me about 20 minutes with my engraving tool to create the hole, because I didn’t want to force it.

♥ STEP five Take the wire and pull it through the hole.

♥ STEP threE Remove the labels, if desired, by soaking the bottle in hot water.

♥ STEP six Install all the bulb fittings and place the lampshade on top.

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

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For interior & exterior use Apply over most existing finishes Typically covers in 2 coats Highly durable Glazing & top coating optional Our ‘Lamp Black’ is black!

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ORDER ONLINE AT ANTHEM.SUBSCRIBEONLINE.CO.UK/BACK-ISSUES/ RELOVED-BACKISSUES CALL US ON 0844 848 8423 RL20.Ad page 69.FOR PRINT.indd 69

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70

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Fitted bedsheet

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Vintage sheets can look great and can be bought very cheaply, but they will all be flat sheets, so this handy guide is the perfect way to bring them up to date by transforming them into fitted sheets... Project and photography by Cintia Gonzalez-Pell from My Poppet (www.mypoppet.com.au)

MATERIALS

Flat sheet the size of your mattress

with a serger or zig zag stitch. Repeat for all corners. Try the sheet on your bed at this stage, just to make sure that you are on the right track.

Elastic threading tool or safety pin

♥ STEP FIVE Serge or zig zag right around the raw edge of the sheet.

Measuring tape

♥ STEP SIX Fold over and sew to make a casing for the elastic to thread through. Mine was about 1.5cm wide, but it will depend on the width of your elastic. Don’t make it too narrow or it will be hard to thread elastic through. Leave an opening about the width of your hand.

Firm thin elastic (about 0.5cm width, length will depend on sheet size) EQUIPMENT

Sewing machine

General sewing supplies ♥ STEP ONE Gather your materials – you probably have everything you need in your linen press and craft drawer. I suggest taking your own measurements of the mattress you are sewing for, as sizes and especially depths may vary. The mattress measurements you need are: length, width, depth and extra tuck under – several inches if possible, but that will depend on the size of your flat sheet. ♥ STEP TWO Cutting – fold your sheet into quarters and, from the centre fold, measure half the length and half the width. Add the depth and as much extra as your sheet will allow. Cut away the square that is remaining in the corner, leave 1cm for seam allowance. It’s always best to cut a fraction bigger to allow for mattress protectors and the like. You can always make it smaller, but not the other way around.

TOP TIP Some flat sheets tend to be wider as they are designed to go over your body, so cut off the excess width so that the depth plus the extra is the same all the way around.

♥ STEP SEVEN Secure the end of your elastic with an elastic threading tool or a safety pin. Thread your elastic into the opening. Keep feeding all the way around till you get back to the opening. ♥ STEP EIGHT Pull the elastic so it gathers the edges of the sheet in, but not too much that it won’t stretch over the mattress. Sew the ends of the elastic together. Sew the opening shut.

♥ STEP THREE Sewing – fold over the edges of your corners. The right sides of the sheet should be facing each other. ♥ STEP FOUR Sew a seam back, stitching towards the corner and finish the raw edge

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ONLINE

♥ PROJECTS ♥ TECHNICAL ADVICE ♥ TEAM BLOGS ♥ EXCLUSIVE COMPETITIONS ♥ NEWS Get creative and start die-cutting with Sizzix®

The Great Home Hack! Posted by admin on March 3rd, 2015

Posted by admin on March 25th, 2015

Calling all upcycling fans in London! There’s a brilliant new event taking place at Fulham Palace from 13-15th March that you won’t want to miss… Brancott Estate is celebrating 40 years since it singlehandedly pioneered the Original Marlborough Sauvignon Blanc, by launching the UK’s […]

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Read More

Project: Make a Retro Kimono from an Old Shirt

Add a vintage feel to your shelves with scalloped edging

Posted by admin on January 25th, 2015

Posted by admin on January 21st, 2015

A simple but effective transformation – turn an old shirt into a relaxing kimono, complete with retro fringing! Choose bright and bold colours for a real statement piece… Project and photography by Victoria Haynes from blog The Owl and the Accordion MATERIALS One shirt At least two metres of fringing (this is available in various […] Read More

Spruce up your home for a party, or add a permanent splash of colour with this clever idea for decorative edging. Project and photography by The Owl and the Accordion MATERIALS One patterned pillowcase Iron-on adhesive EQUIPMENT Sharp scissors Tailor’s chalk An iron STEP ONE You need to start by making a cardboard template for […] Read More

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THREE WAYS

Mobile art In a world of constant change it’s a great idea to have decorations that also change, with nothing more than a light breeze or touch of a hand. These mobile designs are quick and inexpensive to create and an ever-changing source of beauty. By Clare Youngs. Photography Š James Gardiner

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THREE WAYS

Tassels and beads MATERIALS

Scraps of patterned paper Craft glue

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2

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4

5

6

7

8

9

10

11

12

Wire

Beads in different sizes and shapes Nylon fishing line

Metal ring measuring 7mm in diameter Masking tape

EQUIPMENT Pencil Ruler

Scissors

Awl (bradawl) or similar, for making holes Wire cutters

Bullnose jewellery pliers ♥ STEP ONE To make a paper tassel, cut a strip of paper measuring 19x3cm. Cut snips into the long edge – all the way along and 3mm apart. Stop 1cm short of the top edge. ♥ STEP TWO Run some glue along the uncut edge of the strip and roll the paper tightly. Make about 15 tassels this size and one additional tassel from a strip of paper measuring 19x10cm. ♥ STEP THREE To make a fan, cut a strip of paper measuring 130x3cm. Fold back and forth along the strip, making concertina folds about 5mm apart. Trim off any spare paper at the end. Open up the strip and run some glue along the top inside edge. Fold it up again and squeeze at the top to secure. Make about 15 fans in this way.

tassels and fans onto the wire, with 2cm of beads between any two paper decorations. ♥ STEP SEVEN Finish off with beads and enough wire to make a small loop in the end. Bend the wire around to form a hoop and hook the two looped ends together. Squeeze the join, using pliers, to secure.

♥ STEP FIVE To make the larger of the two beaded hoops in this mobile, cut a length of wire measuring 37cm and use pliers to make a small loop at one end.

♥ STEP EIGHT Repeat steps 5, 6 and 7 to make the smaller hoop using wire measuring 30cm. Tie a length of nylon fishing line across the diameter of the hoop and secure with a knot at each end. Tie a second length of nylon across the hoop, but running in the opposite direction, so that the two threads cross at the centre, as shown. Thread the large tassel onto some nylon and hang this from the centre of the hoop.

♥ STEP SIX Thread a tassel onto the length of wire, pushing it down to the loop at the end. Now thread on some beads and a paper fan. Make sure that the patterned side of the fan faces outward. Continue threading beads,

♥ STEP NINE Cut four lengths of nylon measuring 35cm. Tie them to the bottom of the small metal ring and thread all four through beads for about 8cm. Use big beads if you can find them.

♥ STEP FOUR Use the awl (bradawl) to make a hole right through the top section of each fan and tassel, positioning it about 4mm down from the top.

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♥ STEP TEN Now thread each of the four lengths of nylon with beads, using the same number of beads for each strand. Approximately 24cm from the end, secure each length with a piece of masking tape, just while you complete all four. ♥ STEP ELEVEN Remove the masking tape from each length in turn and tie to the larger beaded hoop, at quarter intervals around the circumference. Cut off any spare. ♥ STEP TWELVE Repeat steps 10 and 11 to make four shorter strands of beads measuring 10cm, with extra at each end for tying, and attach each one to the larger beaded hoop at one end and the small beaded hoop at the other. ♥ STEP THIRTEEN Attach a length of nylon fishing thread to the top of the metal ring, for hanging up.

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Look out for strings of beads in secondhand shops and car boot sales. They can cost next to nothing and, combined with paper tassels and mini fans make pretty hanging decorations.

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THREE WAYS

Fresh flower chandelier MATERIALS Thick wire Thin wire

1

4

5

6

7

10

Five small glass bottles Fresh flowers

EQUIPMENT

Tape measure Wire cutters

Bullnose pliers ♥ STEP ONE Cut a length of thick wire measuring 84cm. Bend the wire to form a ring and use pliers to bend a small loop at one end and a small hook at the other end. Place the hook into the loop and squeeze together to secure. ♥ STEP TWO Cut two lengths of thick wire measuring 3cm more than the diameter of the ring you made in step 1. Use pliers to wrap one end of the first wire around the wire ring – I started at the join. ♥ STEP THREE Stretch the wire across the ring and wrap the opposite end around the ring. Trim off any extra wire. ♥ STEP FOUR Rotate the wire ring by 90 degrees and attach the second length of wire in the same way, so that the two wires cross at the centre. Where the wires cross at the centre, loop the second wire around the first to secure. ♥ STEP FIVE Now cut two lengths of thick wire measuring 50cm. Attach the ends to the same points on the wire ring that you attached the wires in steps 2, 3 and 4. ♥ STEP SIX Squeeze each wire at the centre to a triangle shape. ♥ STEP SEVEN Cut five varying lengths of thin wire that measure between 28-34cm. Take one length of wire and use pliers to make a small loop at one end. Wrap the looped end of the wire around the top of the bottle, thread the opposite end of the wire through the loop and pull tight. ♥ STEP EIGHT Make a small loop at the opposite end of the wire to hook over the wire ring. Next, repeat steps 7 and 8 with all the other bottles. ♥ STEP NINE Hook four of the bottles over the edge of the wire ring, placing them at those 76

points where the hanging wires have been attached. Place the fifth bottle where the wires cross at the centre of the ring. ♥ STEP TEN Now for the fun! Pour a small amount of water into each bottle and arrange a pretty bouquet of flowers in each one. ♥ STEP ELEVEN You can hang the mobile from a hook screwed into the ceiling.

RE ADER OF FE R

To buy this book for the special price of £9.99 including free UK P&P call 01256 302699 and quote GLR CP7.

The projects on pages 73-79 are from Mobile Art by Clare Youngs, published by CICO Books (www.cicobooks.co.uk). Available from all good bookshops. RRP £12.99

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The little bottles featured in this project are easy to find at online sites for flower arranging and wedding favours. Be sure to use thick wire, as the bottles get heavy with water in.

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THREE WAYS

Himmeli MATERIALS

Thin black straws

Needle and cotton thread

1

2

3

6

7

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EQUIPMENT Scissors

♥ STEP ONE My straws measured 13cm in length. If your straws are longer you can cut them down. You need 12 straws to make the first shape. Start by cutting a long length of cotton and thread it through the needle. Thread three straws onto the cotton, leaving 5cm of spare thread at the end. ♥ STEP TWO Arrange the three straws to make a triangle and tie a knot to secure. Trim off any spare thread. ♥ STEP THREE Thread on two more straws and secure with a knot at the top corner of the first triangle. ♥ STEP FOUR Add two more straws and secure with a knot at the bottom left-hand corner of the first triangle. ♥ STEP FIVE Continue adding straws in the same way to make a row of triangles using 11 of the straws. ♥ STEP SIX Thread on one more straw and swing it around so that it meets up with the farthest corner in the row of triangles, as shown. Secure with a knot. ♥ STEP SEVEN You will have a 3D pyramid shape with two triangles attached to two sides of a square base. Thread the needle through the straw that makes up one side of the triangle to the right. Bring the two triangles up to meet together at the top and secure with a knot. This completes one shape. ♥ STEP EIGHT Follow steps 1 to 7, using different length straws to make a number of shapes in different sizes. I have hung smaller shapes inside and from the corners of bigger shapes for my sculpture, but you can make yours as simple or complex as you like.

shape. From each corner of the 13cm shape is a 5cm shape.

CONSTRUCTION DIAGRAM

♥ STEP TEN From the base of the 13cm shape hangs a 10cm shape. Within this hangs a 6cm shape. Before attaching this to the top of the 10cm shape, I added a short length of straw (12mm) to allow it to hang lower. ♥ STEP ELEVEN From each corner of the 10cm shape hangs a 4.5cm shape. Again, I added a short length of straw before attaching. ♥ STEP TWELVE Hanging from the base of the 10cm shape, is a 6.5cm shape and, hanging from this, a 4.5cm shape. ♥ STEP THIRTEEN Attach a length of cotton to the top of the sculpture for hanging.

♥ STEP NINE To produce the mobile shown here you will need the following shapes (measurements given represent straw length): 1 x 13cm, 1 x 7cm, 1 x 3cm, 4 x 5cm, 1 x 10cm, 1 x 6cm, 1 x 6.5cm, 5 x 4.5cm. Hanging within the 13cm shape, secured at the top with cotton thread, is a 7cm shape. Hanging from the bottom of that is a 3cm 78

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Himmeli sculptures are traditional Finnish decorations made from straws. You can use natural straw, but this project uses thin, black drinking straws for a stylish contemporary look.

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Wooden cabinet restoration

F U R NI T U R R E VA M P E

Furniture restoration can sometimes be a daunting task, but with some Dremel tools and a little time you can transform an old cabinet without any need for the blood, sweat and tears... Project and photography by Dremel (www.dremeleurope.com/gb/en)

MATERIALS

An old cabinet

Beeswax

EQUIPMENT

Sanding block

Dremel 8200 with Detail Abrasive Brushes 36 grit, 120 grit & 220 grit, Polishing Cloth Wheel, Mandrel and Impregnated Polishing Wheel

♥ STEP THREE Then, work in a number of layers of beeswax to the natural wood for a beautiful finish. ♥ STEP FOUR On detailed areas, polish using the Dremel 8200, EZ SpeedClic mandrel (SC402) and the EZ SpeedClic polishing cloth wheel (423S).

Old cloths

♥ STEP ONE First, using a sanding block, sand down the entire cabinet. ♥ STEP TWO Sand away any old pieces of damaged and scratched wood using the Dremel 8200, EZ SpeedClic mandrel (SC402) and the EZ SpeedClic Abrasive Buffs in Coarse, Medium and Fine (511S and 512S). Alternatively, use the new EZ SpeedClic detailed abrasive brushes for delicate shapes (471S, 472S and 473S). If you need to execute precise sanding, and sanding at a 45 degree and 90 degree angle, then the new Dremel Shaping Platform helps you do this.

TOP TIP Never write off a piece of furniture – even if it looks like it has had better days something can usually be done, and often it’s just a case of taking off the chipped varnish. This technique is perfect for anyone who wants to salvage a treasured piece without covering imperfections with a coat of paint.

♥ STEP FIVE Remove the brass handles and remove any damage to the surface and polish up using the Dremel 8200, EZ SpeedClic Mandrel and the Impregnated Polishing Wheel (520).

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26/03/2015 17:36


Painting Furniture

Clementene Coates has been upcycling, restoring and painting antique and vintage furniture for years with stunning results. Now she wants to share with you some of her top tips for creating the perfect painted piece...

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USE GOOD QUALITY PAINT If you want a high quality finish, then you need to use a good quality paint. There are lots of paints on the market. I love to use Annie Sloan’s Chalk Paint® as they’re specifically created for painting furniture and they’re environmentally friendly too.

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CHOOSING THE RIGHT COLOUR Think about where you’re going to put your newly painted piece. Do you want it to match and blend with existing furniture, or do you want it to stand out? Have a clear idea of what you want to do from the outset.

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PRIME Unless you’re using paints which don’t require you to prime the piece first, you will need to apply a coat or two of primer before you begin painting. The purpose of the primer is to ensure better adhesion to the wood and it increases paint durability and provides additional protection too.

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CHOOSING THE RIGHT PIECE Do you have a piece of furniture which is in need of a makeover? Don’t throw it away just because it looks a little outdated and doesn’t suit your current colour scheme. Do your bit for the environment (and save some money in the process) and paint your own furniture. If you don’t have any furniture to paint at home, try sourcing a secondhand piece from a charity shop or at an auction where you can pick up some wonderful bargains!

A THOROUGH CLEAN Make sure you give your piece of furniture a good clean before you paint it. I use diluted sugar soap, which cuts through grease and grime with ease. Make sure you rinse the soap off and allow the piece to dry thoroughly before you start painting it. TEST IT OUT FIRST Try testing out your paint colours and techniques on a bit of old wood or skirting. The last thing you want to do is to make a mistake on a treasured piece of furniture! Also, make sure you work in a well lit room and check to see how the paint looks in different lights throughout the course of the day.

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KEEP TIDY It may seem an obvious thing to say, but do tidy as you go. The cleaner you are, the better your finished piece will tend to be – unless you’re going for a messy look that is! MAY

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CLOTHS Cloths are a very important part of the painted furniture process where you’re using wax to seal the paint. Using a lint free cloth will avoid any fibres or dirt getting into the wax. You don’t have to use special furniture cloths – an old cotton T-shirt will do the trick. Once the wax has cured you can buff it with another clean cloth to create a gorgeous sheen.

APPLY THIN LAYERS If you want your paint to have a smoother texture, try watering it down. Add a little water at a time until you get the consistency you want. The paint may take longer to dry, but it will last a lot longer!

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FABRIC Some furniture paints can be used on fabric too, such as Annie Sloan’s Chalk Paint®. If you’re working on a piece of furniture that's covered in a fabric (such as the seat of a chair), but you don’t like the look of it, try painting over it.

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GILDING Try enhancing the features on your painted furniture by brushing gold leaf on them. This process is called gilding. You’ll need to glue the leaf on with an adhesive. Remember, if you’re using a water based paint, you’ll need to use a water-based adhesive.

SAND TO CREATE A KEY If you have a piece of furniture which has a particularly shiny surface, try sanding it lightly to create a ‘key’ so that your paint will properly adhere to it. I tend to use a fine 220 grit sandpaper.

DECOUPAGE Decoupage is the art of decorating objects with paper cut-outs. You can decoupage over painted furniture to create beautiful results. You’ll need to use a special decoupage solution, which is used both to glue down the paper cut-out and to varnish it afterwards.

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MIX COLOURS If you can’t find the exact colour you want, create your own, unique colours by mixing different paints together. Some of the best pieces I’ve painted are with paints I’ve mixed by hand.

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CREATE TEXTURE Create a textured finish with a thickened paint. To do this, leave the lid off the paint tin until you get the desired thickness. Use a bristle brush too and dab the paint on in uneven strokes. I love this look as it adds real character to the finished piece.

METAL Certain paints can be used on metal. Sometimes, if the handles on a piece of furniture are a little drab I will paint them. Try painting the handles in a contrasting colour so they stand out.

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ROLLERS Whilst I prefer to use a brush as opposed to a roller, there’s the odd occasion when I like to whip out my roller to create a super smooth finish. I use a small, sponge roller and I decant the paint or lacquer into a tray to ensure that I get even coverage.

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DISTRESS The key to achieving a natural, aged look is to sand the paint in areas where natural wear would occur, for example raised areas and corners. Start by sanding a little at a time and then keep going until you get the finish you’re after.

LIME WASH Create a lime-wash effect using watered down paint. This technique works best on wood which has a visible grain, like oak. Apply the watery paint to the wood, leave it a while to allow the paint to settle into the grain and then gently wipe away the excess with a cloth.

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22 STENCIL For an extra special touch, try stencilling a design onto your painted furniture. Secure your stencil to the furniture with some masking tape and using a dry, soft bristled brush with firmly packed bristles, gently dab the paint on. Allow the paint to dry, then carefully remove the tape and stencil.

TWO-COLOUR TECHNIQUE Why not try two paint colours – one for the base coat and one for the top coat. I tend to use a light colour underneath a dark colour. Once the top coat has dried, sand the surface of the paint to reveal the lighter coat underneath. Fabulous!

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FREESTYLE If you’re feeling brave, for a totally unique piece try painting freehand onto your painted furniture. Use a fine, pointed paintbrush to create thin lines and detail. Do practise on a tester board first!

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CRAQUELURE Craquelure is the fine pattern of dense cracks formed on the surface of the paint. You can create this look by applying a specialist craquelure solution. Afterwards, try rubbing some dark wax into the cracks to enhance the crackle finish.

LACQUERS Lacquer (also known as varnish) can be used as an alternative to wax to create an extra durable finish. Remember, if you’re using a water-based paint, you’ll need to use a water-based varnish. Test the varnish out on a discreet area of the painted piece and wait for it to dry. If you’re happy with the result, crack on and lacquer the rest of the piece.

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A SELECTION OF PAINTBRUSHES It’s a good idea to have a few paintbrushes to hand – one small, one medium and one large is a good starting point. A round headed pure bristle brush creates lots of texture in the paint, whilst a flat brush will provide a silky, smooth finish.

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WAX ON, WAX OFF! Create a luxurious feel and a subtle sheen by finishing your painted furniture with a couple of layers of clear wax. When applying wax, be liberal, but don’t go overboard as it can be difficult to remove. Have plenty of soft, lint-free cloths to hand to wipe away the excess. GLAZES Glazes are great for creating an aged patina. I mix my own glazes using dark wax thinned with white spirit. Apply the glaze after adding a layer of clear wax. If the effect is too dark, wipe away the excess dark wax with more clear wax.

INVEST IN A WAX BRUSH If you can afford it, invest in a natural bristle wax brush. It’s shaped to a point so that you can get the wax into detailed areas and move it around in tight spaces. Work the wax into the furniture with the brush in a circular motion – use a firm hand, but don’t press too hard as you could end up taking it off again!

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CREATE SHAPES You can get really creative and add shapes and patterns to your painted furniture using all manner of objects. Try carving a shape (such as a circle) into a potato that has been cut in half. Dip the tip of the shape into a little paint and then dab it onto your painted piece in a repeat dotted pattern for a wonderfully quirky look.

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BE BRAVE My final tip is don’t be afraid to be creative – the idea is to have fun. So, happy painting!

For more information on Clementene Coates visit her website www.clementenecoates.co.uk where she sells a selection of beautiful and unique upcycled furniture. Clementene’s furniture is for hire and she takes commissions too. You can also get to know more about Clementene by visiting her blog (www.clementenecoates.co.uk/blog) where she regularly posts design tips and tricks. MAY

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Sewing machine cover

Tea towels accumulate from holidays and gifts over the years, so put a spare to use as an upcycled sewing machine cover... By Jemima Schlee

HOME R E F

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SEWING MACHINE COVER HOW TO... MATERIALS

Tea towel, minimum dimensions 50x76cm, or fabric of your choice cut to those measurements 1.5m of 2.5cm wide white herringbone tape

A4 sheet of T-shirt transfer paper Scans or your own digital photographs of buttons, thimbles and threads

White thread and thread to match the colour stripe in your tea towel

EQUIPMENT Iron

Sewing needle and pins

Ruler and pencil or air-erasable pen Sewing machine Scissors

To fit a sewing machine sized 40x28x18cm

STRIPE PLACEMENT If you are using a patterned or striped tea towel for your project, it’s worth spending a bit of time planning the placement of the woven or printed design when cutting your fabric. The stripe placement diagrams pictured below show you how I positioned the stripes in this project. ♥ STEP ONE Lay your tea towel out in front of you right side up and with one short end nearest you. Cut the two long sides of the towel off equally, so that you are left with a width of 48.5cm, or the width of your sewing machine plus 7.5cm, and a hemmed length of 76cm, or the measurement from the bottom of the front of your machine, over the top and down to the bottom of the back plus 15cm. Cut any excess from the top edge. Fold this edge down by 1cm twice to form a hem and pin or tack. Sew by machine and press. Turn your fabric over so that it is now wrong side up. Fold the bottom edge up 14cm. Press the fold with an iron to form the outer pocket.

line to the top of the pocket through one layer of linen – this will reduce the bulk of fabric layers in the side seam.

♥ STEP THREE Sew a 1cm vertical line of zig-zag stitch in white in the top centre of the pocket to prevent it sagging. ♥ STEP FOUR To make the ties, cut your herringbone tape into four equal lengths. Turn one end of each over 1cm and then 1cm again and sew down with a small zig-zag stitch in coloured thread to prevent the fabric from fraying.

TOP TIPS ♥ I have found it is better to let the transfer cool fully before peeling off the backing paper.

♥ Don’t be tempted This project is taken from Take A Tea Towel by Jemima Schlee, published by GMC. RRP £12.99, available from www.thegmcgroup.com

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to iron your transfers directly once the protective paper is removed – always follow the manufacturer’s instructions.

♥ STEP TWO Pin the pocket in position. Use a ruler and pencil or air-erasable pen to draw a line 1cm in from the right and left-hand edges, from the bottom fold to the top of the pocket. At a point 2cm from the bottom corner, cut at an angle of 45 degrees up to the pencil line. Now cut vertically along the

♥ STEP FIVE Fold the two long, raw edges in 1cm and then 2cm and press with an iron. As you pin or tack them before stitching, insert

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We added sewing themed images, but you can decorate the pocket with any images you like using the transfer paper. the raw ends of the four tapes 11cm up from each of the four corners and tucked into the side seam fold.

IRON-ON TRANSFERS ♥ STEP ONE Print your photograph or images onto an A4 sheet of T-shirt transfer paper with either a photocopier or a printer. Trim to about 5mm around your image with sharp paper scissors. ♥ STEP TWO Iron onto your fabric following the instructions on the transfer packaging. Check by carefully lifting a corner of the backing paper to see if the heat of the iron has done its job and that the image is firmly adhering to the fabric. Finally, gently peel the backing paper away.

TOP STITCHING A line of straight machine stitching worked on the right side of the fabric, parallel to seams and edges. It can be used as both a decorative and a functional stitch, providing extra strength to a hem or seam.

ZIG-ZAG STITCH Used along raw edges to help reduce fraying. Zig-zag stitches can also be used decoratively or to strengthen pressure or stress points. You can alter the length of the stitches and how close together they are.

♥ STEP SIX Stitch the two side hems by machine using coloured thread and reverse stitching or small zig-zag stitching as you pass over the ties to give them extra strength. Remove the pins or tacking. ♥ STEP SEVEN Print the images onto your T-shirt transfer paper. Remember that the images will be reversed in the transfer process. Cut them out, leaving a 3mm border around each image. Position the images carefully on your pocket front and transfer them using an iron and following the instructions. Peel off the backing paper to reveal the transfers.

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Tealight lantern

M ID W E E K

MAKE

A broken, old glass lantern from a car boot sale can still bring light into your life when you adorn it with the decorative border salvaged from a tea tray cloth and illuminate it with a tealight... Project and photography by Almie Louis from Grand Recycler (grandrecycler.com)

MATERIALS

Globe or chimney from an old lantern (the glass part) Tea tray cloth

Tealight (with or without the holder)

EQUIPMENT Scissors

Glue (all purpose clear glue)

♥ STEP ONE I used the globe of an old broken lantern for this project. Rinse it in soapy hot water to get rid of any wax or marks. Allow to dry. (Look out for globes or chimneys at car boot sales or reclamation grounds if you do not have one already.) ♥ STEP TWO While your globe is drying, start to plan the border. Most plastic tray cloths have beautiful borders. Use a small, sharp pair of scissors to cut the border away from the rest of the tray cloth. ♥ STEP THREE Position the border to the bottom part of the globe. Use the glue to paste it to the glass globe.

TOP TIP Any kind of glass container will do for this project, just make sure it has a hole at the top to enable the tealight to continue to burn. If your glass vessel is sealed, you’ll need to raise the base so that air can circulate through there instead.

♥ STEP FOUR When you are satisfied with your newly decorated globe, position it over a tealight or tealight holder.

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Sping ad food/craft 220x285.indd 1

03/03/2015 15:29


MASTERCLASS

Discover a new way to upcycle The new Big Shot™ Plus Starter Kit from Sizzix® is the ultimate tool, catering for everyone from the beginner to the expert. Featuring a stylish new look and a fresh range of exciting products, this kit has everything an upcycler needs to try the die-cutting technique... By Pete Hughes from Sizzix (www.sizzix.co.uk)

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MASTERCLASS

A new way to upcycle You can die-cut a huge range of upcycled materials using the Big Shot Plus, from fabrics to foil. SIZZIX® BIG SHOT™ PLUS STARTER KIT (660515) Contents: ♥ 1 Big Shot™ Plus Machine ♥ 1 Pair of A4 Cutting Pads ♥ Big Shot™ Plus Platform ♥ Adaptor A ♥ Adaptor B ♥ 1 Instruction booklet ♥ 1 Bigz™ L ♥ 1 Framelits™ Die ♥ 12 Thinlits™ Dies ♥ 1 A4 Textured Impressions™ Embossing Folder ♥ 10 double-sided 5.5x6in cardstock sheets and 4 double-sided A4 cardstock sheets by Craft Asylum®

T

he versatile Big Shot™ Plus Machine and the dies in the kit can be used for cutting everything from paper and cardstock to leather, chipboard, foam and fabric for use in bespoke cardmaking, papercrafting, clothing embellishment, home décor, patchwork, appliqué and much more. The Sizzix® Big Shot™ Plus Machine offers users a versatile, easy to use and affordable multipurpose creative system. The machine has been expertly designed to cut and emboss for creating unlimited inspirational projects. The 9in opening enables you to create on a larger scale, offering even more creative possibilities. Using Sizzix® Originals™, Bigz™, Sizzlits®, Embosslits™, Framelits™, Thinlits™ and Triplits™ Dies, as well as Textured Impressions™, Texture Trades™, Texture Fades™ Embossing Folders, ShadowPress™ Debossing Folders, and Texturz™ Texture Plates, you can now express your creativity in minutes. The Big Shot™ Plus features a wide work surface as well as the larger format accessories required, enabling you to use all Sizzix® technologies, as well as any other brand of large format dies and embossing folders, with ease. With so many possibilities available, this kit is the perfect platform for new creative adventures. Unleash the limitless possibilities of the new Big Shot™ Plus Machine to create more combinations of dazzling designs than ever before! A basic guide to using the Big Shot™ Plus machine follows, and opposite is a great cushion project to get you started…

TOP TIPS For over 10 years, Sizzix designer Pete Hughes has been inspiring UK and European crafters with his amazing ideas. After leaving school, Pete trained as an illustrator, specialising in cartoons and caricatures before taking up a position for an education publishing company. Pete has worked for Ellison Europe since 2005, where he enjoys producing projects for the UK and European magazines, trade shows and demonstrations. ®

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You can die-cut a huge range of textiles from thin voile to thick leather, offering you endless creative possibilities.

HOW TO DIE-CUT WITH THE BIG SHOT™ PLUS ♥ STEP ONE Place your chosen material on top of the die, if it’s a steel-rule die or Sizzlits die, or underneath the die with blade facing down if it’s a wafer-thin die. Place cutting pads either side to create a ‘die sandwich’. If you are using a die thinner than a steelrule die, place the sandwich onto the Big Shot™ Plus Platform and either Adapter A or B depending on the technology (using the instructions provided on the platform/ adapters for guidance). ♥ STEP TWO Feed the die sandwich into the machine and begin the roller action by turning the handle. ♥ STEP THREE When the die sandwich has run completely through the machine, take out the die-cut shape and negative.

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Try cutting through multiple layers depending on the thickness of the material. If we take a simple circle die we would be able to cut through a single sheet of mount board, but using the same die we could cut through over 100 layers of tissue paper!

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Floral cushion Use the Bigz dies to cut flowers and leaves quickly and easily to embellish a plain cushion. MATERIALS

An old pillow or cushion Assorted textiles

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Bondaweb

EQUIPMENT

Sizzix® Big Shot™ Plus Machine (660020)

Sizzix® Bigz™ Die – Flower Layers & Leaf #2 (660403) Needle and thread

♥ STEP ONE Gather together your chosen fabrics. To make the flowers we have used old cushion covers, calico and dyed Hessian. To prevent the fabric fraying it is best to fold it double and iron a piece of Bondaweb between the layers, this also gives the 3D flowers more body. ♥ STEP TWO Die-cut five large grey flowers and fold each one in half and then in half again, before securing each at the corner using a needle and thread. Sew four of the flowers point-to-point onto the cushion cover and add the fifth in the centre to form a 3D bloom (see photo 1). ♥ STEP THREE Die-cut a smaller flower from calico and create a crease in each individual petal by using a needle and thread to gather with a couple of stitches from the rear of the flower (see photo 2).

TOP TIPS There is no definitive list of what you can and cannot cut with Sizzix Bigz dies, but always remember that if it can be cut with scissors it can be cut with Sizzix!

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You can get some pretty stunning effects while die-cutting everyday household waste. My favourites are cereal packets and tin take away/ ready meal containers. Many of these household materials are great for embossing too. Domestic tin foil attached to a cereal box is a great platform for embossing – when it’s the right time you can make some amazing star and snowflake decorations using this combination.

♥ STEP FOUR To create the flower buds, simply die-cut a number of small flowers and, using a pair of scissors, make a cut between any two of the petals to the centre. Grip the flower along the length of the cut with a pair of needle nose tweezers and roll into a cone, before securing each with a couple of stitches (see photo 3). ♥ STEP FIVE Die-cut a large flower out of the dyed Hessian and stitch the calico flower in the centre, before decorating with a pearl gem – the one used was actually an old earring bought from my local charity shop. ♥ STEP SIX After stitching the assembled flower to the cushion, die-cut a selection of leaves and arrange them around the flowers, stitching as you go. Find inspiration and share your projects on Twitter using the hashtag #sizzixplus

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Craft Case

Take a vanity case that has seen better times and bring it back to life as a handy carrier for supplies, perfect for a spot of portable crafting... By Jane Hughes

M ID W E E K

MAKE

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Look for old suitcases, Small vanity-sized ones work best, and those with the harder shell are easier to work with.

CRAFT CASE HOW TO... MATERIALS

A small suitcase

1m length of vinyl oilcloth fabric

♥ STEP ONE To begin you will need to remove any lining the case already has. To do this, carefully cut away the lining with a craft knife.

Thread Pencil

1m length of bias binding Strong double-sided tape

EQUIPMENT Scissors

Craft knife

Sewing machine Measuring tape

♥ STEP TWO To make the new lining, place the suitcase on top of the fabric and trace around the shape.

♥ STEP THREE Cut out three pieces of this shape – one for the lid, base and the outer top. Take one of the cut pieces and place inside on the bottom of the case – it will be a little bit larger than you need so draw around the excess with a pencil. Trim to size.

This project is taken from Pretty, Organised – 30 Easy-to-Make Decorative Storage Ideas to Declutter Your Home by Jane Hughes, with photography by Sussie Bell. Published by Apple Press, RRP £12.99.

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♥ STEP four Repeat the same process with the lid, using this piece as a template to cut out the pocket shape. This will need to be the same shape but approximately 10cm shorter in height.

♥ STEP five Measure around the sides of the case. Cut out a strip to fit the measurements and also a piece to cover the part where the lid joins the base.

♥ STEP six Take a piece of binding and cut it just a little longer than the length of the pocket opening, fold in half and stitch to the pocket piece along the top edge.

♥ STEP seven Place together the lid piece and the pocket piece, both with right sides facing upward, fold in the excess binding and stitch together using a narrow seam.

♥ STEP eight Take the rest of the binding, fold in half and stitch down.

♥ STEP nine Fold in and stitch the raw edges at each end. Measure the centre point of the base piece and of the binding. Stitch the binding onto the base piece in the centre, and repeat at each side so the binding is secured down in three places. This makes the loops for holding notebooks or fabric.

♥ STEP ten The rest of the binding forms ties to hold things in place inside the suitcase.

♥ STEP eleven Using the double-sided tape, stick down the join piece to the suitcase, then the base and top pieces.

♥ STEP twelve Add the side piece and press down firmly to make sure that the fabric is well stuck. ♥ STEP thirteen Finally, take the outer top piece and stick down with the double-sided tape. If your suitcase has piped edges you can push any excess fabric under the piping with a flat knife to give it a neater finish.

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The wartime vintage home The make do and mend attitude of the 1940s makes it the perfect era for upcyclers to replicate in your own homes... By Keeley Harris

♥ MAIN IMAGE Creating a 1940s look makes a room feel very comfortable and familiar.

♥ BELOW RIGHT An embroidered fire screen adds an instant nostalgic feel to a room.

♥ BELOW Vintage luggage cases and trunks make very atmospheric decorations.

WHAT TO LOOK FOR: 1940S LIVING ROOM Worn leather armchairs. Embroidered linen or crocheted cushions. Rag rugs. Wooden or Bakelite radio. Steamer trunk with wooden banding. Granny square crochet blanket. Oak bookcase or bureaux. Barley twist side table. Embroidered fire screen.

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P

eople think that the 1940s were a drab time, but from a home interiors perspective it was not all doom and gloom. Austerity had a positive impact on furniture design – it gave some prominent designers like Gordon Russell, who was involved in the design of utility furniture, and, post-war, Ernest Race and Alvar Aalto, a chance to work with plywood and aluminium to create simplistic new furniture designs. ECLECTIC The ongoing world war during the 1940s meant that people did not buy new furniture and often created a look using a mix of various periods. Furniture, textiles and decorative items would be whatever you had. Creating an eclectic look is easy, it just requires you to gather up a variety of vintage items that have ‘a bit of age’ and work them into a fresh and nostalgic look. MAKE-DO-AND-MEND This was the ‘done thing’ out of necessity, but the principles of doing up and making good use of items instead of throwing them away is a great principle to adopt. Taking something and re-vamping it to be used again can be a satisfying theory to embrace. Think about re-covering chairs, making cushions from curtain fabric or painting old wooden furniture. Think outside the box and search for pieces of furniture that could be used as something other than its original purpose, upcycled and transformed.

UTILITY LOOK In Britain rationing was in full swing and household items were being created on tight budgets with limited material available. A range of functional furniture was produced with the help of design professionals such as Gordon Russell. All the furniture and textiles that were issued at this time were marked with the CC41 stamp. Look out for this style of furniture – it’s solid and simply designed and will offer an unfussy and functional look. If you love an eclectic and nostalgic craftinspired vintage look, then you can take great inspiration from the 1940s. LIVING ROOM Most 1940s living rooms looked much like 1930s ones, but they were becoming tired and worn. The only way to bring a bit of life to tired armchairs was to re-cover them with remnants of material or old bedding. Re-using things and making them into something else is a great concept to employ when creating a wartime chic living room. The results can be surprisingly stylish – all it takes is a little bit of your imagination. FURNITURE Look for a pair of worn leather armchairs to give that lived-in look. An oak writing bureau is perfect for storage and can even house a modern laptop. Barley twist side tables are easy to find and can be left in original condition or painted. Collect up vintage luggage, they create perfect storage in a living room and look great. Another option is to get a steamer trunk. These are more durable and have a harder case, making the perfect coffee table – you can store your magazines and books inside too. FINISHING TOUCHES Make cushions using vintage headscarves – often silk and with pretty florals they make really nice soft furnishings. Ragrugs were a very popular thing to make in the war years. You can use the same technique and make an interesting rug from old scraps of material or look around for an original 1940s one at a vintage market. Finish off the wartime feeling with a radio and some cosy crocheted blankets, and you will have a very homely, cosy feel to your living space.

DESIGNERS OF THE 1940S ♥ Gordon Russell – utility furniture designer ♥ George Nelson – American modernist furniture designer ♥ Christian Dior – fashion

RE ADER OF FE R

To buy this book for the special price of £12 including free UK P&P call 0844 576 8122 and quote code CH1903.

This extract is taken from Style Me Vintage: Home by Keeley Harris, photographs by Heather Hobhouse, published by Pavilion Books. RRP £14.99 MAY

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Butterflies vintage sign A little Miss Mustard Seed’s Milk Paint and a stencil are all it takes to turn a piece of plywood into a fabulous sign... Project and photography by Debbie McColl from Beautifully Boho (www.beautifullyboho.co.uk)

M ID W E E K

MAKE

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BUTTERFLIES VINTAGE SIGN HOW TO... MATERIALS

One piece of scrap plywood, cut to the size of your choice

Miss Mustard Seed’s Milk Paint (The colours we have used here are Curio, Shutter Grey and Ironstone) Homestead House Beeswax Small jug of water

Stencil (we have used the Beautifully Boho Furniture Stencil – Flutterby A5 size)

EQUIPMENT

An old bowl, jug or plastic cup MMS Milk Paint Whisk Rough grade sandpaper Old rags

♥ STEP ONE Luckily when working with new wood there is no need for any major preparation, but always give a little wipe down to ensure there is no dust on the surface that may stick to the paint. Mix up the base coat in a 1:1 ratio. We have chosen Curio, as the rich brown shade gives the effect of an old worn piece of wood, however Typewriter or Artissimo would also work well. ♥ STEP TWO Paint one coat all over your piece of wood and leave to dry. ♥ STEP THREE Now you need to thickly apply the beeswax around the edges and corners of the wood. This thick wax creates a barrier from the base coat to the top coat, which will allow us to distress with ease without the colours merging. ♥ STEP FOUR Mix the top coat to a much thicker consistency, ideally 2:1 ratio. The mixture will become extremely thick and lumpy but don’t panic, this is exactly what we are looking for.

Paintbrush Hairdryer Sponge

♥ STEP FIVE Apply a thick layer of the paint over the top of the board. Try to not work in too much with the brush, you almost want to lay the paint on top rather than brush in.

♥ STEP SEVEN Once the top coat is dry, it should be thick and crusty with cracks and chips in the corners where we applied the wax resist. Rub vigorously with a heavy grade sandpaper to remove any flakes and distress a little more. You should now be left with a beautiful, aged patina all over. ♥ STEP EIGHT Paint the stencil of your choice over the top of your newly aged wood. We have used the Beautifully Boho Flutterby Stencil, A5 size. ♥ STEP NINE The key here is to keep it translucent. Try dipping a sponge into your paint mixture, then dabbing onto a scrap of paper to remove any residue before applying on to the wood. ♥ STEP TEN To finish your sign off, add a little message which fits in with your design. I have chosen to add my message using a typewriter font stamp set, but you could also try stencilling this on or even draw on by hand. And there you have your finished vintage sign. Perfect displayed in your home. Or why not create one for a little one’s bedroom using a fairytale design?

TOP TIP Beautifully Boho’s range of stencils can inspire a number of different signs, including a dragonfly, hummingbird, roses, gerberas and a tulip to provide the background.

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♥ STEP SIX Next, grab your hairdryer and blast the wood at a high heat. You will notice that the paint begins to wrinkle and scrunch up and may even crack in places. Keep drying until there is no moisture left in the paint and it is dry to the touch.

For more tutorials and to purchase Miss Mustard Seed’s Milk Paint and Beautifully Boho Furniture Stencils, visit the website at www.beautifullyboho.co.uk

MAY

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Wall box

HOME R E F

UR B

This display shelf is perfect for storing sewing or craft supplies and is made from a wooden cutlery tray with three or four compartments, ideal as shelves, that you can find in most kitchen shops... By Jane Hughes

MATERIALS

A wooden cutlery tray Paint in 3 or 4 colours Fabric remnant

♥ STEP TWO Begin painting, allowing each colour to dry in between coats. Use a small paintbrush to keep the lines between each colour neat.

PVA glue

A 29.5cm length of brightly coloured paracord or string

TOP TIP Another way to hang the wall box would be to leave out the cord and just attach a small picture hanger to the back.

EQUIPMENT Sandpaper Drill

Scissors

Paintbrushes ♥ STEP ONE Lightly sand the wood ready to apply the paint. Decide which way round you will be hanging the tray and drill a hole 2cm in from the edge on each side. Undercoat everything in white first to give a good colour base to paint on.

♥ STEP THREE When all the paint is dry, measure and cut the fabric piece and glue down, smoothing out any creases.

♥ STEP FOUR When dry, thread the cord through the holes on the top and knot securely ready to hang.

This project is taken from Pretty, Organised by Jane Hughes, with photography by Sussie Bell. Published by Apple Press, RRP £12.99.

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ADVICE FROM THE EXPERTS In our new Q&A section you have a chance to pitch any upcycling questions to the experts. Get involved by emailing your queries to sally.fitzgerald@anthem-publishing.com

MAKING MARBLE ♥ I’d really like to create a marble effect top on my old side cabinet but have no idea where to start. Can you advise? Creating a marble look on furniture is easy with General Finishes Milk Paint or General Finishes Water Base Wood Stains. The following are some useful tips to know before you begin. Marbling works best on closed grain woods such as pine, maple, birch, aspen or alder. If you use ‘open-grain’ woods, such as oak, the distinct, visible grain of these woods will show through the background of the marbling, and distort the appearance. If applying over an existing finish, first clean with a 50/50 mixture of water and alcohol with scuff sand to improve adhesion. Use your imagination! In nature, there are no two pieces of marble exactly alike. If you don’t like the results you can simply paint over and start again.

MATERIALS NEEDED

General Finishes Milk Paint – Snow White General Finishes Milk Paint – Lamp Black

General Finishes Water Based High Performance Topcoat Natural sponge

Lint free cloth (old T-shirt) Feather

180 foam backed sanding pad or 220-400 grit sandpaper Foam brushes

METHOD USING GENERAL FINISHES MILK PAINT : ♥ STEP ONE Apply two coats of GF Snow White Milk Paint to get a solid background. Allow each coat to dry for two hours. Then lightly sand the surface to a smooth finish, with 220-400 grit sandpaper or a 180 foam backed sanding pad. ♥ STEP TWO Dip the tip of the feather in GF Milk Paint – Lamp Black and draw the marble veins on the surface in a diagonal direction. Use a slow, twisting motion with the feather as you drag the colour across the surface. Veins should look like lightning bolts or tree branches, each vein roughly parallel to the one next to it. Avoid a crisscross pattern. Veins should continue from edge to edge. Allow the veins to dry for 5 minutes. ♥ STEP THREE Lightly stir together equal parts of GF Milk Paint – Snow White and GF Water Based High Performance Topcoat in a flat pan. Use the natural sponge to softly dab the mixture onto

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the surface in a random pattern. Lift the sponge straight up and down so you don’t smudge the surface. The sponge will soften the veins and begin to cover some of the veins. Let this dry for 5 minutes. ♥ STEP FOUR Next, fold a cloth into a pad, making sure there are no wrinkles on the bottom side. Wrinkles will leave an undesirable pattern on the surface. Blot the entire surface by lifting the pad straight up and down. This will blend the black veins into the white, creating a soft, subtle look. ♥ STEP FIVE Use the feather again to lightly accentuate the veins using GF Milk Paint Lamp Black. Allow this to dry for 2-4 hours. ♥ STEP SIX Apply three coats of Water Base High Performance Topcoat, sanding lightly between coats with 220-400 grit sandpaper or a 180 foam backed sanding pad. Roy Brown, General Finishes www.generalfinishes.com SAVE ME A SEAT ♥ I’ve got an old dressing table stool that has a lovely shape, but the fabric on the seat is a bit worn and doesn’t go with the rest of my room. How do I recover it? This is a real opportunity to pick up a small piece of that expensive designer fabric you have been coveting, but dismissed in the past because of the expense. Before you can re-upholster you will need to remove the original fabric. Depending on how it was applied you will probably need to use a staple remover or flat nosed pliers if the fabric is tacked to the base of the stool. Once the fabric is removed, iron it including the seam allowance, and use this as a pattern for your new fabric. Measure the pattern you have just made to work out the amount of fabric you need to buy. As well as fabric it is worth buying the same amount of strong iron-on fusible webbing and use this to back the new fabric. This will make it more robust than the current worn one.

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EMMA LAST

INTERNATIONAL ANTIQUES & COLLECTORS FAIRS www.iacf.co.uk

Iron the webbing onto the back of your remnant. Turn under the seam allowances and iron flat. Pin on the pattern and cut out. If there are curved parts, snip into them as was in the original cover. The way you put on the new seat cover, will depend on its shape. Lay the stool seat on top of the fusible webbing, if used, or the wrong side of the fabric. If the stool is oblong or square, start in the middle of one side and, pulling the fabric taut as you work, staple the fabric to the stool using the pin marks from the original seat cover as a guide. Repeat this process with the opposite side and then do the same with the two shorter sides. If the stool is round, staple at four opposite points to make sure the fabric is evenly distributed and then staple into position. Please send us a picture of the finished stool. Juliet and Amanda, R&B Consultants www.randbconsultants.co.uk MAKING THE MOST OF MARKETS ♥ I love going to flea markets and antique markets, but I usually come away empty handed. I’m always overwhelmed by the amount of stalls and end up searching aimlessly, and even when I find something I like I often find it is a bit more than I can afford. Do you have any top tips for making my trips more successful? I think the first thing to do is to make a list! It’s so easy to get distracted by all the fabulous things on offer at markets and fairs, that a list is key. Of course it’s OK to pick up one or two extra little items that catch your eye, but if you are searching for something specific remember to make a list. Boot space may also be an issue, so do bear that in mind if you do get distracted by lots of lovely items. It’s a good idea to measure your boot before you go so you know how much space you have to work with.

Secondly, if you can, print off a site plan of the fair you are going to beforehand. The International Antiques & Collectors Fairs (iacf) has site plans for all our venues and it really helps visitors get an idea of the layout and of course not get lost! A site plan is also handy for marking down stalls where you’ve either bought something or seen something you may want to come back to later. If you have been successful and bought what you wanted, then do make a note of where the stallholder is and take contact details for them too. That way when you come back to pick up your purchases, you’ll have no problem finding them. Of course, if you’ve ended up buying something that you can’t fit into your car, then do ask the stallholder if they will deliver. Most will within a certain radius from the event and, if they can’t, check if the organisers have shippers – iacf have them at Newark and Ardingly. Cash is king at most fairs and markets and always will be, so come prepared. Some events will have cash points or a Bureau de Change at them, but this isn’t always the case. If your budget is a concern this is also where that list you made will come in handy. It will ensure you don’t go over whatever limit you’ve set yourself. Remember, you can barter over prices, but try not to be too cheeky as the stallholders are trying to make a living too. Talk to the stallholders about what you are interested in, they are the experts and may be able to help you in the future if you are hunting for something specific – they also may be able to guide you on what you should expect to pay for specific antiques/items. My last piece of advice would be to check the weather and dress appropriately. If you are comfortable then shopping is so much more fun! Emma Last, International Antiques & Collectors Fair, www.iacf.co.uk

Emma is the Marketing Manager at International Antiques & Collectors Fairs (iacf) and has been since 2010. The company runs events all over the country, including at Newark, Ardingly, Shepton Mallet, Swinderby, Newbury and Alexandra Palace. Emma likes nothing more than to do a bit of wine tasting, upcycling furniture and collecting vintage cookware.

R&B CONSULTANTS

AMANDA RUSSELL AND JULIET BAWDEN, R&B www.randbconsultants.co.uk Design duo Amanda Russell and Juliet Bawden, both trained in surface design. Juliet studied both printed and woven textiles at Camberwell School of Art. Amanda trained in graphics and has designed wallpapers, fine art prints and fabrics. They recently set up R&B, www. randbconsultants. co.uk, creating design solutions start to finish with exciting projects for the home and fashion. See their website for details.

ROY BROWN

GENERAL FINISHES www.generalfinishes.com Roy works for General Finishes, a company which provides high quality water-based stains, paints and finishes for furniture, floors and doors. The brand has a wealth of experience with providing the best finishes for DIY and craft projects, and are stocked across the UK. You can order their products online by visiting www. generalfinishes.com.

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CD rack Planter

Flip an unused CD rack onto its back and it makes an ideal planter, which you can easily spruce up with our guide... Project and photography by Victoria Haynes from The Owl And the Accordion (www.theowlandtheaccordion.blogspot.co.uk)

F U R NI T RE VA MUPRE

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Now you’ve converted your CD collection to a digital device it’s time to convert the rack into a planter. CD RACK PLANTER HOW TO... MATERIALS

Old wooden CD rack

4 Dansette furniture legs with their fixings (you can find these on a lot of coffee tables in charity shops, and they pop up on eBay from about £5) One wooden baton, slightly wider than the brackets that accompany the legs Emulsion paint in your chosen colours

EQUIPMENT

♥ STEP ONE Start by preparing your CD rack. Ours had wooden slats in, so we removed those, then sanded it down to give a nice, even surface for the paint.

♥ STEP SEVEN Make sure your bracket is in the correct place, then fit the screws. Finish off by screwing the leg itself in.

♥ STEP TWO Paint your CD rack in your chosen colours, then leave to dry and repeat. You’ll probably need about three or four coats in total to get good, thick coverage. ♥ STEP THREE Once the paint is dry, measure the depth of the CD rack and then mark two of these lengths onto your wooden baton. Cut them off, then sand off any rough edges.

Sandpaper

Hacksaw or other saw Screwdriver

Wood glue, or a good all-purpose glue

Hammer and small nail

♥ STEP EIGHT Repeat for the other three legs, then turn upright and fill with beautiful plants. (Just don’t forget to water them!)

♥ STEP FOUR Using a thin layer of glue, attach the pieces of wooden baton to both ends of the underside of the planter – this is what you’re going to attach the leg brackets to. Place on a hard, flat surface and weigh down with heavy books, then leave to dry for the advised length of time. TOP TIP Line your planter with a sheet of hard wearing plastic and you can either fill it with soil to plant directly into or keep the plants in pots and use it to water them all at once.

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♥ STEP FIVE Once the glue is completely dry, paint the wooden batons to match the rest of the planter. ♥ STEP SIX Place the first bracket onto the baton, then make a pencil mark where each screw will go. Using the hammer and nail, punch small holes over the top of your markings – this will give the screw something to grip to and make it easier for you to screw it into the wood.

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Project and photography © Guerilla Furniture Design by Will Holman, published by Storey Publishing

June issue... on sale 14 May PLUS W

I

A JA N O M E N M O DEL D SE W I N G M X L603 A CH I N E , W

OR T H £ 3

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* contents subject to change

MAKE A STATEMENT Transform a room with one key statement piece – from door desks and sewing cupboards to wheelbarrow chairs we’ve got upcycles to inspire every style and budget ♥ Turn your shed into a craft studio! ♥ Masterclass: how to upholster a bench for your hallway MAY

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AN UPCYCLED LIFE...

making memories

A box of non-recyclable bottle tops has taken Maria Papadimitriou on an upcycling journey that now challenges her to create unique pieces from the contents of an envelope.

I

t all started by falling in love with a box filled with plastic bottle tops. At the time, having recently graduated from a Fine Art degree at the University of Edinburgh, I had a flatmate who was brilliantly thorough when it came to sorting out our recycling. He made sure we removed all the plastic that couldn’t be recycled, which included the tops from plastic bottles. I have to admit that until that time I was not aware that some plastic could not be recycled. For no particular reason we did not immediately throw away all these nonrecyclable bits and pieces, but rather collected them in a separate large box. Over time its contents became a wondrous, kaleidoscopic mass of colours and exciting shapes I could not ignore. I started playing around with them and quite naturally the objects emerging were jewellery pieces and body adornments. Since I was a little girl, costume, fashion and dressing up excited me and I would spend hours fixing my mother’s broken jewellery or sketching dresses on pretty ladies. This playful experimentation, and the positive feedback I had from friends as well as strangers, led to creating my jewellery brand Plastic Seconds. Gradually I started noticing more and more the beautiful forms of various elements from packaging. In my mind’s eye all sorts of found objects, of no more use, became rings, necklaces and earrings. I still remember clearly my excitement when I first really noticed the elegant curves and fascinating shape of the base of a plastic shampoo bottle. At first my jewellery pieces were created from the remnants of things I consumed, as well as every little bit of interesting packaging that I noticed left behind by others. To this day, if I see a plastic bottle with a colourful lid and plastic neck ring left on an empty neighbouring table in a café, I will unashamedly go over and remove both 114

with childish satisfaction. Friends and family would also increasingly join in the fun and collect things for me. As Plastic Seconds grew, more and more people I knew enthusiastically joined in the collection process. For instance, my colleagues at my part-time job now regularly bring in bags of things they have collected for me to use. Once they saw the unique way that I combine upcycled plastic objects in my designs and the fact that I could turn things they customarily threw away into beautiful jewellery, their own imagination and curiosity opened up in terms of what they could pass on to me instead of discard. This has led to an extremely joyful and fulfilling process of mutual discovery and collaboration. I am always looking for new ways to serve my customers and offer them unique pieces they feel a personal connection with. As a result I recently created a service called ‘co-cREations’, available from my website, which takes the idea of playful collaboration a step further. The service includes a prepaid collection envelope with suggestions, which can be completed in one’s own time and is sent back to me. I then create a one-off piece using only the envelope contents. In this way, a piece can also become a fun memento from a special period in someone’s life. For example, the pen lids from a child’s first drawing pens could be included! The necklace shown here (right) was created for one of my first ‘co-cREations’ clients and its lovely owner included lots of pink bottle tops from a specific drink she had during a memorable trip to France. Creating a well balanced, interesting design from the contents of one envelope is a welcome challenge and it pushes my creativity. I try to avoid creating just a charmlike piece with lots of incoherent upcycled objects in terms of colour and shape. In this case, this meant laying out all the pieces sent back to me and looking at them for

quite a while to see what combinations were possible and which bits would be left out. To a large extent this is an intuitive process, like making a 3D collage. It really helps if there are multiples of one specific thing, so if there is a product you use a lot, look at its packaging and see what could be collected over and over again. Plastic bottle tops are something that the ‘new’ to collecting often go to, as it is the easiest and most obvious thing to upcycle, but it can be challenging to create a high quality, fresh design with them. With this piece I was lucky that the bottle tops had an unusual colour and that I had other bold forms available to set them against. My mission is to salvage as many little interesting looking packaging elements as possible from going in the bin and I cannot wait to see what you will collect! By Maria Papadimitriou from www.plasticseconds.com

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• 14 Stitches • Auto 4-step buttonhole • Variable stitch length • Convertible free arm • Quick change snap on feet

AVON BEDFORDSHIRE BERKSHIRE BUCKINGHAMSHIRE

Direct Sewing Machines, Bristol - 0117 977 8216 Tudor Rose Patchwork, Oakley. Bedford - 01234 824 983 Sew Devine, Reading - 0118 926 8664 Alans Sewing Machines, High Wycombe - 01494 527600 Threads and Patches, Milton Keynes – 01908 649687 CAMBRIDGESHIRE Sew Creative, Cambridge – 01223 350 691 CHESHIRE J & P Sewing Machines, Warrington - 01925 633 831 Phil Morton Sewing Machines. Macclesfield – 01625 433 131 CORNWALL The Sewing Studio, Redruth -01209 216 942 DERBYSHIRE Elegance, Derby – 01332 382 292 Ilkeston Sewing & Janome Centre, Ilkeston – 01159 307 664 The Knitting & Sewing Bee, Chesterfield – 01246 232 176 DEVON Exeter Sewing Machine Company, Exeter - 01392 275 660 Hulu. Modbury – 01548 831 911 Soft Touch Needlecrafts, Tavistock – 01822 617 673 DORSET Hansons Fabrics, Sturminster Newton - 01258 472 698 So N Sews, Weymouth – 01305 766 411 DURHAM UK Sewing Machines, Darlington - 01325 463 630 ESSEX Superstitch Machine Co, Leigh on Sea - 01702 478830 GLOUCESTERSHIRE Cotswold Sewing Machines, Stroud - 01453 763660 West End Sewing Centre, Cheltenham - 01242 244025 HAMPSHIRE Eastleigh Sewing Centre, Eastleigh – 02380 650 808 Hampshire Sewing Machines, Fareham – 01329 280499 Reads of Winchester, Winchester – 01962 850 950 HEREFORDSHIRE Badder Fabrics, Hereford – 01432 379 137 HERTFORDSHIRE Chicks Embroidery, Letchworth – 01462 670 007 Rebecca Woollard Sewing School, Hatfield Heath – 07887 654 717 Rona Sewing Machines, Waltham Cross - 01992 640250 Sewfine Sewing Machines, Watford - 01923 693 734 Sewing Machine Discount, Borehamwood - 0208 236 1520 KENT Ashford Sewing Centre, Ashford - 01233 620948 Barcham Sewing Centre, Whitstable - 01227 264 271 Maidstone Sewing Centre, Maidstone - 01622 670 254 The Sewing Shop, Canterbury – 01227 457 723 The World of Sewing, Pratts Bottom, Orpington – 01689 638 638 The World of Sewing, Tunbridge Wells - 01892 533188 LANCASHIRE Hobkirk Sewing Machines, Blackburn - 01254 693555 Hobkirk Sewing Machines, Bury - 0161 764 4450 Lestan Sewing Machines, Nelson - 01282 614 511 M & S Sewing Machines, Heywood – 01706 366 943 S A Sewing Machines, Oldham – 01706 355 529 S A Sewing Machines, Rochdale – 01706 355 529 Sew-Knit (Dalby & Jones), Preston – 01772 254 558 Transworld Sewing Machines. Leigh – 01942 608028 LEICESTERSHIRE Cresswell Sewing Machines, Leicester – 07979 798 010 The Sewing Café, Hinkley – 01455 698 034 LINCOLNSHIRE Couling Sewing Machines, Lincoln - 01522 521841 Seweezy, Gainsborough – 01427 614 570 LONDON (GTR) Lewisham & Deptford Sewing Machines, Deptford - 0208 692 1077 Redgewells, South West London, 0208 337 3444 SM Sewing Machines, Neasden - 0208 452 4257 The Sewing Centre, Battersea – 0207 228 3022 Wimbledon Sewing Machine Co, South Wimbledon - 0208 542 5240 MANCHESTER (GTR) Bamber Sewing Machines, Manchester - 0161 707 7786 R. Bullock & Son Ltd, Wigan – 01942 247 836 MERSEYSIDE Affordable Sewing, Moreton, Wirral - 0151 677 7755 Sewing & Knitting Centre, Southport - 01704 534 688 MIDDLESEX Tysons Sewing Machines, Hounslow - 0208 570 6790 Tysons Sewing Machines, Southall - 0208 574 1587 NORFOLK Sewing Machine World, Kings Lynn - 01553 773362 Sew Creative, Norwich – 01603 305 888 NORTHAMPTONSHIRE Sew Northampton, Northampton - 01604 637200

£99

NOTTINGHAMSHIRE OXFORDSHIRE SHROPSHIRE SOMERSET SUFFOLK SURREY

SUSSEX

TYNE & WEAR WARWICKSHIRE WILTSHIRE WEST MIDLANDS

WORCESTERSHIRE YORKSHIRE

ISLE OF MAN IRELAND SCOTLAND

WALES

Cresswell Sewing Machines, Nottingham – 0115 926 7572 Witney Sewing Machine Centre, Witney - 01993 704535 Witney Sew & Knit Centre, Witney – 01993 702 772 Sewing Machine Centre, Shrewsbury - 01743 343 902 Bredons Sewing Machines, Taunton – 01823 272 450 Sew Creative, Bury St Edmunds – 01284 755459 C & A Supply Co. Ltd, Cranleigh – 01483 267 777 Redgewells, Worcester Park – 0208 337 3444 The Quilt Room, Dorking – 01306 877 307 The World of Sewing, South Croydon - 0208 681 1811 Woking Sewing & Knitting Centre, Addlestone - 01932 352 958 Brighton Sewing Centre, Brighton - 01273 621 653 Clothkits Ltd, Chichester – 01243 533 180 Eclectic Maker, Worthing – 0845 862 5552 Hastings Sewing Centre, Hastings - 01424 423 108 G Tully Sewing Machines, Sunderland - 0191 565 7995 Sewing Machine Sales, Whitley Bay - 0191 252 5825 Leamington Spa Sewing Machines, Leamington Spa - 01926 338 749 Cotswold Stitchcraft, Malmesbury - 01666 823 245 West Wilts Sewing Machine Co, Trowbridge - 01225 753 792 Brewers Sewing Machines, Wolverhampton – 01902 458 885 Coventry Sewing Centre, Coventry - 02476 257266 D C Nutt Sewing Machines, Walsall - 01922 497 603 Frank Nutt, Kings Heath - 0121 444 3978 GUR Sewing Machines, Birmingham – 0121 359 5335 L & M Nutt, Sutton Coldfield - 0121 373 5497 S Nutt Sewing Machines, Birmingham - 0121 327 2828 Creative Hands 2, Worcester - 01905 24940 Inkberrow Design Centre, Redditch – 01527 69100 Topstitchers, Kidderminster - 01562 822 698 Arcade Sewing Machines, Huddersfield – 01484 429 808 C & G Sewing Machines, Bradford - 01274 306352 Electra (DA) Company, Doncaster - 01302 340 369 Flynn’s@ Browns of York, York - 01904 561234/611166 Lennox Sewing Machines, Rotherham - 01709 377 797 MKC Services, Leeds - 0113 245 3156 Samuel Taylors, Skipton - 01756 700 946 Sewing Centre, Bridlington - 01262 603057 Sewing Centre, Scarborough - 01723 363 167 White Rose Sewing Machines, Harrogate - 01423 503767 Woodseats Sewing Machines, Sheffield - 0114 255 2822 Joan’s Wools & Crafts, Onchan - 01624 626 009 Sew N Knit Belfast, Belfast – 0289 045 6015 Sew N Knit Lisburn, Lisburn – 0289 267 0908 Singer Sewing Centre, Ballymena – 0282 564 0034 David Drummond, Edinburgh - 0131 539 7766 ESC Sewing Machines, Keith – 01542 887 000 N.J. Sewing Machine Services, Brightons Falkirk – 01324 711 333 Pembertons Sewing Machines, Stirling - 01786 462 993 Quilt Creations, Inverness – 01463 719 369 Sew Materialistic, Ayr - 01292 285 801 Butterfly Fabrics, Cardiff – 02920 470 808 Calico Kate, Lampeter – 01570 422 866 Cliffords Sewing Machines Ltd, Swansea - 01792 655 928 J B Sewing Machine Co, Ltd, Newport – 01633 284 646 Newport Sewing Centre, Newport - 01633 284 659 Quay Street Sewing Centre, Haverfordwest – 01437 762 355 Sewing Machines Direct, Wrexham - 0800 092 5215

www.janome.co.uk The ‘Sewing with Style’ offers are available from Janome sewing machine retail outlets nationwide. Promotion starts 6th April 2015 to 30th May 2015 (All offers subject to stock availability.)

page 116.FOR PRINT.indd 116 4109RL20.Ad - SWS Spring 2015 Ad 1PP [220x280] final.indd 1

The World’s leading sewing machine manufacturer

26/03/2015 08:57 17:12 03/03/2015

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