search press spring 2017

Image from Bird Art 9781782212966

Search Press Spring 2017Independent, family owned

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Knit Yourself Calm A creative path to managing stress LYnne Rowe & Betsan CoRKhiLL

Publication July 2017Price $15.95Format Trade Paperback, 8 x 10¼ inchesISBN 9781782214939Extent 96 PagesPublisher Search PressIllustrations 120 Illustrations, colorBISAC Sub Category Needlework/Knitting CRA015000 SELF-HELP/Self-Management/Stress Management SEL024000 MEDICAL/Allied Health Services/Occupational Therapy MED003050

Also by Lynne Rowe:

Once Upon a Time in Crochet (9781782212348)

Crocheted Mandalas (9781782212348)

DescriptionThe therapeutic benefits of knitting have long been recognized. Now, a new truly authoritative work examining the subject from knitting designer Lynne Rowe, with Betsan Corkhill, who has built an international reputation as an expert on the use of knitting to improve health and well-being.

Suitable for beginners and more experienced knitters alike, discover how the repetitive process of knitting can relieve stress and improve your well-being. After an introduction to the essential techniques, there follows beautiful projects that have been specifically designed for mindfulness. The focus throughout is on the calming and therapeutic effects of knitting, reflected in its design, the projects, the colors used and the styling of the photographs.

Key Selling Points

• Beautiful, simple knitting projects co designed by an experienced health care professional and leader in field of knitting and well-being since 2005

• Suitable for beginners and more experienced knitters alike

• Projects designed equally to be done by groups working together and on your own.

About the authors

Lynne Rowe (top) was taught to knit and crochet by her grandmother and has developed a wide range of specialist skills which she loves to pass on to others through her workshops and classes. She is best known for her whimsical designs which feature regularly in popular craft magazines, along with articles and technical guides. Lynne has a keen interest in the therapeutic aspect of knitting, and has taught many people over the years with various mental/health issues and has first-hand experience of how simple, repetitive tasks such as knitting can both help the mind and relieve stress. Lynne is active on social media, with her own website, Facebook page, blog and Pinterest page.

“Betsan Corkhill [bottom], who is clinically trained in physiotherapy, has led the field in supporting the use of knitting and other crafts in therapeutic clinical practice.” Professor Trisha Greenhalgh OBE. This background enables her to combine wellbeing coaching with her medical knowledge to help individuals develop a personalised wellbeing plan.

Bethan founded the community interest company stitchlinks.com in 2005. It has grown into a global online community for those who enjoy the therapeutic benefits of craft, particularly knitting, and is pioneering scientific research into these benefits.



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DescriptionKnitted and crocheted accessories are totally on trend and are on sale everywhere. Bags are particularly popular, and make great projects for knitters of all abilities. They are relatively quick to make and allow knitters to try new techniques which don’t take too long to complete. Sian’s delightfully fresh and appealing designs and her great use of color will make this a very attractive book for knitters of all ages.

Sian has created 22 designs in a range of sizes and styles, suitable for beginners as well as more experienced knitters. They include colorwork, lace, cables and texture stitches, as well as embellishments such as knitted flowers, buttons and bows. She has used a range of yarns and all of the bags are lined and some have pockets. She has also used batting to make the bags firm.

The book is divided into five sections: simple bags, summer bags, evening bags, cable work bags and colorwork bags.

Key Selling Points

• 22 absolutely stunning desings with beautiful fabric linings

• The patterns use a range of colors, yarns and stitches as well as embellishments such as non-knitted handles, knitted flowers, buttons and bows

• Suitable for competent beginners as well as more advanced knitters

Author

Sian Brown is a freelance knitwear designer, and has designed handknits for commercial companies supplying high street stores, as well as for several knitting magazines, yarn companies and books. She also sells her designs via Ravelry.

Sian has her own website: www.sianbrown.com, blog: sianbrown60.blogspot.co.uk and Facebook page: Sian Brown Knitwear Design

how to Knit Beautiful Bags22 stunning patternssian BRown Publication July 2017Price $17.95Format Trade Paperback, 8½ x 11 inchesISBN 9781782213086Extent 128 PagesPublisher Search PressIllustrations 200 Illustrations, color BISAC Sub Category Needlework/Knitting CRA015000

14 15

Sim

ple b

ags Flowers &

BeadsNeedles6mm (US 10) knitting needles4.5mm (US 7) knitting needles

Materials2 balls of chunky (bulky) yarn in cream (A); 100g/120yd/110m1 ball of chunky (bulky) yarn in cream (B); 50g/65yd/60m1 ball of aran (10-ply/worsted) in mauve (C), green (D); 50g/98yd/90m 6mm (US 10) knitting needles4.5mm (US 7) knitting needles16 x 15mm (½in) beads17 x spacer beads Picture wire, or thin covered wireMagnetic closureLining and wadding: 27 x 51cm (10¾ x 20in)Lining for pocket: 15 x 33cm (6 x 13in)Interfacing for pocket: 12 x 12cm (4¾ x 4¾in)

Tension (gauge)14 sts x 29 rows over 10 x 10cm (4 x 4in) in garter st using 6mm (UK, US 10) needles

Size24 x 24cm (9½ x 9½in)

This pretty little bag is quick and easy to make. Worked in garter stitch, it includes a pretty beaded handle in matching candy colours, a braided yarn drawstring and appliquéd leaves with knitted owers.

InstructionsMake 2 piecesWith col 1, cast on 26 sts.Working in garter st (k every row) throughout, increase work as follows.K 1 row.Row 1; k1, m1, k to end (27 sts)Row 2; k1, m1, k to end (28 sts)Continue to increase in this way to row 14 (40 sts)Continue in garter st until work measures 22 cm (8 ½ ins) from cast on edge.Eyelets row: K4, (k2tog, yon, k3) x 6, k2tog, yon, k4. Work 2 rows garter st.Change to yarn B.Work 5 rows garter st.Cast off.

Flowers (make 3)With yarn C and 4.5 (US 7) needles, cast on 49 sts.Row 1; k.Row 2; p.Row 3; K1 *K2, pass 1st st over 2nd st, rep from * to end. (25 sts).Row 4; (P2tog) x 12, P1. (13 sts).Row 5; K1 (K2tog) x 6. (7 sts).Pull yarn through remaining sts, leaving a length to sew onto bag.Leaves. (make 3).With col 4 and 4.5mm (US 7) needles, cast on 3 sts.Row 1; k.Row 2; p.Row 3; k1, M1, k1, M1, k1 (5 sts).Row 4 and every other row; p.Row 5; k1, M1, k3, M1 (7 sts).Row 7; k1, M1, k5, M1, k1 (9 sts)Work 7 rows stocking st.Row 15; k2tog, k to last 2 sts, k 2 tog (7 sts)Row 17; k2tog, k to last 2 sts, k2tog (5 sts).

36 37

Summer bags

Making upBlock and press all pieces with a damp cloth.

StrapWith the three long strips of fabric, or joined pieces making up the length required, fold at the centre line and turn over the sides and pin in place. Fold over the top and bottom edges and pin in place. Machine sew the long and short edges.Pin the top edges of the three pieces together on top of each other, and hand sew in place. Make a plait, pinning and hand sewing the bottom edge when it is nished.

EmbroideryDo this before making up the bag. Embroider owers using French knots and Lazy daisy stitch using yarns B to G. (see page 116) on both the bag and the knitted pocket. (place the pocket on the bag to avoid embroidering owers behind it and mark with pins). With B, embroider the top of the knitted pocket with blanket stitch ( see page 117). Pin

and sew the side seams. With yarn B, embroider blanket st around the top edge of the bag. For lining instructions see page 114.

When marking the lining and wadding for the main bag, add the extra fabric needed for lining for the top back ap. Measure the knitted pieces, and cut to size adding seam allowances. Turn under for the top piece and machine sew to form the shape of the ap.

Sew lining to the bag according to the instructions on p114 pinning the ends of the strap at the sides between the knitted bag and the lining. Pin the lining into the bag making sure the back ap lining sits neatly on the knitted ap. Hand sew in place.

Sew on press studs to the bottom of the ap and the main bag where the ap closes. Sew on buttons on the bottom of the outside of the ap over the press studs.

PurseBlock and press under a damp cloth. Follow the lining instructions as for bags on page 114 inserting the zip following the instructions on page 115.

24 25

Simple bagsSimp

le ba

gs Making upBlock and press the edges under a damp cloth.Pin and sew the bottom seam.Pin and sew the side seams.For lining instructions see p114.Sew lining just below eyelets.

TieCut the cord into three pieces and plait to form a tie. Thread through the eyelets, tie in a bow at the front of the bag.Attach the handles to the bag.



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50 Cents a Pattern series Crocheted Granny squares20 On-the-Go-Projects

vaL PieRCe

Publication March 2017Price $9.95Format Trade Paperback, 8½ x 11 inchesISBN 9781782215004Extent 48 pagesPublisher Search PressIllustrations 50 Illustrations, color BISAC Sub Category Needlework/Crocheting CRA004000

DescriptionWant to learn how to crochet? Make a granny square on-the-go, and at only 50 cents per project. The simple techniques have lasted for decades and now they are trendier than ever. With endless color and size variations, creating these hip squares is fun and easy. They can be used like building blocks and combined with other squares to make original projects and gifts, or used to embellish larger items. This book will show how to create 20 different squares, including flower patterns, interpreted in different colors and yarns to create a kaleidoscope of effects. Also included are projects that show the reader how to make their squares into a simple baby blanket, arm warmers, a purse, a pin cushion, a mug cozy, and a stylish pair of boot toppers.

Key Selling Points

• 20 colorful granny square projects, plus 8 projects to try

• Ideal for using scraps of yarn - and only 50 cents a project

• Create your own granny squares, using different colors and yarn,

on the go!

Author

Val Pierce’s passion for knitting began when her father taught her to knit at the age of five. Later in life she began home knitting for yarn manufacturers, and since then she has made a huge range of items, from evening dresses to teddy bears. She later began redesigning items of her own, and before long Val’s designs were appearing regularly in national knitting and crochet magazines. She also teaches knitting, as well as a range of other needlecrafts, to both adults and children.

18 19

Cappuccino Lace Square

Instructions: Using A, make 10 ch, join into a circle with a sl st.Round 1: 3 ch, work 31 dc into circle, join with a sl st to top of 3 ch at beg of round [32 dc].Round 2: 1 sc into same sp as join, *7 ch, miss 3 sc, 1sc into next sc*, rep from * to * all round, work last sc into same sp as join of previous round. Break A.Round 3: using B, sl st to 4th ch of fi rst 7 ch sp, 3 ch, 2 dc into same sp but leave last loop of each st on hook, yrh, draw loop through, 3 ch, 3 dc into same st, leaving last loop of each st on hook, yrh and draw through all loops (cluster made), *3 ch into 4th ch of next 7 ch loops, cluster, 3 ch, cluster*, rep from * to * all round, ending last rep with 3 ch, sl st to top of 3 ch at beg of round. Break B.Round 4: using C, 3 dc, 3 ch, 3 dc into fi rst 3 ch sp, *2 ch, 1 sc into next sp, 2 ch, 1 sc into next sp, 2 ch, 1 sc into next sp**, 3 dc, 3 ch, 3 dc into next sp*, rep from * to * all round ending last rep at **, sl st to top of 3 ch at beg of round. Fasten off and work in all the ends.

Row 1: *3 ch, 1 dc into next dc, miss 1 dc, 1 dc in next dc, 1 dc into missed st*, rep from * to * all across row, ending 1 dc into each of last 2 dc, turn.Row 2: 3 ch, 1 dc into each dc across row, turn.These 2 rows form the pattern and are repeated.

Continue in pattern until work is the same length as the front. Fasten off.Work in all the ends. Join the back of the cushion cover to the front, leaving a gap for the cushion pad, insert the pad and close up.

To make the cushion:Make 8 squares, 4 as described in the pattern and 4 swapping yarns A and B. Work in the ends and join the squares together in 2 rows of 4 squares, alternating the colors as shown.Join yarn C to any corner and proceed to work around the entire perimeter of the cushion as follows:Round 1: 3 ch,1 dc, 2 ch, 2 dc into same corner sp, now work along the top of each square, working 1 dc into each dc and sc and 2 sc into each sp, to fi rst corner, work 2 dc, 3 ch, 2 dc into corner sp, continue in the same way all around the cushion front, joining with a sl st to the top of 3 ch at beg of round.Round 2: 3 ch, 1 dc into next dc, 3 ch, 2 dc into corner sp, continue to work 1 dc into each dc all round the piece, working 2 dc, 3 ch, 2 dc into each corner sp, join as before. Fasten off.

Back:Using a F-5 hook and C, make 44 ch, 1 dc into 3rd ch from hook, 1 dc into each ch to end, turn [42 dc].

Materials and equipment:

Crochet hook size D-3

DMC Petra 3 crochet cotton—small amounts in each of 3 colors A, B, and C

For the cushion:

Crochet hook size F-5

DMC Petra 3 crochet cotton—small amounts in each of 3 colors A, B, and 1 x 1.75oz ball of C

Cushion pad, 10 x 17in

Gauge for pattern on back: 17 dc x 9 rows = 4in

Motif size:

3in diameter

34 35

Daisy Loop

Round 4: join in A, sl st to center of next 3 ch sp, 3 ch, 3 dc into same sp, but leaving last loop of each dc on hook, yrh, draw yarn through all loops on hook, 4 ch, 4 dc into next sp, leaving last loop of each st on hook, yrh, draw yarn through all loops on hook [4 dc cluster made], *3 ch, 1 sc into next sp, 3 ch, 3 dc cluster into next sp, 3 ch, 1 sc into next sp, 3 ch, [4 dc cluster, 4 ch, 4 dc cluster] into next sp*, rep from * to * 3 times, 3 ch, 1 sc into next sp, 3 ch, 3 dc cluster into next sp, 3 ch, 1 sc into next sp, 3 ch, sl st to top of cluster at beg of round. Fasten off and work in all the ends.

To make the scarf:Make 13 squares, 7 using A for the starting ch and Round 1, and 6 using D for the starting ch and Round 1. Work Rounds 2 and 4 in cream and Round 3 in pale blue. Work in all the ends. Sew the squares together in a row, alternating the colored centers.

Edging:

Using B and the 7 crochet hook, join the yarn to one corner of the scarf with a sl st. Work 6 dc into the corner of the motif, then work along the motifs as follows:

*1 sc into next sc, 1 ch, 6 dc into top of next cluster, 1 ch, 1 sc into next sc, 1 ch, 6 dc into the point where the two squares have been sewn together*, rep from * to * all round the scarf, but working 6 dc, 3 ch, 6 dc into each corner sp, and ending last rep with 6 dc into last corner, 3 ch, join with a sl st to top of fi rst dc at beg of round. Materials and equipment:


DMC Petra 3 crochet cotton—small amounts in each of 3 colors A, B, and C. Alternatively, 1 x 1.75oz ball in each color will make several of these squares.

For the scarf:

Crochet hook size 7

Rowan Classic Kid worsted-weight or similar yarn:1 x 1.75oz ball in pale pink (A)3 x 1.75oz balls in cream (B)2 x 1.75oz balls in pale blue (C)1 x 1.75oz ball in burgundy (D)

Size: 61in long and 5in wide

Motif size:

3¼in diameter

Instructions:Using A, make 6 ch, join into a circle with a sl st.Round 1: 1 ch, work 12 sc into circle, join with a sl st. Break A.Round 2: using B, *13 ch, 1 sc into next sc*, rep from * to * 10 more times, 13 ch, sl st into fi rst sc at beg of round (12 petals). Break B.Round 3: join in C to any petal with a sl st, 3 ch, 2 dc into same sp, leaving last loop of each st on the hook, 3 loops on hook, yrh, draw yarn through all loops, 3 ch, 3 dc into same sp but leaving last loop of each st on hook, yrh, draw yarn through all loops on hook [3 dc cluster formed], *3 ch, 1 sc into next sp, 3 ch, 1 sc into next sp, 3 ch, [3 dc cluster, 3 ch, 3 dc cluster] into next sp*, rep from * to * 3 times, 3 ch, 1 sc into next loop, 3 ch, 1 sc into next loop, 3 ch, sl st to top of fi rst cluster. Break C.

10 11

Poppies & DaisiesMaterials and equipment:


DMC Petra 3 crochet cotton—small amounts in each of 4 colors: A, B, C, and D. Alternatively, 1 x 1.75oz ball in each color will make several squares.

Motif size:

3½in diameter

Special abbreviations:5 dc cluster: work 5 dc into next sp keeping last loop of each dc on hook, yrh, draw through all loops on hook.Long dc: work dc as normal but pull up a longer loop of yarn as you do so.

Instructions: Using A, 6 ch, join into a circle with a sl st. Round 1: 5 ch [counts as fi rst dc and ch sp], *1 dc into circle, 2 ch*, rep from * to * 6 more times, join with sl st to 3rd of 5 ch at beg of round (8 x 2 ch sp). Break A.Round 2: using B, sl st into fi rst 2 ch sp, 3 ch, work 4 dc into sp but keeping last loop of each dc on hook, yrh, draw through all loops on hook [5 dc cluster made], 4 ch, *5 dc cluster in next sp, 4 ch*, rep from * to * all round, join with a sl st to top of fi rst cluster at beg of round. Break B.

Round 3: using C, 1 ch, 1 sc into top of cluster, *3 ch, 1 long dc into top of dc on 2nd round, 3 ch, 1 sc into top of next 5 dc cluster*, rep from * to * all round, ending 3 ch, sl st to top of 5 dc cluster at beg of round. Break C.Round 4: using D, sl st into fi rst 3 ch sp, 3 ch, [3 dc, 3 ch, 4 dc] into same sp, *3 dc into each of next three 3 ch sp, [4 dc, 3 ch, 4 dc] into next 3 ch sp*, rep from * to * twice more, 3 dc into each of next three 3 ch sp, sl st into top of 3 ch at beg of round. Fasten off.Work in all the ends.



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Description

Novelty crocheters and novies alike will love this collection of beautiful and realistic flowers to crochet by Jan Ollis, each costing only 50 cents a project. Little projects that are perfect for when they are on-the-go. Every design is accompanied by an alternative in a different color scheme, and full crochet instructions are given for each flower, together with lists of the materials and equipment needed. Each flower is photographed twice, one so that crocheters can see the design clearly, and the other to show the beautiful possibilities of the finished pieces, including brooches, and embellishments on hats, bags, sweaters, place mats, cushions, scarves and even shoes.

Key Selling Points

• Quick and easy projects for all abilities for making on the go

• Ideal for using up oddments of yarn, fabrics, buttons and beads

• Just 50 cents a pattern

Author

Jan Ollis comes from a family of crafters and cannot remember a time when she was not creating something. Her Great Aunt taught her how to crochet, and many years later she went on to complete a degree in Fashion and Textile Design. After working in a number of textile and non-textile related jobs, Jann started Chi Chi Moi – a small business making hand-knitted and crocheted accessories.

50 Cents a Pattern series Crocheted Flowers20 On-the-Go-Projects

jan oLLis


36 37

Antique RoseMaterials and equipment:

Sport weight yarn in blue


Lightweight woven fabric, 23½in long, tapering from 1¼ to ½in evenly along one long edge

Sewing needle and thread

Bodkin or large-eyed needle for sewing the fl ower together

This pretty fl ower has a fresh, country feel. For a more vintage look, use

peach-colored crochet cotton and muted brown lace.

Instructions:With blue yarn, make 100 ch.1st Bud: miss 2 ch, 1 hdc into next ch, 1 dc into next ch, 1 hdc and 2 ch into next ch.Petals 1–3: *ss into ch, 2 ch and 1 dc into next ch, 1 tr into next ch, 1 dc and 2 ch into next ch*, repeat from * to * twice more.Petals 4–6: *ss into ch, 2 ch and 1 dc into next ch, 1 dc, 1 tr, 1 dc into next ch, 1 dc and 2 ch into next ch*, repeat from * to * twice more. Petals 7–9: *ss into ch, 3 ch and 1 tr into next ch, 1 tr, 1 dtr, 1 tr into next ch, 1 tr and 3 ch into next ch*, repeat from * to * twice more.Petals 10–13: *ss into ch, 3 ch and 1 tr into next ch, 2 tr, 1 dtr, 2 tr into next ch, 1 tr and 3 ch into next ch*, repeat from * to * 3 more times.

Petal 14: *ss into ch, 3 ch and 1 tr into same ch, 1 tr into next ch, 2 tr into next ch, 2 dtr into next ch, 2 tr into next ch, 1 tr into next ch, 1 tr and 3 ch into next ch*, repeat from * to * 3 more times.Tie and cut the yarn.Press the crocheted work and the length of fabric. Fray the edges of the fabric and lay it on top of the crochet, right side up. Sew gathering stitches along the bottom edge starting from the narrow end and working into the middle. Draw up the thread loosely, forming the shape of the fl ower. Secure the fi rst half of the fl ower with a few stitches and repeat the process starting from the center and working to the other end. Tie off the ends.

28 29

Daisy ChainMaterials and equipment:

No. 3 crochet cotton in yellow and white

Crochet hook size B-1

27½in silver-plated cable jewelry chain

39½in green sheer organza ribbon

Sewing needle and thread

Instructions:

Single daisyWith yellow crochet cotton, make a slip ring.Round 1: 1 ch, 8 sc into ring, pull end to close ring and remove hook.Re-insert hook from back of work into fi rst sc loop with a ss.Round 2: change to white crochet cotton, *3 ch, ss into back of each of these 3 ch, ss into next base sc*, repeat from * to * 7 times, making 8 petals all together.ss to center and tie off the ends.

Double daisyFollow the instructions for the single daisy up to the end of round 2.Round 3: work into base ss between petals 1 and 2 of round 2, *sc, 3 ch, ss into back of each of 3 ch to base ch*, repeat from * to * 7 more times.sc to center and tie off the ends.Make seven daisies (some single and some double). Thread the green ribbon through the looped silver necklace and tie it in a knot at the back. Stitch daisies on to the ribbon at regular intervals.

Who could resist this pretty necklace made with hand-crocheted daisies? Alternatively, make

them into a stunning hairband or bracelet.

12 13

GazaniaMaterials and equipment:

No. 3 crochet cotton in 3 different colors (A, B and C from the center outwards)


Bodkin or large-eyed needle for sewing in the ends

Instructions:Using color A, make a slip ring.Round 1: 1 ch, 10 sc into ring. Pull end to close ring.Fasten off color A and change to color B. ss into fi rst sc of ring. Round 2: 6 ch, ss into base ch, *sc into next sc of ring, 5 ch, ss into base sc*, repeat from * to * 9 times, making 10 petals in total.Fasten off color B and change to color C.Round 3: insert hook into base ch of fi rst petal. ss, 7 ch, *ss into base sc between petals 1 and 2, 6 ch*, repeat from * to * between each petal base, sc 9 times, ss into base of fi rst petal.Fasten off color C and sew in the ends.

Add a splash of color to an otherwise plain pair of slippers with these fanciful fl owers.



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Description Novelty knitters and crocheters will love this collection of mini Christmas projects to crochet ready for the festive season. Val Pierce has designed twenty different projects, including a mini Christmas stocking, a cute reindeer, a snowman, a Christmas cracker, a snowflake, star, Christmas pudding, an angel, a fairy and much more – each one costing only 50 cents a pattern. Full crochet instructions are provided, and each project is simply photographed so that the reader can see the design clearly, alongside a sumptuous styled photograph showing the beautiful possibilities of the finished pieces. There are plenty of ideas for ways of displaying the projects. The mini knits will appeal to those looking for items they can knit up quickly and on-the-go, using up ends of yarn.

Key Selling Points

• 20 quick designs in a range of styles and colors, and 50 cents a pattern

• Quick and easy festive patterns to make on the go

• Ideal for using up scraps of yarn

AuthorVal Pierce’s passion for knitting began when her father taught her to knit at the age of five. Later in life she began home knitting for yarn manufacturers, and since then she has made a huge range of items, from evening dresses to teddy bears. She later began redesigning items of her own, and before long Val’s designs were appearing regularly in national knitting and crochet magazines. She also teaches knitting, as well as a range of other needlecrafts, to both adults and children.

46 47

Poinsettia Gift TopperMaterials and equipment:


Metallic yarn—1 ball each of red, green and gold

35½in of red gold-edged satin ribbon, 1in wide

Gold bead fl ower stamens

Fine fl orist’s wire or rose wire

Sewing needle and red thread

Measurements: Each fl ower is approximately 2¼in in diameter.

Instructions:

Flower 1 (6 petals)Using red yarn, make 6 ch then join with sl st into a ring. Round 1: 1 ch, work 12 sc into the ring, join with a sl st to fi rst ch.Round 2: *5 ch, miss 1 sc, 1 sc into next sc,* repeat from * to * all around, join to 1st of 5 ch at beg of round [six 5 ch loops].

Round 3: sl st into fi rst 5 ch loop, 2 ch, work 5 dc into same loop, 1 sc in next sc, *6 dc into 5 ch loop, 1 sc into next sc,* repeat from * to * 4 times more, join with a sl st to beg of round.Round 4: sl st to 2nd dc, 2 ch, 1 dc into same dc, 2 dc into each of next 3 dc, 1 sc into next sc,* miss next dc, 2 dc into each of next 4 dc, miss 1 dc, 1 sc into sc,* repeat from * to * 4 times more and then join with a sl st to beg of round. Break off red.Round 5: join in gold to same place as sl st and work *1 sc into each of the next 4 dc, 3 ch, sl st into 1st of the these ch (1 picot formed), 1 sc into each of the next 4 dc, 1 sc into corresponding sc of row 3, thus pulling up a long loop,* repeat from * to * 5 times more, join with a sl st to beg of round. Fasten off.

Flower 2 (8 petals)Using red yarn, make 8 ch then join with a sl st into a ring. Round 1: 1 ch, work 16 sc into the ring, join with a sl st to fi rst ch.Round 2: 1 ch, sc into same st as join, *1 ch, miss next sc, sc into next sc, 8 ch, sc into same st,* repeat from * to * 6 times more, 1 ch, miss 1 sc, sc into same st as fi rst sc, (4 ch, tr) into same st [8 loops made].Round 3: 3 ch to count as fi rst dc, work 7 more dc into same loop (working around the 4 ch of round 2), 1 sc into next 1 ch sp, *15 dc into next 8 ch loop, 1 sc in next 1ch sp,* repeat from * to * 6 more times, 7 dc into the fi rst loop, join with a sl st to the top of beg 3 ch [8 petals made]. Break off red.Round 4: join in gold with a sl st to beg of previous round, work 1 sc into each dc all around each petal, join with a sl st to beg of round. Fasten off.

Leaves (make 3)Using green yarn, make 13 ch.Work 1 sc into 2nd ch from hook, 1 hdc into each of next 2 ch, 1 dc into each of next 2 ch, 1 tr into each of next 2 ch, 1 dc into each of next 2 ch, 1 hdc into next 2 ch, 1 sc into last ch. Make 1 ch,

now work along the other side of the foundation in the same way, join with a sl st.

To make up Work in the ends neatly on all the pieces. Take the wire stamens and spread the beads into a fl at shape. Insert them through the center of a fl ower, twist the wire into a neat coil at the back of the fl ower and secure with some fi rm stitches using a needle and red thread. Repeat with the other fl ower.

To make a bow Cut the red ribbon into three 12in lengths. Find the points 3in from each end of the fi rst length. Pinch the ribbon at these points and bring the pinches together. Squash the ribbon loop between the pinched folds so it is fl at and centered at the folds. Repeat with the other ribbon lengths. When you are satisfi ed with the result, assemble the bows then take some fi ne wire and twist it tightly around the center. Arrange the loops and tails of the ribbon in a pleasing manner then trim the tails if desired. Arrange the fl owers and leaves on to the center of the ribbon, pin in position and then sew in place.

38 39

Tabletop TreeMaterials and equipment:


No. 3 crochet cotton—1 ball of green and 1 ball of variegated green

Scrap of mini tinsel

Mini colored tinsel balls

2 gold stars

Toothpick

Craft glue

Small amount of stuffi ng

Measurements: The tree is approximately 3¼in high.

Instructions:

TreeUsing green crochet cotton, make 40 ch and join with a sl st into a circle, being careful not to twist the chain.

Round 1: work 1 sc into each ch around then join with a sl st to beg of round [40 sts].Work a further 3 rounds of sc.Round 5: *1 sc into each of next 3 sc, sc 2 tog,* repeat from * to * all around [32 sts].Work 4 rounds in sc.Next round: *1 sc into each of next 2 sc, sc 2 tog,* repeat from * to * all around [24 sts].Work 4 rounds in sc.Next round: *1 sc into next sc, sc 2 tog,* repeat from * to * all around [16 sts].Work 4 rounds in sc. Next round: sc 2 tog all around [8 sts].Work 2 rounds in sc.Next round: sc 2 tog all around. Fasten off.

BaseUsing green, make 2 ch.Round 1: work 6 sc into 2nd ch from hook then join with a sl st into a tight circle.Round 2: 2 sc into each st around then join with a sl st to beg [12 sts].Round 3: *1 sc into next sc, 2 sc into next sc,* repeat from * to * all around then join with a sl st as before [18 sts].Round 4: *1 sc into each of next 2 sc, 2 sc into next sc,* repeat from * to * all around then join with a sl st [24 sts].Round 5: * 1 sc into each of next 3 sc, 2 sc into next sc,* repeat from * to * all around then join with a sl st [30 sts]. Round 6: 1 sc into each of next 4 sc, 2 sc into next sc,* repeat from * to * all around then join with a sl st [36 sts].Round 7: 1 sc into each of next 5 sc, 2 sc into next sc,* repeat from * to * all around then join with a sl st [42 sts]. Fasten off.

Twisted strands (make 1 in each of 4 sizes) Using variegated green crochet cotton, make 20 ch. Work 1 dc into 3rd ch from hook, then 3 dc into each ch to end. The crochet will twist as you work. Fasten off. Repeat the process starting with 28 ch, 30 ch and 36 ch.

To make up Work in all the ends. Stuff the tree quite fi rmly then attach the base, inverting it slightly to enable the tree to stand. Take each twisted strand and sew the ends together to form a circle. Place the circles on the tree in size order, starting with the largest at the base. Sew in place. Wrap some tinsel around the tree, securing it with a

little craft glue or stitches. Glue the tinsel balls on to the branches at random. Cut the toothpick in half. Place a little glue on one side of a star and press the other star on to it, sandwiching half the toothpick in between. Press fi rmly until well stuck. Push the toothpick down into the top of the tree, securing it with a little glue.

38

50 Cents a Pattern series Mini Christmas Crochet20 On-the-Go-Projects

vaL PieRCe


18 19

Rudolf the ReindeerMaterials and equipment:


No. 5 crochet cotton—1 ball of mid brown and 1 ball of dark brown

Oddment of red metallic yarn

Black embroidery fl oss or oddment of black crochet cotton

Tiny gold bow and bell embellishment

Small amount of stuffi ng

Sewing needle and threads to match the yarns

Measurements:Rudolf is approximately 4in high to the top of his head.

Instructions: Body Using mid brown crochet cotton, make 2 sc.Round 1: work 6 sc into 2nd ch from hook then join with a sl st to form a tight circle.Round 2: work 2 sc into each st around [12 sts]. Round 3: *1 sc into next sc, 2 sc into next sc,* repeat from * to * all around [18 sts].Round 4: *1 sc into each of next 2 sc, 2 sc into next sc,* repeat from * to * all around [24 sts].Round 5: *1 sc into each of next 3 sc, 2 sc into next sc,* repeat from * to * all around [30 sts].Rounds 6–16: work in sc all around. You will now begin decreasing. Stuff the body as you work.Round 17: *1 sc into each of next 3 sc, sc 2 tog,* repeat from * to * all around. Round 18: *1 sc into each of next 2 sc, sc 2 tog,* repeat from * to * all around. Round 19: work in sc all around.Round 20: sc 2 tog all around. Break yarn. Finish stuffi ng the body and then run the yarn through the last row of sts, draw up and fasten off.

HeadUsing mid brown crochet cotton, make 2 sc.Round 1: work 6 sc into 2nd ch from hook then join with a sl st to form a tight circle.Round 2: work 2 sc into each st around [12 sts].Round 3: *1 sc into next sc, 2 sc into next sc,* repeat from * to * all around [18 sts]. Rounds 4–7: work in sc all around.Round 8: *1 sc into each of next 2 sc, 2 sc into next sc,* repeat from * to * all around then join with a sl st.

Round 9: work in sc all around then join with a sl st.Round 10: *1 sc into next sc, 2 sc into next sc,* repeat from * to * all around then join with a sl st as before. Rounds 11–15: work 1 sc into each sc all around then join with a sl st as before.You will now begin decreasing. Stuff the head as you work.Round 16: *1 sc in each of next 2 sc, sc 2 tog,* repeat from * to * all around then join with a sl st as before.Round 17: work in sc all around then join with a sl st.Round 18: *1 sc into next sc, sc 2 tog,* repeat from * to * all around then join with a sl st.Round 19: work in sc all around then join with a sl st.Round 20: sc 2 tog all around then join with a sl st. Fasten off. Finish stuffi ng the head, if needed, then run the yarn through the last row of sts and draw up tight. Fasten off.

Front legs (make 2) Using mid brown crochet cotton, make 6 ch.Row 1: 1 sc into 2nd ch from hook, 1 sc into each ch to end, turn.Rows 2–3: work in sc, increasing 1 sc at each end of row. Work 4 rows in sc. Break mid brown and join in dark brown. Work 2 rows in sc.Next row: work in sc, increasing 1 sc at each end of row.Next row: work in sc. Fasten off.

Back legs (make 2)Using mid brown crochet cotton, make 10 ch. Row 1: 1 sc into 2nd ch from hook, 1 sc into each ch to end, turn.Row 2: 1 ch, 1 sc into each sc to end, turn.Rows 3–4: work in sc, increasing 1 sc at each end of row.Work 8 rows in sc.Change to dark brown and work 4 rows in sc.Next row: work in sc, decreasing 1 sc at each end of row.Next row: repeat previous row. Fasten off.

Large antlers (make 2)Using dark brown crochet cotton, make 12 ch.Row 1: 1 sc into 2nd ch from hook, 1 sc into each ch to end, turn.Rows 2–4: 1 ch, 1 sc into each sc to end, turn.Fasten off.

Small antlers (make 2)Using dark brown crochet cotton, make 6 ch.Row 1: 1 sc into 2nd ch from hook, 1 sc into each ch to end, turn.Rows 2–4: 1 ch, 1 sc into each sc to end, turn.Fasten off.

Ears (make 2)Using mid brown crochet cotton, make 2 ch.Row 1: work 1 sc into 2nd ch from hook.Row 2: 1 ch, 3 sc into next sc, turn.Rows 3–4: 1 ch, 1 sc into each sc to end, turn.Row 5: 1 ch, sc 2 tog, 1 sc in last sc, turn.Row 6: sc 2 tog. Fasten off.

NoseUsing red metallic yarn, make 2 ch. Work 14 dc into 2nd ch from hook then join with a sl st to fi rst dc worked. Fasten off.

To make up Work in all the ends. Attach the red nose to the head. With black fl oss or cotton embroider the eyes with French knots and use straight stitches for the mouth. Sew the ears on to each side of the head, using the photograph as a guide. Fold each antler in half lengthways and stitch along the side seam. Sew a short antler on to each long antler at a slight angle, using the photograph as a guide if needed. Now sew the antlers to the head just above the ears. Sew the head on to the body. Fold the front legs in half lengthways and sew the side seams. Stuff lightly, adding extra at the hoof (dark brown) end to pad them out a little. Oversew a length of cotton through the center of the hoof end to create the cloven effect. Make up the back legs in the same way. Attach the legs to the body, remembering that Rudolf is sitting down.

18



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DescriptionNo-one can resist knitting a pretty pair of baby booties for a new baby—so here are twenty of them, all unique but all equally irresistible, in a range of colors and styles; only costing 50 cents a pattern. Each pair of booties requires relatively small quantities of yarn and can be knitted quickly, easily, and on the go using the clear, step-by-step instructions provided. Each project is accompanied by lists of the materials and equipment required and a stunning full-color photograph. Suitable for babies from newborn to 6 months.

Key Selling Points

• 20 gorgeous designs and only 50 cents a pattern

• Easy and fun to make on the go for babies from newborn to 6 months

• Both traiditional and trendy styles for girls and boys

Author

Val Pierce’s passion for knitting began when her father taught her to knit at the age of five. Later in life she began home knitting for yarn manufacturers, and since then she has made a huge range of items, from evening dresses to teddy bears. She later began redesigning items of her own, and before long Val’s designs were appearing regularly in national knitting and crochet magazines. She also teaches knitting, as well as a range of other needlecrafts, to both adults and children.

50 Cents a Pattern series Knitted Baby Booties 20 On-the-Go-Projects

vaL PieRCe

Publication March 2017Price $9.95Format Trade Paperback, 8½ x 11 inchesISBN 9781782215028Extent 48 pagesPublisher Search PressIllustrations 50 Illustrations, color BISAC Sub Category Needlework/Knitting CRA015000

44 45

Materials:

1 x 1.75oz ball of sport weight baby yarn in yellow

Oddments of sport weight yarn in orange and black

Tiny amount of stuffi ng for ducklings’ heads

Needles:

1 pair size 5 knitting needles

Instructions:

Make two.Using yellow yarn, cast on 48 sts.Row 1: knit.Row 2: (K2, m1, K1) twice, knit to last 6 sts, (K1, m1, K2) twice.Row 3: knit.Rows 4–5: rep rows 2 and 3 [56 sts].Rows 6–7: knit.Row 8: K25, (K1, m1) 6 times, knit to end of row [62 sts].Work pattern as follows:Row 9: (RS facing) (K1, P1) to end of row.Row 10: knit.Rows 11–24: rep rows 9 and 10 seven times.Shape foot as follows:Row 25: K19, (K2tog) 12 times, knit to end of row [52 sts].Row 26: K33, turn.Row 27: (K2tog) 8 times, K1, turn.Row 28: K10, turn.Row 29: (K2tog) 5 times, K3, turn.Bind off 11 sts, knit to end.**

A Pair of DucklingsTop of bootieNext row: knit 13 sts.Next row: knit to last 2 sts, inc in next st, K1.Next row: knit.Rep last 2 rows until you have 18 sts on needle.Work 6 rows in GS. Bind off.Rejoin yarn to rem 13 sts and work other side of top to match, reversing incs.

Duckling headMake two.Using yellow yarn, cast on 10 sts.Row 1: purl.Row 2: inc in each st to end.Row 3: purl.Row 4: *K1, inc in next st*, rep from * to * to end of row.Row 5: purl.Rows 6–13: SS.Row 14: *K1, K2tog*, rep from * to * to end of row.Row 15: purl.Row 16: K2tog across row. Row 17: purl.Row 18: K2tog across row. Break yarn and run through sts left on needle, draw up tightly and fasten off.

BeakMake two.Using orange yarn, cast on 7 sts.Knit 1 row and bind off.

To make up the bootiesWork in all the ends neatly. Using fl at seams, join the underfoot, heel and back seams. Turn the top back to form a cuff. Stitch the side seam of each duckling head, stuffi ng as you do so, forming each head into a neat little ball shape. Take a beak, work in the ends carefully, fold it in half lengthways and sew it to one of the heads. With black yarn, embroider tiny eyes either side of the beak. Make another head to match. Sew a head fi rmly to the front of each bootie. Make sure they are attached securely so that the baby cannot pull them off.

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10 11

Materials:

1 x 1.75oz ball DK baby yarn in denim blue

Oddment of DK baby yarn in bright red

Oddment of sport weight yarn in dark blue for laces

Needles:


Instructions:

Make two.Using denim blue yarn, cast on 27 sts.Row 1: knit.Row 2: K2, m1, K11, m1, K1, m1, K11, m1, K2 [31 sts].Row 3: knit.Row 4 : K2, m1, K12, m1, K3, m1, K12, m1, K2.

Row 5: knit.Row 6: K2, m1, K13, m1, K5, m1, K13, m1, K2.Row 7: knit.Row 8: K2, m1, K14, m1, K7, m1, K14, m1, K2.Row 9: knit.To form the red edging around the base of the bootie:Rows 10–15: join in bright red yarn and work 6 rows in SS.Break red and rejoin denim blue yarn. Rows 16–25: work 10 rows in GS.Rows 26–27: join in red yarn and work 2 rows in GS. Break red and cont in denim blue. Shape instep as follows:Row 28: K26, turn.Row 29: K9, turn.Row 30: K8, K2tog, turn.Row 31: K8, K2togtbl, turn.Rows 32–41: rep rows 30 and 31 fi ve times, turn.Row 42: K9, knit across rem sts on LH needle.Row 43: knit across all sts.Rows 44–61: work 18 rows in GS. Break denim blue yarn and join in bright red yarn.Rows 62–65: work 4 rows in GS. Bind off.

To make up the bootiesWork in all the yarn ends. Working from the wrong side, sew the red edging by catching together, stitch by stitch, the 6 rows of SS at the base of each bootie. This will form a neat ridge on the right side of the work. Sew the seam on the base of the foot and then join the leg seam, matching the rows. Work lacing up the front of the booties using a large-eyed, blunt-ended needle (see page 7), as you would on a real boot.

Tiny Sneakers

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20 21

So SweetMaterials:

1 x 1.75oz ball DK baby yarn in multi shade

40in of narrow baby ribbon in pink

Needles:


Instructions:

Make two.Note: MB = make bobble (see page 6).

Cast on 33 sts.Row 1: knit.Row 2: K2, m1, K14, m1, K1, m1, K14, m1, K2.Row 3: knit.Row 4: K2, m1, K16, m1, K1, m1, K16, m1, K2.Row 5: knit.Row 6: K2, m1, K18, m1, K1, m1, K18, m1, K2.Row 7: knit.Continue to inc in this way until 53 sts on needle.Next row: purl.Work a bobble row as follows:(K4, MB) to last 3 sts, K3.Next row: purl.Work 2 rows in SS.Shape instep as follows: Next row: K24, K2tog, K1, K2togtbl, K24.Next row: purl.Next row: K23, K2tog, K1, K2togtbl, K23.Next row: purl.

Continue to dec in this way until 37 sts rem, ending on a purl row. Work 4 rows in SS.Work a bobble row as follows:K3, *MB, K4*, rep from * to * to last 4 sts, MB, K3.Next row: purl.Work 4 rows in GS, bind off.

To make up the bootiesSew in the ends neatly. Sew up the foot and back seams. Cut the ribbon in half then, using a large-eyed, blunt-ended needle, thread the ribbon through the knitting at the top of each bootie just below the bobble row. Tie the ribbon in a neat bow.



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Description

Felt is a beautiful material to work with. The twenty projects in this

book include a range of decorations suitable for Christmas, including

hanging tree decorations, a Christmas wreath, an advent calendar

garland, free-standing felt ornaments, a Christmas cottage storage

box and a bottle gift bag – each design only costing 50 cents. The

designs have a fresh, contemporary look that will appeal to a young

audience as well as more traditional crafters, and all the projects

are suitable for beginners as well as more experienced sewers.

The easy-to-make pieces use pre-bought felt (no wet felting or

needlefelting is involved) and include step-by-step instructions, lists

of the materials and tools needed, and a beautiful photograph of the

finished piece. Templates are provided where required, and the basic

techniques and stitches required are included at the start of the

book. These are perfect, simple little projects to make on-the-go.

Key Selling Points

• Fresh, fun and festive designs, and just for 50 cents a pattern

• Easy to make on the go, and perfect for first time sewers, young and old

• Templates provided at the back of the book

• Uses pre-bought felt, available widely

Authors

Corinne Lapierre developed a passion for crafts and textiles from a very young age, and has always had an avid desire to learn about traditional techniques such as weaving, dyeing, silk painting and embroidery. She studied Fine Art in France before moving to the UK to study Fashion Design in Manchester. After working as a fashion designer for a few years, Corinne studied millinery, through which she discovered felt and its many qualities. In 2009 Corinne started her own craft business as a felt maker and quickly realised there was a demand for craft kits using good quality, natural materials. Her company, sells an expanding range of craft kits and patterns designed for adults and children. Corinne makes regular appearances on Create & Craft TV.

22 23

Sweet Christmas TreesMaterials:

6 x 4¾in of white or green felt for the tree

1¼ x 1¼in of red or brown felt for the trunk

Red rick-rack or narrow ribbon

10–12 small buttons, beads or sequins

Silver embroidery fl oss

About ¼oz of toy stuffi ng

Tools:

Paper, fabric and embroidery scissors

Embroidery needle

Dressmaking pins

Fabric glue

Instructions:1 Copy the templates on page 46 and cut them out. Transfer them to the felt and cut two pieces for the tree and two for the trunk.2 Sew the trunk pieces together, leaving the top open, using just two or three strands of silver embroidery fl oss. Stuff with a little bit of toy stuffi ng.3 For the tree with baubles, sew the buttons, beads or sequins all over the tree. You can decorate either the front only or the front and the back. Do not decorate the tree with the garland until after you have stitched the front and the back together. 4 Take a 6–7¾in length of silver embroidery thread and fold it in half. This will be the hanging loop. Knot the ends and place on the wrong side of the back of the tree, at the top. Make a couple of small stitches using two or three strands of fl oss to secure it in place. Do not cut your fl oss. Simply place the front piece on top of the back piece, wrong sides together, with the ends of the hanging loop sandwiched between and, using

You could make a few trees and hang them all on a

piece of string to make a very festive bunting!

overhand stitch, sew all the way around the edge to the bottom of the tree. Insert the trunk, and stitch through the tree and the trunk to hold it securely. Carry on stitching back to the top of the tree. Fill your tree with stuffi ng before closing it completely.5 For the tree with the garland, place a little dab of fabric glue at the top of the tree and attach one end of the rick-rack or ribbon. Wrap the length of rick-rack or ribbon all around the tree, working down towards the bottom. Glue the other end just above the trunk, trimming the ribbon off neatly. You may want to add a few drops of glue here and there to hold the rick-rack in position.

14 15

Christmas StockingMaterials:

11¾ x 19¾in of green felt

7¾ x 9¾in of red felt

7¾ x 7¾ in of polka dot cotton fabric for the lining

21¼in of narrow green ribbon

Red and green embroidery fl oss

Tools:

Paper, fabric and embroidery scissors

Pencil, paper, ruler and pair of compasses

Dressmaking pins

Embroidery needle

Iron

Sewing machine (optional)

This stocking will last for years and become a real family heirloom. Why not make it even more special by personalizing it? Simply embroider the name of the child on the top cuff with a back stitch.

1 Copy the template on page 47 and cut it out. Transfer the shape to the green felt and cut two pieces for the front and back of the stocking.2 On the piece of paper draw an 6¾ x 3½in rectangle and a circle of 2¼in diameter. Cut them out and transfer them to the red felt. Cut two rectangles and three circles. Cut two rectangles from the polka dot fabric too.3 To resemble buttons, sew the circles down the side of the stocking front using a very large cross stitch worked with the fl oss doubled.4 Cut the ribbon into three pieces 7in long. Place two of these pieces on one of the red rectangles, approximately ¾in away from one of the long edges. See the picture for guidance. Pin then stitch the ribbon in place with a small running stitch along the center. You can do this with a sewing machine if you wish. 5 Place this rectangle on top of the stocking front (with the buttons), right sides together, and align the ribboned edge with the top edge of the stocking. Stitch them together along the top with a back stitch, ½in from the edge. Iron the seam fl at.

6 Repeat step 5 with the back pieces, which are left plain. Ensure that both the front and back pieces will face the same direction when assembled!7 Place and pin the front stocking on top of the back one, wrong sides together, and sew them together with a blanket stitch all the way round, except for the opening at the top. If you prefer, use a sewing machine: place the pieces right sides together and stitch with a medium straight stitch, ½in from the edge. Turn your stocking right side out, making sure the point is pushed out all the way.8 Place your two pieces of polka dot fabric right sides together and stitch ½in from the edge on both short sides. You can do this by hand with a back stitch or with a sewing machine.9 With your stocking right side out, place the lining, wrong side out, around the red cuff. Align the top edges and the side seams. Sew them together ½in from the edge.10 Fold the lining over on to the inside of the stocking and iron. Pay special attention to the top edge to make sure it lies fl at and straight.11 With the lining inside, stitch the loose edge on to the inside seam of the cuff (where the red felt is sewn to the green), turning the raw edge under as you work. Use a small straight stitch, making sure it does not show on the right side.12 Attach the last piece of ribbon, folded in half to make a hanging loop. Use a few strong stitches on the inside of the stocking.

Instructions:

50 Cents a Pattern series Felt Christmas Decorations20 On-the-Go-Projects

CoRinne LaPieRRe

Publication March 2017Price $9.95Format Trade Paperback, 8½ x 11 inchesISBN 9781782215066Extent 60 pagesPublisher Search PressIllustrations 80 Illustrations, color BISAC Sub Category Sewing CRA035000

Also by Corinne Lapierre

Fabulous Felt (9781782211938)



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search Press Classics series Beginner’s Guide to GoldworkRuth ChaMBeRLin

FoRewoRD BY MaRY CoRBet

Publication April 2017Price $19.95Format Trade Paperback, 8 x 10¼ inchesISBN 9781782214861Extent 80 pagesPublisher Search PressIllustrations 230 Illustrations, color BISAC Sub Category Needlework/Embroidery CRA008000First Published 2006 (978-0855329549)

DescriptionThis popular book by Ruth Chamberlin now returns as a Search Press Classic, with an updated design and preface on the author by the illustrious embroiderer Mary Corbet.

Those who love this traditional form of embroidery can now learn the essential techniques and create their own exquisite embroideries with this easy-to-follow, step-by-step guide. Through careful and detailed instruction, Ruth Chamberlin aims to teach the reader how to create beautiful goldwork motifs, which together form an impressive sampler to show off their work. Covering a range of designs, stitches and techniques, with templates throughout and examples of the author’s inspiring work, this book provides a firm basis on which the reader can build future projects and continue on their goldwork journey.

“It’s hard to say what I like best about the book... All the details are here, mapped out perfectly for the beginner. But I think, overall, I like the author’s direct approach and clear explanations. And, of course, the lavish photos, which are all close-up enough to see the details and get the gist of the techniques used.” 5 star Review on needlenthread.com

Key Selling Points

• 20,000 copies solld of the original edition

• Stitches and techniques are learnt through a series of decorative motifs that gradually build into an impressive and inspirational sampler

• Includes a foreword by world renowned embroiderer and blogger Mary Corbet

• Reviewed and promoted on Mary Corbet’s NeedlenThread.com and to 22,000 followers on Facebook

Author

Ruth Chamberlin studied drawing and dress at Croydon Art School before moving on to the School of Embroidery, London, where she studied ecclesiastical embroidery. After leaving the school Ruth worked at the Warham Guild in London where she embroidered a cope and mitre for the Archbishop of Canterbury. Ruth has taught in adult education for over thirty years, and now works on her own commissions.

Classicssearch press



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Description

This practical, contemporary guide to the exciting and varied world of raised embroidery is written by Kelley Aldridge, an expert teacher with the Royal School of Needlework. Part of a new series showcasing the RSN’s traditional techniques, technical excellence and contemporary flair, it contains a complete grounding in raised embroidery stitches and techniques, three beautiful projects and galleries of inspiring work.

The book features an introduction to the RSN and its prestigious heritage. It reveals the history and context of raised embroidery and showcases galleries of inspiring raised embroidery work. This is primarily a practical, instructional guide that offers a complete grounding in the techniques you need for raised embroidery: it contains a comprehensive stitch guide and leads the reader through each technique using clear step-by-step photography and easy-to-follow expert guidance. The book contains three beautiful projects that put these techniques into practice and showcase additional advanced techniques.

See the full Royal School of Needlework series

Key Selling Points

• The complete contemporary guide to raised embroidery from the world-renowned embroidery experts, the Royal School of Needlework

• Complete grounding in raised embroidery and techniques

• Contains three inspirational projects and clear step-by-step instructions for the necessary techniques

• Combines traditional techniques with contemporary designs

• Lay-flat flexi bound binding

Author

Kelley aldridge graduated from the RSN in 2005, and has been growing a successful business in teaching, producing kits and working private commissions. Recent restoration work has included the Redcliffe Cope for St. Mary Redcliffe Church, Bristol and several 18th century samplers. She has been teaching the RSN’s Certificate and Diploma course in Bristol since 2010.

7776

Bullion knot and cast-on fl owerInspired by Brazilian embroidery (see page XX), this motif combines three well-known raised stitches.

1 Work a long curved bullion knot quarter of the way round the shisha, starting at the 12 o’clock position and working round to the 3 o’clock position.

2 Work round the rest of the shisha with three more long curved bullion knots; the fi rst from 3 o’clock to 6 o’clock, the second from 6 o’clock to 9 o’clock, and the third from 9 o’clock to 12 o’clock.

3 Just like bullion knots, cast-on stitches can be made curved by adding too many wraps to comfortably sit between the start and end points of the stitch. Use this to make a curved cast-on stitch over the fi rst loop, bringing the needle up on the inside of the loop (i.e. nearer the shisha) and down on the outside of the next loop.

4 Repeat on the other three bullion knots, starting each overfi lled cast-on stitch inside one bullion knot loop and taking it over the next loop.

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3

101100

Long and short stitch techniqueLong and short stitch is often referred to as thread painting or silk shading. This technique can be very intricate, or quite simple, as in this example, where the petals are each worked in three tones. The fi rst four have been completed, and the sixth is shown part-worked to help illustrate the technique.

1 Outline the stitch with split stitch, using the darkest-toned embroidery cotton and a size 10 embroidery needle.

2 Secure the thread and bring the needle up inside the split stitch outline, approximately 5mm (¼in) from the tip of the leaf.

3 Draw the thread through and take the needle down just outside the split stitch outline.

4 Work stitches of varying lengths within the shape, down one side of the petal. They should all come up inside the shape and go down neatly just outside the split stitch outline. Bring the needle back up at the point.

5 Work down the other side of the petal, covering the split stitch outline completely. This completes the fi rst row.

6 Secure the darkest-toned thread and thread the needle with the middle tone. Bring the needle

up through the central stitch of the fi rst row, approximately half way along the stitch itself. Ensure you pierce the stitch as shown.

7 Take the needle down into the backing fabric, further within the shape.

8 As with the fi rst row, work along each side of the petal in turn. For each stitch, bring the needle up within a stitch in the previous row, and take it down further within the shape. Vary how far into the fi rst row stitch you pierce each time to blend the colours together.

9 Secure the thread, then thread the needle with the lightest-toned thread. Work your fi nal row within the centre of the petal, covering the remaining surface fabric. As before, vary how far into the previous row you bring the needle up each time to create a soft gradated effect. This fi nishes the petal; so move on to complete the others in the same way.

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Royal school of needlework Guide series Raised embroideryTechniques, projects and pure inspiration

KeLLeY aLDRiDGe

Publication June 2017Price $35.00Format Flexibound, 8½ x 11 inchesISBN 9781782211891Extent 144 pagesPublisher Search PressIllustrations 350 Illustrations, color BISAC Sub Category Needlework/Embroidery CRA008000

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stitch, Fabric & thread An inspirational guide for creative stitchers

eLizaBeth heaLeY

Publication March 2017Price $24.95Format Trade Paperback, 8 x 10¼ inchesISBN 9781782212850Extent 160 pagesPublisher Search PressIllustrations 450 Illustrations, colorBISAC Sub Category Sewing CRA035000

Description

Experiment with stitch, fabric and thread for creative stitchers to

create your own unique textiles. This inventive book is a treasure

trove of over 40 inspiring practical exercises that will get you thinking

about stitch and working with different techniques.

Create bold African-inspired masks; layer up and cut away to create

mola appliqué; use bleach and fabric paint to create Aboriginal

dreamtime lizards; embroider fabric with glimmering shisha mirrors

or try out decorative Japanese bookbinding. Also try a host of other

techniques including quilting, printing, dyeing, couching tumbled

crockery and needlelace. Packed with stitch galleries and rich with

slow-stitching ideas, this book also contains illuminating features on

sewing movements such as Boro textiles, Gee’s Bend quilting and

Dorset buttons to inspire you further.

Key Selling Points

• A creative exploration of thread, fabric and stitch, packed with over 40 practical exercises to try

• An interesting and informative all-round read, it contains

‘Between the Stitches’ features: illuminating insights into

significant worldwide sewing movements

• This book is unique, and its novel treatment of the subject of

stitching will provide a refreshing alternative to the countless ‘how

to’ sewing and embroidery books that are currently on the market

Author

Elizabeth Healey originally trained as a typographer and graphic designer at the London College of Printing, after which she worked in various design groups before defecting to the world of illustrated books. For as long as she can remember, she has made things – usually with yarn or cloth, but sometimes with paper and clay. She is particularly interested in utility stitching and tries to use recycled textiles wherever possible, in a way that looks, fresh, modern and urban rather than old and fusty. Elizabeth has contributed articles to the following magazines: Knitting, Making, Crafty, and Felt Matters.

www.elizabethsquarters.blogspot.co.uk



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Publication July 2017Price $24.95Format Trade Paperback, 8½ x 11 inchesISBN 9781782211433Extent 144 pagesPublisher Search PressIllustrations 410 Illustrations, colorBISAC Sub Category Sewing CRA035000 ANTIQUES /Teddy Bears & Stuffed Animals ANT045000

Description

Teddy Bears are iconic. Sharing our cribs, they are our first friends

and accompany us to adulthood, often passed on to our own

children to enjoy. This book lets you share that magic by creating your own bear to hand down through your family.

Learn about every aspect of this icon of childhood including the history of Teddy Bears, notes on care and repair, personalising instructions, and three complete projects supported by full-size templates to build your skills.

Key Selling Points

• Sue Quinn’s follow-up to her bestselling How to Sew Little Felt Animals (see below)

• Detailed guidance on personalizing your bear with different expressions and features for a unique personality

• 3 step-by-step projects accompanied by full size templates

Author

Sue has been designing and making teddy bears and other animals since childhood. After moving to Scotland she developed her range and sold to small shops in the area. She named the business Dormouse Designs, as one of her first creatures was a small felt mouse called Timothy. Her collectable bears are now so sought-after that Sue’s work can be found in teddy bear museums in Britain, Japan and collections worldwide.

http://www.bearsbysuequinn.co.uk/

AGEING YOUR BEARTeddy bears can take a bit of wear and tear over the years and, as long as they do not become too tatty or fragile, this adds a lot to their individual character. While some collectors go to great lengths to keep their bears pristine, others enjoy the individuality that ageing brings their bear.

Do not age your bear so much that it aff ects his or her structural stability, or you risk the bear simple falling to pieces. Ideally, the ageing should add to the strength rather than take away from it (as with the additional surface stitching and patching). Finally, when doing necessarily fragile ageing, such as drawing out threads, try to keep them obvious enough that they are visible, but not so drawn-out that they aff ect the structure of the bear.

PatchesCut an irregular shape out of a diff erent fabric, then

att ach it to the bear using large, rough stitches.

Other ageing techniques

Faux wearUse embroidery scissors to lightly trim away the fur from areas of wear such as

the chest, the outside of the arms, and the ears.

Surface stitchingYou can add obvious surface stitching to represent faux darning. Thread a needle with strong thread, making the knot especially

large and with a small, uneven tail. Work large, obvious stitches, such as this cross stitch, to give a stylised eff ect.

Fraying

Fraying the ears and nose is a quick way to give a good aged eff ect. Be careful not to overdo it, or you risk your bear falling apart completely.

TipSurface stitching can also look good in a bright or

contrasting colour.

1 Use embroidery scissors to lightly snip the fabric near (but not on) the seam.

2 Use a darning needle to tease out a few threads.

3 The nose can be similarly aged by light snipping a few threads. Be careful to work near the centre of the stitches, or the resulting long loose ends can snag.

Fake dirt3B graphite pencil can be used to add

patches of ‘dirt’.

This bear has had a number of the ageing techniques on these pages applied to him. Whatever ageing eff ects you make, take care to ensure that they look intentional, rather than simply a case of poor workmanship!

122 123

24 26

29

27

30 31 32

33

35

36

34

28

25

24 Use your fingers to fill the head with toy filling until it is firm, then change to the forceps to fill and shape the nose and cheeks.

25 Stuff the arms and legs in the same way, then change to the forceps to make sure the filling reaches all the way down evenly.

26 Slip the washer on to the split pin, then slip the 20mm (¾in) hardboard disc on top of that.

27 Put the cotter pin joint into the slit at the top of the arm, pushing the disc upwards as far as it will go. Ensure no filling is trapped between the disc and the fabric, to make sure the limb slits closely to the body and there are no lumps in the finished bear.

28 Sew the slit closed firmly around the pin with ladder stitch (see page XX), using a darning needle threaded with strong thread. Repeat on the other arm.

29 Use 30mm (1¼in) cotter pin joints for the legs (see inset), then sew them up in the same way as the arms.

STU

FFIN

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JO

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JOIN

TING

30 Use embroidery scissors to pierce a small hole in the centre of the loose part of the head gusset.

31 Prepare a 30mm (1¼in) cotter joint for the head. Push the assembled cotter pin through the hole.

32 Fold the gusset flap over and ease the disc under the neck fabric at the edges.

33 Push any excess of the flap into the head, then use a darning needle threaded with strong thread to work running round stitch round the neck.

34 Pull the thread tight to gather the fabric at the base of the head. Use a few overstitches to secure the head closed.

35 Use the embroidery scissors to make a small hole as close as possible to the point where the seams meet at the top of the body.

36 Push the pin on the head through the hole and then put a 30mm (1¼in) hardboard disc on the pin. Add a small washer on the top.

58 59

16 Cut a strip that measures 45 x 7cm (8 x 2¾in) of the same fabric. Fold the strip in half lengthways (wrong sides together, then fold in 5mm (¼in) on each edge.

17 Place a length of elastic in the centre, lightly overlapping the edge, then fold along the central crease to sandwich the elastic.

18 Secure the elastic by machining over the short end, then turn and work down the long end as for the elasticated waist of the skirt. At the end, turn again, add tension to the elastic and work over the other short end. Trim away any excess thread and elastic.

19 Cut a 9 x 12cm (3½ x 4¾in) rectangle of fabric. Fold it in half lengthways with the right sides together, then machine along the long edge, leaving a 3cm (1¼in) gap in the centre.

20 Fold the piece so that the crease is in the centre facing upwards (see inset), then machine along each short edge.

21 Turn the piece inside-out through the hole in the centre.

22 Cut a 4 x 6cm (1½ x 2¼in) piece of fabric and fold the raw edges in on the long edges to meet in the middle.

23 Fold the piece in half lengthways again.

16 17 24

27

25

28

29

26

18

20

19

21

22 23

24 Wrap it around the centre of the larger piece, gathering the larger piece into the box shape.

25 Machine the smaller piece together, working close to the bow and then cut away the excess

26 Making sure the machined part of the small piece is hidden, place the finished bow on the elasticated headband, slightly off-centre and at an angle.

27 Machine on either side of the small piece to secure the bow to the headband.

28 Fold the two loose ends of the headband together, with the bow on the inside, then machine along to join the ends of the headband.

29 Dress your bear to finish.

The completed headband.

114 115

Also by Sue QuinnHow to Sew Little Felt Animals (9781782210702). 14,000 copies sold to date.



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the skirt emporiumSew 25 fun and fabulous designs for all sizes and ages, with ideas for many more MaDaMe zsazsa

Publication May 2017

Price $19.95

Format Trade Paperback, 7½ x 9¼ inchesISBN 9781782214106Extent 160 pagesPublisher Search PressIllustrations 470 Illustrations, colorBISAC Sub Category Sewing CRA035000 DESIGN / Fashion & Accessories DES005000

Description

This fun, quirky book is packed with 25 gorgeous, colorful skirts to sew for adults and children. The skirts are designed to fit children from 2 years of age to women up to size (US)16.

All 25 skirt projects can be easily customized using the full-size patterns given in the back. Each design is shown made from several different fabrics and with different trims – to inspire the reader to follow their own personal style.

Choose from styles such as A-line, bell, circle, straight, gathered, wraparound and elasticated, and also learn how to add underskirts or adapt a design to create maternity wear.

Packed with tips on stitching, choosing fabric and a comprehensive guide to cutting and using the patterns, this book shows the reader exactly how to create their own fun and flattering designs!

Key Selling Points

• Sew 25 different skirts for children from 2 years of age to women up to size US 16

• Full-size templates for all the projects

• The friendly, easy-to-follow style makes it ideal for beginners, but will also appeal to more experienced sewers who want new patterns and fresh ideas

• Lifestyle trend-leading author with over 20,000 followers on social media

Author

Madame Zsazsa (real name Kim) is a writer and blogger who took up making clothes after the birth of her children. She blogs about sewing, sustainability and vegetable gardening, and writes features in collaboration with several Dutch magazines.

http://madamezsazsa.blogspot.com

-40- -41-

Always copy out the complete pattern unless stated otherwise.

TIP

ELASTICATED SKIRTP

There’s a reason I’ve put this skirt rst. Anyone can make it, even if you’ve never set eyes on a sewing machine before. Sew two panels together, add a waistband and a quick hem and you’re done. It shouldn’t take you much longer than an hour. The most time-consuming part is deciding between the patterns for the A-line and the bell skirts. Make a bell skirt if you’re aiming for a more amboyant effect and an A-line if you want something a little more restrained. You can opt for an easy waistband or an even easier waistband. The former looks good from all sides, the latter only from the outside. As with many things in life, we can’t have it all ways. This skirt is designed to be pulled on over your bottom, so make it one size bigger and adjust the length on the pattern before you cut it out of the fabric. To nish the skirt with a zip and a button, follow the instructions on pages 80 and 81 and don’t go up a size.

PATTERN SHEET• Children’s A-line • Children’s bell skirt

See page 12 for more information about which size to pick.

YOU WILL NEED

• Front and back panels, each with a small cut on the CF and CB. See pages 22 and 23 for more information• Waistband: reinforced with interfacing, 7.5cm (3in) wide. Check the chart on page 13 for the length and add 2cm (3/4 in) seam allowance• 2.5cm (1in) wide elastic (measure the length on the child)• Trim for the hem

A-line bell skirt

waistband+2cm

trim

ela

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CF

FP

7 .5cm

1cm

1cm 1cm

1cm

2.5cm

BP

SEAM ALLOWANCE1cm = 1⁄2in

-66- -67-

BP

a. Fold the waistband in half, right sides together, and sew the ends together. If the fabric stretches too much use zigzag stitch or – better still – an overlock machine.

3. PUT IT TOGETHERa. Pull the waistband over the skirt and pin all the cuts together.

b. Stretch the waistband out as far as you need to. Zigzag the seams together.

c. Fold the waistband up and the seam down, and sew the seam onto the skirt.

4. THE HEMTurn the hem 2cm (¾in) up and press it flat. Then fold the seam inwards 1cm (½in), press it and sew it in place.

with the TALKING PENGUIN

adjust!

THE HEM

a b

c

b. Fold the waistband in half with the seam facing in and fit it around your waist. Make it narrower if necessary. You can zigzag the seams on the waistband together.

c. Once you are sure of the size, divide the waistband into four equal parts and make a snip at each point on the seamed edge.

a. Place the front panel on top of the back panel right sides together and sew them together with an allowance of 1cm (1/2 in). Zigzag the seam and press the seams onto the back panel.b. Lay the skirt out flat with the cuts on the centre front and back on top of each other. Make a cut to the left or right of the side seams in order to divide the skirt into four equal parts (the front panel is always slightly wider than the back panel).

1. THE WAISTBAND

2. THE SIDE SEAM



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Girl with a sewing MachineThe no-fuss guide to making and adapting your own clothes jenniFFeR taYLoR

Publication July 2017Price $19.95Format Trade Paperback, 8 x 10¼ inchesISBN 9781782214564Extent 128 pagesPublisher Search PressIllustrations 500 Illustrations, colorBISAC Sub Category Sewing CRA035000 DESIGN / Fashion & Accessories DES005000

Description

This stylish, on-trend book shows the reader how to upcycle and adapt unloved items as well as creating their own unique clothes to fit their personality and shape. Written by The Great British Sewing Bee contestant Jenniffer Taylor, who started the #sewingrevolution to encourage people to get crafty and upcycle their old clothes.

Using Jenniffer’s fun and imaginative ideas, this book teaches how to transform unloved items of clothing into new and exciting outfits; how to customize clothes with doilies, tassels, tie-dyeing and block printing; and finally how to measure yourself and create patterns and make clothes from scratch, including dresses, skirts, tops, trousers and a coat. The book teaches the techniques in a simple, no-fuss way, making it ideal for beginners.

The book is packed with all the tricks of the trade that Jenniffer has learned along her sewing journey, and will kickstart the reader’s own #sewingrevolution!

Key Selling Points

• Written by The Great British Sewing Bee Season 2 contestant Jenniffer Taylor who started the #sewingrevolution

• The book teaches the techniques in a simple, no-fuss way, making it ideal for beginners

• Packed with all the tricks of the trade that Jenniffer has learned along her sewing journey as well as 14 projects

• Author is a presenter on Create & Craft TV

Author

Jenni’s addiction to sewing began when she decided to design and make her own wedding dress. The experience unlocked her creativity and for the first time she found she was able to express her individual style, empowering her to create garments that she always wanted but was unable to get. Her husband Kirk recognized her passion for sewing and secretly submitted her application for the Great British Sewing Bee 2014. She is now a prominent and popular personality on the ‘sewing scene’, running ‘sewing revolution’ workshops, presenting on Create & Craft TV and being featured in several sewing magazines, exhibitions and shows.

http://www.jenniffertaylor.co.uk/

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Step 12To close the end of your pincushion

you just need to pull the thread with the

needle still on it. Pull this as tight as you

can to close the gap. Then while

holding the tension on the thread

create a knot to hold it in place.

Step 13You may want to sew a few more

securing stitch by sewing the opposite

sides together a few times. Once you

have knotted your thread, run the

needle into the body of the pin cushion

until it comes out the other side. Pull

the needle out and then trim the thread

close to the fabric. This way you have a

long length of thread on the inside of

the pin cushion which acts almost like a

second knot and it also make the loose

ends more tidy. Remove your tacking

stitches. Pop your pin cushion into your

cup and you’re ready to go!

Step 11Now turn your pincushion out but before stuffi ng it we are

going to make a running stitch into the crease we have just

created with the iron. This time the running stitch is not a

temporary one so will need to be in a matching coloured

thread and do not knot or remove the needle at the end. You

can now stuff your pin cushion. keep in mind that you want a

rm pin cushion but be careful not to over stuff as we need

to be able to close the open end without putting pressure on

our stitches. If you want to add wire wool to your pin

cushion to help keep your pins nice and sharp, then place a

thin layers of wire wool in rst before lling with normal

stuffi ng.

Step 9Pin the circle to the top of the tube opening with the right

sides together. You may need to ease the circle out a little

but your temporary running stitch should help to keep it

even.

Step 10Once pinned in place, thread a separate needle with

matching thread and back stitch together. When you have

done this, you can now remove your temporary stitches.

Before you turn your pincushion out the right way like a

pillow case, we need to nish our raw edges. Going to your

ironing board, fold over the edge by a ¼ inch to create a

hem. Using the iron press this in place.

9

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stitched shiboriTechnique, innovation, pattern, design jane CaLLenDeR

Publication March 2017Price $35.00Format Trade Paperback, 8½ x 11 inchesISBN 9781782211419Extent 176 pagesPublisher Search PressIllustrations 950 Illustrations, colorBISAC Sub Category DYE CRA007000

Description

Written by eminent shibori artist and teacher Jane Callender, this beautiful, practical book is packed with both traditional and inventive stitch-resist techniques, a complete dyeing guide and an

inspirational gallery of Jane’s work. All the information a beginner will

need to get started. It is also packed with innovative techniques and

ideas that will enthuse and inspire the experienced textile artist.

The book is broken into three sections: technique, pattern and

dyeing. A wide range of stitch-resist techniques – worked on their

own or combined with other shibori methods – are all carefully

explained with photography and illustrations. Instruction is given

on how to take techniques further to develop motifs for pattern

or a unique art textile. The recipe section has clear guidance on

preparation and procedure and ensures shibori resists in a broad

spectrum of color on natural fabrics. Natural, organic and synthetic

indigo vat recipes are given along with natural dyes and fiber-

reactive dye recipes. All the jewel-like colors can be used alone or in

combination with indigo.

This comprehensive resource book contains all the information a

beginner will need to get started. It is also packed with innovative

techniques and ideas that will enthuse and inspire the experienced

textile artist.

Key Selling Points

• A comprehensive guide to shibori dyeing, design and patterning

• Contains both traditional and innovative stitch-resist techniques

• Packed with inspiring photography and instructional illustrations

• Suitable for beginners but also contains designs, motifs and patterns to inspire experienced textile artists

Author

Jane was drawn to indigo and stitch resist when she studied textiles. Using indigo predominately she has focused on stitch techniques, inventing new stitch formats and incorporating other textile decorative methods with shibori to further enrich surface and pattern quality. A well-respected shibori artist, teacher and speaker, Jane has taught and presented her textiles in schools, colleges and textile groups in around the world. www.callishibori.co.uk

“Jane Callender is a remarkable person, and this is reflected in her work... Decades of painstaking practice, thought and experimentation are gathered into this gorgeous book, which is much more than a handbook, since it includes innovative designs and techniques and celebrates a lifetime’s experience.” jenny Balfour-Paul President, association of Guilds of weavers, spinners and Dyers



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tangle wood Collectors’ art edition20 drawings to colour and keep

jessiCa PaLMeR

Publication Mayrch 2017Price $19.95Format Trade Paperback, 9¾ x 13 inchesISBN 9781782214878Extent 40 pagesPublisher Search PressIllustrations 20 Illustrations, colorBISAC Sub Category GAMES & ACTIVITIES / Coloring Books GAM019000 ART/Techniques/General ART028000

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UK £9.99 US $19.95

www.searchpress.com

Jessica Palmer

Tangle Woodcollectors’ art edition

From the popular artist who created Tangle Wood comes this special art edition.

20 enchanting illustrations have been carefully selected from the original bestselling book,

presented on removable, high-quality card for the ultimate colouring experience.

20 drawings to colour & keep

Search PreSS

Jess

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Palm

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Tangle Wood Poster_ COVER.indd 1 21/10/2016 13:07:47

Description

From the popular artist who created the enchanting coloring books Tangle Wood, Tangle Bay and Tangle Magic comes a special collectors’ art edition containing 20 delightful pull-out images to color in. Colorists and artists, both new and practised, will lose themselves in a magical selection of illustrations chosen from Tangle Wood, now published in a fresh, large-scale format for a sumptuous coloring experience. Each detailed artwork is printed on high-quality card that can be removed easily for framing and a delightful motif on the back of each sheet allows you to sign and date your hand-colored masterpiece. These beautiful works of art are ideal for displaying

around your home or giving as gifts to your friends and loved ones.

Key Selling Points

• A selection of illustrations from the bestselling coloring book Tangle Wood (over 100,000 copies sold), printed on artist-quality 60lb art card

• A fresh, large-scale format for enhanced coloring pleasure

• Easily removeable sheets that can be signed and dated on the

back, framed, and displayed around the home or given as gifts

Author

Jessica was a TV producer until 2006 when she decided to follow the dream of her youth to become an illustrator. After completing an MA in Illustration, she ran workshops in museums and galleries where she got to see how much pleasure people took from art activity. As a result she createrd the bestselling Tangle series of coloring books, which has published in numerous countries around the world. She is also a paper artist – making paper cuts, collages and paper sculptures – and the author of The Art of Papercutting (9781782210665). She also creates exhibition pieces, designs for fabrics and all kinds of illustrations in the UK, the USA and worldwide.

Also by Jessica Palmer:

BeSt SeLLing AuthoR

Tangle Wood(9781782213536)

Tangle Bay(9781782214137)

Tangle Magic(9781782214632)

oVeR 100,000 SoLD oF tAngLe WooD



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Description

Zendala, the companion title to Susanne Schaadt’s previous title, Zendoodle, takes the coloring trend one step further by introducing doodle patterns that can be added to the mandala for extra interest and variation. The book features over 90 patterns and ideas for the reader to emulate or expand upon.

Zendala will appeal to those still seeking relaxation and centring within the chaos of modern life. The mandala is an ancient symbol used in ritual and religion as a centring device. Mandalas can be found in nature, architecture and design, and in ‘Zendala’, the mandala motif is a starting point for promoting calm and mindfulness.

Few materials are needed to create stunning, centring mandalas: just paper, pens and imagination. The practice of drawing and coloring a mandala is one that can be undertaken when you feel stressed, or even when you have a small period of spare time in which to relax and find your zen.

Key Selling Points

• Over 90 designs to trace, color and copy

• Promotes mindfulness and creativty

• Companion title to Zendoodle (9781782212348)

Author

Susanne Schaadt studied mathematics, pedagogy and psychology at the Bielefeld University in Germany. After many years working as a therapist with children and young people, she now works exclusively as a freelance artist and writer specialising in painting, creative art and art education. Her work combines creativity with relaxation and meditation.

Also by Susan Schaadt:

Zendoodle (9781782212348) • Nov 2015• 7,500 copies sold to date

zendalaDraw and colour meditative mandalas for calm

susan sChaaDt

Publication April 2017Price $17.95Format Flexibound, 8 x 10¼ inchesISBN 9781782214168Extent 80 pagesPublisher Search PressIllustrations 290 Illustrations, colorBISAC Sub Category GAMES & ACTIVITIES / Coloring Books GAM019000 ART/Techniques/General ART028000



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how to Paint atmospheric Landscapes in acrylics FRaseR sCaRFe

Publication April 2017Price $35.00Format Hardcover, 8½ x 11 inchesISBN 9781782212836Extent 192 pagesPublisher Search PressIllustrations 400 Illustrations, colorBISAC Sub Category Techniques/Acrylic Painting ART031000

Description

Fraser Scarfe’s landscapes are raw and unsentimental, portraying the natural beauty of he landscape as it truly appears. This stunning book follows the award-winning artist through his year, building from winter sketching towards expeditions into the landscape during the summer and autumn.

Learn how to use acrylic paint to invest your landscapes with depth, atmosphere and emotion.

Key Selling Points

• Award-winning author

• Innovative year-round approach

• Variety of inspirational landscapes in a popular medium

Author

Born in 1986, Fraser Scarfe grew up in Lincolnshire, UK and, after completing a foundation course in Art and Design, began his career as a landscape painter, drawing his inspiration from his surroundings. In 2008, he was awarded the Society of All Artists ‘Artist of the Year’ award, and in the same year he was Artist in Residence at Lincoln Cathedral. His work has been exhibited in prestigious art galleries all over the world including Drawings from the Royal Drawing School, Christie’s, New York in 2016. His work is held in private collections in the UK, Europe and the USA.

Fraser aims to convey through paint the actual experience of being in a place, always trying to avoid the clichés and pitfalls inherent in landscape art. His practice is based upon a strong foundation in drawing and strict observation. He makes drawings in situ to capture the energy and dynamism of a place or experience, then uses these drawings to inform the painting process where, through the use of marks, texture and color, his aim is to create atmospheric but true representations of the landscape.



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Bird artDrawing birds using graphite and coloured pencils

aLan wooLLett

Publication April 2017Price $29.95Format Trade Paperback, 8½ x 11 inchesISBN 9781782212966Extent 144 pagesPublisher Search PressIllustrations 250 Illustrations, colorBISAC Sub Category Techniques/Pencil Drawing ART034000

Description

Few creatures symbolize the beauty of the natural world better than birds, while their delicacy, poise and power combine to create irresistible subject for the artist.

More than a teaching guide, the book is a sumptuous well of ideas and inspiration that covers everything from observing birds in the wild to photography, composition and setting. Award-winning artist Alan Woollett shows you the techniques, materials and compositional skills you need to create your own stunning realistic bird artwork using graphite and colored pencils.

Key Selling Points

• 6 stunning step-by-step projects

• Information on composition, backgrounds and gathering

your own reference

• Clean graphite and colored pencil techniques

Author Since childhood, Alan Woollett has drawn inspiration from the natural world, drawing and painting the birds and animals he saw around him. After graduating from the Kent Institute of Art and Design, Alan has concentrated on wildlife art.

Alan has had several pieces selected for the prestigious Birds in Art exhibition at the Leigh Yawksey Woodsan Art Museum in Wausau, WI. He is a member of The Wildlife Art Society, and regularly exhibits around the UK, including with the Society of Wildlife Artists. He has won a number of prestigious awards including Bird Artist of the Year 2000, awarded by Birdwatch Magazine.

ColourWhen selecting pencils for a drawing it is important to take the time to make your colours as accurate as possible. For me, this involves working through the range of colours I think may be suitable – by a process of elimination I end up with the right ones!

The exact hue you need may result from the combination of several colours blended together, so do not be afraid to try different combinations. It is an obvious point, but one that artists new to coloured pencils may not have considered. I recommend keeping any colour combination experiments you try in a small separate sketchbook for future reference – it will quickly build up to becoming a useful reference tool from time to time.

Colour has three main properties or qualities:

Hue This refers to the colour itself; the property which gives ‘blueness’ to blue, or ‘redness’ to red.

Intensity This quality describes how strong the colour is in terms of either being bright or dull.

Value Value refers to the relative lightness or darkness of a colour.

Scarlet MacawThis drawing was done after visiting a zoo in Texas, USA. The macaws here were free-fl ying and some were just sitting enjoying the sun. As we watched them preening, I was struck by the incredible shapes the birds’ feathers made as they stretched and moved. In combination with the bright colours shouting ‘look at me’, the birds seemed to form explosions of colour, especially when adopting the pose I chose to draw for this picture. The long, brightly-coloured tail feathers seem to be shooting out of the bird, almost like a fi rework. More interesting poses like this not only give striking results, but are also very enjoyable to draw.

66 67

Combining multiple overlays into a drawingThe four stage process detailed on the previous pages explains how to create a drawing from a single image, but what if you want to create a single image from multiple separate elements, as described on page 46?

In these cases, the process remains much the same, except that I draw the other main elements of the picture – other birds, important background parts and so forth

– on to separate pieces of cartridge paper. I then transfer everything to separate pieces of tracing paper, which makes it much easier to explore lots of different options for the composition and saves a lot of drawing and re-drawing, which can damage your paper – and patience!

1 Create a separate tracing for each element – in this case; the birds. Draw out your background at the correct scale.

2 Place any central or focal birds fi rst – essentially, any elements that you are particularly confi dent about placing. Secure them in place using low-tack tape.

3 Spend a little time experimenting with placement of the additional birds (or other elements) to ensure a good fi nal composition. Here I tried adding the singing bird on the left-hand side.

4 Once you are happy that all the elements appear correct (following the information on accurate scale, relevance and interaction on pages 50–51), you can lie a single large sheet of tracing paper over the top and create a single image from the multiple elements.

MagpiesThese artworks demonstrate one of the great advantages of using tracings in this way: it is simplicity itself to re-use your reference material, allowing you to experiment with different settings (as here). I keep as many of my preparatory tracings as I can, which allows me to come back to successful images and re-compose them, creating quite different artworks each time.

86 87

After leaving art college, I was fortunate enough to have painting lessons from a local artist who illustrated books on dinosaurs and British wildlife. He taught me how to use watercolour in the way he used it. Over time, as my confi dence with paint grew, I found myself adapting some of these techniques to fi t my own developing painting style and choice of subject matter.

I began using coloured pencils in my paintings as It seemed a quicker way to add fi ne detail than using a tiny brush. It worked well and enhanced the work in many ways. Eventually, I found myself adding more and more detail with pencils to my watercolour paintings, until eventually I found myself making my fi rst drawing completely in coloured pencils. This sold quickly, which gave me the confi dence to draw another, which also sold quickly. Over the next few months, the drawings became more popular than the paintings, and thus the transition was more or less complete!

These days I work almost exclusively in graphite and coloured pencils. I feel a lot more comfortable with a pencil in my hand than I had ever done with a paintbrush, as it gives me the control and confi dence to create the pictures as I visualise them, pictures which I hope convey the beauty of the birds.

Evening Barn Owl40.5 x 40.5cm (16 x 16in)

Polychromos pencils on Fabriano paper.

Why pencils?

30 31



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the art of DrawingDrawing statuesGiovanni CivaRDi

Publication March 2017Price $17.95Format Trade Paperback, 8¼ x 11½ inchesISBN 9781782213154Extent 64 pagesPublisher Search PressIllustrations 170 Illustrations, colorBISAC Sub Category Techniques/Drawing ART010000

Description

Sculptures and statues have been popular subjects for observational sketching since the Renaissance, and the art of drawing statues has regularly been included in teaching programmes at art schools. Seen as perfect examples of the highest standards of beauty, style and composition, and as a tribute to classical art, capturing statues on paper allows artists to learn the techniques and study the human form before working from a live model.

In this inspirational and easy-to-follow guide, best-selling artist, Giovanni Civardi, teaches the art of drawing statues, sharing his expert advice on recreating beautiful sculptures in pencil with lifelike detail, observing closely human anatomy, form and structure. This comprehensive overview of the techniques involved suits beginners as well as those more experienced in life drawing, and includes advice, suggestions and practical guidance on all aspects of drawing from life.

See the full Civardi Art of Drawing series

Key Selling Points

• Expert techniques and instruction from world renowned life drawer Giovanni Civardi

• Easy-to-follow guides and accompanying sketches for every

technique

• Includes a fantastic variety of inspirational drawings from the

artist

Author Giovanni Civardi was born in Milan in 1947. While training to become a sculptor, portrait artist and illustrator at the Free Life-Study School of the Accademia di Brera, he also studied medicine and surgery. For over a decade, he worked as an illustrator, producing commissions for newspapers, magazines and book covers. During frequent trips to France and Denmark, Civardi put on one-man exhibitions of this work and pursued his interest in studying the relationship between medical anatomy and the human form as depicted by the artist. His experience gained from teaching anatomy, life drawing and portraiture in schools and institutions over many years has led to the publication of numerous books in which Civardi’s experiences are brought into focus.



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the art of DrawingPortraits of Babies & ChildrenGiovanni CivaRDi

Publication April 2017Price $17.95Format Trade Paperback, 8¼ x 11½ inchesISBN 9781782213161Extent 64 pagesPublisher Search PressIllustrations 170 Illustrations, colorBISAC Sub Category Techniques/Drawing ART010000

DescriptionFor admirers of the world renowned life-drawer and for those who have struggled to capture the ever-changing features of younger faces. This book by Giovanni Civardi will teach and guide the reader to observe, evaluate and recreate children’s heads and expressions. With his expert knowledge in anatomy and proportion, he provides a number of tips and techniques on sketching and the different materials with which one can use. Civardi will inspire both beginners and the more advanced to tackle and successfully draw portraits of babies, up to children aged six or seven years old.

Key Selling Points

• Expert techniques and instruction from world renowned life-drawer Giovanni Civardi

• Easy-to-follow guides and accompanying sketches for every

technique

• Includes a fantastic variety of inspirational drawings from the

artist

Author Giovanni Civardi was born in Milan in 1947. While training to become a sculptor, portrait artist and illustrator at the Free Life-Study School of the Accademia di Brera, he also studied medicine and surgery. For over a decade, he worked as an illustrator, producing commissions for newspapers, magazines and book covers. During frequent trips to France and Denmark, Civardi put on one-man exhibitions of this work and pursued his interest in studying the relationship between medical anatomy and the human form as depicted by the artist. His experience gained from teaching anatomy, life drawing and portraiture in schools and institutions over many years has led to the publication of numerous books in which Civardi’s experiences are brought into focus.

See the full Civardi Art of Drawing series



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quick & Lively urban sketchingKLaus MeieR-PauKen

Publication March 2017Price $15.95Format Trade Paperback, 8½ x 11 inchesISBN 9781782214175Extent 64 pagesPublisher Search PressIllustrations 80 Illustrations, colorBISAC Sub Category Techniques/Drawing ART010000

DescriptionWritten by architect and art teacher Klaus Meier-Pauken, an expert in urban sketching.

The book teaches the reader to create quick, animated drawings that are full of life and expression. Whether they are looking to discover their own sketching style, or to build on existing knowledge, the practical exercises will get them thinking, and the extensive collection of the author’s work will inspire them.

Divided into seven lessons: tools, color, composition, bringing a sketch to life, urban life, landscapes and human subjects - each contains learning objectives and tips to hone technique. Decide how strong or detailed to make linework; when to use pencil or ink; how much color to use, and where; how to successfully compose an image and use perspective to bring it to life; how to use contrast; how to incorporate detail.

In a time when most people have a camera to hand at all times, the question of why we sketch is ever more relevant. A sketch cannot capture a scene with perfect accuracy – instead, it is about something more. We sketch to capture an impression, record a feeling, create a personal interpretation; sketching is an act of personal expression

Key Selling Points

• Written by architect and art teacher Klaus Meier-Pauken, this practical guide teaches you how to bring life and expression to your urban sketches

• Packed with creative exercises to get you thinking, theory to

build up your knowledge base, and an extensive collection of

inspirational work

• Discover your own sketching style or build on your previous

experience

Author Klaus Meier-Pauken was born in 1952. He studied architecture and worked as an architect and urban planner from 1983 until 1992. He has worked at Cologne University of Applied Sciences since 1992, and also teaches perspective and freehand drawing at the FFI in Cologne. His works have been shown in multiple exhibitions.



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how to Paint skiesGeoFF KeRseY

Publication April 2017Price $24.95Format Trade Paperback, 8½ x 11½ inchesISBN 9781782214205Extent 128 pagesPublisher Search PressIllustrations 350 Illustrations, colorBISAC Sub Category Techniques/Watercolour Painting ART029000

DescriptionSkies are an important part of landscape paintings, setting the tone of the scene as a whole and often representing the dominant feature of the composition. In this revised and updated edition of Painting Skies (9781844481293) which includes material from Geoff’s Top Tops for Watercolour Artists (9781844484690), Geoff Kersey imparts his knowledge and expertise to artists of all abilities. He teaches them how to paint skies that give a sense of cohesion, place and atmosphere to their landscape paintings. Painting skies is one of the best ways to learn how watercolor behaves and there is a large section at the start of the book that explains the techniques you need to produce a broad range of effects. Including a stormy sky, a summer sky, an evening glow, a sunset and low cloud. This comprehensive guide also includes information on the materials you need, drawing and sketching, using photographs, composition, color and perspective, and throughout the book are examples of Geoff’s finished artworks to provide inspiration and ideas for compositions of your own. The book finishes with six glorious, step-by-step projects to put into practice all you have learnt and give you the confidence to incorporate stunning skies into your own watercolor landscape paintings.

Key Selling Points

• A practical guide for artists of all abilities

• Expert guidance on how to paint a huge range of skies to create

mood and atmosphere in a landscape painting

• Best-selling author and popular teacher and demonstrator

Author Geoff Kersey is an experienced watercolorist and is much in demand as a teacher and demonstrator. He lives and works in Derbyshire, where he has a studio, and he exhibits extensively. He has made many watercolour DVDs, contributes to various art publications and has written many bestselling watercolor books. http://www.geoffkersey.co.uk/



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Painting Perspective, Depth and Distance in watercolour GeoFF KeRseY

Publication May 2017Price $24.95Format Trade Paperback, 8½ x 11½ inchesISBN 9781782213116Extent 144 pagesPublisher Search PressIllustrations 500 Illustrations, colorBISAC Sub Category Techniques/Watercolour Painting ART029000

Description

A lavish expansion and update of Geoff Kersey’s Perspective, Depth and Distance title in the Tips & Techniques series (9781844480142), this new edition features substantially expanded chapters on the key aspects of perspective along with new artwork and two completely new step-by-step projects.

Key Selling Points

• Technical aspects of painting perspective with beautiful examples of finished artwork and numerous informative examples

• Popular author Geoff Kersey explains everything clearly

• Step-by-step details for a variety of projects

See all Geoff’s titles

Author Geoff Kersey is an experienced watercolorist and is much in demand as a teacher and demonstrator. He lives and works in Derbyshire, where he has a studio, and he exhibits extensively. He has made many watercolour DVDs, contributes to various art publications and has written many bestselling watercolor books.

http://www.geoffkersey.co.uk/

Boats at Bosham QuayIn this painting the distinctive shape of the Saxon church across the water makes an excellent focal point. Note how this is a third of the way into the picture, always a good position compositionally. The cluster of boats makes excellent foreground detail, but note how I have reduced the number of these and altered their positions slightly. You don’t have to copy slavishly what is on your photograph; you should take some time at the outset to consider any changes or simplifi cations you wish to make. I have found that most picture buyers, even if they are familiar with the location, expect you to use some artistic licence.

The fi nished painting

YOU WILL NEEDRough paper, 550 x 370mm (21¾ x 14½in)Masking fl uidCobalt blueCobalt violetCerulean blueAureolinViridianBurnt siennaRaw siennaFrench ultramarineCadmium redNaples yellowBurnt umberLemon yellowWhite gouacheOld paintbrushLarge fi lbert wash brushRound brushes: no. 8, no. 4, no. 16Kitchen towel

74 75

Drawing and sketching

TIPDon’t spend too long on each sketch; limit yourself to between fi fteen and thirty minutes.

Explore the full range of tones from your pencil.

To make a success of landscape painting, a knowledge of basic drawing skills is invaluable, as this is the underlying foundation of a satisfying and convincing picture. To make accurate drawings requires a rudimentary grasp of perspective and composition (covered in the next chapter), but to raise your drawings from simply accurate to lively and atmospheric depictions of what you see, you need to develop your powers of observation.

I often fi nd people coming to my painting classes who say they can’t draw when actually they are not looking thoroughly enough. Try comparing the height to width ratios of objects in the scene so the shapes look realistic. Look carefully at shapes and sizes; for instance, how many times does the length of a building or a tree go into the total width of the scene? These basics can be indicated with a few lines to make sure that the drawing is correct before continuing.

Drawing accurately is an ability most people can learn, but it takes a bit of application and practice. As you gain in confi dence, the act of drawing becomes really enjoyable and no amount of time spent drawing and sketching is ever wasted as it hones your skills and sharpens your powers of observation.

Drawing and sketching is an excellent way to gather material from which to construct paintings. A full sketch book is a mine of information, which with accompanying photographs can provide the artist with subjects for hours of studio painting.

Tonal sketchesThese are tonal value sketches, drawn quickly with ordinary graphite pencils. I use a 2B mechanical pencil and a 6B graphite stick which is excellent for fi lling in large areas of tone.

The fact that the pencils are soft means that you can explore a full range of tones from a very pale grey to a rich black (see the pencil swatches below). Don’t forget to leave some white paper to contrast with the dark areas.

14 15

The role played by linear perspective in your paintings does not need to be obvious. In this example, the path, wall, canal and even the bench, all lead us again to the focal point – but more subtly than in the more striking examples on the previous pages.

Don't be fooled by the way the right-hand bank does not follow the perspective lines; there is a widening of the canal at this point, making the left hand line unparallel. This demonstrates that it is important not to slavishly follow theory in your artwork – paying attention to the way the view actually looks will give a more natural eff ect, even if it seems to contradict the ‘rules’ of linear perspective.

Summer on Cromford Canal380 x 280mm (15 x 11in)

Eye level

In this example, the eye level (marked by the dotted line) is above the heads of the people walking. This is because I stood on a wall to take the photograph, making my eye level higher than theirs.

Linear perspective from photographsIf you are working from a photograph, establishing the vanishing point and eye level is simple. Place a ruler along the parallel lines and draw them in lightly (see below). You can easily see where they converge; just rule a horizontal line through this point to establish the eye level.

Perspective and artistic licenceIt is often the case that you fi nd a scene that appeals to you, but it does not contain a natural perspective that will give you the opportunity to create a feeling of distance. An example of this is the simple sketch to the right. This represents a popular location on a canal, where there are two boathouses on opposite banks; they are roughly the same size, and the same distance from the viewer. As artists, we do not have to accept it as it is.

Compare the original composition with the improved version below it. Here, I have taken the right-hand boathouse and enlarged it, creating perspective and bringing it nearer the viewer. This immediately improves the composition as the positioning of the two buildings means that they now complement each other, rather than competing for the viewer’s attention. It doesn’t matter that it’s not as accurate; your objective should always be to create the best interpretation.

Eye level

Original composition

Improved composition

30 31



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terry harrison’s Complete Brush with watercolourteRRY haRRison

Publication May 2017Price $19.95Format Trade Paperback, 8½ x 11 inchesISBN 9781782214229Extent 176 pagesPublisher Search PressIllustrations 410 Illustrations, colorBISAC Sub Category Techniques/Watercolour Painting ART029000

Description

In this comprehensive guide to painting watercolor landscapes, two of Terry Harrison’s best-selling books, Painting Watercolour Landscapes The Easy Way (9781782212973) and Brush With Watercolour (9780855329709), are seamlessly combined into a single volume. Drawing on his many years’ experience as an artist, tutor and demonstrator, Terry shares his love of painting and shows the reader how to create beautiful, vibrant pictures filled with light and atmosphere using a range of simple brush techniques. Designed to both inspire and instruct artists of all abilities, this book provides a wealth of practical guidance and projects on how to paint watercolor landscapes the easy way.

Key Selling Points

• Best-selling author and popular tutor and demonstrator

• Practical guidance and key tips for watercolor projects

• All you need to know to produce beautiful watercolor landscapes

using simple brush techniques

See all Terry’s titles

Author Terry Harrison grew up in Norfolk. His early art education was basic and he never dreamed that he would become an artist. At fifteen, Terry moved to Hampshire and was inspired by a brilliant art teacher. He became a graphic artist, but continued to paint in his spare time. In 1984 Terry gave up his job to paint full time. He demonstrates to artists’ groups and teaches on painting holidays. He has also developed a range of his own brushes and paints. He is the author of many best selling books on painting with acrylics and watercolors.

www.terryharrisonart.com

78

Masking fl owers

1. Mask the fl owers and allow the masking fl uid to dry. Paint the plant pot with the medium detail brush and burnt sienna. Allow to dry. Working wet on dry, paint the shaded side of the pot with shadow colour.

2. Paint some of the foliage with midnight green, going over the masked fl owers in places.Working wet into wet, paint lighter foliage with sunlit green. Allow to dry.

3. Paint some of the fl owers with cadmium red and others in cadmium yellow.

4. Use a thin wash of permanent rose to paint the fi nal fl owers, then while this is wet, drop in a thicker mix of the same colour.

The fi nished fl owers.

Sunday CricketThis painting of a relaxing afternoon watching cricket is a good example of when to use masking fl uid. Carefully draw the cricketers, and mask each player. The cricket green can then be painted over the fi gures to produce an even wash. When this is dry, remove the masking fl uid and add the detail on the cricketers. Masking fl uid can also be used for any fl owers and grasses in the foreground.

2

3

1

4

112 113

10. With clean hands, rub off the masking fl uid. Add in the rushes at the side of the path using small and medium detail brushes and sunlit green mixed with a little cadmium yellow. Paint the fence with a very pale mix of country olive and a little burnt umber, then add shade with a darker mix. With cadmium yellow and the small detail brush, add in the yellow fl owers.

11. With the medium detail brush and a mix of burnt umber and country olive, paint in a large branch to overhang and frame the top of the painting. With the golden leaf brush, stipple in a range of greens – beginning with light and fi nishing with dark – to suggest foliage. Finish with the medium detail brush and a burnt umber and ultramarine mix for the fi ner branches.

12. Add the refl ections on the water using white gouache softened with a small amount of raw sienna. Highlight the top of the bridge using the small detail brush and the same soft white paint mix.

7. With the golden leaf brush and cobalt blue, lay down a wash for the water. While the wash is still wet, streak in the refl ections with a mix of cobalt and midnight green, adding a hint of country olive with a touch of burnt umber under the tree on the left.

8. Paint in the bridge using the medium detail brush and raw sienna mixed with a hint of cadmium red. Use the same shade for the refl ection in the water. Paint in the shadows on the bridge and in the water using a mix of ultramarine and

Overleaf The fi nished painting.

8

9

7

burnt umber.

9. Paint in the hull of the boat using ultramarine and burnt umber, watering down the same mix for the fi ner details. Paint in the refl ections in the windows and below the boat using the medium and small detail brushes. Allow to dry before adding touches of detail to the boat with a small detail brush and cadmium red. Allow to dry.

10

11

12

166 167

The Secret Bluebell WoodThe sunlit foliage on the trees was created by applying masking fl uid, using the same

technique as for the snow on the trees shown on page 74. The colours used for the bluebells are permanent rose and cobalt blue, applied using the stippler px brush.

Woodland PathThis painting is very similar to the step-by-step demonstration, but instead of the water, a

footpath is the vehicle to lead you through the painting. I used a sponge to apply masking fl uid to the foliage and undergrowth. The grasses in the foreground were scraped away using the

handle of the stippler px.



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vibrant watercoloursHow to paint with drama and intensity

hazeL LaLe

Publication May 2017Price $24.95Format Trade Paperback, 8½ x 11 inchesISBN 9781782212942Extent 128 pagesPublisher Search PressIllustrations 370 Illustrations, colorBISAC Sub Category Techniques/Watercolour Painting ART029000

Description

Vibrancy and impact are qualities that experienced watercolor artists aspire towards, and this book provides a full course in how to push this popular medium to unexpected places. Packed with inspirational artworks that cover everything from landscapes and portraits to abstract watercolors, this is a vibrant book that demands attention.

Key Selling Points

• A complete course in how to bring your watercolours to life

• 5 inspiring step-by-step projects

• Dozens of inspirational examples of the author’s artwork

Author Hazel Lale grew up in Newark, Nottinghamshire, and has been interested in drawing and painting for as long as she can remember. Along the way she has been awarded many prizes for her art, the first at the age of five! After many other adventures and qualifications in other fields, she took a degree in Fine Art

Hazel is an artist who is attracted to themes which allow her to break free of outlines with energy and capture her imagination. She travels widely and has exhibited in major galleries, including London’s Mall Galleries, Alexandra Palace and elsewhere. Her work can be found in major collections in the UK, USA and Japan.

25 Continue refi ning the shapes across the painting to overlay the elements with stronger versions of the same paints and mixes as are already on the surface.

26 Add shadows across the foreground paving with dilute glazes of a Winsor blue (red shade) and Winsor violet mix.

27 Change to a size 10 round brush to add the fi nal detailing such as the lettering on the posters. Use the paint fairly strongly for the distance, but keep the signage muted in tone to avoid it becoming dominant.

28 Switch to the size 16 brush to add a rich dark mix of brown madder and Winsor blue (red shade) below the central fi gure to ground him.

29 To fi nish, allow the painting to dry completely, then use a permanent fi neliner to pick out and redefi ne the shapes. This makes the patterns and the forms stand out further.

25 26

27

28 29

84 85

Th e fi nished painting.

ShapeTh e most fundamental components of picture making are shapes. Everything we look at can be broken down into a few shapes which make up the building blocks of every drawn image.

Fundamental shapesThe fundamental shapes are the square, triangle and the circle. All other shapes are ultimately variations or combinations of these – a rectangle is an extended square, for example while a simple house might be represented by a square with a triangle on top.

The ability to identify general shapes and how they relate to one another helps simplify our approach to drawing. Shapes as a whole can be broken down into two parts such as geometric and organic.

The fundamental shapes are also useful for helping to compose your drawing. If you arrange different elements so that they sit at the points of a triangle, for example, the viewer will follow the invisible lines between the points. The diagonal lines of a triangle are directional, and so arranging the focal points of the image like this will move the viewer’s gaze from point to point.

SquareText

CircleText

TriangleText

[other shape(s)]Text

An example of a triangular composition.

Look for the fundamental shapes in these simple buildings.

Th e planes of anything can be broken down into simple shapes, as shown by this sketch of a human head.

5554

5 Wet the 50mm (2in) fl at brush and pick up dilute Winsor lemon. Use broad strokes with the fl at of the brush to apply areas of light across the painting. Use the blade of the brush for fi ner lines (see inset) and vary the pressure of the strokes.

6 Apply areas of Bengal rose over the painting in the same way, bringing some defi nition to the important shapes. Strengthen the colours by using less dilute paint. This will draw the eye to these areas, establishing movement and dynamism in the painting.

7 Still using the 50mm (2in) fl at brush, add accents of Winsor orange.

8 While the paint remains wet, touch in cobalt turquoise in the foliage areas. It will mix to create interesting greens.

9 Add a strong cobalt turquoise light area to establish a tonal reference point for the other shapes. Use the underlying sketch to guide you, but not slavishly – feel free to work over and around the lines. Add Winsor lemon wet-in-wet to add variety in the areas.

10 Build up areas across the painting with overlaying layers to give interesting neutral darks. These can dry while you work on the more important focal areas.

11 Bring in some mid-to-dark tones in the lower right-hand corner and on the large trees, applying dilute brown madder with the 50mm (2in) fl at brush. Vary the hue with Winsor violet.

12 Work as far as you are comfortable with the 50mm (2in) brush and the mixes on the palette, laying down the main colours, then change to the size 16 round brush and pick over the central fi gure with Winsor lemon.

13 Pick up Bengal rose on the tip of the size 16 round brush and drop it in wet-in-wet on the shirt. Introduce Winsor blue (red shade) on the trousers and hair.

14 Add Winsor blue (red shade) to the t-shirt area, letting us bleed into the Bengal rose. Strengthen the tones to make the fi gure a central anchor to the painting. Be careful not to make the colours too dark in tone, or you risk the fi gure falling out of balance with the rest of the painting.

5

9

10 11

12 1413

6

7

8

80 81

Also available: Vibrant Acrylics by Hashim Akib 9781844486977



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vibrant oils haiDee-jo suMMeRs

Publication July 2017Price $24.95Format Trade Paperback, 8½ x 11 inchesISBN 9781782212539Extent 144 pagesPublisher Search PressIllustrations 400 Illustrations, colorBISAC Sub Category Techniques/Oil Painting ART018000

Description

This book is ideal for any level of painting experience, from complete beginners looking to start out with oils, to advanced painters looking to pick up new ideas and techniques.

Fresh, bright and friendly, this book is perfect to bring in new oil artists; but has enough depth to satisfy experts.

Key Selling Points

• Innovative techniques to inspire and invigorate oil artists

• Packed with clear, friendly tuition and inspiring paintings

• Varied step-by-step projects including Plein Air.

Author Haidee-Jo Summers is an award-winning artist whose work has appeared in numerous exhibitions worldwide. Oils are her preferred medium, though she has written and taught on the subjects of acrylics, watercolors, gouache, inks, pastels and mixed media. Over the years she has worked on many different subjects which include still life, flowers, gardens, cats, interiors and portraits as well as landscapes, but in the last five years she has been completely hooked on plein air painting. She has always preferred painting from life, and has no qualms about painting anywhere, no matter how busy or crowded the setting, how complicated the scene or how difficult the weather.



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Description

Previously published as William Newton’s Complete Guide to Watercolour Painting (9781844488308), this highly successful book is now available in paperback form.

This complete guide to watercolor will teach you how to paint relaxing landscapes, exciting seascapes and portraits with personality.

In addition to beautiful detailed projects covering architecture, still life and other classic scenes, this book contains sections on color and tone, the materials you will need, key watercolour painting techniques as well as vital information on perspective and drawing; all explained and illustrated for ease of use.

This complete guide demonstrates the breadth and depth of William’s watercolor painting expertise.

Key Selling Points

• Six step-by-step projects

• Best-selling author

• A thorough course in the most popular painting medium

Author William Newton is a full-time professional artist. He paints many subjects and works in most media, although he specialises in watercolor and oil. He is a practising art tutor, with many years’ experience of teaching both adults and children. His paintings are held in collections all over the world.

Learn to Paint in watercolour step by stepwiLLiaM newtion

Publication June 2017Price $19.95Format Trade Paperback, 8½ x 11 inchesISBN 9781782215233Extent 144 pagesPublisher Search PressIllustrations 280 Illustrations, colorBISAC Sub Category Techniques/Watercolor Painting ART029000



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how to Paint Flowers and Plants in watercolour janet whittLe

Publication July 2017Price $24.95Format Trade Paperback, 8½ x 11 inchesISBN 9781782214182Extent 128 pagesPublisher Search PressIllustrations 280 Illustrations, colorBISAC Sub Category Techniques/Watercolour Painting ART029000

Description

Janet Whittle’s vibrant and evocative compositions capture all the glory and beauty of flowers. Open this book to learn Janet’s creative techniques and approach for capturing the beauty of flowers in her paintings. Clear step-by-step projects are included, as well as many examples of Janet’s inspirational work. This is a inspirational resource for ideas on how to make your flower painting skills grow!

Key Selling Points

• Update of Watercolour Tips & Techniques: Flowers and Plants (9781903975589) – redesigned, expanded and improved

• Popular subject, classic technique

• Popular medium

Author Janet Whittle is a professional artist and qualified teacher who specialises in flowers and landscapes in watercolor and pastel. She exhibits regularly at the Westminster Galleries in London, and has also shown her work at the prestigious Mall Galleries and other international venues. Greeting cards bearing her work are widely available in Europe and the US and her prints are sold throughout the world. Janet Whittle has received awards from the major UK art groups, including the Society of Botanical Artists’ Founder President’s Honour in 1999, and the St. Cuthberts Mill Award for a picture of outstanding quality in 2001. Also in that year she won The Society of Flower Painters’ Award for Excellence for their Jersey Exhibition.

6160

VEININGThe technique you use will depend on the type of fl ower or leaf you are painting: some have light veining against a dark background while others are dark against light. Do not add veining to all the petals, as it can be too much. The sun will also bleach out details. It is usually suffi cient to vein just a few focal petals and leaves.

For light veining against dark, you can mask out the veins over the colour of the background, then add another wash over the top. Alternatively, you can draw them in and paint the negative shapes carefully between them. Unless you want a botanical illustration, it is unnecessary to add too much detail to leaves or petals. Concentrate on the focal fl owers to make them stand out more.

For dark veining against a light background, I use a small round brush (No. 00) or a small (No. 3) rigger, and paint in the vein following the contours of the leaf or petal. If there are any cast shadows, I put these in on top and darken the veining within the shadow.

Peonies Sarah Bernhardt52 x 33cm (20½ x 13in)This is a simple treatment of an extremely intricate fl ower, with the sunlight catching the petals from above left. I have been sparing with the amount of veining so the eff ect did not become too complicated, but have

Veining on pansy leaves

TIP

WHEN YOU ARE PAINTING A LARGER PICTURE, USE A SMALL RIGGER (NO. 2 OR NO. 3) FOR VEINING. THE HAIRS ARE LONGER AND WILL HOLD MORE PAINT, AND YOU WILL NOT HAVE TO RELOAD THE BRUSH SO OFTEN.

Opposite: Lilies Red Night52 x 33cm (20½ x 13in)This is a good example of a painting done with a limited palette (see also Cabbage White on Syringa Blossom, page 15). I masked out the stamen and used the full tonal range of white through orange to burnt orange, taking the colour to dark by adding burnt umber. These fl owers are often sold in pots, making it easy for the painter to position them where the light is best. As the petals have a sheen on them, I have used the white of the paper to represent

5352

WET-IN-WET AND WET-ON-DRYThis exercise combines wet-in-wet and wet-on-dry, the techniques I use most. Mask the three main fl owers completely – not just round the edges – and wet the background paper up to the masking, taking care not to leave gaps. Drop in your chosen colours. The three washes I used (viridian and Winsor blue; cadmium yellow and indigo, and Winsor blue) have blended in places to create other colours. The blues are used for the background fl owers. Let this wet-in-wet stage dry completely before going on.

When your fi rst wash is dry, draw some additional fl owers and leaves in the background with a 2B or 3B pencil. Then, with the same colours as for the fi rst washes, paint wet-on-dry behind these additional fl owers and leaves – a technique also known as cutting out. Though the paper behind these shapes is dry, you should keep a wet edge to the paint so you do not leave hard lines: load the brush so the paint leaves it easily and you do not have to spread it on. When an area is evenly damp, you can also drop in other colours, just as you do with a fi rst wash.

TipUse a fl ower mister or a well-rinsed empty plastic spray bottle to damp the paper. You

can also do this using a sponge.

Opposite:

Daisies28 x 38cm (11 x 15in)

The centres of the background fl owers are merely an indication, with little detail. The background was allowed to dry, then the masking

was removed from the three focal fl owers and the petals shaded with cobalt blue. The centres were painted using lemon yellow, then while the paint was still wet cadmium red was touched in on the side away

from the light so it softened into the yellow. A touch of blue was added to darken one side, and the stalks were put in using a mixture

of lemon yellow and cobalt blue.

My outline sketch

101100

8 Darken the circles away from the light on the right-hand side and round the edges. This will give the

9 Using the permanent rose and Winsor blue mix, deepen some of the shadows on the fl ower heads to

10 Add circles to the centres of the background fl owers, making them fainter because too much detail

11 Glaze over the middles of the foreground fl owers to warm them, using a mix of lemon yellow and

12 The centres of the two main fl owers are slightly diff erent.

Paint the hollows using a deeper mix of lemon

yellow and cadmium yellow, leaving the edges

as white paper. At this stage you should stand

back and assess the

Below: the fi nished



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David Bellamy’s arctic Light An Artist’s Journey in a Frozen Wilderness

DaviD BeLLaMY

Publication July 2017Price $35.00Format Hardback, 8½ x 11 inchesISBN 9781782214236Extent 176 pagesPublisher Search PressIllustrations 600 Illustrations, colorBISAC Sub Category Techniques/Watercolor Painting ART029000 Subjects & Themes/Landscapes & Seascapes ART050020 TRAVEL/Special Interest/Ecotourism TRV026020 NATURE/Ecosystems & Habitats/Polar Regions NAT045030

Description

This book is the culmination of various expeditions made by well-known artist and bestselling author David Bellamy to his beloved Arctic. His descriptions of his travels, written from an artist’s point of view, vividly bring to life the challenges he faced when painting outdoors in one of the harshest environments on the planet, and make for an exhilarating and captivating read. Filled with David’s watercolor paintings and sketches, made during his various expeditions, the book provides a fascinating insight into the wildlife and people that live within the Arctic Circle and captures perfectly the majesty and breathtaking beauty of the world’s final wilderness.

Key Selling Points

• An exhilarating and captivating read by one of the UK’s most celebrated artists and authors

• Includes numerous examples of the author’s breathtakingly

beautiful paintings of the Arctic, painted during his various

expeditions

• Often described as ‘the world’s final wilderness’, the Arctic

is a popular theme amongst contemporary writers and artists

Author David Bellamy has always been fascinated by the world’s wild places. Highly regarded as a teacher of art, he has a tremendous following among leisure painters, many of whom have attended his extremely popular courses and workshops both in the UK and overseas. He gives demonstrations and talks, produces successful DVDs, has written many books on watercolor painting and is a regular contributor to art magazines.

Also by David Bellamy :

Winter Landscapes 9781844487035)

Skies, Light & Atmosphere (9781844486779)

Mountains & Moorlands (9781844485833)

David Bellamy’s Complete Guide to Watercolour Painting (9781844487349)

14 INTRODUC TION INTRODUC TION 15

warmer Greenlandic waters are enticing more fi sh. Locals argue that oil and mineral extraction would provide jobs and more wealth for a country not known for a lavish lifestyle or strong economy, and with the highest suicide rate in the world, though exactly how much these industries would benefi t the locals or the local economy is uncertain. Even subsistence hunting is on the wane, though less so in East Greenland – seals are killed for food and are a staple diet for huskies, but when the Inuit ladies make sealskin artefacts, a by-product of the seal hunting, they fi nd resistance in the West to buying such items. The Inuit have always been adept at making the most of every part of the creatures they have to kill for their very existence, and could certainly teach us a thing or two about recycling. If the developed nations are to insist on having things

scanned at SP.

Kap Dan, Kulusuk and outline map of GreenlandThe map shows the locations from which our expeditions started, plus Nuuk, the capital.

Ka

their way, it is imperative that they aid the Greenlanders and not rape the country of its assets, with no benefi t to the locals.

Wilderness is shrinking all over the world, as so many are ignorant of its true value: every bit we lose is gone forever. My aim in this book is to highlight the beauty of the Arctic, in particular the Scandinavian Arctic in Greenland and Svalbard and touching on parts of Norway and Iceland. It is a celebration of these amazing places, of the people and wildlife, and much more.

I am not going to join in the current vogue for predicting what will happen there in the next fi fty or hundred years. That I leave to the computer-model afi cionados, though the quality of their results is heavily dependant on the quality of the input data. At times nature shows a fi ne capacity for confounding man’s desire to control her, and usually for the better. Long may this be so.

Family outing on the glacierI look up from my sketching on the glacier and behold a pair of barnacle geese wandering across the ice with three little ones – quite irresponsible of these parents, taking their young to such a dangerous place!

Tupilak

50 PAINTING SKIES PAINTING SKIES 51

behind, but much as I tried to identify the sound, it was elusive. A chill ran over me: could it be a polar bear stalking us? At this pace a bear could easily catch us, but I couldn’t see anything following. Salo seemed oblivious to the noises and there was no sign of alarm among the dogs, so I was clearly having foolish thoughts. The noise occured again, and though it was not a threatening sound, it was disturbing. When we reached the top of the pass, the sledges gathered speed as we descended the far side towards a frozen lake. In the exhilaration of speeding over this snowy waste, I forgot the noise. We continued for some time until we were at the bottom of a long, steep climb, and stopped for a break. This gave me the ideal opportunity to attempt a pencil portrait of Fred and he seemed happy to pose.

After the break and a long ascent, we crested a pass and had to descend a frozen waterfall. Most of the waterfall ice was covered in snow, and with everything white, it was diffi cult to see how great a drop it was to the bottom. We got off the sledges and attempted to descend in as dignifi ed a manner as possible, but inevitably, gravity won. Suddenly we fl ew through the air down the vertical pitch. It happened so quickly

Crossing Kong Oscar Havn, eveningEvening light catches Qimmeertaajallip Qaqqartivaa as we return to Tasilaq.



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Paper Folded FlowersAll the skills you need to make 21 beautiful projects

eLizaBeth MoaD

Publication May 2017Price $15.95Format Trade Paperback, 7½ x 9¼ inchesISBN 9781782214267Extent 96 pagesPublisher Search PressIllustrations 330 Illustrations, colorBISAC Sub Category Papercrafts CRA025000

Description

With step-by-step photographic guidance, Elizabeth Moad shows you how to make simple, yet effective, paper flower embellishments, from greeting card adornments to floral bunting and decorations that will brighten any home.

Learn how to apply simple folding techniques such as kirigami and teabag folding to create beautiful blooms for any occasion.

Key Selling Points

• Includes over twenty paper-folding projects to try

• Create beautiful flowers for cards, gifts, centrepieces or

garlands using plain or printed paper, stamps or inks

• Projects use a mix of techniques from simple folds to more

complex methods

Also available: Paper Panda’s guide to

Papercutting (9781782213246)

Author Elizabeth Moad is a busy papercrafter, workshop tutor and author. In 2001 Elizabeth left her job and returned to full time study at Norwich School of Art and Design to complete a fine art degree, specialising in print making. During this study Elizabeth developed a passion for all papercrafts. Now accomplished in many crafting techniques, Elizabeth is widely known for her talent in many different papercrafts such as quilling, folding, stamping and collage. She is a regular contributor to magazines, with monthly paper quilling master classes and also contributes monthly to PaperCrafter! magazine as part of the “ask the experts” panel. Elizabeth has run craft workshops since 2006 and enjoys teaching regular groups in her home. Since 2003 Elizabeth has published 7 titles.

Occ

asio

ns Why not make... cake toppersFun cake toppers can be made by making the fl owers following steps 1 to 5. Glue the fl owers onto cocktail sticks and press them into cupcakes for a decorative addition to any party!

STEP 8Glue the fl ower shape in the centre of the aperture.

STEP 9Finally, tie yellow ribbon around the spine of the card in a bow, and trim to size.

20 21

Why not make... a greeting cardMake a three-dimensional greeting card with two-layer pinwheels, using all three templates above. Cut out and construct the shapes as before, following steps 1 to 6. Insert a brad into the centre of each pinwheel, mount the pinwheels on a rectangle of pink card before attaching to a white card blank 178 x 126mm (7 x 5in).

Three-dimensional cards will get crushed unless they are hand delivered, so package your card inside a small box to protect it. Ready-made card boxes can be purchased for this purpose.

TipThese pinwheels can be mounted

onto thin wooden sticks or skewers for use within a fl oral table display.

The fi nished napkin ring.

Ever

yday

Extra large pinwheel (for the card project below)

Large pinwheel

Small pinwheelTemplatesThese templates are reproduced at actual size.

84

STEP 8Push a brad through the hole in the centre of each rosette. Set aside.

STEP 8 STEP 9Cut triangular pennants from orange card. The triangles should be 130 x 130 x 120mm (5 x 5 x 4¾ in). Trim the long edges of the pennants with scalloped-edge scissors. Make sure the scallops line up on either side of the triangle from the bottom point upwards.

STEP 10Cut thin stems and leaf shapes out of the map paper for each pennant of bunting. Glue the stem centrally on to the pennant. Then glue on the fl ower, making sure that the brad lines up with the stem.

STEP 11Sew the pennants onto a length of co-ordinating ribbon, at the top corners of each fl ag. Ensure you leave plenty of ribbon at either end to be able to secure the bunting once complete. Sew from the back of the fl ag to the front, and attach the thread again at the back.

STEP 11

STEP 7Fold down each upright piece of the fl ower to create a fl at, layered rosette. Allow the paper to fold down in its natural direction.

Déc

or

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Paper quillingAll the skills you need to make 20 beautiful projects

eLizaBeth MoaD

Publication June 2017Price $15.95Format Trade Paperback, 7½ x 9¼ inchesISBN 9781782214250Extent 96 pagesPublisher Search PressIllustrations 160 Illustrations, colorBISAC Sub Category Papercrafts CRA025000

DescriptionElizabeth Moad’s lovely book includes beautiful quilled cards, gift boxes, tags and wall art. Using minimal equipment, she takes you through some simple step-by-step techniques with clear photographs to equip you to make the projects in this book. The designs feature flowers, balloons, hearts, owls and more, to create unique and lovely gifts for the special occasions and people in your life.

Modern motifs, vibrant papers and funky framing can be used to transform this ancient craft into contemporary designs that appeal to all ages. Elizabeth uses elements such as patterns and color combinations as a starting point and then translates them into exciting quilling ideas.

Key Selling Points

• Uses simple step-by-step techniques and minimal equipment

• Make lovely quilled cards, gift boxes, tags and wall art for family

and friends

• Beautiful designs featuring flowers, balloons, hearts, owls and

more to create unique and lovely gifts for special occasions

Author Elizabeth Moad is a busy papercrafter, workshop tutor and author. In 2001 Elizabeth left her job and returned to full time study at Norwich School of Art and Design to complete a fine art degree, specialising in print making. During this study Elizabeth developed a passion for all papercrafts. Now accomplished in many crafting techniques, Elizabeth is widely known for her talent in many different papercrafts such as quilling, folding, stamping and collage. She is a regular contributor to magazines, with monthly paper quilling master classes and also contributes monthly to PaperCrafter! magazine as part of the “ask the experts” panel. Elizabeth has run craft workshops since 2006 and enjoys teaching regular groups in her home. Since 2003 Elizabeth has published 7 titles.

Also available: ideas for Cardmaking (9781782214410)



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vintage Cake Decorations Made easyTimeless cakes using modern techniques

ChRistne LauDLaM

Publication July 2017Price $19.95Format Trade Paperback, 8 x 10¼ inchesISBN 9781782213789Extent 96 pagesPublisher Search PressIllustrations 500 Illustrations, colorBISAC Sub Category Courses & Dishes/Cakes CKB014000

Description

A vintage look is a classic look, and one you can achieve with ease for your own cakes and cookies. Christina Ludlam uses moulds, mats and everyday items to create unique and intricate icing designs. Here she reveals her secrets to help you create stunning vintage-style cakes that are bound to impress!

Vintage Cakes Made Easy is a sumptuous and accessible guide to creating fondant masterpieces using intricate moulds and mats to achieve a professional finish. Christina guides you through the process of covering your cakes, and color-mixing fondant before leading you through ten stunning and stylish cake-decorating projects that look almost too beautiful to eat! You will not believe how easy it is to create a fondant masterpiece.

The 10 projects range from the simple to the intricate: ‘basic vintage cake’. Christmas cake, ‘Regency Rose’, Garden cake (complete with plant pot and even a sugar-paste hosepipe!), Jewellery box, ‘English Rose’. Vintage couture (a dress on a mannequin!), vintage cupcakes, and for the grand finale, a wedding cake complete with top hat, roses and pearls!

Key Selling Points

• Create unique and intricate icing designs

• A sumptuous and accessible guide to creating vintage-style

decorations including step-by-step process

• Achieve a professional finish using premade moulds and mats

Author Christina’s career as a professional cake decorator began as a hobby in 1988, and in January 2009 she began teaching at West Nottinghamshire College. Her classes became increasingly popular and in 2012 she launched her own cake decorating school: Cakey Bakey Art Sugarcraft School. In 2013 Christina became involved with Katy Sue Designs, one of the leading manufacturers of silicone cake moulds and mats, and she began demonstrating their products at Cake International. She later demonstrated at the 38th ICES Convention, Kentucky, USA, and since then Christina has regularly demonstrated Katy Sue Designs and PME products on live TV shows for both the UK and USA.

Christina also regularly designs projects, for Cake Craft & Decoration magazine. She currently has a following of around 7700 loyal fans on Facebook.

https://www.facebook.com/CakeyBakeyArt/



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how to Make Resin jewellery With over 50 inspirational step-by-step projects

saRa nauMann

Publication April 2017Price $19.95Format Trade Paperback, 8½ x 11 inchesISBN 9781782213376Extent 96 pagesPublisher Search PressIllustrations 215 Illustrations, colorBISAC Sub Category Jewelry CRA014000

Description

Resin jewelry first started in the US around 6 years ago and has now become a category of its own within the jewellery-making market. The technique is very simple – you simply mix the two-part resin together and pour into a bezel or pendant. Rings, pendants, brooches, cufflinks, hairpins and bracelets are all easy to make and look incredibly professional when done.

The beauty of this kind of jewellery-making is that it is not only easy and relatively quick to make, but it is also incredibly versatile. You can add numerous items to the resin to achieve different effects. You can place paper in the bezels to act as a ‘background’ to the resin – such as old book paper, map paper, scrapbook paper, photographs and so on. Paper can also be painted, stencilled, or layered with washi tape before being coated with resin.

In addition, you can also immerse various items in the resin before it cures, such as dried flowers and leaves, feathers, shells, beads and charms. You can add materials to the resin to achieve different effects, such as such as glitter, colored inks, nail polish and virtually anything else you can think of.

Key Selling Points

• Make stylish jewellery in next to no time

• Minimal tools and materials required

• Easy, step-by-step techniques to follow

• Easy to personalise using various papers and inclusions

Author Sara Naumann is an American mixed-media artist, writer and workshop instructor and has been in the art and craft industry for nearly 20 years, initially working for American scrapbook manufacturer Hot Off The Press. She now spends her time teaching, writing for magazines, and making. She is also an active member of the CHA. Her work can be found in: Stamp & Scrap Arts, Cloth Paper Scissors, Crafts Beautiful (where she has a monthly column), The Craft Stamper and PaperCrafter magazine.

Sara’s niche is papercrafting mixed-media (specifically stamping and cardmaking. Her target reader is beginner-intermediate, and her mission is to make mixed-media techniques accessible to all skill and experience levels.

http://www.saranaumann.com/

WAT

CH P

ART

S &

BU

TTO

NS

SHINE BROOCHYou can create this brooch in one resin session. However, if you want to create

layers of ‘fl oating’ glitter glass, you can do the bezel in two sessions. Simply fi ll the

bezel halfway with resin and allow to cure, then sprinkle in more glitter glass onto

the cured surface and add more resin. This will give a dimensional eff ect.

1 Punch a circle from patterned paper. Coat with sealer, then allow to dry and glue inside the bezel.

2 Glue the word to the patterned paper. Insert the brooch into a foam base. Arrange the watch parts as desired and sprinkle in glitter glass, using a cocktail stick to move elements.

3 Mix the resin, then use the stir stick to apply resin to the bezel. Use the cocktail stick to guide some of the glitter fragments evenly in the bezel. Allow to cure.

Alternative projectWhich crafter doesn’t have a jar of spare buttons? I confess to having several – and I love shopping for vintage buttons at fl ea markets. As you can see with this fun Button Hairclip, they don’t even have to match!

DRAGONFLY BRACELETBecause watch parts come in all diff erent metal fi nishes,

it’s fun to carry the theme through the rest of your jewellery

piece, with mixed-metal chain, charm and bezel.

1 Paint text paper white. Allow to dry, then punch a square. Glue inside the bezel. Allow to dry.

2 Place the bezel on a fl at surface with the loop hanging off the edge. Arrange the watch parts as desired, using a cocktail stick to move elements.

3 Mix the resin, then use the stir stick to apply resin to the bezel. Use the cocktail stick to guide some of the watch part pieces evenly in the bezel. Allow to cure.

4 Use the pliers to open a jump ring. Slip on one end of each piece of chain, and the circular half of the toggle clasp. Close the jump ring. Repeat for the other end of the chain and the bar half of the clasp.

5 Find the centre of the two pieces of chain. Use the pliers to open the third jump ring. Slip on the bezel and the two centre links of the chain. Close the jump ring.

6 Use the pliers to open the last jump ring. Slip on the dragonfl y charm and a link on the copper chain, about 4 links from the pendant. Close the jump ring.

Materials:

Sealer

Stick glue

Blue/cream patterned paper

Watch parts

Computer-generated word or

word cut from text paper

German glitter glass in gold

Round silver brooch with ornate

border, 3.2cm (1¼in)

(inner dimensions)

Tools: 3cm (1¼in) circle punch

Cocktail stick

Materials:

Stick glue

Book paper

White acrylic paint

Watch parts

1.5cm (5⁄8in) square antique copper

pendant with loop (inner dimensions)

Gold toggle clasp

3 gold 5mm (3⁄16in) jump rings

17cm (6¾in) of antique copper chain

17cm (6¾in) of gold chain

Gold dragonfl y charm

Tools: 1.5cm (5⁄8in) square punch

Chain nose pliers

Cocktail stick

Paintbrush

82 83

ORIGAMI PONYTAIL HOLDER & RING

1 Punch a square of origami paper. Coat with sealer, then allow to dry and glue inside the bezel.

2 Insert the ring into a foam base. Mix the resin, pour into the bezel and let it cure.

This gorgeous silver ring bezel is one of my favourites – the square shape

pairs perfectly with the curved lines of the fl ower origami paper to create

visual balance.

1 Punch a circle of origami paper. Coat with sealer, then allow to dry and glue inside the bezel.

2 Mix the resin, then pour into the bezel. Allow to cure.

3 Nest an elastic ponytail holder into the groove of the silver ponytail holder, then glue the metal piece to the back of the bezel. Allow to dry.

For hair accessories that will take a lot of handling, be sure to use a metal-

to-metal glue to secure the ponytail holder to the back of the bezel.

ORI

GA

MI P

APE

R ORIG

AM

I PAPER

11111111CCCCCCgggggg

22222bbbbbb

333333ththththtththththtthththththth

Materials:

Sealer

Stick glue

Origami paper

Large round brass 3.5cm

(13⁄8in) bezel (inner

dimensions)

Antique-style silver

ponytail holder

Elastic ponytail holder

Tools: 3.5cm (13⁄8in) circle punch

11111CCCCCCgggggg

2Mle

TT

p

v

Materials:

Sealer

Stick glue

Origami paper

Adjustable silver 1.6cm

(5⁄8in) square ring with

a depth of 3mm (1⁄8in)

(inner dimensions)

Tools: 1.5cm (5⁄8in) square punch

38 39



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soutacheHow to make beautiful braid and bead embroidered jewellery and accessories

DonateLLi Ciotti

Publication May 2016Price $17.95Format Trade Paperback, 8 x 10¼ inchesISBN 9781782214809Extent 112 pagesPublisher Search PressIllustrations 500 Illustrations, colorBISAC Sub Category Jewelry CRA014000

Description

Soutache is the craft of creating jewelry and embellishment from looped braids. This volume, written by the Italian author of Tatted Lace Accessories (9781782212294), is a great introduction to the craft, with plenty of projects to keep keen soutache enthusiasts busy.

This is a contemporary, colorful and detailed addition to any discerning crafter or jeweller’s bookshelf.

Key Selling Points

• Create stunning jewelry and garment details with soutache – a

decorative braid with multiple uses

• Add beads, gems and cameos to soutache loops to personalise

your clothing and accessories

• Learn the basic techniques involved in soutache, then apply

them to customise your look

• Featuring a variety of colorful soutache projects to try!

Author Donatella Ciotti lives in Pavia, Italy, where she owns a crafts store. She teaches courses on Styrofoam, beadwork, silk ribbon, and flower compositions made with Venetian beads.

18

5

6

7

8

10

11

9

12

14

13

15

Example showing several basic elements used to make a bracelet

5. Carry on stitching until the cords

close around the pearl. At the end,

sew the cords together. Secure

the work at the point of closure by

passing the thread through the cords

several times.

6. Take the thread to one side of the

work and divide the cord into two

groups of three lengths.

7. Bend back three cords and secure

with a few stitches. Thread a pearl

close to the new bend and return to

the outside through the hole in the

pearl. The pearl will now be stitched

to the cords.

8. Return the thread through the

pearl from the outside to the inside

and through the six layers of cord.

Take the thread to the other side.

9. Sew the cords as above, in mirror

fashion. Insert a new pearl and go

back through the pearl and the cords

to secure them.

10. Sew the cords around the pearl

and wrap them on the reverse of the

piece, maintaining a curve around

the bead.

11. Secure the cords on the reverse

of the piece, bending them slightly to

atten them against the completed

work. Stitch the attened cords to

the ones underneath using hidden

stitches then tie off with knots.

12. Paint a layer of enamel on the

ends and cut off the excess thread.

13. You have just made a basic

element that can be used for future

creations. Look at the nished version,

front and reverse, in the photographs.

14. If you want to lend your element

a more elegant look, you can nish it

around the edges with small beads,

embroidered using a Brick Stitch

technique. Make a knot at one length

of thread, insert the needle on the

reverse of the work inside the cord

(central rib) and bring it to the front.

15. Thread two beads on to the

needle, return it to the reverse with

a stitch, then back to the front of the

work. Pass the thread through the

hole in the second bead, from bottom

to top. Repeat, inserting another

bead, taking the thread to the back,

returning to the front and passing

through the hole in the bead that has

just been inserted. Repeat these steps

all around the edge of the work.

44

2

3

4 5 6

Materials

Wave bracelets

* 75CM SOUTACHE CORD IN APRICOT, BROWN AND METALLIC ORANGE* 17 6MM DIAM. BICONE SWAROVSKI CRYSTALS * 3 10MM DIAM. BICONE SWAROVSKI CRYSTALS* NYMO THREAD IN MATCHING COLOUR* 1 BEADING NEEDLE NO. 10* 2CM OF TWO-SIDED ADHESIVE * SCISSORS

1. Cut two 30cm groups from the 3

cords, spread a layer of enamel over

the ends and leave them to dry.

2. Thread the needle with Nymo

thread and make a knot. Take three

cords, join them together starting with

the brown cord, then the metallic

orange one and then the apricot one.

Level the ends at one end.

3. Insert the needle with the knot

between the cords so that the knot

stays hidden inside the work. Sew

together with a stitch. Take the other

three cords; sew the brown, metallic

and apricot one to the rst ones. Keep

them at against each other. Continue

sewing for a couple of centimetres,

making small stitches on the outside

and longer on the inside.

4. Divide the cords into two groups

of three again, sew one set with a

few stitches, return the needle to

the inside and insert a new crystal.

Proceed with work as for the rst

crystal. Continue for the desired

length. Trim the ends and seal with a

layer of glue.

5. With the three remaining 15cm

lengths, create a basic element (see

page 19) as a fastener for the bracelet.

Sew the element to the bracelet with

hidden stitches.

6. Cut 1cm of Velcro. Place on the

ends and trim the excess. Make sure it

sticks well.

78 79

Sewing the parts togetherCut the body of the bag and the ap from the lining fabric and sew it together with small stitches. Place one side of the magnet on to the ap; insert the other side of the magnet into the body of the bag where it will meet with the ap.

After adding the lining, sew the two sides and the ap to the body of the bag. Fix the handle.Using the techniques you have learnt, you can now make the medallion fastener for the bagin colours that you choose!

Materials forthe bag fastener

Chenille bagwith soutache medallion

Materials* 7 SKEINS OF ROWAN CHENILLE COLOUR 758 DEEP SEA* CROCHET HOOKS NO. 4, NO. 4½, NO. 6* 50CM SILK IN MATCHING COLOUR FOR LINING* 1 NATURAL BAMBOO HANDLE WITH RINGS* 1 MATCHING COLOUR SEWING THREAD FOR THE LINING* 1 NEEDLE* 1 MAGNET FOR BAGS

Body of the bagUsing double yarn and crochet hook no.4, start a chain of 29 stitches. Starting from the penultimate chain, work a ring of single stitch (28 stitches). Using crochet hook no. 6, work 42 rings of fantasy stitch. Once you have the desired length, work 1 ring of single stitch with crochet hook no. 4.

Frame of the bagUsing crochet hook no. 4, complete 5 rings of single stitch, only taking the ribbing to the back for the base point and always create 3 single stitches at the corner. Carry out work as follows: work in single stitch along the perimeter, on the long side collect 3 stitches every 2 rings (1 in the 1st ring, 1 in the

middle of the 2 rings, 1 in the 2nd ring), so that the work does not pull. Make 3 stitches in the corner, 26 stitches on the short side (all in single stitch), 3 stitches in the corner, 3 stitches every 2 rings along the long side, 3 stitches in the corner, 26 stitches on the short side, 3 stitches in the corner. Tie off the yarn.

FlapWork the ap in the same way as the Body of the bag, along 20 rings. Work the frame as explained for the Frame of the bag.

SideUsing crochet hook no. 4 and doubled up yarn, start a chain of 20 stitches plus 1 stitch to turn the work. Proceed with rings as described below.

1st ring: 1 single stitch on each of the 19 chains + 5 single stitches in the 20th + 1 single stitch on the back of the 19 chains. Turn the work.

2nd ring: work on the front ribbing, 1 single stitch on the 20 stitches below + 3 single stitches on the next stitch + 1 single stitch + 3 single stitches on the next stitch + 1 single stitch on 20 stitches. Turn the

work. Cut the thread.3rd ring: work using crochet

hook 4½. At the 10th stitch, free the row and work on the ribbing behind 12 single stitches + 3 stitches in a single stitch + 3 single stitches + 3 single stitches in a single stitch + 12 single stitches. Cut the yarn and turn the work.

4th ring: on the 8th stitch, free the row, work on the ribbing in front of 15 single stitches + 3 stitches in a single stitch + 5 single stitches + 3 stitches in a single stitch + 15 single stitches. Cut the yarn, turn the work.

5th ring: work on the ribbing behind, free the row at the 6th stitch, work 18 single stitches + 3 stitches in a single stitch + 3 single stitches + 3 stitches in a single stitch + 3 single stitches + 3 stitches in a single stitch + 18 single stitches. Cut the yarn, turn the work.

6th ring: work on the ribbing in front, free the yarn at the 1st stitch, work 24 single stitches + 3stitches in a single stitch + 11 single stitches + 3 stitches in a single stitch + 24 single stitches. Cut the yarn, turn the work.

7th ring: work in single stitch, on the ribbing behind, for the entire ring. Tie off all the threads of yarn.

* 1M METALLIC CREAM, DARK GREEN, TURQUOISE, AQUAMARINE SOUTACHE CORD* 120CM PURPLE SOUTACHE CORD* 4 15MM DIAM. LILAC BALLS WITH CRYSTALS* 2 10MM DIAM. LILAC BALLS WITH CRYSTALS* 2 18 X 13MM SWAROVSKI OVALS IN ‘PARADISE SHINE’* 1 12MM DIAM. PINK RIVOLI CRYSTAL* 2 8MM DIAM. CRYSTAL BALLS* 4 6MM DIAM. BICONES* 1M CHAIN WITH BALLS* 10CM RHINESTONE CHAIN* JEWELLERY GLUE* CLIPPERS* NEEDLES AND NYMO THREAD* 1 BEAD CAP* 1 NAIL* ALCANTARA FOR LINING* 1 BROOCH SUPPORT* SCISSORS* TAILORS MEASURING TAPE

Using the techniques you have learnt, you can now make the medallion fastener for the bagin colours that you choose!



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Making CandlesCreate 20 decorative candles to keep or to gift

saRah DitChFieLD

Publication May 2016Price $14.95Format Trade Paperback, 7½ x 9¼ inchesISBN 9781782214298Extent 80 pagesPublisher Search PressIllustrations 300 Illustrations, colorBISAC Sub Category Candle & Soapmaking CRA049000

Description

Candles are a much-loved feature of contemporary homes, and make thoughtful and practical gifts. Sarah Ditchfield shows you how you too can make beautiful, unique candles for all occasions, using wax, soy, frangrances and dye chips plus many other unusual ingredients.

This inspirational book features 20 candle projects to make, fromclassic taper candles to ice pillar candles, and gives concise andcolourful instructions on melting your wax, upcycling candlecontainers, and decorating packaging your candles to give as gifts.

Learn all the tricks of the candle-making trade and discover how to embellish and package your candles to give them as gifts that will be treasured by your friends and family.

Key Selling Points

• Features over twenty different candle designs using a variety of methods and materials – including ice!

• Surprisingly few pieces of kit are needed – make candles quickly and easily in your own kitchen

• Author Sarah Ditchfield runs popular candle-making events for businesses and social groups, under the name ‘Candle By

Events’

Author Sarah Ditchfield started making candles in her kitchen after her husband bought her a kit for Christmas. She then started organising candle-making evenings at her home, and this led to a string of commissions from restaurants, hotels and independent shops. She also began selling candles across the UK and overseas.

In 2012 Sarah and her husband launched Candle by Parties (candle-making birthday parties). In 2013 they had their first big corporate event for a pharmaceutical company and since then they have not looked back. Now trading as Candle by Events, they run company ice-breaker sessions, team-building and family fun days.

68 69

4 Tilt the glass tumbler at an angle facing right and hold in position using adhesive putty.

5 Slowly pour the wax into the glass tumbler.

6 Once the candle has started to set, melt another 75g (2¾oz) of petroleum container wax in the double boiler (see Basic Techniques section).

7 Once the wax has melted and is around 80°C (176°F) decant the melted wax into the metal jug. Add the grey candle dye to the jug and stir gently until the dye has dissolved.

8 Adjust the angle of the glass tumbler so it is now facing left, and, as before, use adhesive putty to hold in position. Slowly pour the grey wax into the glass tumbler.

9 Once the candle has started to set, melt another 75g (2¾oz) of petroleum container wax in the double boiler (see Basic Techniques section).

10 Once the wax has melted and is around 80°C (176°F) decant the melted wax into the metal jug. Add the royal blue candle dye to the jug and stir gently until the dye has dissolved.

12 Now leave the candle to set. Depending on the ambient temperature, this will take about an hour. Once set remove the wicking pin and trim the wick to 0.5cm (¼in).

11 Remove the adhesive putty and stand the glass tumbler fl at on the baking tray. Slowly pour the royal blue wax into the glass tumbler.

TipChange the angles to create diff erent designs. Also, try pouring the second layer before the previous layer has set fully and you’ll blend the two colours together.

46 47

13 Lastly, trim the wick to 0.5cm (¼in).

10 Release the butterfl y shapes from the mould.

11 Using oven gloves, heat the pointed end of a metal skewer or wicking pin over a fl ame (from a gas hob or over a lit candle). Push the skewer through the middle of each of the butterfl y shapes to make a hole.

12 Thread the wick through the holes of the three butterfl ies. Start with the largest butterfl y fi rst, then the medium one, then the smallest.



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spellbound Beaded tasselsDecorative tassels and inspirations

juLie ashFoRD

Publication October 2012Price $19.95Format Trade Paperback, 8¼ x 11¾ inchesISBN 9780956503046Extent 112 pagesPublisher Search PressIllustrations 600 Illustrations, colorBISAC Sub Category Jewelry CRA014000

DescriptionPerfect for the small beading enthusiast this book is packed full of projects. All of the projects have detailed recipes and are fully illustrated with step by step instructions, and all are graded for difficulty. The basics are explained from terminology to techniques and design ideas and inspirations are provided throughout. With full color photography the author has also included handy tips and hint.

Key Selling Points

• Distributed for the first time in North America

• Perfect for the small beading enthusiast this book is packed full of projects

• All the basics explained from terminology to techniques

• Design ideas and inspirations throughout plus useful hints and

tips

Author Julie Ashford is the owner and creative force behind the Spellbound Bead Co. Julie has been creating beaded designs, teaching and producing bead kits for many years. The company was founded 32 years ago and as well as specialising in retailing a huge range of beads and related products, Spellbound is best known for its fantastic range of in house designed kits and best selling beading books. She is the author of Spellbinding Beaded Jewellery, Spellbound Festive Beading; Spellbound Festive Beading Two; Spellbound Beaded Tassels and Starting to Make Bead Jewellery.

noW AVAiLABLe in noRth AMeRiCA



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spellbound Festive BeadingDecorative ornaments, tassels and motifs

juLie ashFoRD

Publication August 2010Price $19.95Format Trade Paperback, 8¼ x 11¾ inchesISBN 9780956503022Extent 96 pagesPublisher Search PressIllustrations 620 Illustrations, colorBISAC Sub Category Jewelry CRA014000

DescriptionFollow the clear step-by-step instructions to make a dazzling array of beaded baubles, stars, icicles and snowflakes, and adorable beaded Christmas Tree, Santa, Angel and Christmas Pudding designs that look great as earrings and work equally well as small decorations. Learn how to take the designs further by changing the bauble size, create mobiles, make beautiful beaded tassels, or simply take your favourite element of a design and create a beautiful piece of jewelry.

Key Selling Points


• “Inspiration” pages throughout point you in new directions for the techniques learnt whilst making the baubles

• “Extra Info” boxes contain hints and tips on techniques and

materials

• Projects are graded from One Star: very easy, to Four Stars:

more difficult and requiring several stages





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spellbound Festive Beading twoMore decorative, ornaments, tassels, motifs

juLie ashFoRD

Publication September 2013Price $19.95Format Trade Paperback, 8¼ x 11¾ inchesISBN 9780956503053Extent 112 pagesPublisher Search PressIllustrations 600 Illustrations, colorBISAC Sub Category Jewelry CRA014000

DescriptionFollowing the fabulous success of Spellbound Festive Beading, Julie Ashford has designed a whole new collection of beaded baubles, earrings and other festive inspired decorations. Follow the clear step-by-step instructions to make a dazzling array of beaded designs that look great as earrings and work equally well as small decorations. Learn how to take the designs further by changing the bauble size, create mobiles, make beautiful beaded tassels, or simply take your favourite element of a design and create a beautiful piece of jewelry. This second book includes details on how to make swags and bows; fringes and tassels; festive flowers, mistletoe and the most perfect beaded Christmas pudding.

Key Selling Points


• A second collection of beaded decorations to enchant and fascinate

• The majority of the projects in the book use very basic

equipment - just a needle and some beading thread

• Suitable for beginners and experienced beaders alike





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spellbound Floral Beaded jewelleryDesigns from the garden

juLie ashFoRD

Publication August 2016Price $19.95Format Trade Paperback, 8¼ x 11¾ inchesISBN 9780956503077Extent 112 pagesPublisher Spellbound Bead Co.Illustrations 640 Illustrations, colorBISAC Sub Category Jewelry CRA014000

Description

Create your own beautiful floral jewelry with small beads, needle and thread. Each major project has fully illustrated step-by-step instructions with lots of diagrams to guide you through the making process, and is followed by further instructions to create even more pieces inspired by, and related to, the major project. There are beautiful projects for beginners like the Eloise necklace and bracelet, and the Carmen necklace and bracelet, through to more advanced projects like the cascading delight of the Sinensis necklace and the structured beauty of the Kyoto necklace and Akiko brooch. To complete the collection there is even a very cute Bee Hive beaded box with a hinged lid.

Key Selling Points


• Beautiful projects that will appeal to both beginners and advanced beaders

• Fully illustrated step-by-step instructions

• Materials and basic terms are clearly explained with tips

throughout

Author Julie Ashford is the owner and creative driving force behind the Spellbound Bead Co. Julie has been creating beaded designs, teaching and producing bead kits for many years - the company was founded 32 years ago and as well as specialising in retailing a huge range of beads and related products, Spellbound is best known for its fantastic range of in house designed kits and best selling beading books. She is the author of Spellbinding Beaded Jewellery, Spellbound Festive Beading; Spellbound Festive Beading Two; Spellbound Beaded Tassels and Starting to Make Bead Jewellery.




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BeStSeLLeRSBestselling Knitting & Crochet Titles

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9781782213536 TANGLE WOOD (FLEXI) $15.95

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9781782211587 MY HANDMADE WEDDING (PB) $19.95

9781782212348 ZENDOODLE (PB) $17.95

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