Teneriffe Lace Shawl created with Vandyke Border Loom from Gina B Silkworks

Tonight I am sharing a shawl embellished with Teneriffe Lace and block printing that I made ready for Gina’s Lace show on Hochanda TV tomorrow at mid day (29th Oct 2019 on Freeview Channel 85 or watch catch up online via their website).

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Gina has a button show at 4pm too where she will be bringing lots of her fabby historical button making kits, books and DVDs. Both shows are a must to see if you love textile embellishments, trims and passementerie.

Materials:

  • Lime green crochet cotton no.3 (Delfino – Filo Di Scozia)
  • Lilac DMC Mouline Cotton (like a standard 6 strand embroidery floss but on a large spool)
  • Sewing thread and needle (lime green)
  • Lime green cotton triangular shawl (made from quilting cotton) with sides measuring approx. 1m (I overlocked the edges using matching thread to prevent fraying)
  • Teneriffe Lace Starter Kit Loom 3 (Gina B Silkworks)
  • Teneriffe Lace Vandyke Border Loom set (Gina B Silkworks)
  • Fabric glue (optional)
  • Laundry starch spray (optional)
  • Thick dense foam mat (such as provided with Gina’s Total Trimmings Table) or upholstery foam (optional if wanting to use pins for stretching the web)
  • Decorative Indian wooden printing block and foam printing mat (Colouricious). The one I chose from my stash was approx. 9.5cm square with space in the centre to add the lace floral motifs
  • Setacolor Opaque (Spring Green, Raspberry and Parma Violet) and Deka Perm (Opaque White) fabric paints
  • Kitchen sponge and paint tray
  • Iron

How to do it:

Gina’s loom kits provide general instructions for stretching the web, darning, reverse backstitch and knotting etc.

Note: The hardest part to get right is the Teneriffe Lace Knot which holds it all together. Get this wrong and your lace won’t hold together properly when you remove it from the loom. Should this happen, don’t despair, do what I did with my first lace attempts and glue it to a card or a mixed media canvas. Ha ha.

There is a great beginners video from Gina to help with this.

I spent quite some time developing the lace pattern by quite a lot of experimenting, undoing and redoing until I was happy with the result. Don’t be afraid to play. Gina has also provided some easy starter lace borders in the instructions so you could try these first and make up a couple of smaller projects first.

The Border Lace:

Whenever thread ends were tied and finished, or working threads joined with knots, I added a small dab of clear drying fabric glue for extra security. This is optional but I thought it would ensure no loosening of thread ends, particularly during lots of wear and washing etc.

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Starting: I stretched the web on the Vandyke Border Loom leaving a long end at the start and keeping the ball in place on the left hand side (to avoid making joins as the border is continued). Here I have wrapped the thread end a couple of times around the loom end to hold the tension in place.

I made an angle on the first end so that it would continue on the shape of the shawl corner. The pins were placed on a diagonal and threads held together by K 2e (knotting 2 threads to hold).

Note: When working some of the bigger projects I prefer to use pins to hold the web rather than lacing with waste thread. It is a little less portable in this method but much quicker to stretch the web.

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Row 1: I worked a row of sc (scalloped edge by k 2e to create small anchored loops) along the bottom edge, joining in a new thread as required.

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Row 2: Next I worked a row of K 2e (keeping the pairs of threads in alignment with the first bottom row of knots) along the centre of the lace band.

Note: For each row I joined a new length of yarn. Once worked this was loosely wrapped and tied (to prevent tangling) and kept on the left hand side, ready to work the next section of the lace as the lace is moved on along the loom.

Row 3: I then worked a row of sc along the top edge. See how the threads now separate to give a lacy effect. Again I joined a new thread for this row.

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Row 4: A row of k 4e (4 threads knotted together such that the groups of knotted threads aligned with the peaks and troughs of the top edge) was worked in the centre of the bottom straight border section. This opened out the threads into a pretty lace design.

Row 5: A row of *k 2e (x3), k 4e (x1), K 2e (x3)* was repeated along the top border. The 2e knots were worked just below the knots on the sc edge and the 4e knots were worked about half way down the space. This created a nice section with 7 little spaces, ideal for darning (weaving) in the next row.

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Row 6: Next I joined in the lilac thread. To start I knotted just under the threads of the previous row until reaching the centre of the 7 space section.

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Row 6 continued: The 7 space section was progressively darned (pdt) for 8 rounds. The thread was taken under 1, over 2, under 2, over 1, under 1, then over 2 and under 1 to complete the first round (starting at the top left hand side single thread). As the rounds are worked the weave goes in the opposing over/under direction naturally (as there is an odd number of thread groups/spaces).

When 8 rounds were complete the thread was taken under the first thread bar again before moving along to the left with knotting.

Full row 6 repeat: *k 2e (x3), k 4e (x1), pdt (x8) in the round, u 1e, K 2e (x3)* repeated along the top border.

These 6 rows form the pattern repeat for the straight border sections. The straight knotting rows are quite quick to work but the darning does take a little longer. Well worth it though I think.

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The lace was then removed from the loom ready to work the next section.

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The first few loops were replaced onto the end of the loom and the next section of web was stretched ready to work. Here you can see the ball kept in place (keeping the web continuous without thread joins). The working threads were loosely tied for each row (keeping them separate, tying in a new length as required).

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The next section of lace was then worked as given above.

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Again the lace was moved along as each section was completed. I was so excited to see it grow.

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I had calculated that I would need 25 little peaks to fit along the sides of my scarf before needing to turn the corner (the space between each peak being approx. 4cm and the sides of my scarf being approx. 1m).

Note: The lace does pull in slightly when removed from the loom (the amount will vary depending on stitches used). Bear this in mind and check that the length of your lace is OK before turning the corner (particularly on a large project).

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As with the straight border I pinned the first few loops of lace onto the corner loom and laid out the pins ready to stretch the web.

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I stretched the web on the first half of the corner then spent some time thinking – how was I to make a corner pattern that would continue the straight sections nicely? This took me some time – ha ha.

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The threads on the corner diagonal of the web need to be interlocked. I therefore broke the thread and stretched the next section of the web, threading up the needle and passing through the loops of web on the diagonal (Gina explains this in her instructions). I then tied the thread end back to the ball end of thread.

I had a lot more thinking here about where to go next – tee hee.

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I worked rows 1-4 as previously adding extra knots where the diagonal threads crossed to make sure that the intersection was well anchored.

I then started row 5 and had a lot more thinking on the corner section. The full peak sections on either side were to be completed in the same pattern but I wasn’t sure what to put in the corner. I liked how I had continued the bottom border section keeping the design cohesive.

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Continuing row 5: After the first 3 knots (worked as per the normal pattern) I then moved to the centre and knotted up one side of the diagonal and back down the other (k 2e). This anchored all the threads well on the upper part of the diagonal. Note that I split the thread groups (see above where the outer threads are grouped together on the web) to make a lacy effect. I hope that this makes sense. It is difficult to explain – sorry.

Continuing row 6: I worked the first peak in the same way as usual then worked 3 knots up the outer edge (as in a normal row start). See picture below.

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The corner was completed by weaving 2 little ‘leaf’ sections across the diagonal threads. Starting at the tip I wove down to the middle (filling the space), then up the other side and then 3 knots were worked down to the trough section as normal. The next section being worked as per the normal pattern.

The lace was then removed from the corner loom and replaced back onto the border loom ready to work up the other side (as shown above).

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Here you can see the full length of one border and the corner turned ready to work the other side. I got very excited here – ha ha.

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Here is a close up where you can see the corner more clearly.

Although fairly pleased I still wasn’t completely happy with it (more thinking! Ha ha).

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I took the lace back off the border loom and quickly anchored it back onto the corner. With a new length of thread I added a little circle of weaving (over 5 groups of thread). I was happier with the result now.

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I continued with the usual pattern until the last section. Here I again wanted a diagonal finish on the end.

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Here I have shown the corner of the scarf so you can see what I mean. The loom is not designed to make diagonal ends as I am wanting so you can see one of the pins is slightly out of alignment here. This loop is adjusted when knotting (see below).

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You can see here that the misaligned pin is removed as the last knot is worked on row 2 (the ball thread end then being tightened up). The other pins sit on the diagonal path OK.

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Happy with my finished corner – finally – ha ha.

Block Printing:

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Next I wanted to create a pretty block printed border.

I used the lime green paint on the outer part of the block (applying with kitchen sponge).

I mixed a little of the Raspberry and Violet with quite a lot of White to create a colour that matched well with my lilac thread. This mix was sponged onto the inner section of the block for printing.

The scarf was laid onto the foam base for printing. This provides a little cushioning against the solid wood block ensuring that the detail prints well.

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Oooh yummy print.

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Oooh – I was a happy bunny. I left the paint to fully dry overnight then heat fixed by ironing on the reverse on a cotton setting.

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I then hand stitched on the lace border easing it to fit. In order to provide a little stretch and ease I used a slight zig zag when stitching (this allows a little stretch without popping of the thread). Next I sprayed with starch and ironed. This smoothed any slight lumps & waves that formed after attaching the lace and also stabilised the lace nicely.

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I was so chuffed with how the lace border and printing looked.

The Floral Daisy Motifs:

 

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Next I worked 16 small daisy motifs on loom 3.

I stretched the web on the smallest circle and lime thread to create 16 edge loops (i.e. total of 32 threads crossing the central section).

I then worked DD (double darning 2e) for 2 rows in the centre to neaten up the crossing threads etc. On the second row I offset the threads darned in the first row (as in weaving).

I then worked Revs (2) for 3 rows: Reverse backstitch over 2 threads. Ensuring that the threads from adjacent ‘loops’ were grouped together to form the outer ‘petal’ loops. Note: The side facing you is the back of the work.

Then I worked K 2e for 1 row: Knotting 2 threads together to secure groups of threads creating the long scalloped edge loops that make the petals.

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These little flowers would make great earrings or could be joined to make a lovely necklace. In fact it was these that gave me the idea for my black lace earrings blogged in my previous post earlier today.

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Finally I finished the shawl by sewing the little daisies into the centre of the block printed motifs.

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I hope that you like my lace shawl. Teneriffe Lace is definitely a ‘slow craft’ akin to knitting or cross stitch, don’t expect quick results. This project took me around 25 hours to make! Take your time and enjoy the process xxxx.

Bank Holiday Weekend Sewing Skirt and Top

I have enjoyed this bank holiday weekend. Great weather and managed to have time to sew too.

 

 

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Really pleased with the top – I adapted a pattern (Butterick B6136) but cut up, patched and used 3 stretch viscose dresses that had hardly been worn and were about to go to charity. Now I have a lovely new top that I love. The beaded decoration was also reused – cut from a very old top past it’s best. I love to recycle.

 

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These vest style long dresses were comfy but the style really did not suit my larger figure curves – so I only ever wore them around the house

 

 

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The skirt is one of my favourite makes from stretch ‘burn out’ velour. I didn’t use a pattern for this one.

Heart Shaped Wedding Pillow decorated with Ribbon Ruched Flowers

Good morning. Gina Barrett (Gina-B Silkworks) had some great shows on Hochanda TV on Sunday (17th March 2019). The first show was with the FAB ribbon flower ruching tools. If you missed it they do keep the video up online (https://www.hochanda.com/) for a couple of weeks (go to TV schedule, select Sun 17th Mar – click watch button next to show listing).

These are fantastic tools for quickly marking out ribbon with a variety of ruching patterns. Simply stitch along the marked lines and gather to create gorgeous ruched trims and flowers. Gina has also put up a Flower Comb instructional video on her YouTube Channel so you can see how the Flower Combs work.

The combs can also be used to mark out stitching guide lines for quilting, pleating and smocking designs too.

I have had so much fun creating samples for the show and have lots to share over the next few days.

 

Heart Shaped Wedding Pillow decorated with Ribbon Ruched Flowers

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I used instructions from Gina’s Ribbonwork Flowers Book plus the Leaf and Bud Comb set, along with the Rococo Flower Comb set, to create the satin ribbon flowers, buds and leaves used to embellish the pillow.

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I made this heart shaped pillow using recycled curtain lining and a pale pink gold foiled organza gift bag that I couldn’t bear to throw away. I love to recycle. Even the stuffing was taken from an old bed pillow that had lost its shape. Everything was well laundered and no-one would ever know that this was made mainly from scraps and junk.

First I made a heart template from scrap computer paper taped together to make a sheet approx 12 X 12 inches square. I folded the paper in half and drew a half heart, then opened out. This ensures that the heart is equal on both sides. The heart template measured approx 11.5 inches at it’s widest X 9.5 inches deep.

I used the template to cut X 2 each of cream cotton curtain lining and organza plus recycled curtain interlining to provide extra stability and padding (cotton interlining is like a thin wadding/batting). I stitched around the heart using a 1/2 inch seam attaching a ribbon hanger to the top and leaving an opening in the side for turning through. I left a wide enough gap to pass my fingers through and make stitching on embellishments easier. The seam edges of the opening were folded in and tacked (basted) to hold the layers together and help stop them fraying while working on the next stages.

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Next I created a couple of ribbon hangers to hold the wedding rings (brass curtain rings in the pic). I used thin gold satin ribbon and attached using small snap fasteners, so that the rings could be easily attached and removed.

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I used some little pink pads cut from felt to reinforce the fastener attachments. I traced the circle shapes from the Leaves and Buds Comb sets directly onto the felt using a soft pencil, then cut out. Circles are always tricky to cut neatly just by eye. These will be hidden under the floral embellishments so stitching did not have to be perfect. Functionality was more important.

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I created an array of overlap and doucet leaves following instructions from the book and Comb 36 (Leaves and Buds set). The green leaves were made from ribbon and the gold leaves from scrap pieces of gold foiled organza (from the recycled gift bag).

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Flowers were made using gold and cream satin ribbons, wrapping the gathered strips around flower stamens and stitching into a cone shape (Combs 1 and 3 – Rococo Set).

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Leaf shapes were also created with pink organza ribbon to create buds. These were stitched in place building out from the pillow centre and disguising the snap fasteners.

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Extra ribbons were also stitched in place to create little swags.

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I continued building from the centre outward.

 

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I created a hand made tassel to finish off the design. The tassel head was created with rolled paper strips using templates printed from Gina’s Paper Lathe CD. A brilliant pattern resource for making hundreds of different shaped tassel moulds and for rolled paper beads too.

I painted the tassel head with gold acrylic. The tassel was made with short strands of cream Cotton Broder left over from another project (most would of thrown these away but I can never waste anything –tee hee). I loved the effect of the varied lengths. Knotting the thread ends added extra interest. I created the loop hanger using macramé.

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The cushion was then stuffed and the opening closed (stitching up by hand).

I hope that you like my wedding pillow made mostly from rubbish.

Off to write up blogs for my other samples.

Back soon, Anne xxx.

Floral Bangle created with Ribbon Ruching Flower Combs

Good morning. Gina Barrett (Gina-B Silkworks) had some great shows on Hochanda TV on Sunday (17th March 2019). The first show was with the FAB ribbon flower ruching tools. If you missed it they do keep the video up online (https://www.hochanda.com/) for a couple of weeks (go to TV schedule, select Sun 17th Mar – click watch button next to show listing).

These are fantastic tools for quickly marking out ribbon with a variety of ruching patterns. Simply stitch along the marked lines and gather to create gorgeous ruched trims and flowers. Gina has also put up a Flower Comb instructional video on her YouTube Channel so you can see how the Flower Combs work.

The combs can also be used to mark out stitching guide lines for quilting, pleating and smocking designs too.

I have had so much fun creating samples for the show and have lots to share over the next few days.

Woven Floral Bangle with Ribbon Ruched Flower

To create the woven bangle I used the Beadalon Bangle Weaver Tool (Beads Direct), recycled sari silk strips, monofilament and a few beads.

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I have already blogged full instructions on using the bangle weaver tool.

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I used the Rococo Flower Comb set (Gina B Silkworks) to create the satin ribbon flower embellishment; ribbons varying in width from 15mm to 3.5cm. The flower centre was finished with microbeads and a pearl cabochon, glued in place with Fevicryl (glue designed to stick beads and gems to fabric).

Off to write up blogs for my other samples. Back soon xxx.

Messenger Bag created using fabric panel from Chocolate Baroque

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Good morning. I was so excited about the launch of the new fabric panels from Chocolate Baroque – enlarged images from my favourite stamp company printed onto fabric ready to paint and stitch – yay!

I have been working on a bag design big enough to carry A4 folders plus craft stash for when I am out & about. The large bag flap was a perfect place to feature the Katya panel. You could create similar using a commercial bag pattern (messenger style or tote), or by applying the panel to a ready made bag front.

I have used fabric painting, stamping, applique of stamped images, stencilling, machine and hand embroidery – but don’t despair if you are a non stitcher. I have included an idea for decorating a ready made tote bag with no stitching involved. The panels are also fabulous to use in mixed media projects such as book covers or canvases too – just stick it down with some gel mat medium or book binding glue. Then add stamping and embellish as for other mixed media work.

Materials used:

  • Printed fabric panels (3 Ladies)
  • Stamp sets: Take It or Leaf It, Large Crackle Background, Artistic Affirmations, Harlequin Rose, Bold Blooms
  • Stencils: Silhouette Palace 1 and Silhouette Palace 2
  • Range of fabric paints from my stash – all fixed by ironing: silk paints (fluid), transparent and opaque fabric paints plus multi surface paints (off white, cream, red, orange, yellow, blue, turquoise, pink, purple, metallic pink/purple, transparent pearl and green glitter)
  • 3D fabric paint (pearl green) – such as Appliglue or similar
  • Alcohol ink pens (yellow, turquoise, pink, green)
  • Archival Inkpad (Jet Black)
  • Tonertex foiling fabric glue and foil (gold)
  • Cotton quilting fabric scraps for applique (white, purple, lilac, cerise, plus waste strips of printed batik)
  • Cotton fabric (black) for backing and framing panel
  • Machine embroidery threads (black, variegated pink/blue plus green/orange)
  • Hand embroidery threads: Stranded cotton (variegated pink/purple and orange/yellow), Pearl 5 cotton (variegated blue/green/turquoise)
  • Iron on paper backed glue mesh (such as Bondaweb or similar) and Fray Check Glue
  • Paint brush and Cut-N-Dry Foam
  • For making the bag I also used: sewing thread, heavy weight cotton fabric (blue), light weight linen patterned fabrics for lining (blue & cream), plastic sink drainer (for base), Bosal foam stabiliser (one side iron on), bag feet and magnetic clasps (silver colour), zipper (blue), shoulder strap (recycled from old bag)

How it was done:

I first made a lining using my heavy weight cotton and linen printed fabrics. I wanted a heavy weight long lasting lining so layered my fabrics and treated as one layer. I also included plenty of pockets. I haven’t included details of my pattern here – sorry – but it’s something I am working on for my own business. You could choose a commercial pattern for a messenger bag with a large front flap to decorate, or a tote style bag to feature the panel.

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I painted the Katya panel using transparent coloured paints so as not to obliterate the black outlines.

Fabric paints designed for light coloured fabrics are best suitable. Opaque colours (designed for dark fabrics) would obliterate the printing so you need to bear this in mind. I also used some paints designed for multi surfaces (including fabrics). These can sometimes leave a stiffer finish than those specifically designed for fabric. However, for a bag this can actually be a bonus and it is not essential to keep a soft fabric feel. If you are not intending to wash your fabrics then you can use just about anything that you would use on paper. However, I would recommend heat fixable paints for a bag as you don’t want colours to transfer from the bag or run if caught in the rain! Painting was fixed by ironing.

Tip: I like to leave my fabric painting overnight before heat fixing with an iron (follow the manufacturer’s directions). The panel is silk/cotton so can be ironed using a cotton setting safely. I usually iron from the back.

I did test the panel for compatibility with alcohol markers and found that if over wet and rubbed with alcohol the printing did bleed slightly so I would avoid these, or use with care (i.e. without flooding close to the printing).

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I then applied some of the Tonertex glue, left to ‘dry’ (goes tacky as dries clear) and applied gold foil to elements of her headdress.

If you are not a sewer you could stop at this stage. As with card making the panel benefits from ‘mat & layering’. Black fabric provides a nice frame. You could back the fabrics with fusible web and iron onto a ready made bag. Heat fusible webbing does not always provide a strong hard wearing bond so gel mat medium, book binding glue or a fabric decoupage glue could be used to prevent the panel lifting off or fraying with extensive use. There are also several types of 3D paint that could be applied around the fabric edges too (e.g. Appliglue).

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I found some lovely strips of batik fabric in my ‘waste’ scraps bag (I knew that they were too nice to bin – ha ha) so I had to include them in my bag panel design. Nothing was stuck down yet.

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Next I stamped various colour fabric scraps to use as applique elements, using an Archival Inkpad. The images were dried and then heat set with an iron. Colour was then added using alcohol ink pens. Again colours were heat set.

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Fusible web was applied to the back to prevent fraying and the stamped and coloured images were cut out.

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When stamping with paints I prefer to apply them to my stamps using Cut-N-Dry Foam. I find that it gives a more even application with less clogging of the stamp than brushing or using kitchen sponges etc. In addition if placed paint side down in a plastic tray (recycled) they stay wet for longer. This is particularly so for multi purpose paints that can dry out very quickly. I also spritz the tray lightly with water to help keep them wet while working.

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The fabric background was first coloured using the fluid silk paints (they are like an ‘ink’ formulation rather than thicker paint) – encouraging them to bleed and blend with a light water spritz. As with card making I tried to create a darker blended edge to frame the scene.

Next the bag panel was stamped and stencilled. The applique elements and panel were ironed down (using the fusible web backing). I used the border stamp across the top edge and lovely crackle stamp in the background. I had to add a little bling with the metallic colour too (you know me! – ha ha).

Tip: Stamping onto a darker fabric you will need to use darker or more opaque paints (or they won’t show up). Metallics work well too.

I added some 3D glue ‘pearls’ to Katya’s headdress and overlayed some areas with transparent pearl paint for extra shimmer. I also added glitter paint to some areas. Simply wasn’t enough bling already.

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The panel was backed with foam stabiliser before embroidery (I wanted a quilted effect). I stitched down the panel and fabric strips and then used free machine embroidery to stitch down and decorate the applique. Hand stitching was added for additional texture.

Note: The fusible web backing does help prevent fraying but some areas may benefit from a little Fray Check along the fabric edges (e.g. my batik strips were not backed with webbing before stitching down so are likely to fray with wear).

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Detail showing stencilling, stamping and embroidery.

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I used free machine embroidery and black thread around the applique motifs, then further embellished with hand embroidery. The stamped smaller flowers were free machined with variegated thread.

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Here you can see the stencilled palace with additional hand embroidery to highlight.

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The back panel was also decorated.

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Love this sentiment stamp – describes me perfectly.

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So happy with my decorated bag (back).

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The pockets on the front panel were also decorated (sits under the front flap).

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Detail – love this sentiment too.

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The finished pockets with magnetic snap closures (to hold down the front flap).

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I also decorated the little side pockets.

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Texture added with hand embroidery.

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Here you can see a little more detail of the free machining and hand embroidery on the main Katya panel.

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I hope that you have enjoyed my latest creation.

Hope to be back with more soon, Anne xxx.

Gina B Silkworks coming to Hochanda TV next week

Gina Barrett (from Gina B Silkworks) is having her first shows on Hochanda TV on Wed 16th Jan (Freeview channel 85 or watch live online via there website at Hochanda.com).  She has two shows:

 

10am show – Gina will be bringing kits and looms to make Teneriffe Lace.

 

Here is a little sneaky peek at some of my show samples.

Teneriffe Hochanda

 

3pm show – Gina will be showing us how to make vintage thread wrapped and ring buttons. There will also be some little journal kits.

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I will reveal more of my samples over the next few days x.

Coral Reef Hat Needle Felt and Embroidery

Good evening. This is my first try at making a hat and I had an adventure.

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I created the fabric using needle felting with green and blue wool fibres onto a loose woven fabric base (leftover curtain interlining for a bit of body). I made up the hat pattern as I went and reinforced the outer rim section using steel memory wire (encased in the fabric rim and covered with cord braid to neaten).

 

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Silk fibres and fabric scraps were needle felted onto the background for added texture.

 

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Some free machine embroidery and quilting was also worked into the background.

 

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3D pearlescent fabric paint added more texture. I made a little rock pool in the top.

 

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Then I went mad with the embellishing. The machine embroidered elements were created as embroidery slips onto old cotton bed sheets. These were then cut out and stitched in place. Extra padding was added to some of the embroidered elements (snipping through from the back and stuffing with a little wadding) to give a more 3D look.

 

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Sorry – dreadful pic!  The hat inner was made with blue taffeta and stitched to an outer layer of recycled curtain interlining, a strip of stiffer interfacing used for the inner brim (fitted to head). Free machine and decorative machine embroidery were added around the rim to give it structure. A few sequins were also added for bling. The outer decorated hat was then slotted on top, everything held together around the inner and outer rim sections.

 

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I also embellished with real shells and sea urchins too.

 

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I also created some coral made by wrapping recycled plastic beads with organza, further embellished with little pink seed beaded branches.

 

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Strips of the blue organza were gathered and twirled to give the spongy coral effect. The edges were frayed to enhance.

 

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The starfish was created with shell sticks, texture added using tiny glass microbeads.

 

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I hope that you have enjoyed looking through my coral reef creation. I certainly had a lot of fun creating this one and got totally lost in my own little fantasy sea world xxx.