The Stitchbook Issue 11 Joomchi

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Issue No 11

JOOMCHI: ‘water & eager hands’

The art of felted mulberry paper 1


It doesn’t matter which direction you take … not everything will work out, but you’ll learn from it anyway!





Butterfly Efffect Food for Thought Featured Artist

6 9 10

DNA Spiral WW1 hearts Hearts & MIND

11 12 16

MEMBERS PAGES Suggested Gifts Membership RENEWAL

18 20 23

FULL DETAILS about HEARTS & MIND project can be found on Page 15

DON’T PANIC or feel stressed! Take a deep breath and just get started ... see where it takes you! The group is here to support and encourage everyone. We have members with enormously varying levels of expertise … remember to share knowledge and ideas generously, and BE KIND. The archive of 12 techniques is permanently available to you whenever you want to try something new, and the monthly workshops and the magazines are there as inspiration and encouragement. 2

WORKSHOP presented by Helen Birmingham Issue No 11: first published November 2023

This month’s workshop is an extension of a previous workshop on JOOMCHI. You can find the original video in the archive: JOOMCHI FELTED MULBERRY PAPER


This month’s workshop has been a long time coming: over 3 years actually! I particularly want to share with you what I learnt AFTER the previous workshop on JOOMCHI: my investigations about creating more deliberate holes in the paper and also the process and timing of adding colour and stitch to the Joomchi. If you have already watched the original video, I would suggest a refresher, and if you are completely new to this technique, I suggest you watch the original video first for context. This month I will also talk a little bit about the differences between JOOMCHI and MOMIGAMI and different types of paper.

ALSO in this MONTH:


2024 full details on p. 23

WINNER of Butterfly Book announced and suggestions for 2024 GROUP PROJECT to be discussed.

It’s 5 years since our seminal project 1,568 Sawdust Hearts As a commemoration of this fabulous exhibition, there are some photographic memories, and also 2 great articles by members:

Teresa Way on page 13 TRING group on page 14

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MY THOUGHT PROCESSES I developed the original workshop on JOOMCHI over 3 years ago, and it remains one of my favourite techniques. Although initially the results appear to be quite like ‘felted wool’, the properties of the finished piece of paper/fabric are remarkably different.

Sample 1 You will need two different colours of mulberry paper. Using wet brush or scissors, remove a circle of paper from the centre, and then felt two colours together. The video shows you some different techniques to try to felt the papers and leave more holes.

One particular comment after the first workshop was that people found it difficult to work the paper sufficiently for the characteristic lacy holes to appear. I’ve had a play with this, and come up with some suggestions for you to try. Having recently discovered the joys of inktense blocks, I was keen to play around with how these could be used to enhance the effect of Joomchi, and this led me on to thinking about other ways of embellishing or treating the surface: beading, embossing, and ultimately stitching.

Once dry, the papers are machine stitched onto a backing fabric, and thicker yarns/fibres are couched on to form patterns.

On my journey, I came across something which, as a mixed media artist, I have used before, but I don’t think that I had really recognised its potential for making stitchbook pages!!! I didn’t even realise that the technique had a specific name, but it does, and it is - MOMIGAMI.

Sample 2 Again you will need two (or more) different colours of mulberry paper. Felt the papers together. While the paper is still wet add colour to the surface using inktense blocks or other colours. Repeat once the paper is dry and see the difference in effects.

There are loads of videos on youtube about it. It is basically kneaded paper, but there seem to be various methods which use a variety of substances to soften the paper. i.e. applications of oils, pastes, lotions etc. In the workshop, I’ll show you some samples which I have worked on, and I’d be really interested to hear about/see any work you have completed which uses either oil or particularly paste to soften the paper. This is a topic which I will inevitably return to. We like to think about recycling and textile thrift .. is there something to be learnt from combining more traditional fibres with papermaking … if you fancy doing some research, take a look at Japanese SHIFU, which is paper yarn. It has been made since 10th century AD … If you fancy writing an article about it, I’d love to hear from you. Helen x

Sample 3 Experiment, experiment, experiment. If you work with relatively small pieces of paper, you can keep increasing the layers you are felting together, add shapes and colours and see what happens. Add embossing foils or powders, add beads, add stitching …. I’d love to see your results!


MULBERRY PAPER ‘Mulberry paper’ has almost become a ‘generic name’ for tissue paper with added plant fibres. The mulberry paper which you are most likely to come across in craft shops or used as wrapping paper is probably from Thailand, and is made using the inner bark of the mulberry tree. (It is a common mistake to think that the fibres in this paper are ‘silk’.) If you want your mind-blown, take a look at all the different types of handmade paper there are! If you look online you will see that you can buy ‘selection packs’ of paper, which will probably include some mulberry paper, lokta, cellulose, cotton rag, flax, and so on. The list is virtually limitless, and all I can say if you are happy to

experiment, try felting it and see what happens. Generally, if the paper is tissue-like with fibrous inclusion it will work. Note: The thicker papers (more like the consistency of blotting paper) are great for momigami (see below) but the fibres are often too short to felt, and they simply deteriorate into ‘dust’ when wetted and then agitated. I have found that the cheap ‘mulberry paper’ you can buy online from sites like Amazon is great for Joomchi and it comes in a wonderful range of colours. You may find this is called Kozo.

JOOMCHI with added KUNIN felt, beading & couching



Traditional momigami is made by applying starch paste to a strong kozo paper, wrinkling and kneading the paper, then allowing it to dry. You will see online that there are many versions of ’momigami’ which claim to use all sorts of different papers, lotions, potions and oils, and again, it is a question of trial and error. I did discover that the thicker papers could be used to make stitchbook ‘pages’ with a very different ‘feel’ to calico pages! See video.



B) C) D)


You can see the difference in colour and texture which I achieved using moisturiser on mulberry paper. Momigami used to create a Stitchbook Page with the addition of cotton tape for tabs. Joomchi stitched onto the momigami page. Several pages treated with cooking oil, and folded into booklet.


The Butterfly Effect (2024 group project) First of all ‘THANK YOU’. It was clear from the responses which I received that some of you had put a great deal of thought and research into the topic of ‘The Butterfly Effect’ or ‘Chaos Theory’. It has obviously sparked a lot of different ideas, and I now feel inspired by you to continue with the project for 2024. Whether it ultimately becomes a piece for The Festival of Quilts, remains to be seen, but I definitely think that it worth persevering with it. Some of the ideas which arose from your comments most often were: a) b) c) d) e) f) g)

Murmuration or swarms of butterflies Butterflies physically ‘lifting’ a quilt World map Trees Seasons of the Year Climate change Complexity of Patterns

I must make special mention of one member in particular, Caroline Gowers, who created a remarkable piece of work akin to a thesis. You will find quotes and inspirations taken from her work throughout this article. In her project she introduced me to the ’Lorenz attractor’. (although the concept is very tricky to understand, the images which resulted from Lorenz’s experiments are fascinating).

‘Chaos is not merely a lack of order; it is a profound source of creativity and possibility.’

• •

The title of the quilt will be ‘The Butterfly Effect’

The butterflies will be made in batches and delivered to Untangled Threads every 2 months e.g. January/February butterflies will be in shades of blue/green, March/April butterflies will be in shades of red/orange etc

• •

The quilt will include hundreds of origami butterflies made from scrap/recycled fabric by members of the Collective

The target is 5 per member over the year. This would potentially give us 1,000 butterflies but more could be amazing!

A huge thank you to everyone who made suggestions about the quilt, and how we might go about turning it into a successful group project for 2024.

EVERYONE who emailed a suggestion of any kind BEFORE 27th OCTOBER 2023 was entered into the draw.

CAROLINE SWIFT You have WON a hard-backed copy of ‘The Art of Embroidered Butterflies’ by Jane E Hall. You should have received it with Issue 11 of The Stitchbook.

I allocated a random number to each email received about the quilt, and then asked Dorothea to pick a number. Thank you so much to everyone who got involved. Your comments and suggestions have all been taken into account, and were very much appreciated.


The Lorenz Attractor I think that you need to have a doctorate in mathematics to understand this properly, (or to be Sheldon in The Big Bang Theory), but as far as I can make out, these are images which show how a graph changes if you change one variable of an equation. (?) I think, it is showing us what the PREDICTION of chaos might look like.

In the light of your comments and suggestions, I have put together a MOOD board for the quilt. I have looked particularly at patterns, colours, textures and shapes which came into my head when reading your emails and seeing your butterfly samples. I would love to hear your comments. The larger image at the bottom is a quilt by this month’s featured artist Michelle Mischkulnig. I am imagining we might be able to create something of the richness of her work, but using our own chaos/butterfly effect theme.

This video is wonderful to watch, whether you understand the mathematics or not.

‘He saw that slight differences in one variable had profound effects on the outcome of the whole system.’ ‘What the computer drew was a wondrous curve with two overlapping spirals resembling butterfly wings or an owl's mask. The line making up the curve never intersected itself and never retraced its own path. Instead, it looped around forever and ever, sometimes spending time on one wing before switching to the other side. It was a picture of chaos, and while it showed randomness and unpredictability, it also showed a strange kind of order. ‘


I have been thinking about how to create a background which we have ALL participated in: this is a 2nd hand woollen waffle blanket. It has 130 squares of different colours. We could cut the blanket up and work on one bit each. Maybe we could stitch the squares onto felt (like the primordial soup project) and then couch lines and patterns into each section, before reassembling and quilting. This has a visual link to our project on journeys and the work of Paul Klee - it may be possible to include letters or words?

The addition of a couched line in the style of the Lorenz Attractor would give us the placement for the folded butterflies, which could be interspersed with the addition of stitched leaves and flowers, influenced by the work of Michelle Mischkulnig. There is the opportunity for some padded trapunto work here.

I hope that I have included these key elements:

I recognised that this design has more than a nod to the work of my favourite artist, Hundertwasser. As well being renowned for his artwork, he was also a pioneering ecologist and architect. Although I like the idea of attaching some of the butterflies on wires, I think that the problems involved in transport and display might make this prohibitive.

a) b) c) d) e)

Murmuration or swarms of butterflies Trees and nature Seasons of the Year Climate change Complexity of Patterns


So back to you again …. Constructive criticism is VITAL in group work, and whatever your opinions are, they are valid as part of the group. Although it may appear that I have laid down quite a fixed outline for the quilt, it is only a suggestion based on some of your ideas and the work we have undertaken in our Stitchbooks so far.

It is somewhere for us to start what could be a very unpredictable journey (like the Lorenz Attractor would suggest.)

I have now set the ‘initial conditions’, but it is up to you to change the overall shape and pattern of the whole with your ‘free variables’ : suggestions and additions. I hope that your input into design and construction of individual elements will make the outcome a unique combination of us all … with a group identify and a passion to create. COMMENTS by email to:

“Art has always been an essential part of my life. It is a therapy, a quiet place where I can express myself. We all have a something inside, as individual as our signature which needs to find an outlet. The expression of our art practice helps us as individuals to learn so much about ourselves and is critically important to the health of our communities.” Patricia Kelly

“…floating the idea around the subconscious, trying to work it out. The more you play with ideas, the more you feel the essence of what you are after.” Ana Pollak

“Instead of worrying about what you cannot control, shift your energy to what you can create.” Roy T. Bennett

“Between the initial idea and the finished piece lies a gulf we can see across, but never fully chart. The truly special moments in artmaking lie in those moments when concept is converted to reality — those moments when the gulf is being crossed.” David Bayles, Images by Patricia Kelly


Michelle Mischkulnig

A passion for colour & texture. Brought to life with stitch and a smile

My textile art is an expression of my life, full of happiness, joy, beautiful family, good friends and laughter. My inspiration comes from warm winter sun, the sound of the ocean, first spring flowers and family holidays to special places of the heart. I am so privileged to wake each morning knowing I will be creating an artwork that emanates joy and puts a smile on your face.

I am inspired by places I have been, the colours, the textures, the emotion, places I wish to visit needing to feel their rhythm, drawn to their conversation, enthralled by their colour an texture. It is the everyday that holds the beauty and inspiration, watching the seasons change, listening and laughing with friends and family, the roar of the ocean. I hope to convey the colour and movement, how I respond emotionally. My textile artwork is not an accurate or literal depiction it is how I feel it in my heart, how I am moved what makes me smile. All my textile artwork come from my heart, head and hand.


The Obsessions exhibition at the Old Parcels Office in Scarborough was a huge success. There were some great comments about our 3 pieces of work, and I was so proud of us all. Thank you! Although the KIMONO and PRIMORDIAL SOUP had already been exhibited (Knitting & Stitching Show and Festival of Quilts), this was the first outing for the DNA Spiral, and it's installation wasn't without its problems. If I thought that the principles behind genetics were hard to get my head around, I really wasn't ready for the physics of TORQUE. I also, naively, wasn't really aware of how vitally important the structural integrity of the ladder was going to be. (Not the ladder I was climbing up, but the ladder within the DNA spiral itself.) Having made many maquettes in various sizes, I had worked out how best to construct the form. (Threaded like a huge version of a beaded necklace.) What I hadn't allowed for was the essential strength of the right angles at the point where the uprights met the 'rungs'. Without this tension, the structure simply collapses when twisted. I know how to prevent this from happening now. In jewellery terms, it needs a crimp bead at each junction. In mathematics, the right angle needs protecting to prevent the square from twisting into a rhombus. I am however, happy for the current version of the DNA spiral to be presented as it is in OBSESSIONS. It is part of the project's own evolution by natural selection(!) That's a bit tongue in

cheek, but Darwin's own expression 'descent with modification' is something like I am planning. This version of the spiral was simply not a favourable variation, therefore it will ultimately perish, and a new modified version will emerge and, if successful, will prevail! Watch this space!! UPDATE: I have our three pieces of work back home now, and I lost no time in hanging them for display with the Celebration Tree Hearts. (see page 17)

Debbie, Bev and Pam

I managed to get the ‘twist’ in the DNA spiral this time, and I think that the more domestic scale of the setting suits the piece much better. It gives me real hope that the work will earn itself another outing in the near future.


It’s 5 years since our seminal project 1,568 Sawdust Hearts As a commemoration of this fabulous exhibition, there are some photographic memories, and also 2 great articles by members

The full colour catalogue and Inside Stories are both available to purchase online

A video tour of the exhibition and lots of FREE resources can be found on the PROJECTS page


Original WW1 sawdust heart

One of the 1,568 hearts on display

Heart by Helen Birmingham

by TERESA WAY I came across Helen’s stand at the Knitting & Stitching Show at Olympia in 2018. Her display of commemorative hearts captivated me and I ordered a calico heart kit there and then. I wanted to dedicate it to my grandfather, Frederick Way, who died of wounds in the Battle of The Somme when my late father was only 18 months old. It was both moving and a privilege to commemorate his life and to take part in Helen’s inspirational Sawdust Hearts project. My sister provided the Liberty fabric for the background and added his initials with beads and pins on the reverse. Frederick was only thirty two years old but, as most recruits were in their late teens or early 20’s, he must have seemed like an old man to his fellow soldiers.

They joined the Middlesex Regiment, Albert the 1st Battalion and Frederick the 2nd. I have recently noticed that on the Commonwealth War Graves Commission website Albert’s name appears immediately after grandad’s. This is a mystery as entries do not appear to be listed chronologically by date of death, by Regiment or in alphabetical order. So it seems Albert had been hiding in plain sight as the saying goes.

I was fortunate to be able to obtain another calico heart from Helen to dedicate to Albert and to serve as a companion piece to grandad’s. On grandad’s heart I had written “Not Forgotten” so thought it appropriate to write “Now Remembered” on Albert”s.

I travelled from Buckinghamshire to Scarborough to see the exhibition and was so moved by the beautifully crafted hearts and the stories behind them. The variety of skills involved was amazing and the exhibition a fitting tribute to those who defended our land, often paying the ultimate price. My niece has been researching our family history and recently discovered that grandad’s brother Albert died of wounds received in the Battle of Loos just thirteen months before him.

Each Remembrance Sunday I lay a British Legion wooden cross on our town’s war memorial inscribed with grandad’s name. This year it will mean a lot to me to be able to add “and his brother Albert”.

We had been completely unaware of his existence. In just over a year their mother had lost two sons and only a year after Frederick’s death she herself died. These were sad times indeed and almost without exception every family in the country lost loved ones during the four years that the war raged on. It appears that Frederick and Albert volunteered on the same day just three weeks after hostilities broke out on 4th August 1914.


by BEVERLEY SWAIN We are a group of 9 crafty people from Tring, Hemel Hempstead and Mursley who meet up for chatting and stitching. We first started our journey with Helen and Untangled Threads by making Sawdust Hearts for the 1568 hearts exhibition which several of us managed to visit in Scarborough; what an awe-inspiring exhibition it was, so many different ideas; every heart unique and the idea of including those missing in action was so appropriate and moving. From there, four core members, who have been in the Collective from the early days, joined in with the Stitchbook project. With Helen’s monthly package of goodies and instructions this enabled us to go from ‘regimented stitching’ to embrace slow stitching – to go from this must look like a predefined look to allowing the stitching to evolve. As we were locked down during this time, our zoom stitching helped to keep us sane. We thoroughly enjoyed the exhibition at Harrogate and looking at everyone’s different interpretations of the same starting point and wow what an amazing exhibition of collective work it was. We have followed on throughout and are now excited to receive this year’s monthly magazines and meet up to explore and share our thoughts and ideas and see how each month evolves. This additionally led to producing squares for the Primordial Soup quilt which we went to see at the Festival of Quilts. Some of us also got involved in the Kimono and Twinchies project run by Sandra Dorey. Several of the group joined in with the felting of the DNA spiral Version 1 and appreciated being a part of a collection of parts that made up the DNA spiral. All of us have done a heart for the Hearts and Minds celebration tree in aid of Mind. This was done using stuff from our collective stash and we love how they all look so different but will form part of a collective piece of fundraising. Three of us are intending to come to Scarborough on the first weekend of November to see the Obsessions exhibition with the DNA spiral, Kimono coat and Primordial Soup quilt which some or all of us have been involved in. Thank you Helen for your vision in believing in the collective group and creating a group of stitchers who produce small bits of individual stitching to create a collaborative piece of beauty. Thank you for believing in us and enabling us to grow from feeling trepidation to gaining confidence and enabling us to be part of a supportive group of stitchers.

Scarborough 1568 Hearts exhibition 2018. Back row, left to right – Pam Jordan, Stella Read, Beverly Swain, Debbie Turnbull, Janet Goodyer, Christine Impey (now moved away). Front row – Mia Sturges, Helen Birmingham)

Harrogate Knitting and Stitching Show 2021 exhibition (Top row left to right – Alison Nash, Debbie Turnbull. Bottom row left to right – Beverly Swain, Pam Jordan)

October 2022 – DNA Spiral making (Left to right) Debbie Turnbull, Julie Wise, Pam Jordan, Alison Nash, Beverly Swain)

Festival of Quilts August 2023 Primordial Soup Collaborative Quilt (Left to right - Debbie Turnbull, Alison Nash, Beverly Swain)

2023 Heart making – back row (left to right) Carol Quoroll, Pam Jordan, Janet Goodyer, Beverly Swain, Alison Nash. Front row – Julie Wise, Debbie Turnbull, Mia Sturges (Stella Read was away so not in the picture)

From the 'Tring' Crafters

Beverly Swain, Debbie Turnbull, Pam Jordan, Alison Nash, Maria Sturges, Stella Read, Julie Wise, Carol Quoroll and Janet Goodyer

2023 Obsessions exhibition OPO Scarborough (Debbie, Turnbull, Beverley Swain and Pam Jordan)


Why not VISIT Go to the GROUP PROJECTS page, and click on 1,568 Sawdust Hearts You will find:

A virtual tour of the exhibition and lots of exhibition photographs, and information about The Royal Collage of Occupational Therapy project. There are also FREE resources for use with group projects, therapy, exhibitions or workshops, including useful videos and information about the history of sawdust hearts. • •

• • • •

How the hearts were made. History of WW1 pincushions Inside stories Heart Template TEN technique videos ‘Sacrifice’ playscript

The full colour catalogue and Inside Stories are both available to purchase online

The memories, poems and messages which travelled with the hearts appear together in this booklet. 'When the hearts arrived back, many of the boxes also contained stories which were sull of emotion: poignant, amusing, tragic and meaningful in equal measure. I felt that the stories demanded their own space to do them justice."

In 2017/18 Helen Birmingham gave several workshops and talks about the hearts. These are some of the samples of different decorating techniques which she made to show and demonstrate.


Hearts & MIND Thursday 16th November Winner of RAFFLE announced

This piece of art was made by 16 members of Stitched Together, an off-shoot of the 2019 Stitchbook Collective. Everyone who has returned a heart for sale has been entered into the PRIZE DRAW.

Monday 20th November 9.00am SALE OF HEARTS BEGINS Full colour images of ALL hearts will be available online.

HEARTS can ONLY be purchased online (until 5.00pm Monday 18th December) and will be posted out to UK addresses between 1st and 19th December any hearts NOT sold by 19th December will be available for purchase again in 2024

Hearts will be sold at £5.00 each with a request for additional donations. All profits will be donated to MIND.

Full colour catalogues with images of OVER 200 hearts will be available to purchase online (£7.50), and can also be


Untangled Threads, 5 Belle Vue Parade, Scarborough, YO11 1SU 16


would like to invite you to a

Hearts & MIND Celebration Tree VIEWING EVENT •

Magical experience Over 200 handmade hearts A warm fireside welcome Raising funds for MIND

This is also an opportunity to see 3 other collaborative textile projects made by members of The Stitchbook Collective which were recently exhibited at OPO in


Untangled Threads, 5 Belle Vue Parade, Scarborough, YO11 1SU Viewing Events: FREE - no need to book Monday 20th November 3.00pm - 7.00pm Saturday 25th November 11.00am - 5.00pm Sunday 26th November 3.00pm - 5.00pm Monday 27th November 3.00pm - 7.00pm



Dear Helen, I hope this finds you well. I’ve finally found time to make the little heart. For me, it represents a heart that is patched over the scars inflicted on it.The beads and button show how fragile the promises have been - easily removed to leave empty space. The rosette, a frayed attempt at rewards to recover after setbacks. Who new a little heart could say so much!

Photograph by Beverly Swain

Thank you for everything you are doing at Untangled Threads. I am learning new skills (slowly!) if not putting them into practice. Keep safe and ever smiling Love Judith Moss

The heart which I selected for the cover of the catalogue is Number 159 by Stella Reed

by Anne Jackson I loved painting on fabric and creating landscapes for last year’s stitchbook - I did quite a few small ones as I found them addictive! I wanted to do something different this time so went for a winter night scene. I used the sized calico for the piece, and used Tim Holtz distress watercolour pencils to draw/ paint the sky, moon glow and river. The trees are couched thick yarn with white yarn added for snow on the branches. I stitched on the river to make it flow. Fabric moon. The snow is wadding. 18

by Eileen Gibson It’s taken a while to learn to love the butterflies but Pinterest came in handy . These are my efforts on canvas, and the folded one was made easier with bondaweb.

by Christine Medcalf Helen made doing a textile portrait look so easy, I thought I'd have a go. I used some years-old silk thread which came in small, knotted hanks. I realise now that I should have rewound them all; the strands are kinked, which wasn't ideal for stitching this. However, I did enjoy the process and intend to add some shadows and a background; I thought I'd share it now before I mess it up!

by Sally-Ann Duffy Some previous simple stitched portraits of my granddaughter's

by Helen Birmingham For those who may not have seen this online, this is the final stage of my workshop example of stitching onto Painted Fabric. It’s one of those things that I really didn't like at the time I did it, but actually, with hindsight, its not so bad!

I have to say that it’s been a bit light on images and words for the members pages this month. PLEASE don’t be shy!

Helen says this is really great, and you are duty bound to show us the finished result- messed up or not!

We all love to see each others work, and it can only happen if you are brave enough to send it in.



woven pebble workshop kit

only £20.00incl UK P&P Kit Contents: 12 page full colour instruction leaflet Password to 30 minute workshop video Untangled Threads exclusive laser-cut plywood template © 100 glass headed pins 2.5m warp thread (size 20 crochet cotton) 20m weft bundle (all natural yarns)* in 1m lengths Size 18 chenille needle 3.5” soft sculpture needle

Brooch kit (sufficient for 2 brooches) 70mm x 100mm felt (x 4) 8m DMC 6 stranded cotton (No 310) 30mm brooch back finding (x 2) 45mm x 65mm mount board (self adhesive) (x 2) * Mixes of cotton, hemp, silk, wool and linen



Folded Stitchbook Workshop Kit made with love WORKSHOP KIT includes: full written instructions PLUS link to online video workshop from - presented by Helen Birmingham · Full instructions and materials are provided to CONSTRUCT your own 12 page Stitchbook (with pockets) · Suggestions and inspiration are provided to help you to DESIGN and DECORATE the pages. · A themed collage pack is included, together with full instructions for STAINING fabric using tea. · Principles of SLOW STITCHING and the extraordinary benefits of craft are explained and demonstrated by Helen Birmingham in exclusive online videos.

Contents: 12 page full colour instruction booklet Full size paper pattern Fine cotton calico (140cm x 21cm) Cotton muslin (125cm x 15cm) Cotton drawstring bag 6 tea bags Various fabric samples Chindi rags 8m DMC stranded embroidery cotton 3 sewing needles (various sizes) 3 luggage labels Cotton tape

only £25.00incl UK P&P All profits donated to 21


You will receive an email reminding you when it’s time to renew your subscription …



then simply head over to SUBSCRIPTION RENEWAL

£120.00 per year

£10.50 per month

I am sorry that I have had to make a slight increase in the cost of membership for 2024. I have kept the cost as low as possible and hope that you will understand. This is due directly to the increase in postage and administration costs. £1.00 from your subscription each month IS STILL DONATED TO MIND.


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