.Book Reviews June 2020

Reviewing Books
on Embroidery
and Textiles
June
2020
1

Cover photo
Machine Embroidered Art
A Comprehensive review by members of the
Embroiderers’ Guild of newly published books.
Search Press Celebrates
50th Anniversary
THE MEMBERS OF SOUTH EAST WEST REGION OF
THE EMBROIDERERS’ GUILD WISH SEARCH PRESS
A VERY HAPPY ANNIVERSARY
Due to the number of interesting books that have
been published in the last six months an additional
magazine has been produced. We hope that ‘The
Overflow’ will give you inspiration.
All articles and photographs used in this magazine are the
copyright of their authors. The magazine's content is for private
viewing only and must not be reproduced in part or full for
commercial gain in any form. The Magazine can not accept
liability for errors and omissions.

Contents
Click
on the
number
to see
the page
Embroidered Treasures - Animals 4
Jane Austin Embroidery 22
Machine Embroidered Art 40
Inspirations 54
How to Make Cloth Dolls 70
Needle Felting for Beginners 78
RSN Embroidered Boxes 86
Seasonal Plants 90
Stitch, Fibre, Metal & Mixed Media 94
Appliqué Embroidery 100
Cross Stitch Embroidery for the Soul 106
Embroidery on Knitting 108
Crewel Birds 112

4

Author:
Dr Annette Collinge
Annette trained as a microbiologist and
has a diploma in stitched textiles from East
Berkshire College, Windsor. She enjoys
papermaking and
printing directly onto
fabric from her
computer. Both hand
and machine
embroidery appear in
much of her work.
She is a life member
of The Embroiderers’
Guild, and has been a
Branch Chairman,
Regional Chairman
and Trustee of the
Guild. She is currently
part of a working party
organizing exhibitions.
Photographer:
Paul Bricknell
5

Embroidered Treasures - Animals - is
the third book in the series written by
Dr Annette Collinge to feature exquisite
works from the Embroiderers’ Guild
Collection highlighting unusual,
delightful and interesting embroideries
spanning from the late 16th century to
early 21st century.
The style and layout continue the
established pattern from the earlier
books on Flowers and Birds.
6

The twelve chapters
highlight the way
‘the designs of the
animals in
embroidery are
influenced by the
technique chosen.’
7

The chapters start with monochrome
blackwork and whitework depictions.
Mrs Wood’s casket featuring Zodiac
Animals is more unusual both because
‘fine embroidery covers the inside and
the outside of the box’ and also because
‘the embroidery surrounds the animal
shapes’.
8
Hand Embroidery
Great Britain 1930
E.G.No: 4283

Petit Point
Great Britain 18 th C
E.G. No: 1983.231
The evenweave examples in Chapter 2
cover canvas work from the mid-17th
century to the mid-20th century and
highlight the range of stitches that can
be used to depict lively animals simply
by ‘counting’ threads on the ground
fabric. The two 20th century beadwork
items such as the rather splendid
Elephant on the beaded bag have been
included because the beads themselves
are evenly worked.
9

Samplers, as shown in Chapter 3, have
been a favourite way of including
animals in embroidery through the
centuries from the 16th up to today.
Barbara Snook’s is a delightful
composition – worked by Barbara and
seven of her pupils – to portray cats
using such different techniques as cross
stitch, free applique and shadow work.
10
Hand Embroidery
Great Britain 1970
E.G.No. 5247

Crochet, hand embroidery & Appliqué
Great Britain 1973
E.G.No: 4369
Animals in Art concentrates mainly on
20 th and 21 st century embroideries which
cover not only textile art but also
excellent embroidery techniques
thereby raising craft to a valid art form.
The vibrant, unrealistic colours used in
Silver Super Sheep, is an intriguing use
of high class craftsmanship allied to
artistic licence to produce an eye
catching textile.
11

The next chapter examines the world of
applique techniques, particularly the
popular use of felt which is easily drawn
upon and which ‘can be cut without
fraying edges’. The embroidery of the
two Giraffes not only combines felt
applique with hand embroidery but also
shows ‘the exuberance of colour and
freedom of expression, characteristic of
young embroiderers’.
12
Appliqué
Great Britain 1956
E.G.No. 1018

Hand Embroidered Gold Leaf
Japan 19 th C
E.G.No. 1984.20
Metal Thread Embroidery is another
long established practice, originally
using real gold and silver whereas
“today most metal thread work is
stitched with synthetic threads” The
chosen examples range from the gold
couching used for the magnificent
dragon from a 19th century Chinese
robe through to the use of similar gold
thread couching in the 20th Century
portraying a squirrel as The Nutcracker.
13

14
The Stitches and More Stitches
Chapter ‘embraces embroidery in all
its gorgeous forms’ with work ranging
from items by well-known pioneers to
an unfortunately anonymous piece
with no provenance. Silk embroidered
animals are showcased from Mrs
Wood’s box. Here she has created a
garden setting for such animals as a
Pekingese dog and a squirrel,
mirroring the trade mark lack of
perspective of the 16th century ‘with
animals filling a space without regard
to their actual size compared to the
scene as a whole.’

Hand Embroidery in Silk
Great Britain 1935-1939
E.G.No. 4283
15

The chapter on silk and wool explores
the contrast in embroideries. The silk
examples range from a small dog and a
woolly sheep on Georgian paintings to
horses and a deer on Chinese sleeve
bands. A crewelwork wool twill
hanging from 1788 mixes ‘exotic birds,
animals and plants...with clearly British
animals such as a squirrel and rabbit’
while the 20th century Hunting Scene
has horses and dogs worked on a dark
brown serge.
16
Hand Embroidery
Great Britain 20thC
E.g.No. 2915.25

Machine Embroidery
France 1914-1918
E.G.No. TBA
Machine Embroidery originated in the
19th century and two poignant World
War 1 postcards begin the exploration
of the technique. ‘Two show a sheep
pulling a flower-filled cart and a lucky
black cat.’ ‘Copying old master
paintings was common at the Singer
Company’ in the 1930s whereas
Chameleons on the following page
shows how the technique developed
later in the century to encompass free
machine embroidery on water soluble
fabric.
17

Animals from ‘Many Lands’ covers
embroidery from all corners of the earth.
The Indian embroideries which start the
chapter show how elephants, in
particular, are stitched on a Kashmir
shawl. There are also depictions of Kantha
and Chinai work. The chosen European
embroideries cover traditional domestic
pieces from Greece and Italy.
18
Hand Embroidery
Italy 17th C
E.G. No1966

Appliqué
Peru late 20th C
E.g.No, 2016.25
One of the South American items is a
traditional 18th century sampler from
Mexico with ‘animals strewn over the
surface.’ The following pages show how
appliqued animals (llamas and dogs
respectively) have been used on both the
Peruvian Arpillera and the Inuit hanging
to illustrate daily life for these two
communities.
19

The final chapter deals with Fantastic
Animals, ones which ‘are all mythical or
unlikely’. Unicorns are frequently
depicted on all forms of embroidery,
such as the Berlin wool work banner and
worked in silk thread on another area of
Mrs Wood’s box. Winged horses have
been embroidered in silk on the canvas
work The Annual Party and in cotton on
linen panel. Dragons are obvious
candidates and are shown on the Chinese
robe, cape and cover examples which
conclude the book.
This book continues to show that the
Embroiderers’ Guild’s Collection contains
many attractive, interesting, innovative
and inspiring embroideries.
20

This is definitely another book to
Linde Merrick
treasure.
50 th Birthday
Special for our
Readers
Buy this book for £14.00
From
www.searchpress.com
Using this code EGBOOKS30
See their press release
in our June magazine
for full particulars
Hand Embroidery
China 19th C
E.G.No. 343
21

Title: Jane Austen Embroidery
Author: Jennie Batchelor & Alison Larkin
Publisher: Pavilion Books
ISBN No: 9781911624400
Order: www.pavilioncraft.co.uk
RRP: £16.99
22

The Authors
Jennie Batchelor teaches at the University of
Kent.
She has written several books on women's
writing, eighteenth-century dress and early
women's magazines She regularly gives public
lectures. Jennie's longstanding interest in the
history of fashion and needlework led to her
curation of 'The Great Lady's Magazine Stitch
Off', a project for which people recreated
rare, embroidery patterns from the Lady's
Magazine
Alison Larkin is an embroiderer.
She has worked on replicas of a waistcoat and
a Map Sampler, both originally stitched by
Elizabeth Cook, wife of Capt. James Cook.
Alison lectures on embroidery, teaches and
demonstrates historical needlework
(particularly the Georgian period) in both in
full-size and miniature
The discovery of rare Georgian embroidery
patterns published in The Lady's Magazine led
to a collaboration by Alison and Jennie in
collecting and cataloguing these patterns,
They were originally published monthly from
1770-1819.
23

Bound Volumes of the‘ Lady.s Magazine’
containing some of the rare patterns used
in the book
I love historical embroidery and I missed reading Jane
Austen in my youth but in the last few years, I have
read several and enjoyed them.
So, it was with delight that I found this book was so
much more than what, on first impression is a project
book, which I normally approach with some caution.
It does have projects, but it also gives you history, and
lots of other information besides.
24

The book makes available historical patterns
from a magazine that was readily accessible in
Jane Austen’s lifetime and gives the reader both
the context and options to use the design in a
modern way.
The authors are Jennie Batchelor, Professor of
Eighteenth-Century Studies and Alison Larkin, a
member of the Embroiderers’ Guild and an
embroiderer specialising in the historical
costume. The coming together of experts in
these two disciplines creates a unique and
remarkable book that definitely has a place on
my bookshelf.
25

For a Gentleman’s cravat in a
bound 1796 Lady’s Magazine
The patterns are all from ‘Lady’s Magazine’ which
was published between the 1770s and 1832, with 13
issues a year.
Austen was known to be a skilled embroider and so
would have been very familiar with the magazine,
which had a huge circulation.
26

The magazine wasn’t just about embroidery,
but it was the first to include embroidery
patterns. Prior to this, you had to buy them
individually at a greater cost than what you
would pay for the entire magazine.
Each issue of the magazine included an
embroidery pattern which, because they were
designed to be removed and used often don’t
survive in those magazines that exist.
27

28

A hand-coloured fashion plate from the
February 1806 ‘Lady’s Magazine’
No instructions were provided for using the
design although some suggestion of the
garment may have been provided. The
assumption was that the reader had the
embroidery skills not to need instructions!
Of the approximately 60 patterns the authors
have managed to locate, 15 are included in the
book.
29

30
The book starts with the historical context of Jane
Austen’s world and why the book has been written.
Having set the scene, the book then provides an excellent
section on everything from needles and scissors, to the
correct embroidery frame/hoop to use, information on
fabrics past and present, as well as threads and design
transfer methods.

The stitch library provides both very clear
diagrams and clear instructions; most of
which would be familiar to the reader.
However, I love that they have included
instructions on how padded satin stitch was
done in the 18th/19th Century. There is also
information on how to use the patterns.
31

32
An elegant fur muff makes an appearance in this
well-known watercolour by James Stanier Clarke,
purported to be of Jane Austen

The book is then divided into three sections.
Each section starts with further historical
context and is littered with references to Jane
Austen, her world and her novels.
You learn about books Austen would have
read and been influenced by, there are quotes
from her letters and critiques on how she has
her characters discuss fashion and
embroidery.
Embroidered Clothes: Dressed to Impress –
not surprisingly this covers decoration for
ladies’ gowns and robes but also discusses the
beautiful embroidered gentleman’s waistcoats
of the period.
Embroidered Accessories: How do you like my
trimming? – which covers caps,
handkerchiefs, shawls, muffs and shoes.
Embroidery for the home: A ‘nest of comforts’
– includes embroidery of samplers, screens
and soft furnishings as well as needlework
accessories.
33

The projects in each section
give you details of when
and what the design came
from, for example, an
embroidery design for a
quilted tablet sleeve is
based on a pattern for a
‘Winter Shawl’ from
December 1796.
34
The projects are all helpfully
graded for the experience of
the stitcher. They range from
a pencil case to tablecloths,
napkins to a regency style
shawl as well as a sewing set
and hussif.

Additionally, there are project-specific
instructions for the materials, threads to use and
how to mark out the design. All projects have
photos of the finished item as well as closeups of
the embroidery.
The patterns are beautifully re-created in colour
with information on both stitches and the thread
colours are clearly noted.
Finally, you are provided with detailed
instructions for the construction of the items that
are accompanied by lots of beautiful black and
white drawings. Each project is given a helpful
experience rating for the embroidery.
35

36
All designs are executed in silk threads (except one
where you are given both the silk version and a
whitework option). The reason for using silk is
explained for it does give the sheen and lustre that can’t
be achieved by any other thread. However, you also get
information on the stranded cotton equivalent colours
for both Anchor and DMC in a conversion chart at the
end of the book.

There are references to all quotes in the back
of the book, including those to quotes from
Austen’s novels for the dedicated fan. It also
gives suggested extra reading and resources.
I came away from this book with more
knowledge of Georgian England, the world that
Austen lived in and what influenced her and
other women of the time. I plan to have a go at
some of the patterns, can imagine them used in
other ways and I’m sure I will use the
construction information for future projects.
37

38

So, if you are looking for a pretty project, you
love Jane Austen, have an academic interest in
Georgian embroidery and women’s lives – or all
of these – this is a great book.
Jennie Batchelor and Alison Larkin are to be
congratulated for a lovely book which has given
us access to patterns that have largely been
unseen for over 200 years and given us
inspiration for how to use them.
Rosie McKeller
39

Title:
Author:
Publisher:
Machine Embroidered Art
Alison Holt
Search Press Ltd
ISBN No: 9781782217918
Order:
Search Press Ltd
www.searchpress.com
RRP: £19.99
40

The Author
Alison Holt, is a British contemporary
textile artist with a Fine Art degree
from Goldsmiths College, London.
Using a basic Bernina sewing
machine and just 2 stitches, (straight
and zigzag) mixing and blending
threads, she embroiders pictures
inspired by the landscape, using
stitches like brushes.
Alison Holt is an exhibiting textile
artist, teacher and author. Her work
is inspired by her love of nature and
created through the medium of
machine embroidery over a
background of silk paint.
41

42
Daffodils at Chirk Castle

MACHINE
EMBROIDERED ART
Painting the Natural World with Needle & Thread
If you are starting out on your journey into machine
stitched imagery look no further than this wonderful
book. To a beginner the sheer amount and quality of the
work may seem daunting but the guiding hand of the
author takes you step by step through all the processes
needed to stitch your own natural world.
The experienced machine embroiderer will also find a
wealth of inspiration and enjoyment in Alison’s very
personal description of her work process and the
practical advice given.
The book opens with an introduction describing briefly
her background, her way of working and her love of her
subject. The quality and annotation of the illustrations
here give a flavour of the visual pleasure to come.
43

One of the delights of the
book is that the
reproductions of her finished
work are full size and the
quality of the printing clearly
reproduces every detail.
Hollyhocks and
Pots
44

After the introduction there is an extremely comprehensive list of
equipment and materials for stitching and silk painting from
sewing machine to paper towels. This is followed by a broad
section on planning all the elements that go into working up a
design.
Poppies and Corn
The sections on light expands these ideas in more detail, and the
section covering the understanding and use of colour explains
how to choose your threads, how to blend stitched colour and
how to mix and apply silk paint.
45

Victoria Plums
The following sections covering Flowers, Trees and
Woodlands are in-depth tutorials clearly and beautifully
illustrated with step by step instructions.
There is a comprehensive guide to how Alison draws flowers
and foliage. Her approach to machine embroidery is to think
like a painter and to use the sewing machine similar to a
paintbrush.
Alison uses only two stitches, straight and zig-zag which,
with adjusted bobbin tension can be combined to make any
number of rich textures and fine detail. The range of marks
and textures that she can create is huge.
46

Alliums and Irises
The book contains several projects,
the first of which is "Flowers and
Foliage". This section reflects
Alison's keen interest in her garden
which is her constant inspiration.
Her aim is to create flowers, each
unique, by analysing the shapes
and colours into simple steps.
"Alliums and Tulips" is one such
project which is worked directly
from the source photograph.
Alison goes through the process,
step by step, from planning to the
final embroidered picture. This
workshop alone has 26 images
with their own descriptive
explanations.
Together with the other two
projects "Delphiniums" and "The
Flower Border", you will learn how
to paint a background and
embroider a variety of flowers.
47

In the section on
Seascapes, Alison explains
how the quality of the light,
time of day and location has
a big influence on colour,
This, together with the local
terrain influences the
patterns and reflections
which she expresses in
stitch.
Every Twist and Turn
48
Splash!

This section answers many
questions explaining stitching
different surfaces; calm, choppy,
sparkling, foaming together with
shoreline, headlands and sunset.
As with the previous section, there
are projects on seascape.
The first "Pebble Beach" uses two
photos taken on a cold windy day
when the weather conditions were
more suitable for windsurfers than
sunbathers. Alison describes in
detail how she combines the
elements in both photos together
with the stitches to represent
waves and the sandy stony beach.
In contrast "Splash" is a scene rich
in colour with contrasting textured
white spray. Again Alison gives
well-illustrated step by step
instructions.
Pebble Beach
49

In the Trees and Woodland
Section the same quality of
detail and thoughtfulness
takes us through stitched
woodland scenes with
techniques for lichen and
moss covered trees, the
woodland floor, foliage and
flowers.
The Mossy Stream
The projects represent the seasons Autumn, Winter and
Spring. As we all know it is difficult to compartmentalise the
elements that make up a sound image, each photograph
enables us to understand how this is achieved.
50

In "Sunlit Path" Alison
demonstrates how working from
the background to the
foreground allows areas to
overlap to create the illusion of
depth. "Winter Snow" uses a
limited palette and therefore
fewer coloured threads. This
section shows that a painted
background need not distract
from the embroidery.
Winter Snow
51

52
A Colourful Corner

This book is a is a collection of Alison Holt's recent work
alongside the best of her other four separate books on
Landscape, Flowers Woodland and Seascapes.
All the photographs of her work have personal annotations and
her combination of silk paint, clever drawing in stitch and
understanding of colour combine to give her work a photographic
realism.
Within its many beautifully laid out pages, there is much to
inform and encourage experimentation including examples of
combining stitch and paper for those who like to take a subject
beyond realism.
For those who strive to reproduce plant and landscape as
naturally as possible, this is an invaluable book. Beautifully
presented, generously filled with instruction and advice.
Margaret Mainwaring
Golden Haze
53

INSPIRA
Inspirations is an Australian
embroidery magazine with a
reputation for publishing and
celebrating some of the most
beautiful textile patterns in the
world. The name is apt, as it’s hard
not to be inspired by the rich,
detailed photos of the projects
featured in each issue, and the clear,
well laid out instructions are easy to
follow.
Publisher: Search Press Ltd
Order: Search Press Ltd
www.searchpress.com
RRP: 15.99 each
Inspirations
54

TIONS
I’m a fairly recent
subscriber to the magazine, so
when I was offered the
opportunity to review
Inspirations’ three new books,
featuring a selection of their
best Stumpwork, Crewelwork
and Whitework projects from
previous issues, I jumped at
the chance.
The three books each contain
eight patterns from some of
the most recognised names in
their respective fields. From
Hazel Blomkamp’s bright
Crewelwork colours to Jane
Nicholas’ distinctive
Stumpwork flora and fauna
and Deborah Love’s deeply
textured Mountmellick, those
familiar with the embroidery
styles can enjoy seeing them
displayed at their finest, while
newcomers can learn from
the very best.
Each book starts with an
introduction to the form and
the projects, providing a
suggested starting point for
those new to the technique.
A detailed history is
provided, along with pictures
of antique examples of work.
The largest section of each
book is taken up by the
projects themselves, presented
with the beautiful photos
Inspirations is known for.
55

56
A full list of the techniques used in each piece is
provided at the beginning of the project, along with a
run-down of the requirements, information on how
to prepare the fabric and transfer the design, and the
best order in which to work the individual elements.
The instructions themselves are detailed and
thorough, including step-by-step photos explaining
new stitches and techniques used. These step-by-step
guides are reproduced in a complete Stitch Guide
which takes up the last 40 or so pages of each book,
presented in alphabetical order for easy reference.
Finally, pullout pattern sheets are included in the
back of each book, providing both full-sized tracing
patterns and construction guides for making up the
projects once the stitching is finished.

So, what can you expect from each of the books?
Crewelwork Inspirations includes no fewer than
three designs from crewelwork queen Hazel
Blomkamp, including a cushion, a mandala and a
footstool, demonstrating her incredible use of
colour and incorporating beads for a touch of
sparkle.
57

58
Two further cushion designs utilise the more
traditional combination of wool on linen twill, with
instructions to turn one of the motifs into a bag,
while Di Kirchner’s cushion pattern is stitched onto
wool flannel for a softer background to the classic
pomegranate and flower designs.

Susan Casson’s ‘Modern Crewel’ box lid exchanges
the more traditional colour palette for bright greens
and teals, and Margaret Light’s jewellery roll, worked
on black linen, allows the rich jewel tones of the wool
to shine.
59

60
Bright pops of colour come from the
backgrounds of the photos in Whitework
Inspirations, providing a contrast to the clean
white stitches and sculptured ornamentation of
the pieces on show.

A wide range of Whitework techniques is on display
here; delicate sachets feature Hedebo needlelace,
Madeira embroidery, and eyelets in the Broderie
Anglaise style.
Tablecloths and mats are decorated with Hardanger,
Mountmellick, Schwalm and pulled thread work
contrasting with the more traditional crisp white
designs elsewhere in the book.
61

62
Each technique is introduced with some historical
and geographical information on its origins, as well
as tips from the designers on how to get the best
from the stitches.

Coloured threads are
used in the step-by-step
stitch guides as a contrast
for ease of learning.
The collection is completed
by Judy Stephenson’s ecru
Casalguidi bag.
63

64
Stumpwork Inspirations comes in some 30
pages shorter than the other books but is no
less packed full of stunning designs.

The delicate 3D work means
this style of embroidery is less
suited to
household objects, and as such
the projects are largely
presented as framed pieces, with
Jane Nicholas’ ‘Summer Dancer’
damselfly mounted in a pot lid.
65

Flora and fauna abound,
with detailed studies of
violets, crab apple blossom
and a strawberry plant visited
by snails and butterflies.
Anna Scott’s ‘First Day’
uses needlelace and
detached elements to create
a festive scene featuring a
rabbit, spider, caterpillar
and, of course, a partridge,
settled in and around a pear
tree as beaded snowflakes
begin to fall.
66

The Stitch Guide combines surface stitches
with Stumpwork techniques such as Turkey
work, needle weaving and working with
wires.
67

Each book provides enough detailed instruction that
a beginner at the techniques could use them as a
starting point, while not being too simplistic as to lose
the attention of the more experienced embroiderer.
They are a delight to look through, and it‛s
ٱdi cult not to want to stitch everything!
Lovely as the designs are, it is worth noting that
there is nothing new here for long-time readers of the
magazine, as the pieces included in the three books
have all been published in previous issues of
Inspirations. However, if you are new to the
magazine, or the techniques featured, each book
contains a beautiful and carefully curated selection of
patterns on the subject in question. They present
some of the most stunning projects produced by the
best designers working in their fields and offer both
an ideal introduction for newcomers, and a selection
of the finest pieces available to anyone with a love of
the embroidery forms.
Gemma Bridges
68

Region
Magazine
The Magazine is published twice a year
There are articles, book reviews, reports of
exhibitions and inspiration,
The Magazine is free to view so if you would like to be advised
when the next issue is due please complete the form on our web
site. Just follow this link to sewregionmagazine.com
The White Walker - An Embroiderers’ Guild Project
69

Title: How to Make Cloth Dolls
Author: Jan Horrox
Publisher: Search Press
ISBN No: 978-1782217862
Order: Search Press Ltd
www.searchpress.com
RRP: £14.99
70

After gaining a Diploma in Fashion and Textile
Design from North East London Polytechnic (now
the University of East London). Jan Horrox went on
to establish her own range of fashion knitwear. Jan
has taught knitwear and textiles part-time at
various colleges in the UK.
In 2004 Jan founded Cloth Dolls
71

Do you love Jan Horrox's dolls with their beautiful
faces, quirky bodies and hairstyles, then you will love
this book. It is both colourful and informative.
It is a practical guide
aimed at those who are
new to doll making, as
well as the more
experienced. It contains
the best of Jan’s previous
titles: Introduction to
Making Cloth
Dolls and Making
Fantasy Cloth Dolls. It
contains the best of Jan’s
previous
titles: ‘Introduction to
Making Cloth
Dolls and Making
Fantasy Cloth Dolls’.
The book has six characters, each with their
individual characteristics.
72

There is only one problem - which to chose to
make first? Perhaps Titania, with her beautiful
wings made out of Angelina. She has beaded
embroidery and a beaded headdress... or
73

74
Maybe Morwenna, a girl into steam-punk. with a
mop of black hair and accessorized with beads and
silver chains. She wears black leather boots!

Or her alter-ego Rhiannon, the witch.
75

All the dolls are full of character and are made
using a wide range of colourful fabrics, trims, and
buttons which is ideal for using up scraps and
oddments of materials.
76
Each doll has a step by step guide and Jan has included
extensive instructions on how to make their beautiful
and sometimes quirky faces. There are alternate
dressing suggestions for making 12 delightful dolls.

This is a colourful book to also just sit back and enjoy.
Anne Walden-Mills
77

Needle Felting for Beginners
Roz Dace loves creative writing,
drawing, painting and all crafts. She
started her career in television and
then as Editorial Director at Search
Books she commissioned practical art
and craft books for international
markets.
Judy Balchin studied art at Cardiff
College of Art and Kent Institute of Art
and Design in Maidstone. She has
appeared on television, worked as a
craft demonstrator, designed craft kits
and run workshops.
78
Title: Needle Felting for Beginners
Author: Roz Dace & Judy Balchin
Publisher: Search Press
ISBN No: 9781782217343
Order: Search Press Ltd
www.searchpress.com
RRP: £9.99

I am pleased to have been given this book to review – to
be honest as I am an established needle felting crafter,
not that I know everything I would not class myself as a
beginner, I was not expecting to learn anything but I
thought that’s fine, I can review this book with a
beginner’s hat on and see what’s what.
79

80
As usual I flick through first – not only because
new books smell and feel so lovely – but to see
what was in store. Well, hang on, I flicked through
again – my, it can’t be – it’s not only the needle
felted tea cup! The one that I have been saving on
Pinterest is it? – golly it is!!!!

SO, I didn’t cheat and go
straight to the teacup – I sat
down and started to read
from the start. The book
follows the usual starting
format with information
about what you need to
start – very little! - and also
about fibres and wools.
I found this incredibly easy to read as the
explanations are fairly short and concise and the
pictures are just wonderful. This then follows into
blending colours and what colours to use for typical
projects. Very quickly it runs into the basic starting
techniques of holding the needle, stabbing (my
favourite part) and shaping up. Within the two pages
you have the methods to make stars and hearts albeit
flat ones using cookie cutters.
81

Wow – now into proje
for ev
pandas, mice, ca
and of course yes, th
on page 54 the small
tea
Interestingly this then follows
straight into different shapes
and 3d work – some trouble
shooting and then a lovely
teddy bear.
Features such as noses,
mouths and ears are all easily
worked through with the most
glorious colour photos.
82

Well, couldn’t top that I
thought – but the book
goes on to look at making
things lifelike, wire legs,
joining, jointing and even
clothes – to be honest
this is the only felting
book you are ever going
to need.
cts, there is something
eryone –
ts, heads, bunnies
ere it is, in all its glory
world pin cushion in a
cup!
83

But I thought wait, there is
of course armatures/wire
frames which are used for
more delicate legs which
isn’t covered. But oh how
wrong – page 104 proudly
has a shabby sheep and in
the title it says ‘working on a
full armature’.
I am out of techniques to catch this book
out on !
84

Overall this book is a wonderful journey through
needle felting for the absolute beginner and also
those that wish to be a little adventurous. I am
going to refer to this book myself many times to
assist me with my needle felting and in particular
- yes you’ve guessed it –
I will be doing my own small world pin cushion
very soon.
Happy Needle Felting
Teresa Phillips
85

RSN Embroidered Boxes
Heather Lewis trained at a fashion
house in Yorkshire in the UK
before graduating from the RSN
Apprenticeship Scheme in 2002.
She has taught embroidery for the
Royal School of Needlework in the
UK and the United States, where
she currently teaches. She has
worked on a diverse range of
commissions including a new altar
frontal for The Royal Anglican
Regimental Chapel in Essex and
the Dover Castle hangings for the
re- presentation of the Great
Tower.
86
Title: RSN Embroidered Boxes
Author: Heather Lewis
Publisher: Search Press
ISBN No: 9781782216520
Order: Search Press Ltd
www.searchpress.com
RRP: £17.99

The book is very
informative and starts
with Heather’s fascination
of small boxes as a child
and how it continued into
adulthood. The focus of
the book is on hand
embroidery techniques
but machine embroidery
can be used.
Any embroidery technique
can be used to embellish
the box. Appliqué, surface
stitching, silk shading,
stump work and adding of
beads and jewels.
The book covers the
construction of a basic box,
along with instructions on
framing up fabric for
embroidery, information
on materials, threads and
tools. Also details of
embroidery stitches and
87

88

designing your project.
Besides instructions for the
basic box there are 3 other
projects using a chest design
box, a hexagonal box and a
stump work casket.
The stump work casket is
featured in the book as an
extended project.
It is based on seventeenth
century embroidered caskets,
with many compartments and
drawers.
Heather explains every
step on the embroidery and
construction so that a
beautiful box can be
achieved.
I was happy when I was
asked to write a review for
this book, as I have made
embroidered boxes in the
past. This book has really
inspired me and I can’t wait
to start my own project. I
can’t recommend this book
enough.
Sally Wilkinson
89

Seasonal Plant Dyes
Title: Seasonal Plant Dyes
Author: Alicia Hall
Publisher: White Owl Books
ISBN No: 9781526747235
Order: Search Press Ltd
www.searchpress.com
RRP: 14.99
90

Alicia Hall has a degree in Fashion
Design and it was whilst working as
a gardener for the National Trust
she discovered plant dyeing . She
was able to combine her love for
plants and fashion into a thriving
business. She now spends her time
in Wiltshire cooking up plant dyes
and making textile products in her
home studio.
Alicia Hall starts by
explaining her dyeing
process in plain and
comprehensive detail.
There is a chapter on when
and how to harvest plants,
Another on how to chose
the fabric to dye and a
section on Mordants. 91

Alicia uses soya milk as a
mordant due to it being
safe and is chemical-free.
The next chapter contains all
the recipes. It is broken into
the four seasons with five
plants in each. As well as the
method of extracting the dye,
there is a description of the
plant, its horticulture and the
variance of colours that can
be obtained.
92

The final section of the
chapter is a suggestion of
what to make with the
resulting beautiful dyed
fabric. There are
templates for a cushion
cover, a hot water bottle
cover, a picnic rug and a
quilt.
This book is a must for all
those who like
experimenting with hand
made dyes and the colours
that they produce.
Susan Holberton
93

Title: Stitch, Fibre, Metal & Mixed Media
Author: Alysn Midgelow- Marsden
Publisher: Search Press
ISBN No: 978-1782217886
Order: Search Press Ltd
www.searchpress.com
RRP: £12.99
94

Alysn Midgelow-Marsden is a successful textile artist, freelance
tutor and author. She uses a lot of metals, stitching into the hard
shiny surface to create patterns, textures and pictures using both
hand stitch and a sewing machine. She teaches, runs workshops
and courses, mentors those wishing for more individual attention,
and has written three books. Alysn lives in New Zealand.
95

Flicking through from the
beginning I could see the book was
lavishly illustrated – always a good
start for those of us interested in
visual arts.
I love a new recipe book
with lots of pictures and
Alysn’s book reads just like
one!
96

A thorough and
comprehensive chapter
covers all the ‘ingredients’
Alysn uses to give the
reader a good grounding
before any work is started
– including appropriate
health and safety. Alysn
offers us her choices of metals and also
encourages us to look around and utilise the foils
and metals of our everyday lives. Chocolate
wrappers, foil lids from dips,
the metal wrappers around
champagne corks. (Happy to
oblige!)
97

The book is project-based, with each project
presented as a ‘recipe’ - a list of ingredients followed
by step-by-step instructions explaining how to
combine them to create the perfect ‘dish’.
This may not suit some people - those who like to
chuck in lots of extra ingredients – but often it’s good
to follow a recipe closely the first time and then
develop your own version. As Alysn says ‘knowing
the correct, or normal, way to do something helps
you understand the materials you are using’.
98

The ‘recipes’ are wide and
varied, from a set of
baubles to a vessel
inspired by fernery .
Plenty of opportunity to
develop a style of work
that suits the individual.
The book is excellent value
Karen Rowe
99

Title: Appliqué Embroidery
Author: Florence Daisy Collingwood
Publisher: The Crowood Press Ltd
ISBN No: 978-1785005398
Order : www.bookdepository.com
RRP: £19.95
100

Florence Daisy Collingwood is an embroiderer and teacher
based in Sussex. Having completed her apprenticeship at the
Royal School of Needlework, she continued as a tutor and
embroiderer, including work on high-profile projects for
fashion houses.
101

At the beginning of each chapter in this book
there is a stitch-related quote ranging from Ethel
Mairet in 1916 (a self-taught weaver, spinner and
dyer), through Alessandro Michele (an Italian
fashion designer appointed creative director of
Gucci in January 2015) to my personal favourite
from an unknown author:
‘So much fabric, so little time!’
102

As well as the usual
introduction to materials and
tools and a stitch glossary with
tips for achieving the perfect
stitch, there is an abundance of
illustrations, including sketches
and photos from stitch plans
through to finished pieces.
There is a delightful fishing boat and fisherman worked
by Rosie McKellar of Wokingham Branch.
103

All of these show the many
and varied types of fabrics,
threads and trimmings that
can be used in applique.
Each one is clearly described
and the differences well
explained as to the effects
produced.
In addition, painting and dyeing of fabrics is
included as well as how to ‘trap’ leaves and flowers
under organza to further enhance the end result.
104

This is a very thorough and readable guide to
this technique – including both hand and
machine methods of applique and is well worth
having as a reference and as a source of ideas for
projects. A very enjoyable read.
Kate Whybrow
105

Cross Stitch for the Soul
Emma Congdon studied Graphic
Design. having graduated from LCC
(formerly LCP) in 2009, she worked
predominantly on design for retail &
retail environments.
Emma is also a keen designer of
cross stitch embroidery and designs
extensively for magazines in the US
and UK.
106
Title:
Author:
Publisher:
ISBN No:
Order:
RRP: £16.99
Cross Stitch for the
Soul
Emma Congdon
David & Charles
978i446379578
Search Press Ltd
www.searchpress.com

on techniques and
materials to use together
with their charts, which
are easy to follow. A
conversion chart for DMC
and Anchor threads is
included.
There are twenty designs
in the book which can be
worked on 14 count Aida.
If you are an embroiderer
who loves to cross stitch
and enjoys inspirational
motivational quotes, then
this is the book for you.
This book is full of
quotations, some well
known and, others that are
not so well known.
Lizzie Painter
Emma Congdon gives hints
107

Embroidery on Knitting
Title: Embroidery on Knitting
Author: Britt-Marie Christofferson
Publisher: Search Press
ISBN No: 9781782217640
Order: Search Press Ltd
www.searchpress.com
RRP: £12.99
108

Christoffersson is a Swedish designer and textile artist
who trained at the Textile Institute in Boras and
Konstfack, the University of Arts, Crafts and Design in
Stockholm. Her “first jobs were designing in the textile
industry” before becoming the freelance researcher of
practical knitwear in Sweden and exploring technique,
tradition.
109

The book presents a
selection of the samples
Christoffersson created
for an exhibition of the
same name and
showcases her
technique of using
traditional embroidery
stitches to embellish
knitting. She believes that hand embroidery on
knitted fabric can be either a pattern distributed
across the entire garment, or embellishments set
in strategic places.
It consists of colour photographs
of knitting on which
Christoffersson has worked
patterns using a tapestry needle
to poke a soft, pliable yarn
between the knitted stitches.
110

The photographs are grouped
based on the embroidery stitch
used.
Each section begins with a
description of the stitch and how
to work it, followed by colourful
illustrations of the technique on
the knitting. A few of the
sections have examples of the
embroidery worked on actual
garments.
This book is a useful guide to how simple
embroidery can be used to enhance knitted
items, even industrially produced sweaters,
caps or mittens or give a new look to existing
clothing, perhaps to a piece that has seen better
days
Linde Merrik
111

Crewel Birds
112
Title: Crewel Birds:
Jacobean embroidery takes flight
Author: Hazel Blomkemp
Publisher: Search Press
ISBN No: 9781782218340
Order: Search Press Ltd
www.searchpress.com
RRP: £15.99

Hazel Blomkamp has taught embroidery and beadwork in
South Africa for over 20 years. She travels extensively
both around South Africa and abroad to teach and
promote her work, she is regularly invited to teach at
international conventions. Her teaching has taken her to
Australia, New Zealand, Western and Eastern Europe,
North America and Asia.
This is the fourth title in
Hazel’s series on crewel
embroidery and (as it says
on the back) is “for those
keen to challenge
themselves with more
complex embroidery
techniques”. As a cross
between charted cross
stitch, traditional crewel
work and zentangle with
stitches, it is probably not
for the beginner.
There is a full introduction
to the fabrics, threads and
stitches. The diagrams
showing how to do each
stitch are large and clear,
starting with basic stitches
and then getting more
complex so you end up with
numerous variations.
113

In all, there are over 40 pages of stitches, as the author
covers not only crewel work but includes bead
embroidery, needlelace techniques and needle
weaving.
Hazel’s series on crewel embroidery and (as it says on
the back) is ‘for those keen to challenge themselves
with more complex embroidery techniques.’
114

In all, there are over 40 pages
of stitches, as the author
covers not only crewel work
but includes bead embroidery,
needlelace techniques and
needle weaving.
There is a full introduction
to the fabrics, threads and
stitches.
The diagrams showing
how to do each stitch are
large and clear, starting
with basic stitches and
then getting more complex
so you end up with
numerous variations.
115

An added bonus are the
instructions for presenting
the pieces as a fabric ‘rag
book’ – the writer having run
out of wall space! Hazel’s
speciality is traditional
crewel work and she shows
many of the stitches in new
combinations.
The book is well written with
clear diagrams and
comprehensive instructions
for the six projects, which are
based on farm and game
birds.
116

For each project there are full, stepby-step
instructions and close up
diagrams of the feathers and
parts of the bird to show how
they should be stitched. Every
feather is different and it is the
little details, such as outlining
the eyes or quilting the
background, which really give
these birds a finishing touch.
117

118
However, be prepared to take
your time – this is not a
“quick project” book. The
instructions are clear and
comprehensive but you will
need to concentrate and
ensure you understand them
before embarking on your
bird. If you persevere and are
patient, you will be rewarded
with a magnificent, regallooking
bird and whether you
choose Kevin the pheasant,
Dick the mallard duck, or
Nigel the flamingo, every bird
will be a riot of colour and
stitch.
Alex Messenger

Search Press Celebrates
50th Anniversary
50 th Birthday
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Buy this book for £11.19
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Using this code EGBOOKS30
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119

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