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PRIEss
Jan Horrox’s career began in
1973 when she gained a Diploma
in Fashion/Textile Design from
North East London Polytechnic.
She went on to establish her
own range of fashion knitwear,
which she designed and
manufactured herself, and
sold it throughout the US,
UK and Japan. Jan also taught
part-time at various colleges in
the UK. In 2004 she set up Jan
Horrox Textiles and Cloth Dolls,
which sells doll-making supplies
internationally. Jan exhibits her
dolls and textile work regularly
throughout the UK, and lives
and works in both Londc
and Norfolk.
|
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SEARCEL PRESS
First published in Great Britain 2013

Search Press Limited Dedication

Wellwood, North Farm Road,
Tunbridge Wells, Kent TN2 3DR
To my husband, lain Munro Manson

Text copyright © Jan Horrox 2013

www.jan-horrox.com
Acknowledgements
Photographs by Paul Bricknell at Search Press Studios
Katie French, my editor, for all her enthusiastic
and Gavin Sawyer at Roddy Paine Photographic Studio
Photographs and design copyright support; Sarah Slade for her exceptional
© Search Press Ltd 2013 technical skills in helping with the preparation
All rights reserved. No part of this book, text,
of the projects shown in this book; and
photographs or illustrations may be reproduced or Justine Williamson for her advice and support
transmitted in any form or by any means by print, with the techniques used in this book.
photoprint, microfilm, microfiche, photocopier, Internet
or in any way known or as yet unknown, or stored in
a retrieval system, without written permission obtained
beforehand from Search Press.

ISBN: 978-1-84448-765-3

The publishers and author can accept no responsibility

for any consequences arising from the information,
advice or instructions given in this publication.

Readers are permitted to reproduce any of the items/

patterns in this book for their personal use, or for the
purposes of selling for charity, free of charge and without
the prior permission of the publishers. Any use of the
items/patterns for commercial purposes is not permitted
without the prior permission of the publishers.

Suppliers
For details of suppliers, please visit the Search Press
website: www.searchpress.com.
Alternatively, materials can be supplied worldwide via
the author’s own website: www.jan-horrox.com

Publishers’ notes
All the step-by-step photographs in this book feature
the author, Jan Horrox, demonstrating how to make
fantasy cloth dolls. No models have been used.

NB: these dolls are not designed as play dolls for

small children and, because of the small parts
involved, are not suitable for children under five
years old.

Printed in China
Conte i

Introduction 7
PROJECTS 40
Materials & equipment 9

Colouring & altering

fabrics 18

Basic techniques 24

Making the head 26 BREE

,
ere ey
TEER SAS

Peas eblossom 42
Cc

Making hands 33

Making feet 38

PROJECTS 40

Templates 88
Nerissa 58 Merina 70
Index 96

Morwenna 72
 Intreduction
antasy plays such an important part in modern life. Much of our
media — books, films, games, television and role play — is centred
upon the fantasy themes that many of us find so fascinating. Cloth
dolls are perfect for allowing us to explore our imaginations and
create fabulous, dreamlike figures from fabric and stitch.
Doll making is largely a multi-media process, but in this book
Iam focusing on the fabric component. My life-long work with
fashion and textiles of all kinds has led me to the cloth doll as
a vehicle for the many techniques that are now available to
textile artists.
I have designed three projects for fantasy figures that you can
either make exactly as shown or interpret in your own =
style. The alternative designs provided for each doll
will help inspire your own ideas. The dolls are e. «2
40—46cm (16-18in) tall and are all interchangeable
not only with each other, but also with those in my
first book An Introduction to Making Cloth Dolls.
Simple techniques are featured as well as more complex
ones, but all are achievable by anyone with some sewing
skills and an enthusiastic imagination.
The wonderful thing about fantasy dolls is that the
only limit to your creativity is your own inventiveness.
So as you work your way through the book, do not be
afraid to experiment with colour and texture; try out
different fabrics, embellishments and paint effects; and,
using the templates provided, create beautiful fantasy
dolls of your own.

The instructions for making Nerissa are

provided on pages 58-69.

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Moon Flower
Made following the same method as that used for Peaseblossom, the
Flower Fairy (page 42), |have achieved a very different look by simply
changing the materials and colours used. All the projects in this book can
be modified easily to create dolls with very different personalities.
 Materials &
equipment
hen you begin work on the dolls in this book, and if you
W-* new to cloth-doll making, it is advisable to invest in
a few tools and the recommended types of fabric. You will be
spending quite some time and effort on creating your dolls and if
you use inferior materials you will jeopardise your chances of a
successful results.
I always work with high-count woven cotton fabric for the
bodies, heads, arms, legs, hands and feet — in other words, all
the ‘flesh’ parts. I find this type of cotton fabric, which is known
as Pimatex cotton, sculpts well and provides a good surface for
drawing on. Sometimes the body parts are made directly from
decorative fabrics and not costumed separately.
Fantasy cloth-doll making requires a broad range of fabrics, so
build up a comprehensive fabric collection that you can dip into
when looking for a particular colour, weight or texture. Try to
add to it with small-scale prints and soft, lightweight fabrics that
drape well on a small frame. Tulles, organzas, lace and any vintage
pieces you can find in charity shops or boot sales are useful
additions to your collection, as well as scarves, socks, gloves, etc.
All kinds of fibres and furs can be used for hair — the more
unusual types are the most striking. Look out for interesting trims,
buttons, shells, beads, charms and small, dried flowers.
There are a few tools and haberdashery items that are well
worth having, but many items can be improvised to begin with.
Everything can be found on the Internet from specialist doll-
making, art and fabric suppliers. In times when independent
retailers are disappearing fast, the Internet provides an excellent
means of sourcing materials and tools. If you don’t like ordering
on-line, many on-line suppliers will allow you to order over
the phone.
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Materials for bodies and heads

| use a fine-woven, high-count Pimatex cotton for all the ‘flesh’ parts, and stuff ani = i e e ea)
them with a good-quality polyester filling. Pimatex cotton moulds well and Dyeing recipe for
provides an excellent surface for drawing and colouring the dolls’ faces. It is Pimatex
the best woven fabric to use for five-fingered hands, being the strongest and This recipe uses Dylon washing-
softest to use for fingers. A good-quality patchwork or quilting cotton can machine dye and 1m (1yd)
work well too, and is available in a large range of skin colours. Pimatex is now of 122cm (48in) wide Pimatex
available only in white so | dye all my fabric to a pale skin shade. The recipe for fabric. The colour obtained is a
dyeing Pimatex fabric a pale flesh tone using Dylon washing-machine dye is pale flesh tone, which | use for
given right. all my dolls.
Don't be tempted to use a poor-quality fabric such as calico or a coarse,
loosely woven cotton just because it looks attractive. You will find it wrinkles | 1 Soak the fabric to remove
or doesn't stand the strain of the stuffing and the seams will burst. This is very — | any dressing etc.
frustrating when you have spent considerable time making a head or hand. _ 2 Mix 5g (‘40z) of Pebble Beige
Cloth dolls are stuffed very firmly so always use a strong fabric for any body part. | and 5g (402) of Powder Pink.
There are a number of other knitted fabrics used for cloth-doll making that Mix the powder well and put
you might like to experiment with. Craft velour is a polyester-knit fabric with it into the drum ofthe
a pile on one side and a one-way stretch. It is very popular and is excellent for washing machine.
sculpted character dolls such as trolls or elves. Doe or buck suede is a similar | 3 Add 200g (702) oftable salt
fabric that is a little heavier and not available in such a varied colour range. to cover the dye powder.
Cotton jersey is a tubular, fairly firm knitted fabric, one hundred per cent cotton, 4 Place the wet fabric into the
which is available in skin shades. It sculpts well but is difficult to draw on, so you drum and put it on along
will need to vary the techniques you use for adding the facial features. Cotton wash cycle at 40°C.
lycra is similar to cotton jersey in its use. 5 Hang the fabric out to dry.
 Decorative fabrics
Cotton batiks are excellent for cloth-dolls’ bodies and are readily available
from specialist patchwork and quilting shops or on-line retailers. They come dy eeceooeoeoeed
in a broad range of wonderful colours and designs and form an inspiring base | ]
fabric to embellish with stitch, paint or beading. Make sure you use a good- | Fabrics are often bought
quality batik that is strong enough to hold the stuffing. Polyester organzas | in fat quarters. These are
are low-cost alternatives and come in gorgeous, vibrant colours as well as soft | Pre-cut squares of fabric
shades. These are very useful for doll costuming and wings. _ measuring 46 x 46cm : (18 x
Accessories like scarves, lace or fish-net tights and patterned socks are 18in) —a useful quantity for
available from markets and budget stores and are very affordable. These are | cloth-doll making.
excellent for all types of garments and doll accessories, including stockings, Bacarra
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mitts, sweaters and headgear.

Your fabric collection should also include a good selection offelt pieces in
a range of colours,pieces of soft leather and novelty fabrics such as metallics
or lace. All these can be sourced from markets, second-hand stores and craft
sales. Try entering what you need into your Internet browser — you will almost
always find exactly what you want.

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Embellishments
Embellishments are great fun — they are the all-important finishing touches that will
make a real difference to the look and style of your doll. Build a collection of beads,
buttons (glass, plastic or wood), sequins and shells of all types and sizes. All can be
used decoratively either on their own or in combination with each other.
Some shells have tiny natural holes in them, but drilled shells are available on-line.
Alternatively, try drilling your own or look for plastic shells as a substitute.
Dried flowers, ribbon flowers, and silk and organza flowers are a pretty addition;
you can make your own silk or organza flowers following the instructions on pages
18-19. Charms in pewter or other metals can also be used to enhance your doll, as
can ribbons and trims in various widths, colours, fabrics and patterns.
Angelina fibres are delicate, iridescent fibres that are perfect for adding a touch of
sparkle to your fantasy doll. Mix standard Angelina with other fibres to enliven your
doll’s hair, or use the hot-fix variety to create beautiful, shimmering fairy wings.
 Materials for hair
Cloth-dolls’ hair can be as natural or as wild and fantastical as you like. For a
more natural look, use synthetic hair or mohair fibres; for something more
exotic, use any interesting fibre or yarn you can find. Synthetic hair can be
great fun to use - it is easy to handle, easy to attach and cheap to buy. It
comes in a range of colours and textures, from silky and straight to bushy and
curly, and can be dressed in whatever style you like.
Tibetan lamb skin makes beautiful hair. It comes in natural or bright shades
and can be coloured with watercolour paints or fabric dyes to give a multi-
coloured effect. You only require a small piece to cover a doll’s head. Fur fabric
can also be used, but is not so effective and does not take dye or paint.
Mohair fibre and braids are sold specifically for dolls’ hair. These can be
stitched or needle-felted on to the head. They come in a variety of natural
colours and make very pretty, soft hair with a nice sheen.
There is a huge variety of fancy chunky yarns now available and these
make excellent dolls’ hair, for example sari silk, chunky slub yarn, eyelash yarn,
ribbon yarn and chunky wool. All are simple to apply and reasonably priced,
and you may well have a large assortment in your stash already.

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General equipment
Much of the equipment used in this book you will almost certainly already own.
The rest is available from craft suppliers, haberdashery shops and specialist on-
line suppliers.

Sewing machine
Your sewing machine should be in good working order and stitching with the
correct tension. If you don’t already have an open or clear foot for quilting, it is
worth investing in one as it allows you to stitch around small pieces exactly on
the drawn line. It is impossible to stitch around a hand with five fingers without
this foot. Use a small stitch, size 1-2 depending upon your machine. This makes a
strong seam and enables you to stitch around all the shapes accurately. You will
need good, sharp machine needles suitable for cotton fabrics, size 80/12.

Threads
| use a basic polyester machine sewing thread for machine stitching. | use Natural
for flesh shades and various colours to match the costume fabrics as required. |
use quilting thread for needle-sculpting as it has strength but is still fairly fine,
and extra-strong upholstery thread forjointing. This is coarser than quilting
thread but extremely strong.
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Other equipment
Scissors: you will need small, 7.5-10cm (3-4in) sharp-pointed scissors as well as fabric
shears and some general scissors.
Pins: glass-headed pins are required for needle-sculpting the dolls’ faces; dressmaker’s
pins for pinning the costume and other fabrics.
Needles: no. 7 long, fine darners are ideal for needle-sculpting the faces. Doll needles
come in sets of two or three in various lengths. The longest is 20.5cm (8in), which is
ideal for jointing the dolls. You will also need felting needles for needle-felting hair into
the head of your doll, a selection of hand-sewing needles for hand stitching, and size
Scissors
80/12 sewing-machine needles.
13cm (Sin) forceps or hemostats: hemostats are medical forceps that have many craft
uses. They are cheap to buy and are very useful for stuffing and turning the body parts.
Stuffing tools: these tools are specially designed for stuffing cloth dolls. There are two
sizes — regular and mini. If you do not wish to invest in these, a chopstick will suffice to
begin with.
Finger-turning tools: these consist of a set of brass rods and tubes, specially cut and
assembled for turning small, cloth fingers. For most people, they are invaluable.
Vanishing (air-drying) fine-line pen: this is used for drawing the features of the face
and for making various marks on the fingers etc. The pen must be fine for drawing on Needle
detail, and air-drying so that the ink disappears within a few hours of you completing
your work on the piece. Never use water to try to remove the ink as this will smudge and
spoil your doll’s face.
Mechanical or sharp HB pencil: this is used to trace all the pattern templates and seam
allowances on to the fabric.
Fabric eraser: this can be useful for erasing unwanted pencil lines, but is not essential.
Seam sealant: useful for sealing and strengthening small seams, for example when
making five-fingered hands, and for correcting mishaps such as burst seams. PVA can
be used instead.
Craft glue: you will find a good, general craft glue such as Tacky Glue very useful, for Forceps
example for making boots and wings and helping to attach hair and heads.
Chenille sticks (pipe cleaners): these come in various sizes and are used for wiring the
fingers and wrists and for reinforcing necks and ankles.
Heat gun: this item is much used for heating synthetic fabrics such as organza, tulle
and tyvek for decorative use. Always use a heat gun in a well-ventilated space and never
heat polystyrene. Heat guns are available from many craft suppliers and are widely used
in modern textile work.
Ruler: a small, clear plastic ruler with measurements in metric and imperial is very useful
for marking seam allowances.
White watercolour pencil: useful for making marks on dark fabrics.
Baking parchment: purchased in a roll, baking parchment is used to protect your iron
and your ironing board when ironing Angelina fibres. Used as a protective layer, it
prevents the synthetic fibres from sticking to the iron or to the board. It is very useful in
many textile processes.
Wired designer cord: this cotton-covered wire is used for edging fairy wings or in
any project where you need to strengthen and sculpt an edge. It is available in
various colours.
Soldering iron: specially designed soldering irons are available for textile artists for use
with synthetic fabrics. They are a good investment for anyone interested in modern
textured techniques. Soldering iron

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Face-colouring equipment
Face colouring is the part of cloth-doll making that many people find difficult,
especially if they have not done very much drawing since leaving school. |
have worked out a simple method using measurements and a template for
transferring the eye and mouth outlines on to a sculpted face (see pages
30-31). Once you have drawn and coloured a few faces you will gain enough
confidence to try drawing your faces freehand.

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Fine-line Pigma Micron pens

The most important thing about these pens is that they do not bleed when
used on fabric. They are available in various colours and sizes; | use 05
(0.45mm) and 01 (0.25mm) for accenting, outlining and filling in and 005
(0.2mm) for drawing finer lines. Black and brown are useful for outlining the
features, and red, blue and green for accenting the eyes and mouth.

White Fabricolour pen

This pen delivers an opaque, white ink that is ideal for highlights and eye
oF whites. It avoids having to use acrylic paint and a brush, which can be tricky.

Pigma brush pens

These are similar to the fine-line Pigma Micron pens. They can be used like
a pen or like a brush to paint with. They are useful for drawing the eyes and
eye sockets on to a face that has an acrylic-painted surface, for example
Morwenna the steampunk doll on pages 72-85.

Watercolour pencils
Watercolour pencils have soft fillings and are easier to blend than an
ordinary crayon. | use them dry rather than dampened. They are great for
adding colour to a doll’s face after the features have been drawn in. The
colour can be built up in layers and blended down with a piece of scrap
cotton. A good starting set of colours for an average face would be Blush
Pink, Crimson, Ultramarine Blue, Yellow Ochre, Burnt Ochre, Sienna Brown
and Dark Umber. For fantasy dolls, you might want to be a little more
adventurous with your colour choices; for the mermaid, for example,
| have used Aquamarine, Kelly Green and Dahlia Purple.

Scalpel
Watercolour pencils are very soft so | sharpen them carefully
using a scalpel so as not to damage the colour centres. You
will need to keep your pencils sharp for accenting.

Gesso and acrylic paint

= » To achieve a deathly white skin tone, | paint the body using
white gesso for the undercoat and white acrylic paint for the
second and third coats. White gesso is commonly used for
coating a canvas before painting with acrylic paints.

Sandpaper
Fine-grade sandpaper is used for sanding the gesso and the ;
acrylic paint when dry before applying the next coat.

Watercolour paints
A small set of basic watercolour paints is useful for adding a
colour wash to an acrylic-painted head.

Brushes
| use a Yin (13mm) flat brush for the head and flesh parts, a size
4 pointed brush for the features and a size 8 round brush for
applying a colour wash.

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 Cojouring &
tering tabri
There are many ways of colouring and changing the nature of
a fabric to make it even more magical. Dyeing and painting
opens up a whole world of creativity and can be used 3
to add colour to plain fabrics and give an individual
look to your doll. Layering and heating are other
popular ways of altering fabrics. These techniques
lend themselves particularly well to fairy wings —
use them to give some stiffness as well as texture,
and then add metallic edges or gilding flakes.
Lumiere is a beautiful range of metallic and pearlescent
textile paints from Jacquard. They come in a variety of ee
colours and are available in small amounts in bottles with 4 #1"
spouts, making them easy to apply and draw with. :

Altering organza
Polyester organza is a low-cost and versatile
synthetic fabric much used in textile art because it
responds to heat in very interesting ways. Try layering
polyester organza and then heating it with a heat gun for a
fascinating textured surface. .
Synthetic organza reacts in very interesting ways to heat.
Applying heat using a craft heat gun will initially create a bubbly
surface then, as more heat is applied, the fabric will begin to melt
and small holes will appear. The whole process only takes a few seconds.
It's important to hold the heat gun 20.5-25.5cm (8-10in) from the surface
and keep it moving all the time to avoid burning (see the photographs below).

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Organza flowers
These are fun and simple to make using polyester organza, which you
can heat-treat to give added texture, as explained opposite. Use the
templates on page 90 to cut a variety of organza petal shapes, then
layer them and secure them with a few beads in the centre (see the
photographs at the bottom of the page). A soldering iron with a tip
suitable for use on textiles makes quick work of cutting out and seals
the edges as it cuts. The finished flowers can be embellished around _
al edges using craft glue and gilding flakes. :

wu

1 Place your template underasheet
of glass and lay the heat-treated —
in the soldering iron, keeping Hold the organza in place with —
m jar while notin use. Allow vand and carefully draw around —
the template with the tip of the
~
soldering iron.

4 Carefully remove the cut- Sut out as many shapes as you 6 Place four or five cut flower
out shape - four or five per flower. shapes together, pinch at the centre
and stitch them together with a —
bead or two.

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Using Angelina
Angelina is a synthetic fibre which comes in two types — standard and hot-fix.
Standard Angelina can be mixed with other hair fibres and needle-felted into
a doll’s head as hair. The hot-fix variety makes a delicately shimmering fabric
for fairy wings or the top layer of organza flowers. Try mixing two different
colours together for a variegated effect.

1 Begin by teasing the hot-fix

Angelina into a very fine layer.

2 Lay the Angelina on your ironing board,

sandwiched between two layers of baking
parchment to protect your iron and the
surface of your ironing board. Press with a
hot iron for a few seconds.

3 Remove the top layer of

baking parchment to reveal
the layer of heat-fused
Angelina fibres underneath.

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 Simple screen printing
Marking and quilting the surface of a cotton batik will result in a firm base that can then
be added to with colour or foil. |use Thermofax screens for screen printing an image on to
coloured or plain fabric. These can be purchased on-line either ready-made in a wide variety
of designs, or custom-made using a drawing supplied by you. For the quilted fish that | made
to go with the mermaid doll, |made a simple line drawing from a photograph and sent this to
Thermofax Screens. They quickly and cheaply produced my screen and returned it to me with
the drawing. If you don't wish to go down this route, you could trace the fish outline, make a
template and draw round it on to your fabric, or draw the design on freehand.

1 Place an old folded sheet on your
worksurface for padding and pin or
tape your fabric on top of that. Tape
your screen on to the fabric and run
a line of fabric ink down one side.
2 Using a small squeegee, pull the 3 Repeat this so that the image is
ink across to the other side, ensuring covered with two layers of ink.
the whole ofthe image is covered
with an even coating of ink.

4 Remove the screen carefully. If you want

to print another image, move it to the next
position and repeat. Otherwise, wash it
immediately, along with the squeegee — do
not let the ink dry on the screen.

Because Thermofax Screens are mounted

in a Perspex frame, you can turn the screen
over and print a mirror image. | used this
technique to make the colourful fish shown
here to accompany the mermaid project
beginning on page 58. The instructions for
making these fish are provided on page 23.

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 Quilting is a means of adding line and texture to your
fabric, through the addition of hand or machine surface
stitching. To demonstrate this technique, | have made
three quilted fish to accompany the mermaid doll. A
template is provided right.

1 Begin by transferring the image on to the fabric. This

can be done either by screen printing, as described
opposite, or by using a paper template. If you are using
the template, first photocopy the fish on to a piece
of thin card and cut it out around the outline.
Using a black fine-line Pigma Micron pen
size 05 (0.45mm), draw around the outline.
Remove the template and fill in all the other
lines freehand by looking at the template.

2 Make another copy ofthe fish template in

mirror image, which you can do by holding the
template on a window, face down, and tracing over the
lines on the back of the template. Alternatively, obtain a
mirror-image copy from your local copy shop, or scan the
image and reverse it using your computer. Transfer the
mirror image to the fabric as described in step 1.
Template for themenreduced to50 percent
actual size. To enlarge, set yourprinter or
photocopier to 200 per cent or enlarge to
whatever size you want.

3 Cut out both fabric fish and pin each one on to a layer
of wadding. Stitch over the drawn lines on both fish
either by hand using small running stitches or by using
free machine embroidery. If you are stitching by hand,
you can now skip to step 6.

4 For free machine embroidery, lower the feed dog,

remove the presser foot and replace it with a darning
foot. There is now no‘feed’ pulling the fabric through
your sewing machine and you can move the fabric freeiy
under the foot. The presser foot lever should be lowered
to engage the top tension. You will not need to place
the fabric in a hoop as the wadding will provide
enough support.

5 Thread the machine with a thread that will provide

a good contrast with the fabric and stitch along all the
lines you have drawn. To obtain a bolder line, go over the
stitched lines two or three times.

6 Cut out both fish with a 0.5cm (Vin) seam allowance.

Pin them together with right sides facing. Stitch around
the outer edge and leave the tail open.

7 Pull the fish right side out using forceps. Topstitch

the lower fin and the upper fin through all the layers
and following the fin lines. Partially fill the fish through
the open tail fin with polypropylene beads so that
it resembles a bean bag. Topstitch the tail fin closed
and topstitch the fin lines. Trim the tail fin close to
the stitching.

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le this section, I will describe the basic techniques that 9°
I use for transferring the templates to the fabric and V7
for stitching and stuffing the body pieces.
All the pattern pieces are reproduced actual size at the back .
of the book. You can trace them on to copy paper or photocopy
them on to card. These should then be cut out carefully and accurately
so that you can trace around them on to the fabric. Card patterns
can be re-used and will last a long time. They are also a little
firmer to draw around.
The pattern lines, i.e. the edges of the pattern pieces, are also the sewing lines,
and the seam allowance is outside these lines. In most cases you will trace the
pattern shapes on to doubled fabric with a mechanical or sharp HB pencil, stitch on
the pattern lines and then cut out the shape. The seam allowance for a stitched seam
is 3mm ('/sin) and for a seam to be sewn after cutting the allowance is 6mm (in).
Reverse the stitching at the beginning and end of each seam to lock the ends
of the seams, and use a clear or open foot on your sewing machine so that you
can follow the pattern lines easily. A small stitch size of 1-2 is ideal for stitching
the seams.

\
1 Lay the pattern piece on to a piece of doubled fabric, 2 Remove the pattern piece and machine stitch around x
aligning it with the grain of the fabric if necessary. Draw the drawn line, leaving an opening where marked for
around the pattern piece carefully and accurately with a stuffing or inserting other body parts. Use the open or if
propelling or sharp HB pencil. This is the line that you will clear foot on your machine and a small stitch size - about ;
sew along. 1-2, depending upon the type of machine. This enables .
you to stitch around small pieces and also makes a
strong seam.
Stuffing ae
You will need a tool for stuffing
— either a chopstick or a stuffing
tool - and a pair of 13cm (Sin)
forceps or hemostats. Use
good-quality polyester stuffing
as this will not go lumpy. Start Snes
with a good handful of stuffing
and push it into the centre of
the piece.
Small pieces of stuffing tend
to clump, so if you use relatively
large pieces your doll will be
less lumpy.

Push the piece of stuffing into the body part with your chosen
tool. Fill the edges of the piece first then keep pushing stuffing
into the centre andteasing it out to fill all the crevices. These dolls
are stuffed very firmly and you will be surprised at the amount of
stuffing used for a fairly small piece. You are aiming at achieving a
smooth and firm finish.
After stuffing, use ladder stitch to close the opening. Thread a
normal sewing needle with polyester thread, fasten the thread at
the beginning of the opening and work the stitch as shown right.
Pull the thread taut every few stitches and the opening will close Ladder stitch
up invisibly.

4 Cut around the shape using a pair of small,

iter, Mark 6mm (Vin) seam allowances using a pencil sharp-pointed scissors, leaving the appropriate
ler. The remaining 3mm (in) seams are judged by seam allowances.
; you cut and do not require marking.
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 Making the head
have made all the dolls in this book using a simple four-part
head. This is easy to construct and, when needle-sculpted
and painted, has a life-like, three-dimensional appearance. Two
templates are required — one for the two back pieces and one for
the two front pieces. Both are cut from doubled fabric on the bias.

1 Copy and cut out the two template

pieces —- a Head Front and a Head
Back. Label each template clearly
and mark on the grain lines. Place
the templates on to doubled fabric
with the grain lines parallel with the
selvedge. Using a sharp propelling
pencil or HB pencil, draw around
the edges of the pattern pieces. This
pencil line is the stitching line. Mark
on the 6mm (Yin)’seam allowance on
the side or unstitched seams.

2 Machine stitch the centre-back seam on the

Head Back, leaving the opening unstitched.
Stitch the centre-front seam on the Head Front.

Tip-s *96 0 2) an
| like to make several heads at a time
and store them ready for use at
a later date. Even a faceless head has
a character of its own, and | can often
find one in my stash that suits the doll
| am making exactly.

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3 Cut out both these joined pieces

with a 3mm (%in) seam allowance
on the stitched seams and a 6mm
(Yin) seam allowance on the side or
unstitched seams.

4 Pin the back and front pieces

together, making sure you pin
the top of each piece together
and the bottom (the chin and
neck opening).

5 Machine stitch the side seams and trim

them to approximately 3mm (in) using a
pair of small, sharp scissors.

6 Turn the head right-side out by pulling it through the

back opening using forceps. Use a chopstick or forceps
to smooth the seams. This will give a neater finish when
the head is stuffed. Stuff the head firmly and evenly,
making sure you push the stuffing well into the nose
and the chin. Your aim is to create a smooth, well-shaped
head with a clearly defined nose and chin. Pin or tack the
back opening closed when you have finished to stop the
stuffing from coming out.

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Needle-sculpting the face

Needle-sculpting adds form and character to your doll’s head and
provides the three-dimensional basis for drawing and colouring the face.
The needle-sculpting stitches need to be pulled firmly to form the face
shape but not too tightly otherwise the face will distort.
The instructions below are for a simple needle-sculpted head. This
head is used for Peaseblossom the flower fairy; a variation on this is
provided for Morwenna (see page 76) and Nerissa (see page 60).
The needle-sculpting diagrams can be varied to create a different look,
for example larger, more widely spaced eyes, a longer nose or a broader
mouth. Think about the character, age and sex of your doll and sculpt
the face accordingly.

1 Mark the positions of the features
with glass-headed pins, following
the diagram at the top of the page
for guidance.
2 Thread a long, fine quilting needle 3 Push the needle through to the
with about 1m (1yd) ofquilting front of the head, bringing it out at
thread in a colour to match the fabric position 1.
and secure the thread at the back of
the head with a couple of stitches.
~

4 Remove the pin at position 1,
make a small stitch and take the
needle back through at 1 and out
at 2. This will shape the bridge of
the nose.
5 Remove pin 2. Take the needle
back through at 2 and bring it out at
1. Make a firm stitch, and repeat to
secure. Manipulate the stuffing into
the nose as you stitch.
6 Push the needle in at 1 and out
at 4. For this and all subsequent
stitches, pull the thread taut to
create a well-defined face.

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 7 Push the needle back through 8 Push the needle back through at2 9 Push the needle back through at 3
at 4 and out at 2.This will form the and out at3 to form the other nostril. | and out at 6.
first nostril. Remove the pin.

10 Remove the pin at 6 and take the 11 Remove the pin at 7 and take the 12 Remove the pin at 5 and take the
needle through to 7. needle through to 5. needle through to 8.

Tip eoceceecee
Make two or three needle-
sculpted heads atatime and
keep them inabagforuseat —
a later date. It's a good way
of practising your needle-
sculpting, and means you f
have a good supply ofheads
to choose from each time you
make a doll.

late aC

13 Remove the pin at 8andtakethe 14 Leave pin 9, which marks the

needle through to the back of the centre of the mouth, in place. The
head. Fasten off. head is now needle-sculpted and
ready for colouring.

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Drawing and colouring
the face
Where needle-sculpting defines the structure, shape and character of the Ti eo 8.66 eae m
face, the colouring you apply will really bring your doll to life. For example, :
pale skin, hollow cheeks and huge, dark, sunken eyes will give your doll a Build up the colour on the :
gothic-horror look, whereas pink cheeks, full lips and big blue eyes suggest face in layers, alternately .
youthful beauty and goodness. applying it with dry t
If you are confident to draw the face freehand, then please do so. However, watercolour pencils and '
| know many doll makers who find drawing the face challenging, so | have blending it down with a scrap —
included templates to give some basic help in plotting the eyes and mouth, of cotton fabric, until you are .
then all you need to do is fill in the details. happy with the result.
The step-by-step instructions below are for the fairy’s face (see page —\ ere meme

44); instructions for drawing and colouring the faces of the other dolls are
provided on pages 60-61 (Nerissa) and page 78 (Morwenna).

1 Use the eye and

mouth templates
provided to draw in the
eyes and the centre line
for the mouth using a
vanishing fine-line pen.
Position the templates
accurately between the
relevant stitches on the
face. For the eyes, draw
around one eye then
flip the template over
and draw around the
other eye.

2 Draw a line below the upper eye line for the

eyelid. Draw a circle for each iris and another
circle within it for the pupil. Add the eyebrow
. line. For the mouth, use the template and
position it between the two outer sculpting
stitches. Draw in the centre mouth line with a
vanishing fine-line pen. Add the upper lip line
and the lower lip line.

3 Use a fine-line Pigma Micron pen size 01 in

black to outline the eyes, eyebrows and pupils,
a blue pen to outline the irises, and brown for
the lips. Fill in the irises using Ultramarine Blue
watercolour pencil, applied dry. Shade them
more heavily on one side than the other to give
the eyes depth. Fill in the pupils using the black
fine-line Pigma Micron pen, leaving a small
highlight. Use a Burnt Ochre watercolour pencil
to shade the eye sockets gently, taking the colour
a little way down each side of the nose. Blend the
colour by rubbing it with a scrap of cotton fabric.
Add some Yellow Ochre on the eyelids and under
the eyes and blend once more.

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 4 Apply Blush Pink watercolour pencil to both cheeks
and blend. Next, colour the lips with Crimson pencil,
making the upper lip darker than the lower one. Leave
some lighter areas for the highlights. Use the brown pen
to put in dots for the nostrils and to add a little definition
to the mouth. With a white Fabricolour pen, colour the
whites of the eyes and add highlights to the eyes andthe
lips. Finally, draw on eyelashes using the black fine-line
Pigma Micron pen.
5 Now look at your face and see what needs to be
adjusted by adding a little shading or colour here and
there. You may need to strengthen the outlines to give
them more definition. To finish, you may wish to spray
your doll’s face with an artist's fixative spray, holding
it about 30cm (12in) away, and allow to dry. Don't
— overspray and wet the face.

Attaching the head to the body

This is almost the last stage of making a doll, after the rest of the body has been assembled. You
will have your doll with a very firmly stuffed neck, and your finished head ready to attach.

1 Begin by removing the pins or tacking stitches that are holding the gap = = 2 Push the neck into the opening
closed at the back of the head. Use your stuffing tool or a chopstick to make a firmly. Hold it in place securely with
space in the stuffing for the neck. a few pins. Attach the head by hand
stitching using quilting thread (for
strength). Make sure the head is
attached firmly by going round the
neck twice.

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 Making ears
Depending on the style of your doll, you may not need to
make ears as they would be hidden underneath the doll’s
hair. Some fantasy dolls, however, for example fairies,
elves and mermaids, have large, prominent, pointed ears,
for which | have provided templates.

1 On doubled fabric, draw around the ear template

twice. Machine stitch around each ear on the pencil
line, leaving the opening. Cut out each ear with a
3mm (in) seam allowance.

Pull the ears the right way out using forceps. Fill
them with a little stuffing to pad them out, but
avoid over-filling. Turn in the edges of the openings
and stitch them closed.

3 Topstitch lines on to each ear to give them character 4 Pin an ear on to each side ofthe head, laying the
and form. You may like to draw these on first with a stitched opening along the side seam and aligning the
vanishing fine-line pen. Make sure the ears are mirror top of it with the eyes. Stitch the ears in place.
images of each other.

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 Making hands
have made the dolls in this book using one of two types
i hand, and here I shall show you how to make both
of them. The first is a simple hand, with the three centre
fingers made as one piece and topstitched on the right side.
The other hand is a little more complicated and has five
separate fingers. Templates are provided for both types of
hand at the back of the book.

Simple hand
These hands have a little finger and a thumb as separate digits with the three
centre fingers made in one piece and then topstitched on the right side.

1 Place the hand template on

doubled fabric and draw around it
very carefully with a pencil. Repeat
to make two hands. Starting at the
wrist, machine stitch on the pencil
lines as accurately as you can,
making sure there are at least two
stitches between the thumb and
the middle fingers and between
the little finger and the middle
fingers. Leave the wrist open. Cut
out each hand with a 3mm (in)
seam allowance, but for now leave
fabric between the middle three
fingers and the thumb and little
finger, as shown.

2 Put a dab of seam sealant on to both sides

of the fabric between the thumb and the
middle fingers, and between the little finger
and the middle fingers. Do this on both hands
and allow to dry.

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3 With small, sharp scissors, cut

down between the thumb and the
middle three fingers almost to the
seam. Trim back the excess fabric to
approximately 3mm (in). Trim the
fabric between the little finger and
the middle fingers in the same way.
Repeat for both hands.

4 Turn each hand the right way

out. Use finger-turning tools for
the thumb and little finger. Insert
the tube in the finger and position
the rod at the top. Push the fabric
up over the rod, pressing the tube
against your body to keep it stable.
If you don't have any finger-turning
tools, ease out the thumb and little
finger by pushing and pulling the
fabric with the forceps then ease
out the end using a darning needle.
For the middle three fingers, use the
forceps to pull the fabric through.

5 Mark on the three middle

fingers using a vanishing fine-
line pen. Mark the ends of the
lines with pins if necessary.
Run a line of machine
stitching along each line.

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 6 Wire each hand in the same
way. First cut three 30.5cm (12in)
chenille sticks in half and fold each
one in half again. This will give you
six folded lengths of chenille stick -
three for each hand. Bend down the
ends using a pair of forceps. With
the forceps, insert the two ends of
one folded chenille stick into the
two middle fingers nearest the
thumb. Repeat for the third middle
finger and the little finger.

7 For the thumb, push in a third folded chenille stick

with the bend going in first. Twist all the chenille sticks
together at the wrist. Manipulate the fingers into a life-
like position.

8 Put a little stuffing into the palm of the hand

and a little less stuffing into the back of the hand.
Make a left and a right hand.

9 Add some sculpting stitches

to make the knuckles. Work
two or three tiny stitches
where each pair of fingers join
at the base.

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 Five-fingered hand
This type of hand is a little more difficult to make,
but can be manipulated into more realistic poses.

1 On doubled fabric, draw around the hand

template using a pencil very carefully, keeping
to the edge of the template — don't let the line
stray away from the pattern shape. Starting at
the wrist, machine stitch around each hand as
accurately as possible on the pencil line. Make
sure you have at least two stitches between each
finger, otherwise they won't turn successfully.
Don't stitch across the wrist. Cut out the hands
with a 3mm (%in) seam allowance, but don’t cut
down between the fingers.

2 Put a dab of seam sealant on to both sides of

the fabric between each finger. Allow this to dry.

3 Cut down between each

finger with very small, sharp
scissors to the seam. Don't cut into
the stitching or your seam will split
when turned.

4 Turn each hand right side out. Use finger-turning

tools to turn each finger separately. Insert a tube
into the finger and place the rod on top of the finger.
Slowly and carefully push the fabric up over the rod.
_” Remember: you are pushing the fabric over the rod and
— not the rod into the finger.

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 5 When all the fingers are turned, pull the hand through
with the forceps. There should not be any wrinkles
around the base of the fingers.

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itt there are any wrinkles around the base of the

fingers, then you have not clipped far enough down
to the seam. You will need to turn the hand inside-
_out again and cut down closer to the seam.
a hmmeomemaeanices io eee

6 Cut three 30.5cm (12in) chenille

sticks in half and fold each one in
half again. Bend down the ends
using a pair of forceps. With the
forceps, insert the two ends of
one folded chenille stick into the
first two fingers starting with the
middle finger. Repeat for the next
two fingers and the thumb. Put a
little stuffing into both the palm of
the hand and the back ofthe hand;
the palm should be slightly more
padded than the back.

Tip ++++++-4
Make sure you end up with a
right and left hand.
ARIES: 7

The finished hand.

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Making feet
sometimes make separate feet for my dolls, which I then stitch on to the
legs, for example the fairy dolls on pages 42-57. For others, the feet are an
integral part of the leg and they are made together, for example the witch
and the steampunk doll (pages 72-87). The template for the feet can be
found on page 88.

Making feet for fairy dolls

1 On doubled fabric, draw around the foot
template twice, as accurately and carefully
as you can. Machine stitch the front and the
back seams.

2 Cut out the feet with a 3mm (in)

seam allowance for stitched seams
and a6mm (%in) seam allowance for
the toes and ankle of each foot.

3 Fold each foot so that the two side seams

are placed together at the toe end. Pin the
fabric in place.

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 4 Draw a smooth, rounded shape on to the toe end of 5 Use forceps to pull the feet the right way out. Stuff
each foot using a vanishing fine-line pen. Machine stitch each foot firmly up to the ankle.
along this line.

6 Draw the divisions for the five toes

on to the end of each foot using
a vanishing fine-line pen. If you
wish, put pins along the top of
the foot to mark the positions
of the toes first.

7 Topstitch by hand along the

marked lines to create the toes. Take
the needle and thread right through
the end of the foot.

8 Putin a couple of sculpting stitches to

The finished feet.
mark the ankle bone, again passing the
needle and thread from one side of the foot
to the other and pulling the thread taut.

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Projects antasy cloth dolls, by definition, can be as
Fee and wonderful as your imagination
allows. A great deal of fun can be had designing
4

|
their costumes and experimenting with
different colouring mediums, fabrics and
embellishments. If you are new to cloth-doll
making, try out the techniques in the previous
sections first and make sure you have all of
the equipment and materials you need to
get started.
Each project consists of step-by-step
instructions that, if followed exactly, will result
in a gorgeous fairy, mermaid or steampunk doll.
If you are feeling adventurous, try changing
the colours, fabrics or embellishments used to
create something unique. To show you how
easy this is to achieve, I’ve made a second doll
to accompany each project that uses the same
techniques, but has been given a completely
different character simply by changing the
materials used. All the dolls are the same
size, so the costumes and accessories are all
interchangeable. For example, try creating
a dark fairy by making a pair of wings for
Morwenna, or turn Peaseblossom into a snow
queen by making her outfit all in white.
All of the templates you need are provided at
the back of the book. Simply photocopy them
on to paper or card and you are ready to make
your doll.
 pace
ue;

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Peaseblossom
IP
easeblossom is a flower fairy with button-jointed hips and shoulders, and limbs
with stitched joints. Her feet and hands are made separately and her body is
shaped. Her wings are wired and made from heated organza, and her hair is Tibetan
lamb skin coloured with fabric dye. She is decorated with organza flowers.

Kae ull need

Fat quarter of flesh-coloured cotton fabric for the Basic sewing kit of sewing needle, Zico of
head, neck, hands and feet forceps or hemostats and polyester threadsi ine
Fat quarter of flower-printed cotton fabric for variety of colours to match the fabrics used
the body Long no. 7 darning needle and long doll elie a
Fat quarter of cotton batik fabric for the arms Watercolour pencils in Burnt Ochre, Blush pink =.
Fat quarter of striped cotton fabric for the legs Yellow Ochre, Ultramarine Blue and Cripson
0.5m (2yd) of synthetic organza in two different. Fabric dye in red, violet and turquoise
colours for the skirt Fine-line Pigma led Peps size 01 in back be 8
250g (802) of polyester filling and blue ai
15 x 15cm (6 x6in) of bleached Tibetan lamb skin : Vanishing fine-line pen
for the hair White Fabricolour pen
Four 14mm (in) buttons forjointing Finger-turning tools (optional)
Assorted 4mm beads Mechanical or sharp HB pene
Three 1m (1yd) lengths of synthetic organza in a Stuffing tools orPgs
different colours for wings, skirt and flowers Heat gun Soge
5m (5yds) of wired designer cord in atoning colour ‘Glass, e. g. cheap picture-fram egl
for the wings |
Craft soldering iron and jam j
~ Angelina fibres ie Craft glue,fore
exam
moe pe
Three 6mm (‘4in) chenille sticks ipipe Meare)
tron — aa See bs
Extra--strong thread in Natural for jointing ;
nee Seam sealant
Quilting thread in Natural forsculpting %
I Ruler
Tee WS A
I de: | i Bag parchment ae he

|
|
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Head
1 First make the head, and needle-sculpt and paint
the face following the instructions on pages 26-31.
This can then be put to one side and allowed to dry,
ready for use later on. Use the templates supplied
on pages 88-89 and flesh-coloured fabric.

Body
The body is a contoured body made in seven sections.
Four of these are print fabrics and three are part flesh
and part print.

2 Cut a piece offlesh-coloured fabric 20 x 10cm (734 x

4in) and a piece offlower-printed cotton 20 x 20cm (7%4
x 7%in). Join them together with machine stitch along
the 20cm (734in) side. Press the seam down to the print
fabric. Double the fabric lengthways with the seam on
the outside and running horizontally.

3 Take the Centre Front template (page 88) and place

it on the fold. Put the Centre Back template alongside
with at least 2cm (34in) between them. Align the
horizontal seam line marked on the pattern pieces
with the fabric seam.

4 With the pencil, mark around the Centre Front

template and then the Centre Back template.

5 Take the pattern pieces for the Side

Front and Side Back, and draw around
these once on to a doubled
piece of flower-printed cotton.

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 [ 6 Machine stitch the centre-back
i seam on the Centre Back section,
a: i leaving the opening unstitched. Cut
| out the Centre Back section, leaving
a 3mm (in) seam allowance on the
stitched centre-back seam anda
6mm (Yin) seam allowance on the
unstitched side seam. Cut out the
Centre Front section with a6mm
(Yain) seam allowance.

7 Cut out the Side Front and Side

Back pieces with a 6mm (in) seam
allowance all round.

8 Pin a Side Front section to the

Centre Front section right sides
facing, matching the bottom of the
Side Front section with the bottom
of the Centre Front section. The top
of the Side Front section should be
aligned with the neck mark on the
Centre Front section. Pin the other
Side Front section to the Centre
Front section in the same way. Also
pin the Side Back sections to the
Centre Back.

9 Stitch the seams and trim the

seam allowance to 3mm (in).

7 10 Open out the body front and body back

_ pieces and pin them together, wrong sides
i
_ facing, all around the side seams. Machine
stitch the seams, leaving the gap at the back
for stuffing, and trim the seam allowance to
3mm (Vin).
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Front \ Back
11 Using forceps, pull the body
piece right side out, pushing out
the neck, shoulders and hips. Fill
the body through the opening (see
page 25). Begin by stuffing the
neck firmly as it must support the
head. Next fill the shoulders and
the hips, again firmly as they must
support the jointing of the arms
and legs. Fill the rest of the body,
pushing the stuffing around with
the forceps to create a curvy body
shape. Ladder stitch the back
closed (see page 25).

Legs and feet

12 First, make the fairy feet following the instructions on pages 38-39. Use
the template provided on page 88. For the legs, take a piece of striped cotton
fabric 30 x 30cm (1134 x 1134in). Double it with right sides together and place
the Leg pattern piece on to the fabric. Draw around it twice to make two legs.
Make sure that the ankle ofthe leg is slightly wider than the ankle of the fairy
foot. Machine stitch around both legs, leaving the ankle open. Cut gut with
a 3mm (in) seam allowance on the stitched seams and a 6mm (Yin) seam
allowance at the ankle.

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 13 Pull both legs the right way out with forceps.
Stuff each leg from the top downwards until the filling
is 1cm (Yin) above the knee joint. To make the knee
joint, take a long darner and a length ofthread that
matches the fabric. Attach the thread at the back of the
knee then bring it tightly around the knee and catch
the fabric with a small stitch at the front. Repeat this
twice and fasten off firmly.

14 Stuff the rest of the leg to the ankle.

15 Push a fairy foot into the ankle at the

bottom of one of the legs and ensure there
is enough stuffing to keep the ankle firm. Pin
the foot in place and stitch around it securely.

16 Complete both legs in the same way.

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Arms and hands

17 Make a pair of simple hands, as described
on pages 33-35, using the template provided
on page 89.

18 Take a piece of cotton batik fabric

24 x 18cm (9% x 7in). Double it with
right sides together. Place the Arm
pattern piece on the fabric and draw
around it. Do this twice to make two arms.
As with the legs, make sure the wrist is slightly
wider than the wrist on the hand. Machine
stitch around the arms, leaving the wrist open.

19 Cut out both arms with a 3mm (%in) seam allowance

on the stitched seams and a 6mm (Yin) seam allowance at
the wrists. Complete both arms in exactly the same way as
the legs, jointing them at the elbow. Insert the hands and
attach them as you did the feet.

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 Joining the arms and legs to the body
20 Take a long doll needle and a good length of extra
strong thread. Attach the thread to the hip on the left
side of the body, on the seam. Hold the left leg next to
the body and pull the needle through from the inside
to the outside of the leg. Thread on a button and take
the needle back again, through the button, through
the leg and through the body at the hip to come out in
the corresponding place on the other side.

21 Hold the right leg in place and

push the needle through the top
of the leg, as you did on the other
side. Thread on a button, then take
the needle back again through
the button, leg and body, and out
through the button on the other
side. Repeat this once more, pulling
the thread tightly as you do so.
Finish off securely.

22 Attach the arms to the

shoulders in the same way.

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_ 23 Make the ears and attach them to the

head, as explained on page 32. Attach the — ct
__ head to the body (see page 31). — =
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Costuming
Now we come to the really fun part. First, we will make the skirt for the
doll. This is made from synthetic organza which is heated with a craft heat
gun. The method for doing this is shown on page 18.

a (24 Cut aboutBont triangles from the

road Ccorganza. | have used two colours,

4in) across the base and 40cm (15%4in)

“down to the point. Distress the surface of
each triangle using a heat gun, then pin
them on to the waist ofthe doll.

25 Make 20-30 layered organza flowers

following the instructions on page 19. The
templates for these are supplied on page 90.
Using the heated soldering iron, cut out a
number offlower shapes in an assortment of
colours and sizes. Alternatively, these can be
cut out by hand. For each flower, layer three
flower shapes of differing sizes and stitch
them together in the centre with a coloured
thread and some beads. Place a little tuck
in the fabric to give the flower a three-
dimensional appearance.

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 26 Pin then stitch the flowers on to
the doll around the top of the skirt
and also at the ankles, knees, wrists,
elbows and neck.

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This is always the last piece of the doll to be added. For this doll, | have used
a piece of bleached Tibetan lamb skin, which is fine, wispy and incredibly
soft. | have coloured it with fabric dye.

27 On the back of the lamb skin
draw a square 10 x 10cm (4 x 4in).
Cut it out with very small, sharp
scissors, making sure you do not
trap any ofthe fleece in the scissors.
To do this, push the scissors along
the skin at the base ofthe fleece.
28 Apply the fabric dye to the
fleece direct from the bottle. Stroke
it on in the direction ofthe fleece. |
have used three different coloured
dyes - violet, turquoise and red.
29 When you have applied several
streaks of dye in various colours, rub
the colours into the hair and blend
them together using a handful of
kitchen paper. Make sure most of
the hair is coloured.

30 Lay the lamb skin fleece-side
down, with the fleece all lying in
one direction. Mark a curve on one
side where the back of the head
will join the neck. On the opposite
side, apply a line of craft glue and
fold over the cut edge. This will be
attached to the doll’s forehead.
31 Cut around the marked
curve and check that the hair
fits around the doll’s ears. Trim it
down to fit if necessary.
32 Run a line of craft glue along
the top of the forehead and around
the back. Also put a little glue on \
the skin-side of the fleece. Leave it
for a few minutes and then position
the hair on the doll’s head. Hold it in
place for a few minutes until it has :
stuck fast. You can now comb the |
doll’s-hair gently and arrange it how
you wish. Hairspray can be used to
hold it in place.

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 Wings
A template for the wings is provided on page 90. Make two copies of it and join
them in the centre to make a single pair. The wings are made by layering heat-
treated organza and Angelina fibres, then adding surface stitching, beads and
wired designer cord in order to sculpt the wings into shape. Variations
on this basic theme are easy to achieve by simply altering
the shape of the template, and varying the colours,
materials and embellishments used.

33 Heat two piece of synthetic organza — one pink and

one turquoise - with a craft heat gun to give a puckered
surface (see page 18). Be careful not to over-heat the
organza or burn holes that are too big. Place the two
pieces of organza one on top of the other.

34 Create a thin sheet of fused Angelina fibres large enough

to cover the wing area following the instructions on page 20.
Lay it on top of the organza. This will give the wings a beautiful,
iridescent quality.

35 Lay the organza and Angelina layers on top ofthe template (you will be able
to see the pattern outline through the layers). Use scissors to cut out the wings,
making them slightly bigger than the template.

36 Create the veins using wired designer cord. Cut two
lengths of wire 50cm (1934in) long and two 40cm (15¥in)
long. Lay the two longer lengths across the wings to
make the upper and lower veins, and the two shorter
lengths down the sides. Hold the wires in place with pins
and leave 8cm (3%in) protruding at both ends — these
will be finished off later.
39 Bend the 8cm (3%in) lengths of wire at the corners of
the wings into circles and thread on some beads. Secure
them with satin stitch to form loops at the tips of the
wings, as shown above.
40 Melt the edges of the wings using a heat gun to give
them a ragged finish. |

37 Choose a thread colour that works well with the 41 Pin the wings to the fairy’s back and stitch them in
wings then, using a wide satin stitch and short stitch place to complete your doll. .
length, machine stitch along the lower and upper wires.
Next, satin stitch the end wires in place. Your wings
should now be strong enough to hold their shape.

38 Cut five more wires and lay them across the wings.
The ends ofthese wires should touch the stitched wires
on either side. Satin stitch them on to the wings.

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The methods and materials used for my midnight fairy
are very similar to those used for Peaseblossom, the
flower fairy. |have chosen cotton fabrics in dark blues
with silver accents, and organza in midnight blue and
purple. Moon Flower’s hair is bleached Tibetan lamb
skin and the wings are white organza and silver and
white Angelina.
 Nerissa
y the mermaid has webbed fingers, and a weighted tail so that she will sit
independently. Her flesh parts are made using a pale cotton batik, which
gives her a watery, fish-like appearance. Her face has a strange, almost alien look
reminiscent of a mysterious sea creature —a look that is further enhanced by the
use of abstract designs painted on to her face, arms and body using metallic paint.
Her tail is a collage of appliquéd fabric triangles, shells and beads, and her hair is
made from textured blue and green slub yarn that resembles dreadlocks.

Yau ull need

| Materials
- 0.5m (Yayd) of pale cotton batik fabric for the body, Basic sewing kit efsewing. needle, eissoeeeies
i arms, head and bag for filling ° forceps or hemostats and polyester threads in
0.5m (yd) of blue cotton fabric for the tail variety of colours to match the fabrics used |
30.5 x 30.5cm (12 x 12in) of blue and green batik Long no. 7 darning needle and afelting needle
fabric for the tail fin -Finger-turning tools »
| 20x 20cm (734 x 734in) of wadding _ Forceps or hemostats
| Collection of fabric scraps for the tail scales in a range Stuffing tools or chopstick
of blues, greens and yellows Watercolour pencils in Aquamarine, Dahlia Pur
30g (1%202) of polypropylene beads for weighting _ Blush Pink and Kelly Greeny”
the tail peWhite Fabricolourey
250g (802) of polyester filling
Three 6mm (Yin) chenille sticks (pipe cleaners)
Quilting thread in Natural for sculpting
Assorted shells, beads and sequins for decoration
30g (102) of slub or fancy yarn for hair, space-dyed in
shades of blue and green
30cm (12in) of craft wire for the tail fin
eS
 Head
Make a fully sculpted, four-part head as shown on pages 26-29 using the
pale cotton batik fabric. Use the diagram opposite and follow the
instructions below. | have made the mermaid’s eyes a little longer than
the fairy’s and slanted them upwards at the outer corners. Her mouth is
slightly wider and fuller.

Needle-sculpting the head

1 Follow the general instructions provided on page 28 up to and
including step 5.

2 At step 6, work the needle-sculpting stitches down the nose: push the
needle in at 1 and out at 4; in at 4 and out at 3; in at 3 and out at 6; in at 6 and
out at 5;in at 5 and out at 8 (the left nostril); in at 8 and out at 6; in at 6 and
out at 7 (the right nostril).

3 Push the needle in at 7 and out at 9 (the outer corner of the left eye),
then take it through at 9 and out at 12 (the right-hand corner of the mouth).

4 Push the needle in at 12 and out at 11 (the outer corner of the right eye),
then take it through at 11 and out at 10 (the left-hand corner of the mouth).
Push the needle in at 10 and out through the back of the head to finish off.

5 Use the templates provided on page 91 to draw on the

eyes and the centre line of the mouth using a vanishing
fine-line pen (see page 30). Remember to reverse the
template for the second eye.

6 Add the irises and the pupils and

draw in the eyebrows and lips. When
you are happy with your face, draw
over the lines using a black fine-line
Pigma Micron pen size 01.

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 7 Blacken the pupils but leave a small highlight.
Use the Dahlia Purple watercolour pencil to shade
around the eye socket and down the sides of the
nose, leaving the eyelid white. Blend the colour
with a scrap of cotton fabric. Place Aquamarine
watercolour pencil under the eye and in a v-shape
on the forehead. Blend the colour as before.

8 Add Blush Pink to the cheeks and blend, then fill \

the lips with purple, leaving highlights. Build up the —\
colour until you are happy with the result. \
\
\

Eo

9 Colour the eyes using Kelly Green watercolour pencil

and draw on the eyelashes at the corners of the eyes
using the black Pigma Micron pen. Put a dot of black
on each nostril and colour the eye whites with a white
Fabricolour pen. Finally, decorate the face with dots of
Lumiere pearlescent textile paint in Turquoise applied
straight from the bottle. If necessary, strengthen the
outlines of the features using a black Pigma Micron pen
size 05.

10 Use the template on page 91 to make the ears. Follow

the instructions provided on page 32. After stuffing them
lightly, add hand stitching in the pattern shown above.
Draw over the stitched lines using the black Pigma
Micron pen size 05 and colour each ear using the purple,
aquamarine and pink watercolour pencils.

11 Attach the ears to the head, aligning the top of each

ear with the corner of the eye and laying it along the side
seam ofthe head (see the photograph above).
 Arms and webbed hands
These are made in one piece using the template on page 92.

a
el

12 Trace the template twice on to doubled pale cotton

batik fabric using pencil. Machine stitch around each arm I
4
on the outline, leaving the opening for stuffing.
13 Cut out each arm, leaving a 3mm (in) seam
‘
}
allowance. Pull each arm the right way out using forceps.
Make sure each fingertip is properly pulled through. t
i
;

14 With your vanishing fine-line pen, draw the fingerson — 15 Machine stitch along the v-shaped lines between
to each webbed hand. Either draw these freehand, or cut each finger. :
away the ‘webbing’ around the fingers on the template ‘
and use this to draw around.

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16 Insert chenille sticks into the fingers, as described
on page 37, then stuff the palm of each hand, the
wrists and the rest of arms (see page 25). Make sure
the wrists and the tops of the arms are firm. Close the
opening with ladder stitch. If you wish, add a stitch
between each finger with quilting thread to shape the
knuckles (see page 35).

Body
17 Place the template for the Body (see page 91)
on a piece of doubled pale cotton batik fabric, draw
around it using a pencil and machine stitch all
around it on the marked line, leaving the opening at
the bottom.

18 Cut out the body, leaving a 3mm (‘%in) seam

allowance, and stuff firmly. Close the gap using
ladder stitch.

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 Tail
19 Place the two pattern pieces for the tail (page 92) on
to doubled blue cotton fabric. Draw around each one
using a white watercolour pencil.

20 Machine stitch the dart in the

two Tail Back pieces. Machine stitch
the centre-back seam of the Tail Back
pieces and the centre-front seam of
the Tail Front. Cut out both pieces with
a 3mm (iin) seam allowance on the
stitched seams and a 6mm (Yin) seam
allowance on the unstitched seams.

21 For the appliqué you will need pieces of fabric

in a range of blues, greens and yellows. | used
plain cotton fabric in five different colours, some
dupion silks, an embroidered chiffon fabric, some
felt and some brocade. Cut each piece of fabric
into anumber of small triangles - do this by eye to
avoid them all being the same shape and size.

22 Open out one of the tail pieces, either the

front or the back. On the right side, stick a row of
overlapping triangles along the base in a random
colour arrangement, with the points toward the
base. Extend the triangles beyond the edges of
the background fabric and ensure all of the fabric
is covered. Attach each triangle with a small dab
of craft glue on the back — not too much or it will
soak through and be visible on the front.

23 When you have stuck down one row oftriangles,

put a contrasting thread in your sewing machine
and topstitch each piece, roughly following the
shape of the triangle.

24 Continue row by row, overlapping the triangles

to make a scale-type pattern. This is intended to
look haphazard and irregular, with the frayed edges
adding to the effect.

25 Repeat to add triangles to the second tail piece.

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 26 When you have covered both tail pieces
with the appliqué, join the side seams and
the bottom of the tail, right sides together.
Trim off the excess fabric.

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27 Pin a piece of doubled blue and green

batik fabric to a layer of wadding and draw 28 Machine stitch around
the outline, leaving the end
around the template for the tail fin using a
pencil or a white watercolour pencil. The open for turning. Cut out
template is provided on page 91. with a seam allowance of
3mm (in).

29 Turn the fin right side out and push the length
of craft wire into the fin to fit all around the outer
edge. Hold the wire in place with pins.

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 30 Machine stitch around the outer edge ofthe fin to form a channel
around the wire. Fit the fin into the bottom of the tail. Pin then hand sew
the fin firmly in place with ladder stitch.

31 Stuff the tail up to just above the bend using forceps.

32 Use a selection of beads, sequins

and small shells to decorate the tail.

33 Make a small bag from the body fabric, finished

size 6.5 x 9cm (2% x 3Y2in). Fill it with polypropylene
beads and sew it up securely. Put the bag into the tail.
This will weight the mermaid and help her to sit.

66 : : were NN
 Finishing the body

34 Attach the arms to the body using ladder stitch. 35 Make the belly button using two or three needle-
sculpting stitches taken right through the doll’s body
and back again.

36 For the mermaid’s top, use the same fabric triangles that you used for
the scales on the tail. Pin them on to the mermaid’s chest in the shape of
a bikini top. When you have a few in place, hand stitch them with beads
and sequins to secure them. Add a few more and continue to build up the
shape ofthe top on the front and back of the doll.

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 37 Push a little stuffing into the bikini top to shape the bust
and add some triangles around the shoulders as straps.

38 With the same watercolour pencils that you used

for the face, add colour between the webbed fingers,
blending with a soft cotton cloth. Using Lumiere
pearlescent textile paint in Turquoise, add dots of
colour to the backs of the hands and continue the
pattern along the arms. Paint dots around the belly
button and neckline. Colour the nails using Dahlia Purple.
39 Insert the body into the
tail, making a good seated
position, and pin it in place.
You may need to adjust the
turning of the front waist
ofthe tail and trim it to size R=
to get the figure to sit well.
Turn under the tail fabric
around the waist. Stitch the
body and the tail together
by hand and sew on a few
sequins, beads and shells
around the join.
 Hair | —.
40 Cut the thick slub yarn, space-dyed in shades of blue
and green, into varied lengths. Lay them in a random pile,
with all the lengths lying in roughly the same direction.

41 Attach the doll’s head to the body (see

page 31). Unpin the opening at the back of
the head and poke a hole into the stuffing
with your stuffing tool or chopstick. Push the
neck into the head and pin it in place. Using a
small ladder stitch, attach the head to the neck
by sewing all around the join.

42 Place a layer of yarns over the head and needle-felt them in

place with a felting needle. Add more layers until you are happy
with the effect. To form a chunky, layered style, start with longer
lengths for the first layers and end with shorter lengths around the
top of the head.

43 To finish, sew a few beads, sequins

and shells into the hair, as shown. The
finished mermaid can be seen on
pages 7 and 59.

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- 86

Merina
For my alternative mermaid design | have used the
same batik fabric for all the skin parts, but replaced the
fabric scraps with metallics for the scales and the tail
fin. The body is decorated using Lumiere pearlescent
textile paint and the hair is made from a hank of sari
silk, which is sold for hand knitting.

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Morwenna
M
orwenna is a twenty-first-century steampunk doll. Her skin has a
gesso and acrylic paint treatment that makes a hard surface. This is an
interesting variation on the untreated fabric surface of the fairy dolls’ skin.
Morwenna’s arms are jointed at the shoulder and she has fixed legs. Her feet
and legs are single units; her boots help her to stand. She has synthetic hair and
she is dressed in purples, black lace and fish-nets. A few silver chains, charms
and beads have been added to finish.

Yau will need

0.5m (Y2yd) of white cotton fabricfor the head, body, Basic sewing kitofsewing needle, scissors, pins, I
hands and legs zs forceps or hemostats and polyester threadsina ©]
40x 18cm (1534 x 7in) of Wack conan
c fabric for variety of colours to match the fabrics used
the body Long no. 7-darning negale and long doll needle
0.5m (yd) of purple fabric for the arms and skirt Masking tape 7”
0.5m (Yayd) of black lace for the dress Gesso I
250g (802) of polyester filling White acrylic paint
1 pair of black fish-net tights Black Pigma brush pen a
1 length of curly, black synthetic hair approxi Fine-line Pigma Micron pen size 01 in black /
60cm (24in) long Black watercolour paint ;
Two 14mm (%in) silver buttons for jointing White Fabricolour pen
_ Small silver beads for decoration Small paintbrush and in (13mm) flat brush
_ Silver-coloured charms and chain (optional) Vanishing fine-line pen
30.5 x 30.5cm (12 x 12in) of black felt for boots Finger-turning tools
10 x 10cm (4 x 4in) of fibre board for-soles Mechanical or fine HB pencil
5 x 25.5cm (2 x 10in) of soft, blackleath for bodice White watercolour pencil
Three 6mm (Yin) chenille sticks (pipe cleaners) Forceps or hemostat:
Extra-strong thread in ‘black or purple for Joint et Stuffing tools or chopstick * It

Quilting thread in white for sEipung Craft glue, for example Tacky Glue.
Fine sandpaper
lron
Paper spike :

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aN
6
 1 Cut a piece of white cotton fabric 40 x 15cm (1534 x
6in) and machine stitch it to the piece of black cotton
fabric along the 40cm (15%4in) edge. Press the seam to
the black section. Fold the fabric in half with right sides
together, matching the seams.
2 Place the two pattern templates for the body on to the
fabric with the Body Front on the fold and the Body Back
alongside. Place the marked horizontal seam line on the
stitched seam.
3 Trace around the pattern pieces carefully using pencil
on the white fabric and white watercolour pencil on the
black fabric.
6 Machine stitch around the body on the marked
stitch lines. Trim the seams to 3mm (Yin). Pull the body
through with forceps and push out all the corners and
the neck.
74
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4 Machine stitch along the centre-back seam of the Body
Back leaving the opening. Cut out the Body Back with a
3mm (%in) seam allowance on the stitched seam and a
6mm (in) seam allowance on the unstitched seams. Cut
out the Body Front with a 6mm (%in) seam allowance.
5 Open out both body pieces and pin them together,
right sides facing, aligning the centre seam and the
marked stitch lines.
7 Stuff the body firmly, especially the neck, shoulders
and hips, and close the back with ladder stitch (see
page 25).
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PAPPDP DD DDPDYVDYS PO POR OP

8 Take a piece of purple fabric 40 x 16cm (16 x 6%4in).
Fold it in half to make a piece 20 x 16cm (8 x 6%in). Place
the Arm pattern on top and draw around it twice using a
white watercolour pencil to make two arms.
9 Machine stitch around the seams, leaving the wrists
open. Cut out both arms with a 3mm (in) seam
allowance on the stitched seams and a 6mm (Yin)
seam allowance on the wrists. Pull both arms right way
out using forceps and stuff them firmly.

10 Make a pair offive-fingered hands using white cotton

fabric. Follow the instructions on pages 36-37.

11 Push the hands into the wrists and pin then stitch
them in place securely. Make sure the wrists are fully
stuffed. You may need to push a little more filling in
before stitching.
KIDD YYYYYYYYPYYDYPOYYPOYYVYYV CPP YY YY YY SS

Making the head and painting the

head, body and hands
12 Using white cotton fabric, make a fully sculpted, four-part
head as described on pages 26-29 using the templates provided
on page 94. Needle-sculpt the head using the diagram and
instructions provided on page 60 for Nerissa.

ia ~~ To give the doll a pale skin tone, the fabric is painted with one coat of
gesso and two coats of white acrylic paint. Allow each coat to dry
__and sand it before applying the next. The head, hands and top
of the body can be made and painted at the same time. Wrap
masking tape around the wrists and bodice to protect the
sleeve and body fabric.

13 Secure the head on a paper

spike and paint it with a coat of
gesso. Use a large brush and work
it into the fabric, making it as
smooth and even as possible and
getting it into all the crevices.

14 Paint the hands and the top of

the body at the same time. Leave
everything to dry for at least an
hour. Wash your brush quickly
and carefully after painting.

15 When thoroughly dry, sand

the painted surfaces with a fine
sandpaper and blow or wipe away
the dust.

16 Now paint the head, hands

and body with white acrylic paint,
working the paint into the surface to
make it as smooth as possible. Leave
everything to dry for at least an hour
and sand as before.

17 Apply the second and final coat

of paint to each part as in step 16.
Leave to dry and sand again for a
smooth, even surface.

All the painted pieces will now have

a smooth and hardened surface, so
take care not to crack them when
handling. If you have not tried this
technique before, practise on a
spare head first and don't rush it.

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 Legs and feet x
These can be made while you are waiting for the painted
parts to dry. Note that you need to join the templates for \
the Upper Leg and Lower Leg before cutting out. *

18 Take a piece of white cotton fabric 40 x 40cm (1534 x ¥

1534in) and fold it in half. Place the two Leg templates on ib
the fabric and draw around them twice to make two legs. x
Machine stitch around each leg, leaving the toe end and ™
the opening at the back of the thigh open. 2 G a x

19 Cut out each leg with a 3mm (in) seam allowance

on the stitched seams and a 6mm (Yin) seam allowance
across the toes and at the opening.

20 Re-fold each foot so that the

seams are matching, pin the fabric
in place and draw a curved line for
the toes. Machine stitch around this
line and trim the fabric, leaving a
3mm (in) seam allowance.

21 Pull each leg through, pushing

out the foot, and stuff firmly. Make
sure each foot is set at right angles
to the leg so that the doll can stand
up. Close the opening at the top
of the leg with ladder stitch (see
page 25).

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Drawing and colouring the face

22 Take the Eye template (page 95) and place it in the
eye socket between the two stitches marking the inner
and outer eye. Hold it in place with your fingernail and
draw around it very lightly with a vanishing fine-line pen.
Turn the template over and repeat for the other eye.

23 Take the Mouth template (page 95) and hold it in

position for the mouth. This is the centre line of the
mouth. Draw a light line using a vanishing fine-line pen.

24 When you are happy with the positions of the eyes

and mouth, draw over the outlines carefully with a Pigma
Micron pen size 01 in black.

25 With the same pen, draw in the
pupils and irises. Put in two dots for
nostrils and draw in the upper lip and
the middle section ofthe lower lip.
26 With the Pigma brush pen in
black, strengthen the features and
fill in the irises and the upper lip.
Add short, thin eyebrows to give the
face a sorrowful expression.
27 Using watercolour paint anda
‘small brush, mix up a good watery
palette of black. Use this to shade
the eye sockets and the lower lip.
This needs to be done in a single
brush stroke or it will become
mixed in with the white acrylic
paint underneath. Colour the eye
whites and the pupils using a white
Fabricolour pen.

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 Finishing the arms and legs
PE

28 Cut one leg off a pair offish-net tights and work
two rows of machine stitching up the middle of it. Cut
between the stitching to create two narrow fish-net
stockings for your doll. Zigzag stitch along each stitched
seam to strengthen it.
29 Stitch across one end of each stocking at an angle
to make the foot and pull each stocking on to one leg of
the doll. Trim off the top of each stocking, fold it over on
to the inside of the leg and hand stitch it in place.

30 Cut a small piece offish-net and

fit it over one of the hands, poking
the fingers through the holes. Trim
off the excess fabric and hand stitch
the mitten in place. Repeat for the
other hand.

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 QPPDPDPPPPPPPDPPPPPPPPPPVPPPPPVPPPDPPPDPPPDPPPOS

Joining the arms and

legs to the body |
The legs need to be stitched to the body while keeping
them straight and the feet flat on the ground, otherwise |
the doll will not be able to stand. |

31 Pin the first leg to the side of the body at the hip. \
Hand stitch all the way around the top of the leg two \
_ or three times to secure it using extra strong thread.
Position and attach the second leg in the same way,
making sure it is level with the first leg.

32 Attach the arms using button

joints. Take a long doll needle anda
good length of extra strong thread.
Attach the thread to the shoulder
on the left side of the body, on the
seam. Hold the left arm next to the
body and pull the needle through
from the inside of the arm to the
outside. Thread on a small silver
button and take the needle back
through the button, through the
arm and through the body to
come out in the corresponding
position on the other side.

33 Hold the right arm in place and

push the needle through the top
of the arm, as you did on the other
side. Thread on a matching button,
then take the needle back again
through the button, arm and body.
Repeat this once more, pulling the
thread tightly as you do so. Finish
off securely.

34 For the wrist cuffs, cut two

pieces of soft, black leather each
1.5 x 6cm (%2 x 2Y%in). Wrap each one
around the doll’s wrists and secure
with a small silver bead stitched all
the way through the arm.
Costuming
35 Cut a piece of purple fabric 35 x 65cm (1334 x 25/in),
using the selvedge for one of the long sides. This will
form the hem ofthe dress and reduce bulk.

36 Machine stitch the two short sides of the fabric

together to make a tube.

37 Work a line of small running stitches 6mm (Yin) from

the frayed edge at the opposite end to the hem.

38 Place the dress on the doll and pull the gathering

stitches to fit. Fasten off and hand stitch the top ofthe
dress to the body.

39 Cut a piece of black lace 40 x 100cm (1534 x 39Vin).

With the short sides going from top to bottom, pin the
lace in gathers around the doll’s body to reach from the
top of the neck to the lower calf. Overlap the lace at the
back of the doll and tuck the lace under her arms.
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40 For the bodice, cut a piece of soft, black leather 22 x 42 Trim the lace around the neck if necessary, then join
4cm (8% x 1¥2in). Wrap it tightly around the doll’s waist the lace over each shoulder using a small silver bead.
so that it hold the lace in position. Overlap it at the back
and pin it in place.

41 Attach three small, silver beads to the front and to

the back of the bodice. Start by attaching the thread
at the front, then thread on a bead and take the thread
back through the bead and right through the body to
the other side. Thread on another bead and repeat in the
opposite direction. Do this two or three times for each
pair of beads.

43 Run a few lines of small running stitches along the 44 Gather random sections of the lace in the same way,
length of the purple dress and pull it into random gathers. and attach some silver beads here and there for decoration.

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83
 Boots
These will help your doll to stand without support, as long as she is balanced
correctly and placed on a flat surface in a sheltered position.

45 Using the templates on page 94, cut two

soles from a piece offibre board measuring
10 x 10cm (4 x 4in) using a scalpel anda
cutting mat.

a 46 Fold the piece of black felt measuring

_ . 30.5
x 30.5cm (12x 12in) in half and cut out
two soles and four boots.

47 Join each pair of boot shapes together by machine

stitching up the sides. Leave the ends open.

48 Fit each boot around one of the fibre-board soles 49 When the edges of the boots are stuck down firmly,
and apply a little craft glue around the edge of the sole. apply more glue to each sole, not too thickly, at the
Fold the edges of each boot over on to the sole and hold edges, and stick a felt sole on to the base of each boot.
them in place for a few seconds.

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Hair
50 Attach the doll’s head to the body (see page 31).
Unpin the opening at the back of the head and poke a
hole into the stuffing with your stuffing tool or chopstick.
Push the neck into the head and pin it in place. Using
a small ladder stitch, attach the head to the neck by
sewing all around the join.

51 | have used synthetic curly hair, which Ic

fantastic and is very easy to use. Hold the ha
on the head using a few pins, then stitch it in |
a fine, long darner.

Add chains and charms to complete your

steampunk-style doll.

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 For the midnight witch, | have used the same techniques
as for Morwenna, but changed to a black and red colour
scheme. | put a pale green watercolour wash over the face
before drawing in the features, and have used the fabric from
a pair of striped socks for the mittens and a cobweb lace that
| found on the Internet for the dress. The witch's hat is made
from black felt (templates are included on page 93) and the
broom is made from a twig and a bundle of raffia. Various
charms including cats, moons and stars have been added to

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 Templates
Il the templates here are actual size. You can trace them
A. to copy paper or photocopy them on to card. Now
cut them out carefully and accurately so that you can trace
around them on to the fabric. Card patterns can be re-used
and will last a long time. They are also a little firmer to
draw around.
When you have cut out your templates, write on
what they are straight away and mark on any additional
information such as grain lines, darts and seams.

seam line FAIRY

---- ; CENTRE
BACK
2 FAIRY
& CENTRE
So FRONT
© FAIRY HEAD
& FRONT seam line

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FAIRY y
FOOT =

FAIRY HEAD
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Side
seam

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OOOO OOOO OO OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOIO
 YVYYYYY

FAIRY LEG
FAIRY SIDE FAIRY ARM
FRONT

side
seam
Ccentre-back
seam

Ss
mM
eg

Side

FAIRY EYE

89 °°

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 FAIRY
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FLOWER
SHAPES

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NY WN NNN EN RW NSN NN NNO NINN NINN NEN NN NN NANI NANA NS NINA NA NINE NI NE NE NENG NE NP NS
INP NE ND ENS NI NP NP NI NE NE NE NE NE NE NE NI NI SE SP SP NS

|
|
|
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MERMAID
|
BODY
|
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|
|
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MERMAID MOUTH

MERMAID EYE
MERMAID
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MERMAID
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 MERMAID
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MERMAID
ARM

MERMAID
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seam
centre-fro

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 STEAMPUNK
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STEAMPUNK
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STEAMPUNK
HEAD BACK

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— a =

STEAMPUNK
HAND

STEAMPUNK
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 seam line

STEAMPUNK
LOWER LEG

STEAMPUNK STEAMPUNK
BODY BACK BODY
FRONT

ae ee —
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fold
front
place
centre
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STEAMPUNK MOUTH

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 Index
acrylic paint 17, 72, 76, 78 fish, 22723 painting fabrics 11, 18
altering organza 18-19, 50, 54 fish-nets 11, 72, 80 Pigma brush pens 17, 78
Angelina 12, 15, 20,54, 56 free machine embroidery 23 Pigma Micron pens 17, 23, 30-31,
appliqué 58, 64,65 60-61, 78
gesso 17,72, 76
arms 9, 48, 58, 62-63, 68, 72,75 polyester filling 10, 25 see also
gilding flakes 18
attaching arms 46, 49, 67, 81 stuffing
hair 9: 12; 13,15, 20; 32) 52,50) 68; Primatex cotton 9, 10
beads 9, 12, 18, 19, 50, 54, 58, 66, 67,
(2085
68, 69, 72, 81, 83
hands 9, 10, 33-37, 42, 48, 62, 68,
quilting 14, 22, 23
belly button 67, 68
75, 16-00 ribbon flowers 12
bodies 9, 10, 11, 17, 24, 31, 42,
attaching hands 48, 75 ribbons 12
44-46, 49, 58, 63, 67, 68, 69, 70, 74,
five-fingered 10, 14, 15, 33, 36-37,
76, 81, 85 sari silk 13, 70
62,75
boots 15, 72, 84 screen printing 22, 23 see also
simple 33-35, 48
brocade 64 Thermofax screens
heads 9, 10, 13, 15, 17, 20, 26-32, 44,
brushes 17 sculpting see needle-sculpting
46, 49, 52, 60-61, 69, 76, 85
button joint see jointing seam allowances 15, 23, 24,25
attaching heads 15, 31, 69, 85
buttons 9, 12,42, 49,81 seam sealant 15, 33, 36
heat gun 15, 18, 50, 54
sequins 12, 66, 67, 68, 69
calico 10 heat-treating fabrics 15, 18-19,
sewing machine 14, 23, 24
charms 9, 12, 72, 85, 86 50, 54
shells 9, 12, 58, 66, 68, 69
chiffon 64
jointing 14, 15,42, 47, 48, 49, 72, 81 silk flowers 12
chunky yarn 13 see also slub yarn
slub yarn 13, 58,69
costuming 9,11, 15,40, 50-51, lace 9,11, 72, 82, 83, 86
soldering iron 15, 18, 19, 50
82-83 ladder stitch 25, 46, 63, 66, 67, 69,
steampunk 17, 38, 40, 72-87
cotton batik 11, 22, 48, 58, 60, 62, 63, T7785
stuffing 10,-11, 15, 24, 25, 2673ape7¢
65, 70 leather 11,81, 83
39, 46, 47, 61, 63, 66, 68, 69, 77, 85
cotton jersey 10 legs 9, 38, 46-47, 72, 77, 80
see also polyester filling
cotton lycra 10 attaching legs 49, 81
stuffing tools 15, 25, 31
craft velour 10 Lumiere textile paints 18, 61,68, 70
suede 10
dried flowers 9, 12 mermaid 17, 22, 23, 32, 40, 58-71
tail (mermaid) 58, 64-66, 68, 70
dupion silk 64 mittens (mitts) 11,80, 86
templates 7, 15, 16, 23, 24, 26, 30,
dyeing 10,18 mohair fibre 13 *
88-95
mouth 16, 17, 28, 29, 30, 60, 78
ears 32,49,52,61 texture 7,9, 13, 15, 18, 23,58
embellishment 7, 11, 12, 18, 40, 54 needle-felting 13, 15, 20, 69 Thermofax Screens 22
eyes 16, 17, 28, 30, 60, 61, 78 needles 15 Tibetan lamb skin 13,42, 52,56
needle-sculpting 9, 10, 14, 15, 16, trims 9,12
fabric dyes 13, 42,52
26, 28-29, 30, 35, 37, 39, 44, 60, 67 tulles 9,15
Fabricolour pen 17, 31,61,
78
needle-sculpting diagrams 28, 60 turning 15, 27, 34, 36
fabrics 7,9, 10-11, 40
nose 27, 28,60, 61
faces 10, 15, 16-17, 28-31, 44, 58, wadding 65
60-61, 78, 86 organza 9,11, 15, 18-19, 42, 50, watercolour paints 13, 17, 78
fairies 8, 28, 30-31, 32, 38, 40, 54, 56 ‘ watercolour pencils 15, 17, 30-31,
42-57, 72 organza flowers 12, 19, 20, 42, 61, 64, 65, 68, 74, 75
feet 9, 38-39, 42, 46-47, 72,77, 81 50-51 webbed fingers 58, 62, 68
attaching feet 47 wings 11, 12, 15, 18, 20, 40, 42,
painting dolls 7, 17, 26, 44, 58, 61,
felt 11,64, 86 54, 56
68770572776, 77.
finger-turning tools 15, 34, 36 wired designer cord 15, 54, 65, 66
witch 38, 86

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A-Z of Silk
+ TECHNIQUES, PROJECTS AN’
PURE INSPIRATION

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Search Press Art
and Craft Books
 Using.clear,step- by-step instructions and gorgeous
isphotographs, Jan Horrox shows you how to make.
oes crafted fantasy cloth dolls, including magical
fairies, mermaids, a witch and a steampunk doll.
Detailed instructions are provided on how to sculpt and
colour the face; form hands, feet, wings and mermaids’
tails; and create fabulous costumes using a variety of
fabrics,paints and embellishments.
ne> Full-size templates for all the body pants are provided at
the back of the book.

UK £9.99 US/CAN $19.'

ISBN 978-1-84448-765-3
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L-2Z6-
| iI
/vide .www.searchpress.com
. 9781 844487
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