Embellish Issue 48 - December 2021

®
THE AUSTRALIAN MAGAZINE FOR TEXTILE ARTS
48
9 771837 603702
2021
Issue 48
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48
With inspiration from the Galápagos Islands

9 771837 603702
projects | embroidery | mixed media | articles

For more of Molly Ryan please see page 3
Anecdotes Le Femme, 2021, Dimensions variable. Naturally dyed and
hand felted wool/silk cloth with felt hat.
Photography: Georgia Hanson, Model: Megan Turner
CONTENTS
embellish ® ISSUE 48 DECEMBER 2021
COLUMNS
36 Student Profile: Nicole Franklin – by Nicole Franklin
FEATURES
8 3 Artist Profile: Molly Ryan – by Molly Ryan

16 Australian Fibre Art Award – by Lynda Worthington
18 Lifting the Lid: Of tortoises, time and tradition
- by Carole Douglas
28 Reader Challenge Postcard Swap
30 Melbourne Teapot Exhibition 2021
– by Lynda Worthington
36 Artist Profile: Carolyn ‘Caz’ Rogers – by Caz Rogers
44 Cricut Joy Competition
PROJECTS/TECHNIQUES
23 23
8 Silk Moth Sculpture – by Penny Eamer
Embellish with Stitches: Coral – by Lynda Worthington
26 Galápagos Flamingo in Cross Stitch
– by Lynda Worthington
32 Floral Motif – by Penny Eamer
40 ‘Sally Lightfoot’ Crab – by Penny Eamer
46 Layers to Texture – by Lynda Worthington
INFORMATION
2 Editor’s Notes
52 Book Reviews
32 55 Advertisers’ Index
56 Subscription Form
ON THE COVER -
‘Sally Lightfoot’ Crab (p40)
– by Penny Eamer
www.artwearpublications.com.au or find us on Facebook
Measurements within this issue are as per the author of EMBELLISH is an independent Australian publication
the project or article. No attempt has been made to convert
between Metric and Imperial measurements due to the errors ArtWear Publications P/L has taken reasonable steps to ensure that the copyright of each article or project resides
that may creep in. with the contributing author. We secure from each author a warranty stating such, or that the author has obtained all
necessary rights, licences and permissions such that publication will not infringe on any third party’s copyright.
One inch = 2.54 centimetres;
ArtWear Publications P/L relies on these warranties when asserting that the copyright is owned by the authors.
Ten centimetres = 3.94 inches. Instructions for the published projects have been checked for accuracy and are published in good faith. We cannot
guarantee successful results and offer no warranty either expressed or implied. All companies and brands mentioned
Acknowledgements Thank you to all our wonderful are included for editorial purposes, and all copyrights and trademarks are acknowledged.
contributors in this issue, to our advertisers, and to our
readers and subscribers for supporting an Australian ArtWear Publications P/L takes no responsibility for the accuracy of the content of any advertisements, advertorials or
independent publication. paid promotions. Any claims and statements are not those of the publisher.
www.artwearpublications.com.au
A good idea begins with a good fabric
embellish Issue 48/December 2021

®
editor's notes
The Galápagos Islands sound so exotic. Surprisingly,
although they cover a relatively small land area, their
environments are very diverse—as is the flora and fauna.
Publisher
ArtWear Publications Pty Ltd Penny Eamer has homed in on the incredibly brightly coloured Sally
Editor
Lightfoot crab—her project is featured on the cover. Carole Douglas
Lynda Worthington. started a journey with the tortoises of Darwin in her Lifting the Lid article, Of
tortoises, time and tradition, culminating in her creating a small tribute to those
Art Director she met along the way. I have created a rather large cross stitch Galápagos
Kylie Albanese.
flamingo pattern for you and have also taken inspiration from the coral reefs of the
Senior Graphic Designer Galápagos Islands in a small hand embroidered piece.
Michelle Davies - Mishy Dee Creative Designs
mldavies@bigpond.net.au There is a wonderful project from Penny in which she creates an incredible three-
Photography dimensional silk moth—we had so much to fit into our last issue, that this beautiful
The “how to”, “Postcard” or “article” project now appears here. Of course, you could use Penny’s techniques to create a
photography are by the individual swathe of different moth varieties. Penny also has a lovely floral motif for you to try.
contributors, unless otherwise noted.
Admin assistant We have a couple of exhibitions to inspire you—the Melbourne Teapot Exhibition,
Dawn Bordin and Australian Fibre Art Award.
Proof Reader
deLancey Worthington
You will also be inspired by the works of our artists in our artist profiles: Molly
Ryan, a textile artist, researcher, and designer who focuses on exploring the
Contributors narratives embedded in cloth, and Carolyn ‘Caz’ Rogers, whose passion is bold,
Carole Douglas, Penny Eamer, Nicole
bright colours, with which she creates her current love, felted vessels. In addition,
Franklin, Elsie Law, Caz Rogers, Molly Ryan,,
Lynda Worthington. we meet student Nicole Franklin, who has fallen in love with the creative process
and hopes to create her own textiles and clothing label.
Advertising sales & marketing:
Lynda Worthington 03 9888 1853 We have a couple of competitions in this issue—you may like to go into the
thegirls@artwearpublications.com.au competition to win a Cricut Joy (page 44), or the competition to win a copy of the
Published in Australia latest in the WOWbook series, WOWbook 7 (page 54).
Printed in C&C Offset Printing Co., Ltd.
Australian distribution by Ovato Here’s a good theme for you for the next postcard swap: "Scandinavia". You may
Agents order online or call customer service choose anything relating to the theme.
on 1800 032 472
New Zealand distribution: New Zealand distribution:

Ovato NZ Ltd., Phone +64 9-928 4200
Some of the postcards will be displayed in Embellish #50 (June
2022), which has the theme Scandinavia, and all will be displayed
USA and Canada distribution on our Facebook page, facebook.com/ArtWearPublications, in a
by DISTICOR Magazine Distribution Services
Tel: +905 619 6565
photo album early in June. The postcard with the most "likes" on
UK distribution by Manor House Magazines Facebook at midnight on 30/06/2022 will win $100.00 to spend
Tel +44 (0) 1672 514 288 with one of our advertisers in the June issue.
World Wide Digital Distribution by GGA
www.pocketmags.com.au Yours in textile art
Please address comments, letters, and inquiries to
<thegirls@artwearpublications.com.au> Lynda Lynda@artwearpublications.com.au
or write to ArtWear Publications, PO Box 469 POSCARD SWAP DETAILS: The completed size must be postcard size (A6—a
Ashburton VIC 3147. Tel +61 3 9888 1853 quarter of A4 size, 4”x 6” approximately) and you may use any technique, or
All contents © EMBELLISH Magazine 2021. The combination of techniques to create it, so long as it includes textiles.
purchaser of this magazine may make a single On the back of the postcard, please write your name, address, phone number
copy of any pattern contained within for personal and email address (if you have one). Completed postcards should be posted to
use only. Please do not give copies to your friends. arrive no later than 1st March, to “Scandinavia” Postcard Swap, PO Box 469,
Contact us to talk about reproductions, including
Ashburton VIC 3147, and include a stamped* self-addressed C5 or B5 envelope
intended sale of items made from patterns within
(so that the swapped postcard can be posted to you—C6 size is too small if
this magazine. If you have any questions about
obtaining permissions or about this policy, please there is a postcard that is on the thicker side, so you are limited in the postcards
contact us at the address above. which can be swapped back to you...).
Don‘t forget to add a small note with some information about your techniques
EMBELLISH Magazine ® is a registered trademark and inspiration.
of ArtWear Publications P/L, Ashwood, VIC.
ISSN 1837-6037. * International readers please email me and we can arrange a PayPal payment
for your return postage. However, please note, Australia Post has recently
determined that anything not made from paper must be sent as a parcel, which
is quite expensive. You may like to band together a few of you and we can send a
group’s postcards to the one address.
2 embellish Issue No 48
ARTIST PROFILE:
Molly
Elizabeth
Ryan
www.artwearpublications.com.au Issue No 48 embellish 3

Artist Profile
Molly Elizabeth Ryan

MOLLY ELIZABETH RYAN
I am a textile artist, researcher, and designer who
focuses on exploring the narratives embedded in cloth.
A commitment to preserving the natural environment,
resources and reducing waste governs my creative
and entrepreneurial practices. I contextualise my
research through making and in my role as the Director
of Education of the social enterprise, Fibre Economy.
In addition, I am passionate about interdisciplinary
innovation, creative problem solving, and promoting
consumer awareness around textiles. I am currently
completing my Bachelor of Arts Honours in Fashion and
Textiles at Curtin University.
I spent my first nineteen years in Gnarabup, Margaret

River. It was a freedom-rich childhood by the ocean,
which inspired a deep love and respect for the
natural environment. My journey in sustainability in
garment and textiles began in high school. This initial
encounter stimulated my fascination with the inherent
vulnerabilities of working with raw, natural materials.
This same fascination pulled me away from a career in
dietetics to pursue my passion for design and making
from a sustainable perspective.
PHOTOS
P3: Practice based research, 2021,
450 x 200cm. Silk pieces with ancestral
lace screen print, ready for hand sewing.
Photography: Molly Ryan
P4 Top left: Practice based research,

2021, 200 x 40cm. Lace mono print
using handmade, natural ink.
Photography: Kelsey Ashe
Top right: Valmadre Collection, 2020,
Dimensions variable.
Nuno felted silk with handsewing,
Photographer: Molly Ryan
P5 Top left: Practice based research,

2021, 30 x 20cm. Ancestral lace screen
print with natural ink on silk (detail).
Photography: Molly Ryan
Top Right: Anecdotes Le Femme, 2021,
Dimensions variable. Natural ink screen
print on naturally dyed wool/silk cloth.
Photography: Georgia Hanson
Right:Practice based research, 2021,
200 x 40cm. Lace mono print using
handmade, natural ink.
Photography: Kelsey Ashe

I am seduced by analogue, handmade
processes that privilege the maker's
presence. I work across various mediums,
focusing on natural colour, printmaking,
hand sewing, up-cycling, and zero-waste
design. My practice holistically embodies
the creative solutions I endeavour to refine
to ensure I continue to create in synergy
with my surroundings. I enjoy the challenge
of utilising existing materials, opting for
second-hand where possible. Moreover,
as a maker in an object-dense society, I
diligently working towards making with
meaning.
As my practice evolves, I see patterns in

concept, material, aesthetic, and process. I
have always been fascinated by lace. Only
in the past year have I begun to interrogate
my strong affinity with the cloth. Lace is
a visual and tactile trace of my ancestry.
It is a material that my ancestry has been
narrated to me through. Structurally, lace
can be described as a pattern of holes.
Like lace, my ancestry is also a pattern of
holes. While there are areas of integrity,
it is riddled with gaps of knowledge. I am
fascinated that I can hold cloth once held
by ancestors; they are people I will never
know but with whom I share DNA. Lace
helps me to demarcate generation distance
and connect with these people, literally and
figuratively.
My current body of research investigates

the lived experience of ancestral lace
through garments and textiles. I believe
that textiles become animated by their
users through prolonged, reciprocal
engagement. As a result, ancestral textiles
have complex biographies. By including
the objects through screen printing and
some knowledge of their lived experience, I
construct these cloth-based works to depict
the actual life histories of these lace objects.
This is achieved through an assemblage of
methods, data, and theory. The project is
ongoing; however, I am currently working
through large bags of silk scraps with
natural dye and print to display my findings
in large tapestries and garments. This work
is part of the group exhibition, 'Aura' at
Kidogo Art House in Fremantle/Walyalup.
Connect with me on Instagram:

mollyelizabethryan. Molly Ryan, 2020, 600cm x 200cm. Fused silk with natural ink
(Molly is a member of WAFTA). and lace screen print. Photography: Dan McCabe
Issue No 48 embellish 7
Silk Moth
Sculpture
PENNY EAMER thin, but slightly stiff, cream felt as a to colour the glaringly white cotton
This soft sculpture can stand on a flat stabilizer in between the layers. I have with a very pale wash of creamy
surface or hang on a wall. You can found this to work very well in the yellow to match the silk colour. It
make it large or small with the same past, making the sculpture both sturdy improved it, but silk would have been
pattern. I worked from an A4 sheet as and durable. For the body I used some much better.
that is both a good size for the finished creamy faux fur. If no fur is available,
sculpture and makes the pattern easy fray strips of suitably-coloured fabric METHOD:
to copy and work. and wind it around the body to create Start by making the wings.
the illusion. These plans can change of To make a moth the size shown in
Using seeded silk fabric seemed course as the sculpture progresses. Diagram 1, refer to Diagram 3 which
appropriate for this moth—it is matte, shows the wing measurements.
has body and a slight texture. When *Note: In retrospect, I wished I had Print Diagram 1 at the size shown in
planning, I decided to use a medium- used seeded silk on the underside of the diagram. Print Diagram 3 at the
weight iron-on interfacing to stiffen the wings instead of cotton—I could wing sizes shown, making sure it fits
the felt. I chose a white, cotton* fabric have made the wings ‘stand up’ more. the final size shown in Diagram 1.
for the underside and inserted a After the sculpture was finished, I had Adjust if needed.
26.5cm
MATERIALS
Diagram 1 Seeded silk fabric for wings,
Cotton fabric (seeded silk is
better—see previous note) for
wing undersides,
Light to medium iron-on
interfacing,
Thin felt as a stiffener
(optional),
Faux fur or strips of frayed
fabric for body,
4 White cotton pipe cleaners,
Wire for antennae (memory
wire) and legs.
13cm
Diagram 3
9cm 2
Iron interfacing onto the silk fabric, to hold the felt in position before
then cut out each wing. Cut out the sewing the wing or, as I did, insert
3
wing underside fabric (cotton or silk) the felt after sewing and turning the
as well (photo 1). sewn wing right side out.
up with two right hand wings instead
If you are using the thin felt as a Draw the sewing line on the lining of one left and one right!
stiffener, cut these without a seam pieces to ensure your wing edges
allowance. will be as accurate as possible—even Photo 3 shows all the pieces marked
This is better cut slightly too small small irregularities can be very and pinned, ready to sew. The felt is
than too large. noticeable. not included as I prefer to insert after
Photo 2 shows the felt over the top of sewing. When sewing, remember to
the wing pattern for size comparison. Check the wings are all the right way leave an open area in the seems to
You can use spray appliqué adhesive before sewing as its very easy to end turn them inside out (Diagram 3).

I tried to place the opening in the
least noticeable areas.
Turn the wings right way out and
press. To insert the felt, trim off
2-3mm around the edges of each felt
piece (photo 4).
Roll each felt piece tightly and insert

4 5
into wing (photo 5). Move it into
position with a pair of scissors. If it is
too large it will make the seams bulky
so remove it and re-trim.
Your wings should now look like

those in photo 6. At this stage you
could sew the wing ‘veins’ (shown
in Diagram 2) if you choose. Use a
disappearing pen of some kind to
draw them in. Set the wings aside.
6 Next the body needs to be created. I

rolled some wadding to form a rough
sausage shape, thinner at the tail end.
This needs to be much thinner than
the finished body width if you are
using fur to cover it.
Cut a rectangle of fur and sew it

around the roll—trim it to meet (not
overlap) under the belly and stitch it
closed. Cut a smaller rectangle to go
around the top of the body near the
head—refer to photo 7 and the area
shown in red. Hand sew A to B neatly
around the (‘waist’ of the) body
pulling it quite tightly to give it shape.
Referring to photo 8, open up the

added shape and trim off a little from
the corners at the head end as you
will be folding this in to form the
7 9 head. Trim off the enclosed stuffing
to flatten the bottom of the body
8 as much as possible—see the area
marked with red.
Remove as much as you need to get

a flattish underside. Turn the top in
on itself and sew it tightly to form a
small head. Note the beak-like head—
side view shown in photo 9.
Needle-sculpt it into a shape that will

take the eyes on either side.
Keep placing the body over Diagram 1
to check length and width.
Diagram 2
11
Sew around the

abdomen (lower
body) a few times, wrapping
the thread into the fur to create the
12
look of separate body sections. Brush
the fur over the wrapped thread. Set
the finished body aside (photo 10). 13
Moths’ eyes are often tear drop in

shape, but any beads that suit will do
if you don’t make your eyes. I usually
make them with polymer clay. You
can sew the eyes in now. If you are
using round beads, pull them into the
head tightly to set them in.
As I was without a disappearing

pen, I decided to risk using a pale-
coloured crayon to mark the ‘veins’
and to leave it under the stitching to
give a slight colouration (photo 11).
I stitched over the lines (photo 12),
leaving enough space on the leading
edge of the big wings to insert two
twisted cotton-covered pipe cleaners
(photo 13). This can be optional— Twist two pipe cleaners together and Insert this carefully into the wing
however it does give a little strength tightly fold over one end so that the channel. Shape to a gentle curve
and a nice curve to the wings. wire is not sharp. (photo 14).
10 14

15 16
17 Slit the sides of the thorax carefully

(photo 15).
Sew the big and small wing together

at the edges (shown in green in photo
16), just far enough to keep them in
position and then, using the drawing
as a guide, trim the wing ends to size
and angle (photo 16).
Using a strong thread, sew the wing
ends into the body, going right though
and pulling them tight (photo 17).
Sew the slits closed.
Set the moth aside.
To make the legs you will need a firm,

but bendable wire, crochet cotton
and glue. You will also need some
trimmed fur or similar, to cover the
legs. Diagram 5 is a sketch of the leg
structures.
I sewed the first

cotton-covered wire
onto the thorax
(photo 18), but you
18 can complete the legs
before sewing onto
the body if you prefer.
Using strong thread,
sew right through
from back to front of
the body and pull the
stitches tight. Don’t
worry if your stitches
show on the back as
you will be adding
more fur at the end.
Diagram
5
19 20
You can see the process I used for the

front legs in photos 19 and 20.
I cut small rectangles of trimmed fur
and glued, then sewed them onto
the already bent leg. However, if
you prefer to make it easier, follow
the process in photo 21. I used this
method for the other two sets of legs
and it’s much quicker and easier.
Wind the crochet cotton around the

length of wire and then glue a long
narrow strip of trimmed fur over half
of it. Add a second strip to the other
half. Sew the centre join. Make sure
the fur runs downwards on each leg!
Next use pliers to bend the legs as
you wish. Leave the feet without fur.
If you just want to hang your moth on the wall, you can
21
stop at making the front legs if you wish—if you want
it to stand, you do need all the legs. Attach all six legs as
close together as possible on the thorax (photo 22).
22

23 26
24
25
Lastly, the antennae! Photos 23 to fur. I covered and glued the wire with Glue every three or four at the top
25 show the method I used to create crochet cotton (a little longer than back to hold them firm.
the antennae. To get the curve, I used needed, as you can cut it to length).
memory wire, which retains the When finished, I layered them in a
curve but is still bendable with pliers. I then looped (as when you attach a sandwich of ‘solvy’, wet it and rinsed it,
I shaped the antennae as one length tag) short lengths of brown crochet leaving just enough sticky in them to
with a curve in the middle to fit the cotton all along the length of both stiffen them a little. Alternatively, you
head. This curve will be sewn down curves. Make them longer than you could use fabric stiffener or PVA glue.
into the neck and will not show in the need as it is easier to handle.
When dry, I cut the wire to the
right length, glued the end well and
To see more of Penny’s work, visit trimmed the cotton to the right shape.
pennyeamer@crevado.com When thoroughly dry, I used pliers
to turn the extreme ends up a little. I
then sewed them into the neck.
Finally, I cut more fur to sew over the

top of the thorax (photo 26) to cover
any stitches and to fatten the body.
Add any wadding underneath to get it
right. Sew it down by hand, leaving it
soft and full for a fat look.
Shape the legs to either stand or sit
up on whatever base or background
you select.
I think that’s it! You should now have

a soft, cuddly, fat looking, flightless
silk moth!
A great source book of designs
Order at www.artwearpublications.com.au
PUBLICATIONS
Australian Fibre
Art Award 2021
An initiative of ArtWear Publications,
the inaugural Australian Fibre Art
Award (AFAA) was run in September,
hosted by the Embroiderers’ Guild
NSW in Gallery76 amidst the
problems caused by our COVID-19
lockdowns.
Fibre artists from across Australia

were invited to enter recent, unseen
works for consideration. Our
judges, Rie Natalenko, Denise
Stevens and Liz Williamson, chose
the �inalists by independently
assessing the artworks using the
photos and statements supplied by
the artists, before combining their
assessments and compiling the
resultant list of 25 artworks.
Each eligible entry was assessed

for quality of composition and
overall design; uniqueness of
concept, originality and
creativity; technical execution;
choice of technique(s) to
impart the message/idea; and
overall impression.
The AFAA winner and other

prize winners were judged once
the artworks were hung in the
exhibition and announced via
a virtual Exhibition Opening by
Her Excellency the Honourable
Margaret Beazley AC QC, Governor
of NSW. These may be seen on the
inside back cover of this issue of
Embellish.
Boosya,
Sowing the All 25 artworks feature in the Dido and me
Garden book “AFAA 2021”, including by Oksana Waterfall
by Sharon detail views, along with (2021)
Peoples (2021) materials and techniques, and artist 57 x 13 x 17cm
62 x 15 x 20cm statements/bio’s—copies of the book Vintage sewing drawer,
Machine and hand are available via: embroidery thread,
embroidery thread, www.australian�ibreartaward.com.au handspun yarns
wire, polyester
wadding, seed pods. The virtual tour and opening of the exhibition may be viewed at
www.youtube.com/watch?v=XHj7N3BZAMo
Beauty in Strength
by Denise Larrea
(2021)
45 x 55 x 2cm
Mulberry silk and
merino wool roving,
machine and hand
embroidery thread.
Brain Fog
by Lee Vause
(2021)
50 x 50 x 15cm
Varied papers, fine
gauze, wool fibre,
organic raffia, fine
threads, recycled
fence paling, wire.

Darwin’s tortoises
A collection of tortoises
LIFTING THE LID:
Of tortoises,
time and
tradition
CAROLE DOUGLAS so, it’s on my bucket list to see these
Galapagos! The very word conjures iconic creatures for myself.
up images of pristine islands and rare
species—isolated and untouched—a There is a lot to admire about
flotilla of uniqueness floating in the tortoises, including their slow-footed
currents of time. It brings to mind grace and unwavering determination
Charles Darwin and evolution, and it to reach a destination no matter how
conjures up the giant tortoises after long it takes. And, in their longevity,
which the islands were named. tortoises bear witness to long
passages of time. Darwin's tortoise,
Despite a common belief that the Harriet, at the time reputed to be the
name is derived from the similarity world's oldest living creature, died
between the reptile’s carapace and a in 2006 aged 176 a long way from
Spanish saddle, the name is actually home at Steve Irwin’s Australia Zoo
an ancient Spanish word ‘galapago’ in Queensland.
meaning tortoise. Giant tortoises
were once so abundant on the Tortoises play an important role
archipelago that Spanish sailors who in world mythology, where the
explored the region in 1535 named name turtle and tortoise are
the islands in their honour. While often interchangeable. It might be
I have not yet had the joy of doing confusing but, according to the
Fractals on tortoise shell
Encyclopedia Britannica, ‘In fact

all tortoises are turtles—that is,
they belong to the order Testudines
or Chelonia, reptiles having bodies
encased in a bony shell—but not all
turtles are tortoises.’
Common to many traditional beliefs,

the tortoise is seen as a symbol
of wisdom, security, endurance,
peacefulness, longevity, and patience.
In Hindu mythology the world is
thought to rest on the back of four
elephants that stand on the shell of
a tortoise—or turtle depending on
source. The tortoise also occupies
a special place in Hindu temples,
where it is believed to attract waves Above: Freedom at last!
of purity and wisdom (Sattva) from Below: Creation myth Below: Lifting the lid - the great escape
the cosmos.
I have a particular fondness for

tortoises that reaches back
into childhood and over
the years I have collected
them in various forms—
stone, glass, wood, clay,
metal and fabric. When
I recently lifted the lid
on yet another box in my
stash, I discovered three
handcrafted felt tortoises
waiting to escape.
These were made for me in Kutch

more than a dozen years ago—no ways than one. They represent
time at all in the life of a tortoise! place—one popular belief is that the
These items are significant in more name Kutch (Kachchh) is derived

Above: Karim with exhibit at Education for Sustainability
conference. Below: Karim filling outlines with carded fleece
Karim Mansouri
creating outline
with wool coils
from the local word for tortoise

‘Kachbo’ due to the shape of the map.
Indeed, if you turn the map upside
down the similarity can be seen.
Made of local materials using limited
resources and shedding no waste
they represent ecological balance.
Hand crafted by namda (felt) artisan

Karim Mansouri, whose forebears
once supplied the trappings for the
King’s elephants, they represent
a tradition that has adapted and
evolved over time.
When I first met Karim, he was one of

only two remaining namda artisans
in the district. His older brother
Yusuf, also a talented namda artisan,
had returned to the family business Karim’s children lend a helping hand
of making kapok mattresses to
support his growing family. time between his passion for felting large Heath Robinson contraption
and doing odd carpentry jobs for that slowly rumbled into action and
However Karim, in true tortoise- livelihood. He is immensely creative, when at full throttle filled the air
like fashion, is determined to reach his mind brims with ideas and he is with dusty fluff, its violent vibrations
his goals no matter how long it an enthusiast for mechanical devices. threatening to bring the shed down.
takes. Working out of a workshop in We all ran outside and only Karim
Mundra, a coastal town at the end of When I visited on one occasion, he was brave enough to go back in and
a long bumpy road, Karim spends his had been given a carding machine—a turn off the machine.
Sculptural work
Karim uses desi (raw) wool that created in 2011
he collects from local Rabari
communities. The colour of the fleece
ranges from dusty white to tones of
grey, brown, ochre and black, thus
giving Karim a wide palette from
which to work. Only rarely does he
colour the wool with synthetic dyes.
The clip of local wool is short stapled,

waxy and fibrous and is not an easy
material to handle. Karim begins his
creations by rolling strips of dark
wool that he uses to outline the
design, laying it carefully on a wet
cloth. He then adds opposing layers
of carded wool and, with only cold
water (hot water is a luxury), Karim
begins the arduous task of wetting,
rolling, squeezing and pressing the
fleece into shape.
Due to water shortages, he does not

use soap. It takes time, energy and
skill to make something durable
with such limited resources. Karim’s
repertoire includes mats, bags and
hats, and he has experimented with
three-dimensional forms.
When I commissioned him to create

items suitable for the Australian
market, his range included tea cosies
and hot water bottle covers. But of
all the products Karim developed
during our time of working together,
my favourite has to be the tortoise,
Kachbo, in celebration of Kutch.
Kachbo began its life as a flat object
until we added a pouch in which
pyjamas could be stored while
Kachbo snoozes on the bed.
For my own ends, tortoises provide

a wealth of inspiration. I am drawn
to the fractal patterns found in the
geometry of a carapace and the way
the hexagons are repeated within and
without, and are somewhat akin to
the shape of the tortoise when it’s on
the move.
Once, while visiting the NGO Khamir,

near Bhuj, I watched a tortoise move
slowly from one side of an enclosed
grassy area to the other. It stopped
briefly at a small puddle in the centre Tortoise as pyjama pouch Tortoise as a hexagram

Patterns on carapaces
Journey of the Tortoise (65 x 90cm)

Inset: In detail
before resuming a journey that took most of

the afternoon. The memory triggered the piece
pictured here.
I’ve used indigo-dyed kala (desi) cotton hand

woven at Khamir and the hexagons that
represent the tortoise are cut from the ‘drop’
cloth of a printing table at nearby Ajrakhpur.
Each one is held down by fly or ‘mor pankh’
stitch, common in Kutch embroidery styles. The
puddle is created using kudi debha, a variation
on running stitch that traditionally represents
water sources along a journey. Finally, the layers
are held together by hundreds of tiny stitches
proving that, like a tortoise, slow and steady does
eventually get me there!
‘The Tortoise’s Journey’ is my small tribute to

the Kachbo of Kutch, to Karim, to the artisans of
the district who endlessly repeat their motifs
in stitch, print, stamp, tie and weave and to the
evolution of tradition over long periods of time.
EMBELLISH WITH STITCHES:
Coral

Embellish with Stitches:
LYNDA WORTHINGTON
Coral
1
I could use both hands at once when
In looking at the Galápagos Islands, dealing with the embroidery stitches.
I was quite surprised at the varied Using a variety of embroidery
environments which were present threads—Perlé, stranded, linen—and
in such a small area. I had not, for in shades of blues and tan, I scattered
example, expected to see beautiful and clumped French knots as shown
coral reefs. I drew my inspiration for in photo 2.
this project from the reefs.
To add a little textural interest, and to
I had in mind a particular small connect the coloured stitches visually
box which I thought needed a little to the background fabric, I pulled out
embellishment, but you could create some threads from the remaining
this project at the size you require. fabric and used them to create the
French knots that appear to be white. of stitching, I then worked some
The backing fabric I used was an bullion knots (also known as bullion
even-weave from my stash. So that I It was interesting to see this effect, as stitch)—my �irst attempt at this
knew where to place my embroidery, the background fabric was certainly stitch (so I did practice on another
I pulled a single thread from the not white (see photo of �inished piece of fabric and would suggest you
fabric at the edges of the box lid embroidery). do too).
(photo 1) before placing the fabric
in a hoop that had legs—this meant Within one of the blue clumps To create a bullion knot, you will
2
need a needle that does through the fabric) or

not have a bulge where the eye of it creates an arc (the distance of
the needle is, as you will want to slip the wound thread on the needle is
wrapped threads past it. greater than the distance the needle
has travelled through the fabric).
Bring your threaded needle up
through the fabric, then take the Use your �ingers to gently hold the
needle down into the fabric the wrapped thread and carefully pull
desired distance from where you the needle completely through the
came up (do not pull the needle all the wrapped threads.
way through at this stage), coming
back up at the same point you came Make sure the wraps are sitting
up previously—take care not to snag nicely, and keeping the tension in the
the thread with the needle. thread, take the needle back down
into the fabric at the point you �irst
The needle is now sitting in the fabric went down into the fabric. (See also
as if you were doing a backstitch. the Stitch Guide on our website.)
Using the thread at the ‘pointy’ end of It will take practice to get used to this
the needle, wrap the thread around stitch, and a few ‘drats’ along the way,
the needle (without overlapping the but it is worth it!
wraps). The number of wraps you
create will determine whether the Now that I’ve created this coral
resulting bullion knot sits �lat against embroidery, I’m not sure whether
the fabric (the distance of the wound to go on and use it on the box lid, to
thread on the needle is equal to the frame it, or to use it in a greetings
distance the needle has travelled card!

Galápagos Flamingo
in Cross Stitch
LYNDA WORTHINGTON
Yes, there are flamingos in the

Galápagos Islands!
This design is created for you using only

full cross stitches—there are no half
and quarter stitches, or backstitches.
The pattern and instructions for this
design are available free on our website
under the “free” tab, in both a black
and white version and a colour version,
each of which will need eight A4 pages
printed, plus an extra page for the full
legend.
Assorted arts and
cra items for your
textile and fibre art
https://www.ebay.com.au/str/
lyndasbookscraftsandtreasures
e e
Have you checked
r
out what’s behind
F
the “Free” tab on
our website?
Go to
smileykylies@bigpond.com and check it out!
Selected patterns
from Vintage Made
magazine are
available on our
website in full-size
paper format.
Create your own

vintage look!
Postcard Swap GALÁPAGOS
LYNDA WORTHINGTON
The Galápagos Islands are a very
diverse place—as are the postcards
received for this swap! Six of the
postcards are represented here.
All the postcards received are up

on our Facebook page from early
December in an album for you to
view and vote for your favourite.
The postcard with the most “likes”
at midnight on 31/12/21 will
win $100.00 to spend with one
of our advertisers in this issue of
Embellish—so please vote for your
favourite!
Marion Harvey (VIC)
Galápagos Tortoise In the next issue of Embellish we
Hand painted background; Tyvek rocks; Appliqué tortoise; will showcase the Denim Postcard
Stumpwork leaves; Beads; Hand embroidery. Swap. If you are interested in
contributing to the swaps, please
refer to my Editor’s Notes for more
information, or drop me an email
at lynda@artwearpublications.
com.au
Kerry Healey Binns (NSW)

Sharp Beaked Ground Finch
An inconspicuous bird that drinks
blood when other food is not available.
It pecks at the side of a larger seabird
until it bleeds. Sometimes known as
the ‘Vampire Finch’. Embroidery on
calico with red feathers and colour
enhanced by soluble pigments.
Wendy Seddon (VIC)

My postcard is inspired by the texture
of the shell of the Galápagos Tortoise.
Similar to the growth rings of trees, the
ridges of the shell plates can indicate
age and these reptiles can survive well
past a century. Machine stitching on
hand-dyed fabric, batting and pelmet
Vilene.
ISLANDS
Beverley Smith (QLD)
It isn’t easy bein’ Green
I asked my husband of 56 years what I
should call my postcard.
He said, “it isn’t easy being green”, and
why? Because my maiden name was
Green and his nickname for me was
always “Greenie the Meanie”.
We joked about this when ‘Kermit’ from
The Muppets sang his famous song about
‘green’. A long story, but I hope my Iguana
doesn’t have any hang-ups about being
‘green’. Painted with Lumiere paint, fussy
cut, raw-edge appliqué and machine
quilted.
Ellen Tyler (New Zealand)

Galápagos Islands
I had an interesting challenge regarding
what to do for this postcard. After much
contemplating and browsing, I was
drawn to the Frigatebird. I made the bird
by stitching wool roving on the bird’s
body and the crop was made in red felt
with some hand stitching. I stitched the
frigatebird onto a suitable background,
and I also stitched some foliage around
him and framed the postcard in green
fabric to complement the foreground
of the postcard. Although isolated, the
animals and seabirds are so diverse. I
always enjoyed David Attenborough’s
series on Galápagos Islands.
Yvonne Phillips (SA)

Galápagos Island
My postcard has been created in
memory of a remarkable experience
of an encounter with a tortoise while
snorkelling during a holiday to the
Galápagos Islands in 2013.
The background fabric I dyed with
Liquid Radiance using the salt
method. Honu, the green sea turtle is
tatted and embellished with beads.
He symbolises good luck, endurance
and long life.
More teapots may be viewed
on the Stonehouse Gallery
Facebook page:
@stonehousegalleryandshop
Bushfire Tea Set

by Minna Graham.
2nd Prize - Functional Section
Melbourne Teapot
Exhibition 2021
LYNDA WORTHINGTON
The Melbourne Teapot Exhibition was

once again held at the Stonehouse
Gallery in Warrandyte and featured both
functional and non-functional teapots.
Along with ceramicist Glenn England
(previous winner of the Melbourne
Teapot Exhibition), I was honoured to
judge the array of teapots entered by
artists from across Australia.
This year’s exhibition was delayed

by about a week in opening due to
Melbourne’s lockdown number five,
opening for about a week before
Melbourne was plunged into lockdown
number six. We judged on the Tuesday Teapot of 100 Stories
and were in lockdown on the Thursday. by Andrea Tilley.
At the time of writing, we are still in 1st Prize -
lockdown and the incredible teapots Non-Functional Section
quietly await reopening. Photography:
Diane Allen
Artists interpreted and explored the
Cumulus
by Linda De Toma.
teapot form within their individual 1st Prize - Functional
fields of expertise and materials. The Section. Inset: The
teapots ranged from two-dimensional inside of the teapot
to three-dimensional, soft to hard,
functional to “there is no way that
would hold water” (i.e. non-functional),
to imagery and just plain fun.
Linda Moore’s Twisted, standing only

a few inches tall, was winner of the
Judges’ Merit Award and brought a
smile to our faces.
Winner of the Non-Functional Section

was Andrea Tilley, with her Teapot
of 100 Stories—created from many
Twisted
collected bits and pieces of various
by Linda Moore.
ages, inviting closer inspection to see
Judges’ Merit
the stories within.
Award
Sue Smorthwaite’s imaginative Spiked
Tea was awarded second prize in the
Non-Functional Section. This teapot,
and its removable ‘lid’, was created
by wet felting merino wool and the
addition of recycled buttons.
Winner of the Functional Section was Spiked Tea

Linda De Toma’s Cumulus. It had by Sue Smorthwaite.
hidden colour inside contrasting with 2nd Prize -
the white porcelain outer, texturally Non-Functional Section.
decorated with clouds. This teapot Photography:
was exquisitely designed and made— Diane Allen
it also poured water very well,
with no drips (yes, we checked the
Functional entries using real water!).
Minna Graham’s Bushfire Tea Set,

a response to the harsh landscape
of our country, was awarded second
prize in the Functional Section.
Congratulations to all the entrants!

Glenn and I enjoyed viewing all the
teapots up close and personal.

j j Motif
Floral
j
PENNY EAMER
j
Sometimes a small or medium-sized
motif is just what is required for a
fabric is variegated and even better
when it is velvet—so how can you lose?
I used pieces of crinkle chiffon and

1
work. You can of course buy them in a silk/rayon velvet (photo 1) (both
myriad of shapes and sizes, but they dyed). The finished motif measures
always look mass produced. 13 x 8cm but can be sized to suit.
Place the chiffon on top of the velvet,
I like to use handmade shapes and with the chiffon 1cm larger on all
designs, and this floral motif may sides than the velvet, and tack in place.
suit your needs on occasion—and
of course it will always be unique to Use my drawing (photo 2) or create so that you have a sealed unit to cut
you, even if you use the same design. your own design. The important around. I used leaves to create this
thing is that you have a continuous outline, keeping the shape uneven
It looks especially good when that line as in my drawing (shown in bold) but simple to cut.
j
2
To see more of Penny’s 3 4

work, visit pennyeamer.
crevado.com
j
The shaded ‘blank’ areas
are left as crinkle chiffon.
Only the flowers and one
leaf are cut away to reveal
the velvet, although in
some lights the velvet
is visible through the
chiffon.
I reversed my design and

drew it (roughly) onto
the back of the velvet and
then sewed it with a dark
blue thread (photo 3).
I then machine 5
embroidered, from the front, using
a fine, variegated, silky gold thread
(photo 4).
You can clearly see the chiffon over

the velvet (photo 5).
NOTE: A word of warning–even

though I carefully tacked a larger
piece of chiffon over the velvet to
hold it in place, it didn’t keep it from
shifting and the chiffon shrank and
walked over the velvet, leaving me
very little if any overlay on the edges.
I should probably have tacked around
each flower and so forth.

j
6
I cut away the flower petals (photo Photo 8 shows the motif sewn to a great addition to your stash for future
6). Photo 7 shows the added leaves felt backing panel I used for a bag. I use and are a great way of using small
that ‘close’ the motif and how the stitched the motif with the chiffon amounts of your favourite fabric bits!
edges ‘crept’—I only just had enough edges showing, but you may like to Different fabrics and/or variegated
j
chiffon on some edges after cutting fold the chiffon beneath the panel colours would of course completely
away the spare velvet. as you stitch. Motifs like this make a change the look.
7 8
34 embellish Issue No 48 j
Australian Textile
Art Award, 2022
A juried non-acquisitive award of $2000
Call for entries
We invite contemporary, creative textile artists from across Australia, working in any style of textile media, to enter.
The artworks chosen as finalists will be exhibited in an exhibition hosted by The Embroiderers Guild, VIC and will be part
of a limited-edition accompanying book.
Entry forms are available at www.australiantextileartaward.com.au
Closing date of entries: 31st January 2022
Official exhibition opening and award winner announcement: 25th March 2022
ATAA Exhibition: 26th March to 10th April 2022
For more information go to www.australiantextileartaward.com.au

or like and follow our Facebook page @AustralianTextileArtAward.
(Detail of ATAA 2020 winning entry: “A fragment, a moment no. 3" by Paula Martin)
ATAA 2020
Showcasing the finalists, this book may be
purchased via the link on
www.australiantextileartaward.com.au
ARTIST PROFILE
Carolyn
‘Caz’
Rogers Dip.T.A.
CAZ ROGERS DIP.T.A.

I think I've had a love affair with
sheep and wool since I was 7
years old. My introduction to
these woolly lawn mowers was
a holiday on a sheep station just
outside Ballan in Victoria. I could
smell them before I saw them in
the shearing shed. They moved
nervously around trying not to be
A collection of bowls, made with my 17micron hand spun Slubby wool.
the next to get a haircut.
Largest measures 53 x 8cm, the smallest, 47 x 5cm deep
I spent the whole week staying
out of the way, but watching with
fascination as these huge bleating,
grubby four-legged dust clouds,
were transformed into creamy
white creatures half the size, looking
somewhat embarrassed to be seen
in only their underwear, trying to
force their way to the middle of the
constantly rotating flock.
I was given a small section of wool

and marvelled at the wrinkles
(also known as the crimp), the
pleasantly greasy feel and that
wonderful smell.....of sheep!
To this day I still love the smell of
wool and work with it as a major
part of my textile art practice.
Next time, wool came in the form of

beautifully coloured, cloud-soft wool
tops. I was introduced to silk tops at
the same time. Obviously, a match
made in heaven if you ask me!
My suggestion of a small pumpkin. 16 x 72cm.
Blended wools approx. 24micron.
I was invited to a felting

weekend, and no surprise to
anyone—I was hooked instantly
and permanently!
This lured me to learning how

to dye my own fibres. I love the
natural colours of plant-based
dyes, but my passion is for bold,
bright colours.
From felted wearable art

garments, hats, footwear and
bowls, I'm now focussing on
vessels. Handspun, crocheted,
felted then dyed—I use a variety
of spun weights of single and
plied wools, sometimes with
the inclusions of prefelts, along
with silks and other plant fibres
to construct organic shapes. My
desire is to marry the innate
strength of twisted blends of Italian 100% wool STOUT natural colour crocheted on 12mm hook.
fibres with the cohesion of 69 x 31cm. The dyes I selected supported the design of shape and
possible glazes that could have been considered.
A collection of bowls, made with my 17micron hand spun Slubby wool.
Largest measures 53 x 8cm, the smallest, 47 x 5cm deep
crochet, binding them strongly given shape; larger vessels require I was happy that both requirements
together by felting to bring forth wire under-structures to support the of my research had been met.
beautiful stand-alone artworks. weight of larger quantities of bonded
fibres. I was given a large cone of spun and
I learned to spin as a young adult, plied (12 to 14) 24micron Romney
but strangely never learned to knit or Having spun varying weights of wool—I moved onto repeating the
crochet as a child, despite my mother wooltops, some 18microns, others exercise with this fibre, using only the
and grandmother being proficient at 20/22microns, and then dyeing 8mm hook.
both; until I recently learned simple them a range of colours. I crocheted
crochet from a friend’s daughter, bowls in a variety of sizes depending The bowls were then staged with a
who, with raised eyebrows, put on the size of skein (singular, not balloon inside and strengthened with
together a very basic pattern that plied) and the size of the crochet a liquid stabiliser to ensure the final
would allow me to create a bowl. hook (3mm, 8mm, 13mm, 15mm, shape could be maintained.
Obviously, I was mad. Who wants a 17mm and 20mm).
crocheted bowl? Well, I did! I used this Romney again to create
I wanted to achieve two things, a another piece, exaggerating the
Natural fibres offer so many creative structure that was easily recognisable fullness of the shape by closing up the
opportunities. Because of their as a bowl or vessel, and it needed to top to form a rim with a 4-ply multi-
memory for constructed shape, have beautiful, tangible texture. coloured commercial woollen yarn.
they can be coiled, bent, curved,
straightened and fixed in place. Once these bowls were hand felted The ebb and flow of gentle fluting
Smaller structures will maintain a and finished in the washing machine, that occurred was visually pleasing
Pumpkin, supported by the 21 x 5cm Orange speckled bowl in my hand spun Slubby wool
Blue bowl, 31 x 61cm, No. 10 crochet hook

and suggested other applications to
complete its final presentation.
Puddle dyeing, hand embroidery and
fibre-wrapped copper wire saw it
done.
Having wandered through the door

to Aladdin’s cave and realizing the
possibilities of being able to spin any
weight of yarn, plied or unplied, and
enrich it with other textile processes,
I now find my mind bursting with
concepts—I want to try to see
how far I can take this medium
constructively.
This is just the beginning....
Caz is the Victorian Convener

for ATASDA

‘Sally Lightfoot’ Crab
(Grapsus grapsus)
PENNY EAMER
Found on the shorelines in the Galápagos Islands in great
numbers, these little crabs eat just about anything from
sea lions to other crabs. They serve a vital part in their
ecosystem as cleaners, keeping the shoreline clear of
organic debris and even taking ticks off iguanas.
Rumour has it that they are named after a nimble,

Caribbean dancer, due to their ability to run in four
directions, climb vertical surfaces, and jump from rock
to rock—which makes them very difficult to catch. The
females carry their eggs on their stomachs until they
hatch in the water.
When not mating or feeding they are solitary and spend

their time hiding in rock cracks. As a defense mechanism
they can spray water or shed the odd leg. Their brilliant
orange, red, yellow and white colouring makes them an
eye-catching, attractive little crab.
Diagram 1
Diagram 2
1 2 3
While researching Galápagos make sure that your 4

animals, this delicate little orange material will stand up
crab appeared in so many photos it to the wear, otherwise a
was hard to miss. All I could ‘see’ was stiff paper may suffice.
a project using the shape as a design. You will need a sharp,
There are so many ways you could new, craft blade or a
use this design—appliqué, painting, swivel knife. Although
printing, stenciling, embroidering the design has many
and beading. sections, the shapes are
simple and easy to cut.
The crab’s shape is ideal for a simple
design outline (Diagrams 1 and 2). I chose 225gsm
Determine the size you want to cut, cardstock as it is easy to
then find a material that will make a cut, and sturdy enough
usable stencil. I selected an A4 sheet to use and to coat with
225gsm natural paper/card and drew shellac (or similar) to waterproof onto the card (photo 1).
a stencil approx. 20cm across. it for reuse. Copy image to your Use a very sharp craft knife to cut the
If you will be using it many times, preferred size and trace the image shapes out (photos 2, 3 and 4).

If you are impatient, like me, try
5
laying the stencil over various fabrics
(photo 5) to see the effects!
Once fully cut, I gently painted both

sides of the stencil with water-based
varnish—gloss, satin or matt. I then
coated both sides with waterproof
PVA glue and left it to dry. You can see
the waterproofing in photo 5.
Once your stencil is dry, pin it to your

fabric. If your fabric is dark, I suggest
painting with white fabric paint first
(photo 6). Do not remove your stencil,
just dry the white and then give a
coat or two of orange.
Carefully lift the stencil, wipe it clean

and set it aside (photo 7).
Leave the finished fabric image to dry
6 completely (photo 8).
You may need to touch up tiny white
areas such as those visible in photo 8.
At this stage I thought that the stencil

was unlikely to get used again, but
had potential for other uses, so I
textured one side of the whole sheet
with modeling paste, dried it and
then painted the sheet black.
Finally, I varnished it to seal it.

Texturing and varnishing it meant
I could apply (and rub off) other
mediums, such as a layer of gold or
similar. It also made the stencil very
sturdy (photo 9).
7 8
9 10
11
Download an image of the crab that

shows the back markings clearly
(photo page 40).
I used Inktense pencils to add colours

over the paint, and then some simple,
whipped back stitch with crochet
12 cotton to both bring the design ‘out’
from the background and add more
colour accents.
Two beads were used for the eyes.

I simplified the crab’s back pattern
and embroidered the details (photos
10 and 11). Finally, I added a few
dark green stitches to the denim to
simulate seashore greenery.
Now you can ponder what to do with

your fabric ‘crab’—so many options!
Being cut from the legs of a pair of
jeans somewhat controlled the final
shape, so I turned my piece into a
small, lined, denim bag (photo 12).
I hand stitched the name ‘Sally
Lightfoot crab’ under it, then later
realized I should probably have free
machined it, as it would have been
neater… C’est la vie!
I hope you enjoy the project and find

plenty of ideas for which to use the
stencil.
To see more of Penny's work, visit

pennyeamer.crevado.com

Using the Cricut Joy 1
to Create a Stencil
As well as giving our readers the opportunity
to win a Cricut Joy, the makers of Cricut Joy
gave us a machine to play with and review 2
(refer to our blog)—so as part of our playing
we thought we would look at how simple or
otherwise it may be to create Penny Eamer’s
Sally Lightfoot crab stencil on the machine.
We traced Penny’s outline and created

a PNG �ile (photo 1) to import into the
Cricut Joy’s program, then cut it out via
the Cricut Joy using 200gsm cardstock
(photo 2). It’s not quite as robust as
Penny’s (she did hers on 225egsm), but
is easily replicated if it gets a bit worn
from multiple uses—and, you could
always waterproof it as Penny did. It
is also smaller than Penny’s as the
cutting width of the Cricut Joy is 4.5
inches (we put the crab sideways
through the machine which seemed
rather appropriate).
Love the look of TheCreativeFeltmaker-InstructionalDVD
Feltingwith
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JOIN THE EMBROIDERERS

GUILD, VICTORIA
170 Wattletree Road, Malvern
www.embroiderersguildvic.org
Layers
Lay
to
Texture
LYNDA WORTHINGTON
While sorting through some

boxes I came across I challenge
I completed with the Machine
Embroidery Guidance Group
at The Embroiderers Guild,
Victoria a few years ago. We all
had a piece of fabric that we
didn’t quite know what to do
with, so brought that fabric, cut
up into pieces, to our meetings
over the course of the year and
gave members a piece to see
what they would do with them.
At the time, I was intrigued

with layering and creating
textures, so that’s what I did
with the pieces—resulting in
an interesting set of reference
pieces. I have some of them
here for you as possible
inspiration for your own pieces
of fabric.
The treatment for each piece

was similar—layer items
and sheers on top to either
knock back or bring forth
components of the fabric,
machine embroider across the
surface, turn the edges under,
and gather up the piece using
stitches placed at the back of
the fabric sandwich.
Piece #1:
The original fabric is a vibrant
tropical-look fabric. I knocked back
the colours using black organza and
a black open lace that had glittery
accents running through it.
Piece #2:
The original fabric is a silver lamé
that has monstera leaves within
the weave. I added colour with an
organza that was multi-coloured,
and then knocked that back a little
with black tulle. The silver of the
lamé still shines through—just not
overpowering.
Piece #3:
The original fabric is an orange
and black batik. I knocked back
the orange with black organza and
tulle, but at the same time added in
shredded �ibres from a copper lamé
fabric to accentuate the orange on my
own terms.
Piece #4:
The original fabric is a denim-blue
and tan fabric with black details.
For this fabric, I added some cut up
pieces of yellow glitzy lace and some
square holographic gold sequins to
jazz it up a little before covering with
black tulle.
exture
Layers to textur
Piece #5:
The original fabric is predominantly
black, with stylised �igures/objects
against the background. I used black
tulle to contain the added glitzy blue
ribbons and purple metallic threads,
which brought out the colours I
preferred to accent.
Piece #6:
The original fabric is a rather non-
descript pattern of shades of blues, a
splash of white, and touches of leaves
thrown in. I really wanted to change
the overall colour of this one, so I
used the glitzy blue ribbon (tying in
with the original fabric) underneath
the multi-coloured organza.
Piece #7:
The original fabric is stripes of grey,
white and dark brown. What to do
with this one? I didn’t want to just
see stripes across the resulting work,
so used the colours of the stripes
and added a silver metallic open
honeycomb fabric and dark brown
metallic threads and �ibres across all
sections of colour of the base fabric
to blend them together. Black tulle
was used as the sheer on top.
Piece #8:
The original fabric consists of
diamonds in muted greys and
browns, with gold highlights. This
time I added more gold to bring
forward that component of the fabric,
using cut pieces of gold threads and a
gold tulle as the sheer on top.
STUDENT
PROFILE Nicole Franklin
NICOLE FRANKLIN,
Mortlake, Victoria, Australia
I am very lucky at the moment to be spending

my time being creative, as a full-time student
in the Diploma of Visual Arts (Textiles) at South
West TAFE in Colac, Victoria.
I completed the Certi�icate III in Visual Arts a few

years ago and loved it. However, working at the diploma
level has changed everything for me. Taught by the lovely
and generous textile artist Sue Ferrari, the diploma course
has opened my eyes to the potential of my own creativity.
I have always enjoyed art, sewing and textiles, but this year I
have fallen in love with the creative process. Over the years and this year I have overcome this fear. I am no longer going
I have participated in many creative courses but never had to ‘hide my light under a bushel’. I love brainstorming and
any con�idence in my work, not showing it to many people. developing ideas for my assignments and have learnt to
This was a large obstacle to my development as an artist keep an eye out for inspiration constantly.
Viewing the world through the eyes of a creative person is My diploma wraps up at end of this year and my plan is
like seeing the world anew. I am inspired and motivated to to study at the Fashion and Textiles department, RMIT
take my creativity as far as I can. The way an idea can be University, Melbourne. I am really looking forward to
percolating in my mind, and I see a colour, shape or notion pushing myself intellectually and will work hard to take my
and the idea comes into focus in a serendipitous moment, studies as far as I can.
is so exciting for me.
One of my goals is to create my own textiles and clothing
I can �ind ideas in all sorts of places, but I have a special love label and the ideas are already swirling around my head.
of history, storytelling and fashion design. Contemporary Another goal is to open a creative space where I could
designers with a depth of meaning such as Alexander share my love of textiles, fashion and creativity.
McQueen, Guo Pei and Iris van Herpen are a particular
inspiration. Like these designers, I would like one day to If I could one day inspire those who lack con�idence to
create work that touches people and has an impact. explore their own creative potential, that would make me
very happy.
I have spent the last 20 years working in administration,
yet I always had a voice in the back of my head urging Ultimately, I’m excited to see what path a career in textiles
me to pursue a creative career. I have �inally listened and and my creativity will take me. Just like the creative process,
am privileged to be able to dedicate the next few years to I have realised if you open yourself up to the world, an
pursuing my studies. in�inite amount of possibilities emerge.

BOOK REVIEWS
Expressive Stitches: trace: The
A ‘no-rules’ guide embroidered art of
to creating original Michele Carragher
textile art Michele Carragher
Jan Dowson (Search Press)
(Search Press) ISBN: 9781782217435
ISBN: 9781782217503 RRP: $64.99
RRP: $47.99
Michele Carragher works as a
This book is part of a series of books, The Textile Artist, Costume Embroiderer in the �ilm and TV industry, and has
published by Search Press Ltd, showcasing the techniques been a part of many award-winning productions such as
and talents of some of the most innovative textile artists. Game of Thrones and The Crown. We were privileged to
showcase some of Michele’s incredible work in an artist
UK artist Jan Dowson loves hand embroidery, and pro�ile in Embellish issue 31.
her work is a blend of hand and machine embroidery,
appliqué and mixed media. Expressive Stitches is, as it The main catalyst leading Michele to develop her process
says, “A ‘no-rules’ guide to creating original textile art”. and help conceive the work for Trace was her relationship
Dowson offers us insight and instruction into how she with museums. She talks of artefacts: “Even though the
creates her textile and mixed media art. object is from a different period, there is an underlying
conclusion for me that can be traced, revealing that there
To begin, Dowson describes the materials and tools she are similarities still present today. No matter what era I
uses—accompanied by fun, illustrative photos. She gives look at, there are certain attributes that never seem to
insight on �inding inspiration for your artworks and ways change within the nature of man.”
to keep records of those inspirational items or scenes.
Knowing how to play with colour and mark making is Michele observed a void within the threshold that
important to Dowson. She outlines ways in which the surrounds an artefact in a museum display and wanted
reader may �ind con�idence to then develop their own to explore and encroach it through her medium, thus
expressive works and includes instructions on dyeing bringing more meaning to the artefact.
fabric and threads; printing, stamping and stencilling;
using an embellisher (needle felting machine); appliqué; As she could not procure the artefacts for her inspiration,
free motion embroidery; and various hand embroidery she decided to create them herself, creating three: a late
stitches. 16th century-style English embroidered gauntlet glove, The
Hand, which inspire the artwork All that Glitters…; an
As well as contemporary stitching, Dowson likes 18th century-style French jewelled stomacher, The Heart,
to incorporate some historical techniques, which which inspired the artwork Entropy; and a late 19th
she describes, in her work. Utilising experimental century-style Japanese hair ornament, The Head, which
embellishments is another of her joys, including vintage inspired the artwork Conscience.
ephemera.
The �irst section of this incredible book shows the three
Dowson then takes us through the creation of three artworks, the second being a series, across many pages,
possible projects: a stitched landscape; a memory each with full-page photos of components in exquisite
cloth; and a three-dimensional bird. For each there is detail and the full pieces. An absolute feast for your eyes.
information on the development of the project, followed It doesn’t stop there. In the next section, one by one
by detailed step-by-step instructions which she invites Michele gives us detailed insight into �irst the artefact
you to either “follow to the letter” or use your own and then the related artwork—showing how each came
inspirations and ideas to put your own stamp on the about, including techniques used, all in incredible detail,
project. Following each project, Dowson shows examples with many sumptuous photos. The �inal section of the
of her own artworks relating to that project for further book contains examples of some of Michele’s costume
inspiration. embroidery, shown in stunning photographs, as well as
Reviewer: Elsie Law Michele’s description of her journey into costume work.
You may have the impression that I’ve been drooling over
the pages of this book… well, yes, I have! It is brimming
over with inspirational insights into Michele’s artworks
and is a book I will cherish—as I am sure you will too!
Reviewer: Lynda Worthington
BOOK REVIEWS
WOWbook 7 Thanks to d4daisy Books Ltd we have two copies of
Lynda Monk (guest editor) WOWbook 7 to give away to our readers. Please see
(d4daisy Books Ltd) page 54 for information on how you may win a copy.
ISBN: 9781838245115
Joan Schulze
RRP: £26, $49.99
Winter of Loss
This is the seventh book in the Joan Schulze
WOWbook series, Lynda Monk (Schulze Press)
returning as guest editor.
ISBN: 9780974419664
As with previous books in the series, the purchaser of the
book receives exclusive admission to an online Member’s Please contact Carole Douglas,
Club where they will �ind additional workshops and caroled@bigpond.net.au, for
videos, interviews and book reviews, together with an information on purchasing this book.
exclusive online course and blog, plus a private Facebook
group where you may share your work and ideas, and Joan Schulze is an American artist, lecturer and poet.
chat with others. With a career spanning over �ive decades, she is best
known for her contemporary quilts, �ibre arts and collage.
WOWbook 7 contains six step-by-step workshops, a In Winter of Loss she combines her collage, textile and
celebrity interview by Maggie Grey, and artist pro�iles �ibre work with her poetry in dedication to her husband
for all the artists providing the workshops—a “who’s Jim, who sadly passed away from dementia in 2018, and
who in this book”. The �irst workshop is Digging for Gold: the journey physically and mentally that it took her on.
Medieval Fragments by Chris Gray in which a medieval- Creating her art helped during those stressful times.
themed panel is created using print block embossing,
stitching, screen printing and stencilling. In this book we see the artworks she created in response
to what was going on around her. We read of her love
Next is Faded Glories: Rubbing away photo transfers for her husband, her distress, confusion, devastation,
by Maggie Grey, which involves bonding a printout or mourning and the promise of the future.
photocopy onto backing fabric and rubbing away the Reviewer: Lynda Worthington
paper to reveal the image on the fabric. The resulting
image is then embellished with embroidery and machine-
stitched braids.
Love Grows where my Rosemary Goes: making a cloth doll can do

BOOKS
by Jan Horrox takes us through creating a doll using eco-
dyed fabrics and then clothing her. Turning Japanese: my
take on temari balls by Amo House is a fun look on temari
balls—covering the balls with something other than the
intricate stitches they should have.
• Mail order
Arching Back: Image manipulation, Thermofax printing
• Shop online
and stitch by Sue Munday, creating and combining
images (using a computer), screen printing, printing onto • Fast Shipping
Lutradur, and stitching. Melting Point: Learning to layer
with wax and dammar by Julie-Ann Wrathall looks at ways
to fuse layers of encaustic medium (beeswax and dammar candobooks.com.au
resin) with mixed media and found objects—textural
blends, full of translucency and interesting shapes.
Maggie Grey speaks to Nikki Parmenter in Telling the Tale,

ee
Frcatalogue
asking her what led her to explore the �ine art route through
stitch, where she �inds her sources of inspiration, and much Contact us for
more—delving into Parmenter’s art and exhibiting. Many
a free catalogue.
examples of Parmenter’s works are included.
So much inspiration in just one book! …and then, of 39 Clifford Street, Huntingdale VIC 3166
course, there is the additional exclusive online community. Tel: 1300 308 261
Reviewer: Lynda Worthington Email: info@candobooks.com.au

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Australian Fibre Art
Award 2021: Winners
Congratulations to all the finalists in the inaugural Australian Fibre Art Award. We are pleased to show you the
winners (at the time of printing, the Viewers’ Choice was not determined).
Winner Australian Fibre

Art Award 2021:
Hope
by Catherine O’Leary
(2021)
45 x 30 x 30cm
Merino wool,
printed silk,
wool thread.
Winner
Judges’
Highly
Commended:
Relic Series:
What lies
beneath my
breast
by Joy Denise
Scott (2021)
65 x 49 x 3cm
Mulberry
bark, cotton
organdie,
silk organza,
embroidery
threads.
Winner
Excellence
in Felt:
Yellow Cocoon
by Denise
Lithgow
(2021)
80 x 38 x 23cm
Merino,
Suffolk and
crossbreed
wool, eco-dyes,
silk tops, matt
varnish.
Have you seen our other titles?
www.artwearpublications.com.au or phone (03) 9888 1853

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knit | felt | crochet | weave | spin

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TEXTILE FIBRE FORUM YARN
An iconic textile art magazine which takes Filled with many different techniques of
an in-depth look at artists, exhibitions, new playing with yarns and �ibres, as well as
techniques and innovations—with articles instructional, inspirational, and just plain
from specialist contributors in each issue. fun articles. You will �ind knitting, crochet,
felting, spinning, weaving, travel and so
much more in this magazine.
VINTAGE MADE
Celebrates the love of all things vintage, such
as fashion, crafts, and a return to a simpler FELT
way of living. It includes a mix of articles, Each issue contains in-depth articles and
tutorials, projects, recipes, tips—and in the inspiring artists pro�iles, exhibitions reviews,
way of a by-gone era, includes a pull-out showcase articles, highly original 2D and 3D
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a visual and nostalgic feast for the reader, is aimed at felt makers and textile artists of
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little of that era. fascinating medium.

Embellish Issue 48 - December 2021

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THE AUSTRALIAN MAGAZINE FOR TEXTILE ARTS

With inspiration from the Galápagos Islands

projects | embroidery | mixed media | articles

36 Student Profile: Nicole Franklin – by Nicole Franklin

8 3 Artist Profile: Molly Ryan – by Molly Ryan

embellish Issue 48/December 2021

New Zealand distribution: New Zealand distribution:

www.artwearpublications.com.au Issue No 48 embellish 3

Molly Elizabeth Ryan

I spent my first nineteen years in Gnarabup, Margaret

P4 Top left: Practice based research,

P5 Top left: Practice based research,

www.artwearpublications.com.au Issue No 48 embellish 5

As my practice evolves, I see patterns in

My current body of research investigates

Connect with me on Instagram:

www.artwearpublications.com.au Issue No 48 embellish 9

Roll each felt piece tightly and insert

Your wings should now look like

6 Next the body needs to be created. I

Cut a rectangle of fur and sew it

Referring to photo 8, open up the

Remove as much as you need to get

Needle-sculpt it into a shape that will

Sew around the

Moths’ eyes are often tear drop in

As I was without a disappearing

www.artwearpublications.com.au Issue No 48 embellish 11

17 Slit the sides of the thorax carefully

Sew the big and small wing together

To make the legs you will need a firm,

I sewed the first

You can see the process I used for the

Wind the crochet cotton around the

www.artwearpublications.com.au Issue No 48 embellish 13

Finally, I cut more fur to sew over the

I think that’s it! You should now have

Fibre artists from across Australia

Each eligible entry was assessed

The AFAA winner and other

www.artwearpublications.com.au Issue No 48 embellish 17

LIFTING THE LID:

Encyclopedia Britannica, ‘In fact

Common to many traditional beliefs,

I have a particular fondness for

These were made for me in Kutch

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from the local word for tortoise

Hand crafted by namda (felt) artisan

When I first met Karim, he was one of

The clip of local wool is short stapled,

Due to water shortages, he does not

When I commissioned him to create

For my own ends, tortoises provide

Once, while visiting the NGO Khamir,

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Journey of the Tortoise (65 x 90cm)

before resuming a journey that took most of

I’ve used indigo-dyed kala (desi) cotton hand

‘The Tortoise’s Journey’ is my small tribute to

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need a needle that does through the fabric) or

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