Embellish - Issue 51, September 2022

®
THE AUSTRALIAN MAGAZINE FOR TEXTILE ARTS

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2022
Issue 51
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With inspiration from Lace

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projects | embroidery | mixed media | articles

King Tide
For more of Jane Bari, please see page 3

CONTENTS
embellish ® ISSUE 51 SEPTEMBER 2022
FEATURES
3 Artist Profile: Jane Bari – by Jane Bari

12 Lindy de Wijn: Lace and Interlace – by Lindy de Wijn
28 Reader Challenge Postcard Swap
12 30 Australian Textile Art Award 2022
39 Lace – by Lynda Worthington
44 Artist Profile: Sacha Barker – by Sacha Barker
PROJECTS/TECHNIQUES
8 Vintage Style Lace Collar – by Penny Eamer

14 The Luxury of Lace – by Anne Mitchell
22 Simple Macramé Wall Hanging – by Lynda Worthington
26 How to attach a hanging cord to a rod
– by Lynda Worthington
‘Shabby Chic’ Lace Table Runner – by Penny Eamer
22 36
48 Lacy Leaf – by Lynda Worthington
INFORMATION
2 Editor’s Notes
52 Book Reviews
55 Advertisers’ Index
56 Subscription Form
30
ON THE COVER -
The Luxury of Lace (p 14)
– by Anne Mitchell
www.artwearpublications.com.au or find us on Facebook
Measurements within this issue are as per the author of EMBELLISH is an independent Australian publication
the project or article. No attempt has been made to convert
between Metric and Imperial measurements due to the errors ArtWear Publications P/L has taken reasonable steps to ensure that the copyright of each article or project resides
that may creep in. with the contributing author. We secure from each author a warranty stating such, or that the author has obtained all
necessary rights, licences and permissions such that publication will not infringe on any third party’s copyright.
One inch = 2.54 centimetres;
ArtWear Publications P/L relies on these warranties when asserting that the copyright is owned by the authors.
Ten centimetres = 3.94 inches. Instructions for the published projects have been checked for accuracy and are published in good faith. We cannot
guarantee successful results and offer no warranty either expressed or implied. All companies and brands mentioned
Acknowledgements Thank you to all our wonderful are included for editorial purposes, and all copyrights and trademarks are acknowledged.
contributors in this issue, to our advertisers, and to our
readers and subscribers for supporting an Australian ArtWear Publications P/L takes no responsibility for the accuracy of the content of any advertisements, advertorials or
independent publication. paid promotions. Any claims and statements are not those of the publisher.
www.artwearpublications.com.au
A good idea begins with a good fabric
embellishIssue 51/September 2022

®
editor's notes
Lace. It’s a vital part of textile art—appearing in many forms.
Our contributors and postcard swap participants have certainly
investigated different facets of lace—including making their own.
Publisher
ArtWear Publications Pty Ltd
Once again, Anne Mitchell has had far too much fun playing, this time in the
Editor sun with different laces, in her The Luxury of Lace project, one result of which is featured on
Lynda Worthington.
our cover. Penny Eamer has been raiding her stashes of lace to create a table runner and a
Art Director vintage style lace collar, the latter of which may be used to dress up many of your out�its.
Kylie Albanese.
Senior Graphic Designer

I took a step back into my earlier years to rediscover macramé, which is mentioned in quite
Michelle Davies - Mishy Dee Creative Designs a few lace books as a means by which to create lace. I hope you like my simple macramé wall
mldavies@bigpond.net.au hanging—if you have not tried macramé before, this is a good one to have a go with. I also
created a lacy leaf using free motion machine embroidery and water-soluble fabric—give it
Photography a go! It’s a technique which may be transferred to many projects.
The “how to”, “Postcard” or “article”
photography are by the individual You will be inspired by the works of our artists in our artist pro�iles: Lindy de Wijn and
contributors, unless otherwise noted. her fabulous lace making (Lindy is the current President of the Victorian Branch of the
Admin assistant Australian Lace Guild), Jane Bari, who works across a variety of media, but favours working
Dawn Bordin in bead embroidery and felting, and Sacha Barker, who seeks to extend understanding of
handmade art media, weaving together artistic techniques and media, and drawing in the
Proof Reader
observer to be a participant.
deLancey Worthington
Contributors I undertook a visit to The Embroiderers Guild, Victoria to see (some of) their vast collection
Jane Bari, Sacha Barker, Penny Eamer, Elsie of lace and bring some of it to you. It was very dif�icult to choose what to show you! It’s a
Law, Anne Mitchell, Lindy de Wijn, Lynda
huge �ield of study!
Worthington.
Advertising sales & marketing: We also have the winners from the Australian Textile Art Award 2022—it was fabulous that
Lynda Worthington 03 9888 1853 the exhibition was able to go ahead this year without impact from COVID-19 lockdowns!
thegirls@artwearpublications.com.au
Published in Australia Of course, we also have a selection of postcards from the “Lace” postcard swap for you—
Printed in C&C Offset Printing Co., Ltd. don’t forget to check them all out on our Facebook page and vote for your favourite(s).
Australian distribution by Are Direct
Agents order online or call customer service Speaking of the postcard swap, the theme for the next postcard swap is "Reduce Renew
on 1800 032 472
Recycle". See below for details. Some of the postcards will be displayed in Embellish #53
New Zealand distribution: New Zealand distribution: (March 2023), which has the theme Reduce Renew Recycle, and all will be
Are Direct NZ Ltd., Phone +64 9-928 4200
displayed on our Facebook page, facebook.com/ArtWearPublications, in
USA and Canada distribution a photo album early in March 2023. The postcard with the most "likes"
by DISTICOR Magazine Distribution Services on Facebook at midnight on 31/03/2023 will win $100.00 to spend
Tel: +905 619 6565
with one of our advertisers in the March issue.
UK distribution by Manor House Magazines
Tel +44 (0) 1672 514 288
World Wide Digital Distribution by GGA Yours in textile art
www.pocketmags.com.au
Lynda Lynda@artwearpublications.com.au
Please address comments, letters, and inquiries
to <thegirls@artwearpublications.com.au>
or write to ArtWear Publications, PO Box 469 POSCARD SWAP DETAILS:
Ashburton VIC 3147. Tel +61 3 9888 1853
You may choose anything relating to the theme. The completed size must be
All contents © EMBELLISH Magazine 2022. postcard size (A6—a quarter of A4 size, 4”x 6” approximately) and you may use
The purchaser of this magazine may make a any technique, or combination of techniques to create it, so long as it includes
single copy of any pattern contained within for textiles.
personal use only. Please do not give copies
to your friends. Contact us to talk about
On the back of the postcard, please write your name, address, phone number
reproductions, including intended sale of items and email address (if you have one). Completed postcards should be posted to
made from patterns within this magazine. If you arrive no later than 1st November 2022, to “Reduce Renew Recycle” Postcard
have any questions about obtaining permissions Swap, PO Box 469, Ashburton VIC 3147, and include a stamped* self-addressed
or about this policy, please contact us at the C5 or B5 envelope (so that the swapped postcard can be posted to you—C6 size
address above. is too small if there is a postcard that is on the thicker side, so you are limited in
the postcards which can be swapped back to you...).
EMBELLISH Magazine ® is a registered
trademark of ArtWear Publications P/L, Don‘t forget to add a short note with some information about your techniques
Ashwood, VIC. and inspiration.
ISSN 1837-6037.
* International readers please email me and we can arrange a PayPal payment
for your return postage.
2 embellish Issue No 51
Parallel Universe
(detail)
Jane Bari
ARTIST PROFILE
www.artwearpublications.com.au Issue No 51 embellish 3

JANE BARI
I work across a variety of media,
ranging from pastel and acrylic
painting, unique freeform bead
embroidery wearable art, and hand
dye roving and art yarn for spinners
and weavers.
I have returned to felting again with

a vengeance. I am self-taught and all
my works have my signature use of
lots of colour, form, and texture. Life
is a full circle in a creative sense.
I find a lot of joy in turning a beautiful

white Merino roving into a hand-
dyed one-of-a-kind presentation of
colour to work on and make into
fabric or spin. There is something
fundamentally satisfying in turning
a piece of string or wool into fabric Jane Bari, above, and below, her studio
for further embellishment with both
bead and hand embroidery.
My favourite to work in is bead

embroidery and felting. I dream
nightly in vivid colour and these
dreams often provide me with simple
solutions to nagging art-related
problems. I do not work to any
pattern or presupposition; the image
is always revealed in dreams for bead
embroidery. However, I maintain a
visual diary for my felt work/mixed
media paintings, as this process
assists greatly with the design
element of each.
My mother taught me to sew by the

age of four and I have not stopped My world view is captured through practice of pulling off a small length
creating. I come from a line of artists, the multi-sensory synaesthesia. I not here and there of different coloured
all of whom reside in the far north- only say and picture words in my roving is inspirational.
eastern corner of Italy. One cousin head, but I can often smell and taste
is a master lace maker who exhibits the words as well. The scent and taste I think artists are highly visual in this
throughout Europe. for certain words is always the same regard. The design phase I go through
and, at first, I assumed this state of sees every surface covered with lots
My two friends—dyslexia and being quite “normal”, but it is a rare of exciting elements from which to
synaesthesia—heavily influence condition that enhances my creativity. select. The bead embroidery is far
what and how I see and experience more sedate, but my big worktable
the world. These elements are I spend part of every day in my is completely covered with a variety
fundamental to my art; we all work room that is packed to the of beads and other excitingly sparkly
of us view the world through a rafters with long, luscious lengths bits and pieces.
highly personal refractive index of of hand-dyed Merino roving and
conceptualisation. Dyslexic people boxes of beading supplies. Some The rest of my week for the past two
have to find ways around problems, days it is standing room only when years has been spent writing a book
so they are usually highly motivated I am felting; a small price to pay for that is now with a publishing house.
people who turn to their creative side a visual feast. I am surrounded by The book title is Budget – Cook –
to achieve positive outcomes. colour, form and texture and the Grow.
New designs, 2nd September 2021
Dragonfly
Billabong
Forest My Love
Cuff
Red Fox
Necklace Set
Renaissance
Ancient
Treasure

Felted Journal Covers
Rift, March 4, 2022
I can’t wait for the Victorian

Branch August 2022 retreat to
meet up with these amazingly
creative women, where we can
laugh and share and work on
our individual colour, form and
texture projects.
My jewellery sells in art

galleries and on Etsy. Many
American ladies appreciate my
bead embroidery jewellery. I
have yet to source an outlet
Universal Journey (right) and above, for my felted mixed media
in detail paintings. I am slowly working
towards creating a collection of
framed wet and dry needle felt
The book demystifies a prepper work mixed media paintings
lifestyle from an economic for an exhibition I hope to have
perspective in this day and age of in 2024.
spiralling living costs. The book is a and Surface Design Association
combination of economic analysis, Inc.) late last year. What I found is a My work room is open by
horticultural notes drawing on welcoming group of highly talented appointment only, where visitors
my educational and professional women, all of whom share a love can purchase my art or generally
experience in this field to help people of textiles. The Zoom meetings are poke around the place, enjoying the
grow vegetables, and finishes up with a wonderful way of keeping up kaleidoscope of colour.
14 chapters of good old-fashioned, with the many and varied activities
budget-friendly recipes from my planned for the coming year. ATASDA Jane may be contacted via
overseas ancestors and family. has existed for coming up to 50 janebaridesign@dcsi.net.au
years and is the best-kept secret in Etsy shops: Jane Bari Design; Jane
I joined ATASDA (Australian Textile the textile world here in Australia. Bari Beads; Sheep Shed Yarns
Issue No 51 embellish 7
1 2
Vintage Style
Lace Collar
3 Diagram 1
4 5
PENNY EAMER
This collar stands alone and can be
worn with any suitably plain outfit
to create a totally different look—
simply slip the collar over your head
and clip or pin it to your existing top
or dress. The pattern can be used to
make a variety of collars to suit many
occasions. There are two variations
in the width of the collar, and you can
make them as colourful or plain as
you like. MATERIALS:
Base fabric/sheeting;
I initially cut the white lace collar Laces such as lace curtains, recycled
in a wide width (photo 1 shows the garment lace (photo 4), plus thicker,
unfinished collar) and then decided attractive lace pieces and motifs;
I preferred a narrower width collar Ribbons, lengths of lace, decorative
(photo 2). The pattern shows both lacy floral braids (photo 5);
widths. With the floral collar (photo Beads and/or attractive buttons;
3) the wider pattern was more Small brooch pin or similar.
suitable—it just depends on your
fabric choice. Diagram 2
Diagram 1 shows my original idea.

If you are unsure, I advise cutting
your fabric to the widest width first,
as you can easily trim it down to suit.
METHOD: Diagram 3
Cut 2x the base sheeting to each
pattern shape (Diagrams 2 & 3).
Set one of each aside for backing
the collar when finished.
Lay each of the remaining fabric

pieces out roughly as they will go
to make the collar.
Select your base laces. Cut into

medium/small shapes and lay these
onto the cut pattern pieces. Sew them
into position lightly.
Decide now if you want a wide or 6 7

narrow collar—cut down to the
narrow collar now if required.
Cut out your favourite motifs or

lace shapes and lay them over the
other laces (photos 6 &7). Keep in
mind that you will be attaching 3D
flowers later, so decide their position
and mark it. Make sure none of your
best lace motives will be under these
flowers. Free machine all pieces into
position.

8 9
11
10
Diagram 4
Trim off excess
to make collar
sit correctly.
12
Turn seam Turn seam

allowance allowance
inside and inside and
press. Then press. Then
insert A1 insert A2
into B and into C and
sew. sew.
Raw open
ends
Finished,
backed pieces
13 14
15 16
Add any beads at this

point—but not inside the
seam allowances! Photo
7 (page 9) shows how
layering laces can give a
rich textural effect.
Take your main three

collar pieces and right
sides together (photo
8) sew around the seam
allowance leaving the
ends of each piece open
for turning.
Turn inside out and press

17
(photos 9, 10 & 11).
Make layered lace flowers and one
Put your pattern pieces together as leaf shape. Photos 13 and 14 show
shown in Diagram 4. laces and flowers.
NOTE: The grey excess in Diagram 3
(page 9)—this is to allow you to alter Photos 15 and 16 show placement
the angle or length and the way the variations. Stitch your flowers into
collar sits. position.
Trim off any excess after marking
how you like it best. Finally, cross one lower end of the
collar over the other, deciding which
Once it fits, slip the ends of the neck one is best on top. Stitch together.
piece down into the collar flaps, Add a brooch pin on the underside
pin and sew the pieces together as to fix the collar end to your outfit
shown. (photo 17) and enjoy!
Your collar should then look like To see more of Penny’s work, visit
photo 12 without the flower. pennyeamer.crevado.com

The Heads at Watsonia Optical.
Image by Eli Dance Ali Photography
Lace and InterLace

LINDY DE WIJN between a pair of bobbins—either lace styles. Over the years I have
I first saw bobbin lace being made a cross where one bobbin passes taken elements from each to create
when sitting on a couch at my over another bobbin left to right, contemporary lace pieces. Having
Grandparents’ place at around 12 or a twist where one bobbin passes studied a Master of Arts (Art in Public
years of age. I watched as Jenny, a over another bobbin right to left. I Space), and prior to this a Bachelor
family friend, danced her bobbins am amazed that all styles of bobbin of Occupational Therapy, I have a
across her lace pillow. The rhythm lace stem from these two movements. deep interest in the role making
and gentle sounds the bobbins made A ‘stich’ is made using two pairs of has in health and wellbeing, as well
as they passed by each other was bobbins at a time and the amazing as the role craft has in connecting
mesmerising. From that moment, I variations of styles and designs are community.
knew I had to learn the art of bobbin created by varying stitch type, grid
lace. size/shape and thread type/size.
All bobbin lace stitches are made by When beginning my lace journey,
a combination of two movements I learnt a variety of traditional
In 2020 I co-founded InterLace Girona in 2021. This is one of several
Oceania with Vicki Taylor, a fellow women in lace made by InterLace
Australian Lace Maker. Rosemary members specifically for this
Shepherd OAM, a significant exhibition.
contributor to lace in Australia and
overseas, is our Patron. Our aim is Handmaid vs Handmade asks the
to provide a platform to support viewer to reflect on the historical
and promote contemporary lace in process of creating lace by hand.
Australia and New Zealand. We are an In centuries past, women worked
emerging group who seek to exhibit tirelessly in poor conditions and
our work and raise the profile of for little pay to create treasured
contemporary lace as an art form. textiles. These women remain
faceless while their traditions and
20 years ago, I used to wonder what techniques continue to evolve. Lace
the future of lace would look like in is a living textile technique. This
this fast-paced world. Today I think piece combines several traditional
we are in a process of change. The bobbin lace techniques used in
incredible value of making by hand contemporary ways.
is being celebrated again. The role
of process and stories of makers and The Heads was a series designed
Above: Handmaid vs Handmade
artisans are being told, and more in 2020 via a grant awarded by
(detail). See the full work on the
and more people are getting back Banyule Arts and Culture. I worked in
Inside Back Cover.
into using their hands to create. This partnership with Watsonia Optical to
Below: Faces.
warms my heart immensely. design a site-specific lace installation
Far Left: The process behind Faces,
for their window display as part
showing contemporary techniques.
Some of my lace pieces: of the City of Banyule’s From My
Handmaid vs Handmade is a Window event. The series of three
piece I designed based on a 1662 heads was styled to complement the
painting by Caspar Netscher titled summer eyewear range instore.
The Lace Maker. It was created for Each of the works used
an exhibition in Girona, Spain, titled contemporary stitch variations
No woman in the Dark celebrating combined with traditional
the 25th anniversary of Puntaires de techniques.

The Luxury
of Lace
2 3
1
ANNE MITCHELL When you then put the fabric in the sun
to dry, the areas under the objects will
“Lace”… we are familiar with this become lighter while the areas around
term, but have you ever thought of the objects become darker. Flat objects
its origin? Derived from a Latin word will give the best definition of the
meaning “noose”, it describes an open shape(s) you use. The black plastic will
space outlined with rope or thread. help intensify the heat from the sun
and assist in achieving the best results.
There are thousands of styles of lace
that have been developed throughout Suitable Fabrics:
the years, and hundreds of ways we Any plain fabric (white or pale
enjoy it for our creative activities. In colour)—cotton, polycotton, silk,
this project we shall work with lace polyester, whatever you have in your
(and sunlight) to design our own stash. Choose fabrics that are evenly
MATERIALS
‘lacy looking’ fabrics—so simply that woven for best results. Textured
(photo 1):
you won’t believe it! fabrics do not allow us to create the
An old sheet or curtain to protect
effects we are aiming to achieve.
your work area,
In past projects, I have focussed on
A large sheet of black plastic, or
multi-coloured designing methods. PREPARING YOUR FABRICS:
plastic covered board(s),
This time we’ll explore a ‘one- Cut fabric to the size required for
Old hand towel,
colour’ method and develop a series your project. Wash cotton fabrics
Bowl of water for wetting fabrics,
of fabrics that will go together in to remove sizing. If fabrics have
Liquid colours or dyes, diluted to
projects where you need the colours been stored for any length of time,
your preferred colour strength
to coordinate perfectly. freshen them by washing them.
(I am using Liquid Radiance colours,
Do not use fabric softener in the
diluted 1 part concentrate to 3 or 4
As I look out the window into my rinse water. No other preparation
parts water),
garden, I see a stand of strelitzias in required when using Liquid Radiance
Measuring glass or laundry scoop (30
bloom. I love their dramatic Bird of colours. IMPORTANT: If using dyes
or 40mL),
Paradise shapes, and the richness of or other liquid fabric paints, follow
Bowl or small bucket for colouring
the colours—perfect timing to use the instructions relevant to those
the fabrics,
these colours as my inspiration and throughout the steps of this technique.
Rubber gloves (preferably
combine them with laces to create
disposable),
exquisite patterns for stunning hand- Choosing Suitable Laces:
White paper towel or tissue,
designed fabrics. All we need is a It’s all about the open spaces really,
Suitable laces (either fabric or
sunny day... Let’s get ready to start. and the clearly defined designs of
plastic),
the threads around them forming
A few small flat stones to use as
THE HELIOGRAPHY PROCESS the patterns. Look for distinct lines
weights,
(Sun Printing): and solid areas that can be clearly
A sunny day!
Fabric is coloured or dyed, then laid seen (photos 2 & 3). Really fine laces
flat on black plastic. Objects are then do not have enough fibre content to
placed onto the fabric while it is wet. ‘print’ the patterns we are aiming to Photography: Margaret,
Alan, and Anne Mitchell

5 6
GUIDE TO VOLUMES OF
PREPARED COLOURS achieve in this project. We also need each step to be sure it is what you are
REQUIRED: to consider how flat the lace will sit aiming for.
l These measurements refer to on the fabric. For this reason, plastic Hint: Use a simple Colour Circle
colours diluted to the strength lace is my favourite to use—for these (photo 4) and work systematically
required for your fabrics techniques only! The firmness of the around it when adding your
and not the concentrates. All plastic creates a crisp, neat pattern, colours. Analogous colours (those
measurements apply when whereas fabric laces will give a more that are side by side) will always
working on damp fabric. muted, almost out-of-focus effect. result in clean clear mixes.
l It takes approx. 30 to 40mL of
liquid to colour a fat quarter / GENERAL INFORMATION: COLOURING METHOD:
quarter metre of damp cotton Work your fabrics one at a time so 1. Dampen fabric in water and
fabric. they ‘go together’ perfectly to create squeeze or wring it until no more
l You will need a little less for a colour sequence by starting with drips come out. If working on several
polycotton, and a lot less for a light colour for your first piece of large pieces of fabric, put them in
fine silk. fabric. Then, add a darker colour to your washing machine on a rinse
l Approx. 250 to 300mL will the leftovers from this first fabric, and cycle but do not spin them too dry.
colour an adult t-shirt by this use it to colour another piece of fabric. If your fabric feels clammy rather
method. than moist, spray on a little more
l 40 to 60mL will colour a pair Use the leftovers from the second water. When the fabric is too dry it
of adult crew socks (volume piece and add a different colour, then is difficult to work the colour evenly
depending on thickness of the use that mix on a third piece of fabric during the next steps.
socks). … and so on. Remember that the
leftovers will become more diluted Note: Put the fabrics you are not
from the damp fabrics each time you using immediately into a plastic
4 squeeze them out. bag to keep them moist until you
are ready to colour them.
You may need to strengthen the
colour mix from time to time by 2. Measure the required volume of
adding a few drops of concentrate colour (photos 5 & 6) and pour it into
into the mix as you work. Using this the bowl. If doing a colour sequence
colouring method, you can keep as described in General Information,
going all day if you wish! The colours make sure you have a little more
and effects you can create from a colour than you actually need so
simple range of basic colours is… you have some left-overs. Check the
well, endless. colour and strength on some white
paper towel or tissue.
My Colour Choice:
I started with yellow; then added a 3. Clean out the measuring container
little red to create orange; then added with the fabric you are about to
more red to create scarlet; and finally colour (photo 7). The dregs are too
added purple to create aubergine. good to waste, and it will save you a
Check the colour mix and strength job later! Dry the measuring scoop
on white paper towel or tissue at ready for the next colour.
7 8 9
10 11
12 13
4. Dunk the entire piece of fabric into When it is evenly coloured, squeeze board, so it is easy to carry my fabric
the bowl (photo 8). If it absorbs all out the excess colour. Remember that out into the sun.
the colour quickly and leaves some when using Liquid Radiance “Excess Hint: For really large fabrics, put
parts uncoloured, don’t worry. The is the Enemy”. a table in the sun and tape some
next step will solve that. black plastic to it so the plastic
6. When the fabric is evenly coloured, and fabric do not blow away if
5. Squeeze the colour back into the spread it flat onto black plastic. there’s a breeze.
bowl (photo 9). Dunk and squeeze Stroke it firmly, especially if using
again and knead the colour through cotton fabric (as in my samples), 7. Roll your chosen lace into place
the fabric until it is evenly covered to remove any wrinkles from the over the newly-coloured fabric
(photo 10). You may need to do this colouring process (photo 11). (photo 12) and press it firmly into
several times. I am using a large plastic covered place (photo 13).

14 15
8. Carry your fabric out into the sun. 16

For large pieces of fabric, this has
already been done (see step 6).
Put your fabric where shadows will

not encroach upon it as the sun
moves (photo 14). The best time of
day to do this is around midday (say
11am untill 2:30pm) when the sun is
highest overhead.
Note 1: I like to secure the edges

of my lace with a few flat stones,
just in case a breeze blows up and
lifts the edges during drying time.
Make sure the stones don’t throw a
shadow over your fabric to mar the
design (photo 15).
Note 2: Fabric should take only

about 30 to 45 minutes to dry on a
warm sunny day.
9. When fabric is completely dry,

remove the lace to reveal the pattern
formed beneath (photo 16).
10. Heat Setting: In this Heliography

technique, it is usual for the fabric
to feel a little stiff when first dry.
Liquid Radiance colours are heat set
by ironing for about 1 minute at the
colour strength I have used. Ironing
will destress the fibres, restoring
the feel and fall of the fabric, and
will maximise the light and colour
fastness of the design for the life of
the fabric.
If using dyes or other fabric

colours, it is important to follow the
instructions relevant to the product
you are using.
17 18
PREPARING THE NEXT FABRIC…

and the next… and the next:
Add your next colour to the leftovers
in the bowl from the first piece of
fabric (photo 17). Swill it around to
mix it and check the new colour on What an Exciting Patch of Lawn! from the same colour base.
the paper. Follow all steps 1 to 10. All four fabrics are drying in the I give special thanks to my stand
Continue adding extra colours and sun (photo 18), from yellow to of strelitzia for providing the ‘aha’
creating more fabrics as described in orange to scarlet, to aubergine; all moment of colour inspiration for
General Information. perfectly coordinated by working these fabrics!
VARIATION 1
Using Multi Colours:
Apply the colours in stripes, swirls, or
however you wish, using dispenser bottles
or brushes. You can refer to many of these
methods in my projects in previous issues
of Embellish. Lay your chosen lace over the
fabric while wet, then put it in the sun to
dry. In this sample I have used fabric lace
to form the pattern. You can see how the
design is softer, and less defined than when
using plastic lace (photo 19).
When using fabric lace, the fibres will

absorb colour from the wet fabric
19
underneath it (photo 20).
20 So, when using Liquid Radiance:

A. The ‘newly coloured’ lace could be used
to coordinate with, or become a feature, in
other areas of that project… OR…
B. If you want to reuse the lace for more
heliography later, the colour in the lace will
not reactivate and spoil other pieces when
that colour is dry. Some of my fabric lace
pieces are almost black from being so well
used and loved!
If using another brand of fabric colour
dye or product, please check that it will be
suitable for use on the lace fibre and follow
the relevant instructions for fixing the
colours in that lace.

VARIATION 2
How about a Hand-Coloured Bag? 21 22
Try this just for
fun… a ready-made
calico bag, coloured
in stripes through
both layers, was
laid smoothly onto
an upturned bread
crate before the lace
was placed on top
(photo 21). The lacy
pattern appeared
on one side of the
bag (photo 22),
while the grid from
the crate formed a criss-cross pattern on the
other side of the bag (photo 23).
23
An Interesting Extra Thought 24

– The Invisibility of Yellow:
I learned a long time ago in my
colour journey, that yellow needs
friends to bring it to life, just as
the colours around it need the
pop of colour that yellow provides
to bring them to life too. Perfect
partners! When we look at the
little sign in photo 24, you know
the yellow letters are there—but
they are difficult to see from a
distance. (You found the ‘bag’ 25
haven’t you?—even though it’s ‘hiding’ in yellow letters.)
Editor’s note: this effect is a little more obvious in RGB just like the letters in the sign (photo 25). Whether
on a computer screen than is showing up in CMYK salting or scrunching or putting your fabrics in the sun as
when printed here, where the yellow becomes a little we have in this project, be prepared to add just a little of
dulled down. another colour into yellow to increase the visibility of the
effects that you are aiming to create.
So, remember that when using yellow on its own to create
textures and patterns, it will work exactly the same as all Now it’s time to find your stash of laces, and hunt in the
the other colours do. The difference is that those effects, charity stores for even more. Here’s to creating fabulous
though visible up close, are difficult to see from a distance, fabrics together!
Simple Macramé
Wall Hanging
LYNDA WORTHINGTON
Many macramé creations have MATERIALS
quite a lacy look about them—so 30m of 3mm
in honour of our lace theme, I took cotton cord,
the step forward back into my past 30cm long
and revisited macramé. It was just wooden stick or
like “riding a bike”, as they say. The rod,
memory of how to tie the knots is still Sticky tape.
there.
You will also
This wall hanging is a lovely way for need a means by
you to have a go at macramé—but which to secure
I must warn you, it can become the stick while
addictive! you are working
the knots, so that
METHOD: you can apply
pressure as you
1
Tip: wrap the cut tighten and tie
ends of your cords knots. I hung
in sticky tape to mine from above
prevent unwanted and used bulldog
unravelling clips to keep
(photo 1). things in place
(see photo 2).
Cut two lengths each of the following
3
measurements and tie them to your
stick, left to right, as you go using a 2
Lark’s Head Knot (photo 2):
200cm; 187cm; 174cm; 161cm;
148cm; 135cm; 122cm; 109cm;
96cm; 83cm.
This will give you 40 cord ends
hanging down (photo 3).
Starting on the left-hand side, create Diagram 1

a row of 10 Square Knots, referring to
Diagram 1 which shows how to tie a
Square Knot:
Slip the first cord (red) over two
cords and under the next (orange).
Take the fourth cord (orange) under
the two cords to its left and over the
first cord (red).
Take the cord now on the right (red)
over the middle cords and under the 4
cord now on the left (orange).
Take the cord now second from the
left (orange) under the middle cords
and up through the loop as shown
and over the right (red) cord.
Pull the cords to position and tighten
the knot as needed.
Row 2: Miss the first two cords then

start the first Square Knot (see photo
4) and create a row of 9 Square
Knots. You will have two cords left
over at the end of the row.

5 Row 3: Start with the first two cords,
as per row 1, and create 9 Square
Knots. You will have four cords left
over.
Row 4: Miss the first two cords, as
per row 2, and create 8 Square Knots.
Continue in this fashion, staggering

the knots…
Row 5: 8 Square Knots

Row 18: 1 Square Knot
Row 19: 1 Square Knot
Your work should look like photo 5.
To give a more defined edge and tie

6 down the ends in a neater manner,
tie a Half Hitch Knot at the end of
each row as per the arrows in photo
6—take the right cord of the pair
under the left cord, through the loop
and down at the back. Photo 7 shows
this edging partially completed and
photo 8 completed.
Using a piece of sticky tape, lay it

across the fringe at the length you
would like the fringe to be, as
shown in photo 9. Trim your fringe
(photo 10).
Cut a piece of cotton cord the length

you require the hanging cord to be
plus at least 24cm. Tie your hanging
cord to your stick in the manner you
prefer—I used the method shown on
page 26, which may be used for many
different types of wall hangings.
You may like to leave your macramé

wall hanging as is (photo 11), or you
may like to fray/untwist the fringe
cords to add a little more volume
as I have done in the finished piece
(page 22).
7 8
10 11

How to Attach a
Hanging Cord
1
to a Rod
LYNDA WORTHINGTON Pull both cord ends tight and
arrange the knot neatly.
This method for adding a hanging
2 cord to a rod for a wall hanging will Position a large-eyed needle as
suit many styles of wall hanging. shown, and then insert the short
cord end through the eye of the
Place your work with right side needle.
facing the table and arrange the
hanging cord as shown—the short Pull the needle (and therefore the
end to the right. short end of the cord) through.
Bring the short end up and over the Remove the needle and trim any
3 rod and cord as shown. bits of cord showing in places
they shouldn’t.
Take it under the rod and then
towards you, placing it over the Repeat this for the other end of
longer cord. the rod (in mirrored actions)
and turn your piece to the right
Take the short end up under the cross side, adjusting the knot loops if
formed by the previous steps. needed.
4
5 6 7
8 9
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Postcard Swap LACE
Janice Stan�ield (TAS)

Lace is eternal. For my postcard
I used jade-coloured wool
background covered with navy
lace. I created my own white
lace on washaway to interpret
artist Hokusai’s ‘Waves of
Tanagawa’.
Marion Harvey (VIC)

Background: Silk Dupion. Flat
commercial lace. Needlelace over
wire frames. Pearl 8 and Pearl 5.
Commercial lace motif. Beads.
Christine Bailey (ACT)

I’ve always admired lace makers
who produce beautiful work from
cotton threads and what looks to
me a complicated design. I do not
have the patience. My postcard was
made with cotton, beads, felt and
a piece of lace which was found on
our Embroiderers Guild recycle
table. The bobbins are made from
bamboo, the handle of a cotton bud.
LYNDA WORTHINGTON
Our Postcard Swap participants have
both used commercially produced
lace and created their own lace in
their lace-inspired postcards. Six of
the postcards are represented here.
All the postcards received are up

on our Facebook page from early
September in an album for you to
view and vote for your favourite.
The postcard with the most “likes”
at midnight on 30/09/22 will
win $100.00 to spend with one Beth Annett (VIC)
of our advertisers in this issue of What shall I wear?: Background dark gold silk. Lace
Embellish—so please vote for your motifs from my Collection (aka stash). Hand stitching.
favourite! Machine stitching on bridal tulle.
In the next issue of Embellish we

will showcase the Maldives Postcard
Swap. If you are interested in
contributing to the swaps, please
refer to my Editor’s Notes for more
information, or drop me an email at
lynda@artwearpublications.com.au
Jan Rowe (WA)

All Laced Up: Inspired by the
costumes of the Folies Bergère,
Paris. The corset addresses the
concept of lace and lacing.
Kath Warburton (WA)

I used free motion machine stitching with lace motifs
on a hand painted background to create this postcard.
The clouds are cheesecloth, held in place by free motion
stitches.

Best Use of Embroidery
Queen of the Reef
Australian
by Janine Judge
40 x 80cm
Textile Art
Award 2022
Exhibition
Well, this time we made it! Two years
Queen of the Reef ago, the inaugural Australian Textile
by Janine Judge, Art Award (ATAA) coincided with the
in detail arrival of COVID and its lockdowns, and
the exhibition was hidden away waiting
many months to be seen, which (apart
from the opening night), did not happen.
This year, the exhibition was staged,

opened and run! It was pleasing to see
and hear the reactions from the many
visitors, who were amazed by the talent
showcased—roughly a third of the
artworks were sold.
Textile artists from across Australia were

invited to enter recent, unseen works,
and the judges chose the finalists by
independently assessing the artworks
using photos and statements supplied
Major Award Winner
Moth Mandala
by Sue Senewiratne
20 x 50 x 50cm,
and below in detail
by the artists, before coming together and compiling the

resultant list of 40 artworks displayed in the exhibition.
Each eligible entry was assessed for

- Quality of composition and overall design;
- Uniqueness of concept, originality and creativity;
- Technical execution;
- Choice of technique(s) to impart the message/idea;
- Degree of relating to the artist statement; and
- Overall impression.
The ATAA and other prize winners were judged the

morning of the official opening, once the artworks were
on display in the gallery at Embroidery House, home of
The Embroiderers Guild, Victoria (EGV)—the winner of
the Viewers’ Choice being determined by votes over the
duration of the exhibition.
The three judges were:

l Lynda Worthington, textile artist, editor of Embellish
and Vintage Made magazines, and a Director of ArtWear

Publications.

Viewer’s Choice Award
Leafy Sea Dragon 5
(Phycodurus eques).
by Lesley Uren
61 x 92 x 1.5cm
A Moment in Time
by Alison Cole
82.5 x 32cm,
and above right,
in detail
Judges’ Highly Commended Prize
l Neroli Henderson, well-known textile artist, artivist,
and previous editor of Textile Fibre Forum magazine

whose artist profile and works have been published here
in Embellish over the years.
l Leonie Lister, textile artist and tutor from Geelong, and
member of the EGV.
The judges were impressed by the calibre of the artworks

entered by our Aussie contemporary textile artists.
The major award, the $2000 Australian Textile Art Award,

sponsored by ArtWear Publications, was won by Sue
Senewiratne with her exquisite Moth mandala.
The winner of the $500 Judges’ Highly Commended prize,

sponsored by Segue Financial Services, was Alison Cole
with her contemporary sampler, A Moment in Time, which
impressed the judges on all levels.
The winner of the $500 Best Use of Embroidery prize,

sponsored by The Embroiderers Guild, Victoria, was
Janine Judge with her piece Queen of the Reef (judged by
Ann Denmead, current President of the EGV).
Special Judges’ Award
An Odd Pod
by Mandy Ginsberg
57 x 14 x 26cm
(hanging cord 56cm)
Special Judges’ Award
The winner of Viewer’s Choice $500 prize,

sponsored by ArtWear Publications, was
Lesley Uren’s spectacular Leafy Sea Dragon 5
(Phycodurus eques).
Two Special Judge’s prizes of $100 were awarded

on opening night, both sponsored by It’s Secure:
Mandy Ginsberg’s An Odd Pod (Leonie Lister
was very impressed with the construction and
embroidery) and Mary Robbie’s Chelsea the
Chook (Neroli Henderson found the combination
of classic goldwork embroidery with classic
steampunk elements, and the quirkiness and Chelsea the Chook by Mary Robbie. 25.7 x 28.8cm
beautiful stitching appealing).
In the meantime, the book of the ATAA 2022 exhibition
The ATAA will be back again in 2024, so keep an eye out is available with photos and information about all the
on the website www.australiantextileartaward.com.au finalist artworks and artists, plus the judges and their art
and the Facebook page @AustralianTextileArtAward for (via www.australiantextileartaward.com.au). There’s
the call for entries next year. some incredible inspiration in there for you!
www.artwearpublications.com.au
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‘Shabby Chic’
PENNY EAMER
This table runner is made from
recycled and new fabrics and laces.
The base is cotton sheeting layered
with pieces of lace curtains, my
nice but ‘least favourite’ pieces of
recycled garment laces (photo 1)
and so forth.
The next layer contains thicker,

more attractive lace, doily pieces
and motifs. It was then finished
with ribbons, lengths of narrow
lace, decorative lacy floral braids,
beads and/or the odd, nice button.
Fabric flowers are added at each

end. A variety of whites and
creams were combined to make
the overall design. It was then
brightened and whitened by
soaking in an oxygen-powered
stain remover for about six hours.
The result was very fresh and
dazzlingly bright, and removed
all the slight ‘greyness’ that old,
stored lace tends to exhibit…
especially when it is repeatedly
handled and thrown around as it is
in my stash!
You don’t just have to use whites...

the same method can be used in a
variety of colours, lengths, shapes
and fabric types. You could also
make a reversible one!
LET’S BEGIN:
To start, collect your materials.
Cut your sheeting to the size you
prefer but remember to add extra
for seam allowances, plus a little
to be safe. You can always trim
excess away—be generous.
Lay the strip of sheeting

on your working table and
place rectangles of your least
favourite lace pieces over the
surface (photos 2 & 3). Abut
to join and/or overlap—do
not worry if there are strips or
Lace Table Runner
1 2
3 4
5 6
small areas of sheeting left tack or lightly sew the laces into unfinished ends and edges, just sew
uncovered as these can be filled position. Next lay out strips, wide all the layers securely into position.
with ribbons, smaller lace laces, ribbons, or motifs to cover Press under a damp cloth.
shapes, fancy floral strips and similar. seams, faults, joins or uncovered
Take the lace right up to, or even sheeting (photos 4 & 5). Now select laces suitable for both
slightly over the edges. ends of the runner. I had a good
Once you are happy with your layout, At this point do not worry about the length of wide lace edging and

7 8
attached it to both ends to finish

them off (photo 6). Again, leave extra
at each side for turning under.
Once all the layers and ends are
attached, you can trim and fold each
side by turning under once.
Tack these edges.
FLOWERS:
Make a few fabric flowers for each
end of the runner and sew them into
position. Attach any other decorative
bits and pieces (photos 7 & 8).
BACKING THE RUNNER:

Finally, cut a piece of sheeting 2cm
longer and wider than the runner.
Turn in a 1cm seam allowance on
each side and both ends.
Pin or tack this to the back of the
runner and machine stitch the edges
together.
Finish by hand where necessary.
Soak to whiten if needed, and when

dry, lay the top down onto a towel
and press with an iron from the back.
If you are giving this as a gift or

selling it, you may like to make a
lacy label to hang from one corner
(photo 9).
I hope you enjoy making this runner

and seeing your scraps turn into a
beautiful, functional household item
or gift.
9
More of Penny’s work may be seen
at pennyeamer.crevado.com
Lace LYNDA WORTHINGTON
The subject of lace has filled many, many books over come up with fresher, prettier, and more marketable
the years, and I am not going to attempt to cover all and wearable laces. Some were just having fun with
aspects here. I have included some further reading threads.”
suggestions for you should you wish to follow up
different facets. Rather, this will be an exceptionally Infinite possibilities! Enjoy the examples I have for
brief summary with some added ‘eye candy’ for you you—and like me, marvel at the time and patience
to look at. each must have taken to complete.
Overall, lace may be grouped into four main types:

1. Embroidered laces (such as drawn and pulled Thank you to the ladies of the Lace Collection at The
threadwork, cutwork, filet on netting), Embroiderers Guild, Victoria, for access to their vast
2. Needlepoint laces (e.g. Reticella, Punto in Aria, collection for photography—we hardly scratched the
Point de Gaze, Irish), surface.
3. Bobbin laces (pretty much defined by the country
of origin),
4. Others, such as machine laces, tatting, crochet, FURTHER READING:
macramé and so on. l Buck, Anne 1981, Thomas Lester, his Lace and the
East Midlands Industry 1820 – 1905, Ruth Bean,

Of course, it’s not just that simple… in the words l Churchill Bath, Virginia 1974, Lace, Henry Regnery
of Elizabeth Kurella, “In the simplest of all possible company (1974), Penguin Books (1979),
worlds, only crochet stitches would be used to make l Collier, Ann 1979, Lace: its history and
crochet lace, only bobbin lace stitches would be used to identification, Imprint unknown,
make bobbin lace, and on and on. But life never is that l Earnshaw, Pat 1980, The Identification of Lace,
simple. Lacemakers, both professional and homespun, Shire Publications,

were clever, diligent, hurried, sloppy, imaginative, l Kurella, Elizabeth M. 1998, A Guide to Lace and
resourceful, and perverse. Some took shortcuts Linens, Antique Trader Books,
whenever they could. Some combined techniques to l Levey, Santina M. 1983, Lace: A History, Routledge.

Lace Type: Knotted (Armenian). Country: Eastern Lace Type: Knitted.
Mediterranean (modern). Use: Mat. Size: 19cm diam Use: Sachet cover. Size: 17cm diam.
Description: Made with needle by Mrs Ghiuriekian. Ecru cotton Description: Fine cotton. Central pattern of curved shapes with
thread. Small flower motifs as centre and border, joined by raised bobbles on alternate shapes. Other side has flower centre
geometric ground. Donor: Mrs J Stringer with raised bobbles around edges.
Lace Type: Netting (hand made). Use: Scarf end.

Size: 10.5 x 30cm. Description: Decorative netting,
hand made.
Lace Type: Bobbin (Torchon); mesh ground. Country: French or
Dutch (c. 1916). Use: Edging. Size: 7 x 176cm. Description: Rose
ground, 8-petalled flower, fan edge. Donor: Miss M Paterson.
Lace Type:
Needle (Contemporary).
Country: Australian (c. 1990).
Use: Mat. Size: 11cm diam.
Description: Original design of bush
animals worked in white cotton thread,
designed and made by member June
Stringer. Donor: Mrs J Stringer
Right: Lace Type: Needle (Punto in Aria).

Country: Italian or Brussels (17th C).
Use: Edging. Size: 13 x 54cm.
Description: Genoese needle lace
from 17th century.
Donor: Hon R Kay-Shuttleworth.
Right: Lace Type: Knitted (Shetland).

Country: Scotland (1960).
Use: Shawl.
Size: 120cm square.
Description: A Shetland ring shawl in
fine white wool (the shawl is so fine
that it can pass through a lady’s ring).
Traditional patterns with a dentate
border. Bought by donor in 1960 in
Lerwick Scotland.
Used as a Christening shawl.
Donor: Mrs Margaret Johnstone 2003.
Left: Lace Type: Tatting.

Use: Edging. Size: 10.5 x 25cm.
Description: Circular motifs with
centre and three rows of small
rings with many picots. Joined by
larger 3- and 4- rings.
Donor: Hon R Kay-Shuttleworth.

Creating tatted lace with a tatting
shuttle. (Chickxsy, CC BY-SA 3.0 <https://
creativecommons.org/licenses/by-sa/3.0>, via
Wikimedia Commons)
Lace Type: Crochet (Irish). Use: Collar. Size: 7cm wide.

Description: Hand made. Raised flowers on a delicate ground.
Lace Type: Crochet (Irish). Use: Cap and lappets. Size: 80cm long.
Description: Design with flowers with raised couronnes.
Donor: Miss Alston.
Above and right:
Lace Type: Needle
Left: Stitching Filet lace. (Point de Gaze).
(Kjersti Lie, CC BY-SA 4.0 Country: Flemish or
<https://creativecommons. Belgian.
org/licenses/by-sa/4.0>, Use: Edging.
via Wikimedia Commons) Size: 14 x 30cm.
Description: Typical
motifs, footside
edging of small
Left: Lace Type: Needle (Gros flowers and leaves.
Point). Country: Australian (late Donor: Miss
20th C). Use: Teaching aid. Size: 10 Sargood.
x 20cm. Description: Teaching aid
for needle lace, showing stages in
the work. Two floral sprays with
various stages of completion, from
laying the cordonet to finishing
with raised work. Made by Linda
Russell. Donor: Linda Russell
Estate 2005.
Right: Bobbin lacework in

progress. (Photo taken by Blahedo
at the museum of the Ursuline
Convent in Quebec City in March
2003. Cette photo a été prise par
Blahedo au Musée des Ursulines de
Québec en Mars 2003. * Digitally
modified version by PKM 10 May
2007 of Image:Ursuline_lace.jpg
by Blahedo., CC BY-SA 2.5 <https://
creativecommons.org/licenses/by-
sa/2.5>, via Wikimedia Commons)

Sacha Barker
ARTIST PROFILE
Sacha Barker seeks to extend
understandings of handmade art
media. Her slow laboured practice
exists in direct contrast with
expanding forms of digital production
and consumption. Her attention to
detail amplifies connections between
maker and made, actor and spectator.
These themes are specifically potent

in our current time as makers
are increasingly separated from
their made; as are people from
one another and much of their
environment.
In her practice, Barker weaves

There’s a saying among together artistic techniques and
prospectors media to confuse divisions and leave
(detail, 2021) open the door to new experiments.
The work has been associated with

installation, soft sculpture, textile,
Mindfield: the Sewing Seeds (2017)
embroidery and participation/ of process on the reverse. The pieces The nature of the work is that there
social engagement. Her work has are installed at a height between that is a constant connection to the fabric
been exhibited nationally and of a bed and a table, suggesting it is and a constant mark being made,
internationally. viewable from below and above. ready to be made or being repeated.
Mind and body, maker and made are
In 2022, she completed a Master The work is configured to suggest drawn together cyclically.
of Fine Arts by Research at the intimacy and vulnerability.
University Western Australia: Pieces are inserted out of The installation of Mindfield: The
The Maker and the Made; Vibrant chronological order; some legible Sewing Seeds was designed to
Relationships in the Digital Age. from above and some from below. protect the written content of the
work but still express the inherent
Barker’s works include: There is a temptation for the viewer labour. The process is very visibly
Mindfield: the Sewing Seeds to become involved physically one of hand embroidery that conveys
(2017) comprised text from the to access the work. Sections of time, to-be-deciphered meaning
artist’s personal writings; those handwritten cursive, or block- and a sense of magic with all pieces
which held emotional weight at lettered capital are nostalgic or ethereally suspended and floating.
their time of writing. Barker hand familiar and draw the reader in. Fabric should not be floating and
embroidered the text onto calico and when held up at a point, it should
suspended the pieces in space. Their The visceral humanity of handwriting flop. The way it hovers, taut and
size references the history of textile is a motif that echoes in many of still is a curiosity and anachronism
samplers. Barker’s works. Art involving stitching, that resists the viewer’s rational
particularly at large scale, involves time expectations.
The text is legible on one side of the and repetition. It suggests stillness and
fabric and forms a unique language patience, yet rhythm. Later, Barker sought to connect with

Mindfield (2017) exhibited at Hatched 2018 PICA
Swirl Sampler for Mindfield: the Sewing Seeds

others via handwritten sharing of
experience. In the SpiderWoman
Series (SWS), text in this work is
written entirely by anonymous
strangers.
A pencil and paper were positioned

in open space alongside the
invitation; ‘share your fear’. For 12
weeks, the written responses were
collated, transferred, embroidered
onto thin calico strips and woven into
a web. The installations provide a
glimpse into the shared fears specific
to time and place.
So far this series has been uniquely

created in three locations: (SWS 1)
WorryWeb, at PICA (2018), (SWS 2)
FearNet, ALVA Hub (2018) and (SWS
3) Heathcote, The Fear, Heathcote
Museum and Gallery (2019). SWS3 -
Begining of
The SpiderWoman Series is Exhibition
unpredictable. Enlivened tension
in the work is balanced by the
domestic nature of its materiality.
Visible chaotic or gentle swings
of the web are the result of a time
consuming suspension process and
intimate production style. It reflects
the dynamic intersecting emotions
within the texts.
Another dynamic aspect of the

work is its iterative nature. This is
accomplished by including preceding
webs in subsequent webs. This is
achieved by including an ‘egg’ made
from the wrapped submissions of Right: SWS - Sealed
previous webs. The wrapped egg/s submissions
are suspended within the structure.
In this way, an individual installation processes and their

can be re-presented to different potential for connecting
audiences while maintaining the people and place.
secrecy of the previous sharings.
More of Barker’s works
In her work, Barker exhibits a may be seen at
commitment to exploring handmade www.sachabarker.com
SWS3 - After Exhibition

LYNDA WORTHINGTON
Lacy Leaf
1 2 3
MATERIALS
Washaway water-soluble fabric,
Sheer fabric in colour of your
choice,
Fine bridal tulle,
Embroidery thread in colour
to suit,
Embroidery hoop,
Pins,
Scissors,
Sewing machine,
Bowl for water ,
Water.
4 5
I think that we all have seen I taped the water-soluble fabric 6

an example of those wonderful carefully around the edges to an A4
leaves that have partially decayed, piece of paper and fed it through
leaving their fabulous lacy skeleton my printer.
remaining—this was the inspiration
for this project. Choose your sheer fabric (mine is a
fabric which has blue silk threads in
I found a leaf shape I liked and one direction, and gold metal threads
designed a pattern of linking sections in the other) and your bridal tulle
based on the general veins of the leaf. (photo 2)—the tulle piece needs to
This project produces a leaf that is be at least 5cm larger on all sides
more ‘see-through’ on one half than than your leaf.
the other and has tulle as a base
across the whole leaf so that you Cut your sheer fabric to fit one half
don’t have to worry too much about of the leaf, and make sure the cut up
things falling apart when you wash the centre follows the centre vein
away the soluble fabric. The tulle also of the leaf (photo 3), pinning it to
adds to the impression of a skeleton the back of the water-soluble fabric,
being left behind. aligning the central vein with the
edge of the fabric. to the water-soluble fabric side
METHOD (photo 5), adding more as necessary.
Transfer the leaf pattern (page 50) to Transferring the pins, pin the tulle
your water-soluble fabric on the back of this (photo 4), then Hoop up your fabric sandwich
(photo 1). flip the piece over and transfer pins (photo 6).
Leaf Pattern
7 8
Set up your sewing machine for free

9 10
machine embroidery, placing the
same embroidery thread colour top
and bobbin. Before beginning to
stitch, ensure that the middle vein
and the edge of your sheer fabric are
still aligned—mine had moved a little
in one area, so I drew a line (yellow
in photo 7) to show where I should
be stitching.
Free motion stitch (stitch width 0)

around the edge of the leaf (inner and
outer edges of the thick leaf edge) and
both sides of each of the major veins,
removing pins as you go. Don’t worry
if you are not being exact—no one
will know once the pattern is washed
away. Any mistakes can be made to
look as if they were part of the design.
NOTE: I started with a rayon thread

which kept shredding, so I changed 11
to another thread, top and bobbin,
before I had gone too far—sometimes
it is best to take this decision so that
your stitching is smoother, quicker and
more fun. No use tearing your hair out
if you don’t have to.
Free motion stitch each of the smaller

veins, going over them at least three
times (photo 8), using them and the
larger veins to get to the next set of
smaller veins.
Next stitch the major veins, then the

leaf’s outer edge, and finally the stem. soluble fabric in a bowl of water (as stem and main vein of the leaf, now is
Make sure all stitching overlaps. per instructions pertaining to the the time to do this—I did not.
type you are using)—allow to dry
Un-hoop (photo 9). Cut away excess completely (photo 11). Trim all fabrics away from the leaf, as
water-soluble fabric (photo 10) and close as possible without damaging
gently remove the remaining water- If you wish to stitch wire along the the stitching, and you are finished!
BOOK REVIEWS
Cosplay Foundations: Your Guide to
that you can reuse the same corset between different
Constructing Bodysuits, Corsets, Hoop garments and not have to make a new one each time,
Skirts, Petticoats & More making leggings and shorts, making a cowl, and creating
wristlets with pockets.
Casey Welsch
Separate sections look at armour attachments and care
(FanPowered Press, an
and storage of your garments.
imprint of C&T Publishing)
ISBN: 9781644031957 In reading through the sections where instructions are
RRP: $65.99 given to create your own foundation garments, it is
obvious that Welsch is very good at costume and sewing
education. The written instructions with photographs are
Casey Welsch has a Bachelor
easy to follow and understand. In addition, Welsch gives
of Arts in theatre and has
interesting background information on different aspects
been making costumes for
of the garments, and tips and hints for their construction.
almost a decade. She is a full-time business owner and
The photos of �inished cosplay garments are absolutely
entrepreneur focusing on costume and sewing education.
inspirational.
In the words of Welsch:
This is an outstanding book for both the cosplay
“Have you ever been standing on the convention �loor,
enthusiast, and the wearable art creator who is looking
posing for pictures, or chatting with friends, and a
for ways through which to underpin their garments and
cosplayer walks by with a costume that leaves you
help make them look fabulous! ~ Elsie Law
speechless? Every detail from how their armour seamlessly
pieces together, or how their layers of skirts �loat as they
walk, or even the way they carry themselves as if their
wings were an extension of their body is spellbinding.
Chances are, those cosplayers are wearing foundation Fabulous Cosplay
garments, like a spandex bodysuit, a hoop skirt, or a corset.”
Footwear
In this book, she aims to give us the tools to create our Regan Cerato and
very own undergarments to bring our cosplay/wearable Kelley Kullman
art garments to life, with tips and tricks to create well- (C&T Publishing)
made, long-lasting and interchangeable garments. ISBN: 9781644031919
Just �licking through the pages quickly to get an overall RRP: $29.99
impression of the book was mind-blowing! Lots of
incredible costumes were on display as examples—and Regan Cerato and Kelley
the secrets to getting them to look that good through the Kullman are better known as Cowbutt Crunchies Cosplay,
use of good foundation garments explained. an internationally acclaimed couple who specialises in
complex couture cosplay and incredible pop culture–
Welsch starts us off with a bit of the history of foundation based designs. In this book they aim to show us how to
garments, and foundation garments in cosplay. Fabrics, create easy boot covers, shoes and tights for any costume,
notions, boning and tools are shown in detail, as are or for we textile artists, I read that as for any wearable art!
construction skills.
Two patterns for boot covers and illusion shorts are
There is a chapter on ball gowns (think Cinderella’s or provided at the end of the book, as well as a tinyURL and
Belle from Beauty and the Beast’s ball gowns) which QR code, to be enlarged to the correct size.
covers the anatomy of a gowned costume, the chemise,
corsets, bloomers, hoop skirts, and petticoats—with The pictures within the book are very female-centric, so
instructions to make each sort of undergarment. I’m not sure how you would go creating for men.
However, most of the techniques should transpose to
There is a chapter on bodysuits for armour and Animé creating for men.
which includes a fuku (or Sailor Fuku), building your own
bodysuit, and customising your bodysuit e.g. creating a Cerato and Kullman discuss how to choose shoes and
colour-blocked bodysuit. boots, and the best base shoes for boot covers.
Another major chapter covers extra cosplay components In the Tools and Materials section, we are advised of the
such as corset covers (and how to make your own) so correct paints and sealants to use on shoes, fabric dyes and
BOOK REVIEWS
supplies, fabrics, embellishments, glues and a few extras. many people consider art quilts in the “too hard” basket.
There is a chapter each for modifying shoes and boots, Fowler guarantees that the process of creating an art
making shoe covers, making custom-dyed tights and quilt is absolutely foolproof “because if you don’t like your
making illusionary thigh highs. The instructions for painting, you can cut it up and appliqué it onto another
painting your own shoes are fairly comprehensive and piece of fabric. If you layer and quilt your painting, and
include photos. There are tips for adding embellishments. you still don’t like it, you can cut up the �inished quilt and
put it back together. Cut up pieces always look amazing.
The concept of boot covers is interesting—boot covers I’ve taught this method to a lot of adults as well as children
are fabric sleeves that cover both a base shoe and the and it is an artistic axiom (truth) that cutting it up always
wearer’s leg, allowing creation of custom faux boots makes it look awesome.”
with whatever colours, heel style and height is needed.
Being removable, means you can use the same base shoe When reading her book, you get the impression that she
for multiple looks. The instructions on how to go about is sitting down in conversation with you—a nice feeling to
creating your own boot covers is good, and the photos give the reader.
helpful.
Along with colour theory, Fowler explains composition
Many of us will already have experience with dyeing and design, “putting it all together”, the materials you
fabrics, which is covered in the making custom-dyed could use, what she does, using pens, markers, water-
tights chapter. The instructions for dyeing are minimal, based paints, tempera crayons and pigment sticks, oil
and you will need to refer to the dye product you are using paint on fabric and Derwent Inktense and Stabilo Woody
for full instructions. Pencils.
Illusionary thigh highs were something I’d not heard of She has seven lessons (projects) that she takes us through,
before. They have two parts: the bottom, or sock portion, each using different techniques, and then has a few extras
and the top portion, a pair of illusion shorts that match for us, such as her slice and dice technique.
your skin tone (so that you are not �lashing as much
skin as might appear in your �inished costume). The Both novice and experienced art quilters will enjoy this
instructions for their construction are easy to follow and book and �ind inspiration in it. ~ Elsie Law
the photographs help show what you need to be doing.
can do
All-in-all this book (referred to as a handbook by the
authors) is a good introduction and starting point to how
you may create footwear for any cosplay or wearable art
project. ~ Elsie Law
Foolproof Art
BOOKS
Quilting • Mail order
Katie Fowler • Shop online
(C&T Publishing)
ISBN: 9781644031322 • Fast Shipping
RRP: $64.99
Katie Fowler began quilting

candobooks.com.au
in 1997 and discovered
art quilting early on in her
quilting career when she realised that she couldn’t follow
directions.
ee
Frcatalogue
She loves all things colour and creativity and mark- Contact us for
making on fabric has become a passion. Her love of colour a free catalogue.
and fascination with colour theory abound in this book,
and she includes a chapter on colour theory—which she
terms a tool, not a rule. 39 Clifford Street, Huntingdale VIC 3166
Tel: 1300 308 261
“Foolproof” is an interesting choice of words, when
Email: info@candobooks.com.au

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THE AUSTRALIAN MAGAZINE FOR TEXTILE ARTS

With inspiration from Lace

projects | embroidery | mixed media | articles

For more of Jane Bari, please see page 3

3 Artist Profile: Jane Bari – by Jane Bari

8 Vintage Style Lace Collar – by Penny Eamer

embellishIssue 51/September 2022

Senior Graphic Designer

www.artwearpublications.com.au Issue No 51 embellish 3

I have returned to felting again with

I find a lot of joy in turning a beautiful

My favourite to work in is bead

My mother taught me to sew by the

www.artwearpublications.com.au Issue No 51 embellish 5

Rift, March 4, 2022

I can’t wait for the Victorian

My jewellery sells in art

Diagram 1 shows my original idea.

Lay each of the remaining fabric

Select your base laces. Cut into

Decide now if you want a wide or 6 7

Cut out your favourite motifs or

www.artwearpublications.com.au Issue No 51 embellish 9

Turn seam Turn seam

Add any beads at this

Take your main three

Turn inside out and press

www.artwearpublications.com.au Issue No 51 embellish 11

Lace and InterLace

www.artwearpublications.com.au Issue No 51 embellish 13

www.artwearpublications.com.au Issue No 51 embellish 15

www.artwearpublications.com.au Issue No 51 embellish 17

8. Carry your fabric out into the sun. 16

Put your fabric where shadows will

Note 1: I like to secure the edges

Note 2: Fabric should take only

9. When fabric is completely dry,

10. Heat Setting: In this Heliography

If using dyes or other fabric

PREPARING THE NEXT FABRIC…

When using fabric lace, the fibres will

20 So, when using Liquid Radiance:

www.artwearpublications.com.au Issue No 51 embellish 19

An Interesting Extra Thought 24

Starting on the left-hand side, create Diagram 1

Row 2: Miss the first two cords then

www.artwearpublications.com.au Issue No 51 embellish 23

Continue in this fashion, staggering

Row 5: 8 Square Knots

To give a more defined edge and tie

Using a piece of sticky tape, lay it

Cut a piece of cotton cord the length

You may like to leave your macramé

www.artwearpublications.com.au Issue No 51 embellish 25

Janice Stan�ield (TAS)

Marion Harvey (VIC)

Christine Bailey (ACT)

All the postcards received are up

In the next issue of Embellish we