A new buzz about blogging...

I was posting away on some of the forums I pop into earlier today, when I came across this post by Fray Baby - http://fraybabybibsandmore.blogspot.com/2008/04/payperpost.html

This is an honest account of a crafter trying to work ways of making a bit of cash through the occasional blog post, as a side line to her growing business. The regular blogger Fray Baby introduces us to the idea of Pay Per Post (PPP) and discusses how easy it is to set up an account. I must admit I have heard of the idea before, you know getting paid to blog and paid the idea little attention... thought it would be a lot of extra work and time I just didn't have right now, after all I'm trying to grow my own business... but now I see it again and Fray Baby has given us such an easy to follow idea of what PPP is I think I might just give it a go! It can't hurt right?

So thank you Fray Baby for a fantastic review of PPP and sharing this opportunity... you have a wonderful blog and I know you will do very well.
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Learning about Fibres

So, I'm trying to learn a bit more about fibres now that I am truly addicted to my felting obsession and it seems there is so much to learn! I decided to keep it simple at first and learn something about the fibres I'm buying for my work... I think I will start with learning the technical terms involved in fibre selection...

Staple - The term 'staple' usually refers to the length of the individual fibre, or animal hair. The staple length will determine the best end-use of the fibres. For example longer lengths are good for spinning. Wikipedia have an article with more information at http://en.wikipedia.org/wiki/Staple_%28wool%29

Crimp - The term 'crimp' refers to the waves along the length of the fibre. For example the merino I buy has a low crimp number, because it is almost smooth along it's length. However, I bought some Blue Faced Leicester and that is very curly, so has lots of waves along it's length and therefore has a much higher crimp count. It seems that the number of waves across an average 'cm' is how the 'crimp' of a fibre is classified. Apparently the higher the crimp the finer you can spin the fibres into yarn.

Wikipedia tell us; (http://en.wikipedia.org/wiki/Crimp_%28wool%29)

Wool crimp: The number of bends per unit length along the wool fiber approximately indicates spinning capacity of the wool. Fibers with a fine crimp have many bends and usually have a small diameter. Such fibers can be spun into fine yarns, with great lengths of yarn for a given weight of wool, and greater market value. Fine fibres may be utilised in the production of fine garments such as men's suits whereas the coarser fibres may be used for the production of carpet and other sturdy products. Crimp is measured in crimps per inch or crimps per centimetre. Average diameter or mean fibre diameter is measured in micrometres (microns). For generations, English wool-handlers categorized wool along the above lines estimating spinning capacity by eye and touch. This spread worldwide as the Bradford system.

Count - Now this seems to be the confusing part and it is often one of the things we are told about when buying fibres... But what is the Bradford Count and I've also heard of a Micron Measurement - what is that?

The Bradford count is a traditional English fibre grading system and I needed Wikipedia to help me explain... http://en.wikipedia.org/wiki/Bradford_system


The Bradford system (also known as the English Worsted Yarn Count System or spinning count or Bradford count) is a way to assess the quality of wool.
To measure the fineness of sheep wool fiber before microscopes and lasers were so used, English wool handlers in the city of Bradford described wool by estimating (with experienced eyes) how many 560-yard hanks of single strand yarn could be made by a good spinner from a pound of "top." (Top is cleaned combed wool with the fibers all parallel) The finer the average diameter of a single wool fiber, the more hanks could be spun. From a pound of "64s," for example, sixty-four such hanks could be made (more than 20 miles!). From the finest wools, more than 80 hanks could be spun; from the strongest, perhaps 36 or fewer. Using ranges denoted by the stronger end (that is “44s” ran up to “46s”) wool lots were classified and prices derived.
The Bradford count may be biased no matter how experienced the rater is; also it relies heavily on number of crimps (regular undulations) per inch, which has a not-very-strong correlation with actual average fiber diameter.


The micro measurement is the most modern measuring system of the two and refers to the measurement of an individual fibre's diameter under a microscope. I am told that this is a much more accurate way to measure fibre as it can be as precise as 1/25000 of an inch!

Both systems are still used today and you will probably find this information in product descriptions when you are buying your fibres. But what does this mean to me as a felter? Well this is where I was a little stuck too... Let's start with the comparison table (can easily be found on the internet and I have reproduced it here for us to see).

Micron Measurement - Bradford Count
19 microns - 70 Bradford
20 microns - 68/66 Bradford
21 microns - 64 Bradford
22 microns - 62 Bradford
23 microns - 60 Bradford
25 microns - 58 Bradford
28 microns - 56 Bradford
33 microns - 50 Bradford
35 microns - 48 Bradford
37 microns - 46 Bradford

So now we know that if I buy a merino fibre (commonly documented as having a count of Bradford 64/Merino 64s) it has a micron count of around 21. But is that good or bad for a felter? Well from my research it seems that the higher the Bradford number/lower micron number then the finer the individual fibre is. I am also told that the finer the fibre the easier it is to felt, as it seemingly shrinks better under heat and water exposure, especially when worked with soap.


So what fibres are we felters looking for? Well for easy felt making stick to the finer fibres, such as Merino (which I've often seen recommended for beginners) and if you want more of a coarse texture try something with a thicker fibre.

The British Wool Marketing Board give us measurement information at http://www.britishwool.org.uk/fleeces.asp?pageid=92

Here is an article from wikipedia about wool measurement that may help too http://en.wikipedia.org/wiki/Wool_measurement

Lustre - 'Lustre' relates to the shine a fibre will give and this is determined by the number of scales along the length of the hair fibre. For example the less scaly the fibre is under the microscope, the more shiny it appears to the eye, especially when spun into yarn.

Next in my 'Working with Felt' Series different sheep breeds and their fibres, assessing suitability for felting... then maybe some experiments!

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This article has been reposted at http://workingwithfelt.ning.com/ - A community of feltmakers who love to learn and share new techniques, tips and resources, as well as showing off their own creations.

Finding Inspiration...

As a Fashion and Textile Designer I have always been taught to keep an eye on current trends, from haute couture to street fashion there are always design lessons to be learned. Part of my way of keeping up with everything and archiving style information was to keep inspiration scrap books. I must admit over the years these have become quite addictive - I can paste in magazine cuttings until early hours, as long as I have a sketch book at hand for ideas that pop into my head!


Inspiration books are great for new ideas, researching past fashions and noticing up and coming trends too. I've decided to share some of my book pages over on DIY City Community and will add a few here as I go to.


I hope they can be helpful to you too?!


Sara x

Spotlight #31 - Catherine Stewart

Today's feature shows that texture can be created with originally 2-D crafts. Catherine Stewart is here to tell us more...

1. Tell me a bit about your background and how long you have been an artist/crafter.

I am 30 years old and very fortunate to be married to a wonderful supportive husband who lets me make a living by playing with scissors and glue all day. We are currently trying to expand our family to include a little one! I have been scrapbooking for myself for approximately 10 years now, and in 2005 I quit my full time "real job" in the insurance industry to scrapbook for others full time. This expanded into opening my etsy shop, where I make handmade supplies for others who also enjoy the craft and love scrapbooking for themselves.



2. Where do you find your inspiration?

Shopping. If my creative mojo is ever low, all I have to do is pop into any craft store and I'm instantly inspired. Craft magazines and online galleries also provide me with a creative boost! I also tend to have an overactive imagination, so if I let myself daydream for just a little bit, it usually provides me with some instant inspiration.

3. Do you sell your work, or is it purely for pleasure?

It started out purely for pleasure but then I started getting requests from family and friends to complete projects for them. Once I realized that there was a demand for what I enjoyed doing, I decided to make a go of it professionally. Of course, even though I make a living from my craft, it is still all pleasure! I originally started making complete custom albums for clients, selling them through my website: www.yourmemoriesbydesign.ca (which I still do), but then I eventually branched out to creating a unique line of my own handmade supplies & embellishments which I started selling on etsy: http://www.ymbd.etsy.com/

4. If someone was looking to take up this craft should they have any related experience before they start?

They don't need any experience at all. Just the desire to create beautiful lasting memories that they can leave behind to be enjoyed for generations to come. In fact I even wrote a guide on how to get started for those who have never scrapbooked before: http://ymbd.blogspot.com/2007/11/scrapbooking-how-to-get-started.html



5. What would be your top 5 tips for a beginner?

(1)Start small, don't try to overwhelm yourself with creating a large album
(2)Always make copies of your photos before cropping/cutting them or adhering them down permanently
(3)When you do invest in tools, buy quality ones that will last so you aren't constantly replacing them
(4)Visit online scrapbooking galleries and pick up some magazines to help you get inspired and draw ideas from (it's ok to "scraplift" others ideas to use in your own personal albums)
(5)Don't stress about things being "perfect" or everything coordinating just right. If you want to use certain colors that don't quite match the photo - just go for it! Scrapbooking is an art form, a way to express the emotion of a photo, and there is no right or wrong way to do that.

6. What would be your top 5 items of essential equipment?

(1) Start with the basics: patterned paper, cardstock, a few embellishments (stickers, die cuts) and a good paper trimmer
(2) Journaling pens: a big part of scrapbooking is telling the story behind the photos. Good archival safe journaling pens will allow you to include those stories in your own handwriting versus printing them off the computer (I always think that leaving your personal writing behind in your albums is very important)
(3)A good adhesive: one that is archival safe and strong. There are many different types out there. They come in little pull off tabs, tape runners, wet adhesives etc. Experiment with different kinds, and find one that you like.

There is really isn't any more "essential" equipment than that! Of course, as you progress you will accumulate more tools that you just
can't live without, but to get started the above is all you really need!

7. Can you recommend a technique or ‘tips’ book ideal for a beginner?

Magazines are great and inexpensive source for beginners as well as for the veterans. Again, my guide can really help out the beginner and it's free: http://ymbd.blogspot.com/2007/11/scrapbooking-how-to-get-started.html



8. Can you recommend any brands to look out for, when buying equipment or kit?

There are many different brands out there that are fantastic. Usually, all items carried by your local craft store or local scrapbooking store are archival safe and good quality. If you are unsure, you can always check the products label to see if the item is archival safe (acid & lignin free).

Catherine Stewart, Memory Preservation Artist
Your Memories by Design
http://www.yourmemoriesbydesign.ca/
http://www.ymbd.etsy.com/

As Artists Are We Protecting Ourselves? Are We Open to Loop Holes in the Proposed 'Orphan Works' Act?

Yesterday I received an email from a regular Guest writer here on Crafts of Texture, Pamela Baker of MagdaleneJewels.etsy.com about a new bill entitled 'Orphan Works' going through congress at the moment in the US. I published it today at http://sarastexturecrafts.blogspot.com/2008/04/new-copyright-issues-for-all-us.html Admittedly at first I had no idea what 'Orphan Works' was, although I watch the news here in the UK this was an unfamiliar topic to me... maybe in the madness of the last few months I had missed it?? So I decided to delve a bit deeper and see what I could find out, especially if it was to become a global issue.

I urge you to read on and decide for yourself, our rights to a copyright on web images and the products therein could be infringed.

Is this bill a concern for the general artist, photographer and crafter? In the immediate future, for the US, yes... for the rest of the world... a cause for debate, yes... a topic to follow, yes as laws are being considered in Europe already.

What is/are 'Orphan Works'? Wikipedia tells us;

An orphan work is a copyrighted work where it is difficult or impossible to contact the copyright holder. This situation can arise for many reasons. The author could have never been publicly known because the work was published anonymously or the work may have never been traditionally published at all. The identity of the author could have been once known but the information lost over time. Even if the author is known, it may not be possible to determine who inherited the copyright and presently owns it.

Nearly any work where a reasonable effort to locate the current copyright owner
fails can be considered orphaned. However the designation is often used loosely and in some jurisdictions there is no legal definition at all.

Compulsory license schemes, which would exclude orphaned works from copyright protections, are rarely acceptable under international copyright treaties. Such schemes are only worthy of consideration when there are more significant concerns than orphan works, such as a risk of market failure due to very high costs in places like the satellite retransmission market.[1]

Canada has created a supplemental licensing scheme that allows licenses for the use of published works to be issued by the Copyright Board of Canada on behalf of unlocatable copyright owners, after a prospective licensor has made "reasonable efforts to locate the owner of the copyright".[2] As of September 2006 the Board had issued 189 such licenses.[3]

US - The Public Domain Enhancement Act was introduced as House Bill 2601 for the United States 108th Congress in 2003 but never passed. It was reintroduced as House Bill 2408 for the 109th Congress in 2005 but died again. The bill would have released certain orphan works into the public domain if the copyright renewal registrations were not made as required.

In January 2006, the United States Copyright Office released a report on orphan works after researching the issue. The situation in the US is a result of the omnibus revision to the Copyright Act in 1976. Specifically, the 1976 Act made obtaining and maintaining copyright protection substantially easier than the 1909 Act. Copyrighted works are now protected the moment they are fixed in a tangible medium of expression, and do not need to be registered with the Copyright Office. Also, the 1976 Act changed the basic term of copyright from a term of fixed years from publication to a term of life of the author plus 50 (now 70) years. In so doing, the requirement that a copyright owner file a renewal registration in the 28th year of the term of copyright was essentially eliminated.

These changes were important steps toward the United States’ accession to the Berne Convention, which prohibits formalities like registration and renewal as a condition on the enjoyment and exercise of copyright. Moreover, there was substantial evidence presented during consideration of the 1976 Act that the formalities such as renewal and notice, when combined with drastic penalties like forfeiture of copyright, served as a “trap for the unwary” and caused the loss of many valuable copyrights. These changes, however, exacerbate the orphan works issue, in that a user generally must assume that a work he wishes to use is subject to copyright protection, and often cannot confirm whether a work has fallen into the public domain by consulting the renewal registration records of the Copyright Office.
The report recommended that the focus on developing legislative text to address orphan works should not obscure the fact that the Copyright Act and the market place for copyrighted works provide several alternatives to a user who is frustrated by the orphan works situation. Indeed, assessing whether the situations described to use in the comments were true “orphan works” situations was difficult, in part because there is often more than meets the eye in a circumstance presented as an “orphan works” problem. In most cases a user may have a real choice among several alternatives that allow her to go forward with her project: making noninfringing use of the work, such as by copying only elements not covered by copyright; making fair use; seeking a substitute work for which she has permission to use; or a combination of these alternatives. Even though some orphan works situations may be addressed by existing copyright law as described above, many are not.

In conclusion, the Copyright office has reccomended new legislation which sets out limitations on the remedies that would be available if the user proves that he conducted a reasonably diligent search and describes a threshold requirements of a reasonably diligent search.[4] Such a solution would fall short releasing orphan works into the public domain, like the previous bill, but rather encourage perspective licensors to go ahead with an infringing project knowing in advance the maxium remedy he could be faced with.

In May 2006, U.S. Representative Lamar Smith introduced H.R.5439, a bill aimed at addressing the issue of orphan works by providing limitations of remedies in cases in which the copyright holder cannot be located.[5]

Europe - The European Commission, the civil branch of the European Union, is currently looking into the orphan works problem.[6]

References
1. ^ Peters, Marybeth (2006). The Challenge of Copyright in the Digital Age. Focus on: Intellectual Property Rights. U.S. Department of State's Bureau of International Information Programs. Retrieved on 2006-11-27.
2. ^ Copyright Act, R.S., c 77. Copyright Board of Canada (2005). Retrieved on 2006-11-27.
3. ^ Unlocatable Copyright Owners Licenses Issued. Copyright Board of Canada (2006). Retrieved on 2006-11-27.
4. ^ Report on Orphan Works (PDF). United States Copyright Office (2006-01). Retrieved on 2006-11-27.
5. ^ Copyright: Orphan Works. American Library Association (2006-08). Retrieved on 2006-11-28.
6. ^ Report on Digital Preservation, Orphan Works and Out-of-Print Works, Selected Implementation Issues. European Commission (2007-04-18). Retrieved on 2007-06-09.

So what does this mean for us... artists, photographers and crafters who blog, submit pictures to forums and social networks in order to market our products, network or just share? Well, it means that if someone stumbles across an image of yours and they can't find the owner (i.e. you), then they may have the right to claim the image and some might suggest possibly even go further (and we know there are some out there who will) to suggest that the work within the image is their own.

So who would claim these pictures? It could be anybody, but I should imagine (an assumption) that where money is involved in the process of each claim, that we would really be talking about larger companies... maybe those who hold stock images for marketing and advertising companies, or companies who stumble across your invention and understand how to make it profitable on a larger scale??? (again an assumption).

Can unapproved use of my images/product happen already, without someone going through the process of claiming an 'Orphan Work'? Sure, who is out there policing the internet... do you know if Facebook, MySpace, or Flickr use your images for promotional material already? Do you know that images from your blogs can be downloaded and printed off? Yet we all upload images and products freely. How do we stop it? Well this is the debate, isn't it? Even if the bill is opposed and rejected in congress, will copyright infringement ever stop? Coming from a fashion background where I have seen my own work rehashed by other companies for their profit... I'd tend to say these things are here to stay... doesn't stop it hurting when it does happen though!

So are we doing enough to protect ourselves? No probably not... What else can I do? Here are some things to consider, for example;

• Are you a business, a professional, or a serious creator with an invention? Should you be taking protection of your work more seriously?
• Do you copyright your work already? Every single piece? Are you familiar with how copyright works in your country?
• Do you archive your work and images? Laborious, but maybe not a bad idea?
• Do you copyright/watermark images of your work... every single one of them? Even the pictures of you and your friends crafting away on a Saturday afternoon? If I come across an image you have taken and submitted on the internet... how will I know it came from you? Have you looked yourself up under 'google images'?
• If someone else blogs about you, do they provide full links to your websites and or email, so that you can be contacted? Do you do the same for the people you feature?

If you have comments on the topic, or links to information sites I have missed... please post them here.

If you want to follow the progress of 'Orphan Works' and the pending US bill, here are some other site I have found -

http://orphanworks.blogspot.com/

http://www.orphanworks.net/?gclid=CI3l8OPk9ZICFQpuMAodLl2qBQ

http://www.bsac.uk.com/reports/orphanworkspaper.pdf

http://www.mileproject.eu/orphanworks

http://www.cilip.org.uk/NR/rdonlyres/E6F612ED-6CE1-4723-8348-CB7162D983C2/0/LACAorphanworksstatementFINAL19dec07.pdf

http://foresthouse.livejournal.com/457847.html

New Copyright Issues for all US Crafters, a Guest Writer Article by Pamela Baker

THE ORPHAN WORKS ACT:

I don't know if you have seen this article or heard about this Legislation which is being considered in our Congress. It is such an important article which needs to alert all artists - it basically calls for the rights of anyone to steal the ideas, thoughts, emotional feelings that an artist brings to his work. The fact that Congress can allow such an abomination of rights needs to be dealt with through letters to our Congressmen, Legistators, Senators who expect to become President!

If such an impriority can be allowed to desicreat the ideals of today's artists, what can we expect for our tomorrows, and where does that leave the many craftsmen whose own work is an extension of themself.

A lot of credit goes to Diane Clancy http://www.dianeclancy.etsy.com/ who brought this incredible information, of the "Orphan Works Act" to the attention of those in our Forum, I would like to further extend this attached article to the other artists and craftsman, who are here at Etsy.

The Orphan Works Act is under consideration again and as artists and supporters of artists, I hope you will respond!! From different artists' groups, we have heard that the new draft of Orphan Works Act of 2008 is going to be released next week. Artists and supporters who have seen it are horrified. Quote from the Illustrators' Partnership "If these proposals are enacted into law, all the work you have ever done or will do could be orphaned and exposed to commercial infringement from the moment you create it. "At least 12 artists groups are working together to help get the word out so people can get informed and then TAKE ACTION!!! Lots of links below to get informed and please at least sign the petition. Anyone anywhere in the world can sign.

Again, quoting from the Illustrators' Partners " forget the spin you’ve heard from backers of this bill. This radical proposal, now pending before Congress, could cost you your past and future copyrights" This includes those of you who are creating beautiful and fun works on your blogs - they can take and use them too. All of our work is fair game.

Here's a link to a site where you can sign a petition against it. Why not sign and pass it on? This is so important to all of us!!! We MUST take action! Please sign ... YOU can sign - it is international.

http://www.gopetition.com/petitions/no-to-orphan-works-act.html - No to Orphan Works Petition. Mark Simon has a webcast interview with Brad Holland. http://www.sellyourtvconceptnow.com/orphan.html - They have given permission to for this audio file to be copied, transferred and replayed ... they want this stopped!!

Again, quoting from the Illustrators' Partnership, "for additional information about Orphan Works developments, go to the http://www.illustratorspartnership.org/01_topics/article.php?searchterm=00185 - IPA Orphan Works Resource Page for Artists, They go on to say "If you received our mail as a forwarded message, and wish to be added to our mailing list, email us at: mailto:illustratorspartnership@cnymail.com illustratorspartnership [!at] cnymail.com. Place "Add Name" in the subject line, and provide your name and the email address you want used in the message area."

Here are more details about this Here is the article with the details Mark Simon and Orphan Works Act. Quoting from the article … “This is not just about professionals…it will cover amateurs, hobbyists, your grandmother’s hand made quilts…even family photos posted on the internet will be fair game to be “orphan images” and swiped up and used by companies WITHOUT YOUR OKAY. ”These are some more details from article by Mark Simon ... Quoting " TO ALL ARTISTS AND ALL SUPPORTERS OF CREATIVE WORK: Our work is at risk of being stolen .... legally!! Here is the article with the details http://mag.awn.com/index.php?ltype=pageone&article_no=3605&page=1 Mark SImon and Orphan Works Act. Quoting from the article ... "This is not just about professionals...it will cover amateurs, hobbyists, your grandmother's hand made quilts...even family photos posted on the internet will be fair game to be "]orphan images" and swiped up and used by companies WITHOUT YOUR OKAY."

Written by Pamela Baker of MagdaleneJewels.etsy.com

A Market & a Sale!

Two things to tell you today; Firstly I hope to get myself a casual pitch at Merton Abbey Mills over the bank holiday weekend 3-5th of May 2008.

Map - How to get to Merton Abbey Mills

Do pop over and see me... I will have lots of exclusive designs to choose from including...



And secondly, I am having a $4 dollar madness sale over at my Etsy store. Here's the link to the sale - Mad, Mad, $4 Sale! Items cover a range of product bases, from accessories to jewellery... you can find something to inspire your Spring/Summer wardrobe.





See you over there,
Sara x

Managing My Day Job & My Creative Alterego by Guest Writer Rose Marie Dammann

I was asked to write about how I manage my day job and my creative alter-ego. For me, however, the two go hand in hand. I am a graphic artist, and currently design animated e-cards for a greeting card company.



As a young greeting card designer my specialty was stitchery- embroidery, cross stitch, needlepoint, crewel- just about any craft media. The artwork was photographed, printed and embossed to give the card dimension and depth. I’ve always loved artisan crafts, and it was fun to be able to create cards that reflected them. As all artists evolve and change, I gradually did less stitchery and more graphic design and animation. My interest in crafting became more of an after hours pastime.

I have a tradition at Christmas time with 2 other artist friends. We design and make Christmas tree ornaments each year and share them with each other. I use this opportunity to say something about what interests I have that year- in subject matter and craft medium. At work, I take advantage of a creative workshop that Hallmark maintains as creative renewal for their artists. I have taken classes in every craft imaginable from beading to glass blowing. I love each craft and vow to continue on after the class is finished, although I rarely do. However, when I took a lampworking class, I was really hooked. I spent lunch hours making beads in the workshop and eventually took a class at a glass store using the hot head torch method, which I set up at home and started making and selling my jewelry.



After about a year of using the hot head torch, and finding that my enthusiasm for lampworking was not waning, but increasing, I purchased the oxygen/propane set up which I use currently. I also set up a business, Domino Designs to sell my work. More satisfying to me than selling my work is seeing other women enjoy wearing my jewelry.

One of the requirements of my day job is to stay current with trends in colors, fashion and decor, so I do research in many fields. Often I’m inspired by something I see while researching and that sparks me in my home crafting. So in this way my day job enhances rather than detracts from my creativity.



As many enthusiasts do, I collect all the materials and paraphernalia that goes along with each craft, so my craft room is full to the brim. Last year I learned to felt, and my Christmas ornament reflected that. This past Christmas, it was time to incorporate my lampworking. I also always keep a crochet project going while watching television- I like trying different patterns for hats, baby booties, baby afghan, and at the end of the year, I donate whatever I’ve made to charity.

As much as I enjoy making beads and jewelry, the business side takes up more time and energy than I would like. I have to spend time updating spreadsheets for inventory and costs and figuring out tax information. Not my favorite thing and I’m certainly not very good at it. I don’t have a high profit margin and going to an accountant really eats into the profits. It’s just one of the down sides to having a side business. If I want to make beads, I have to have an outlet to sell them, or my house would be over run. I haven’t spent time promoting my Etsy shop, and don’t sell much through that venue yet, but it does give me a website to direct people to, so that they can view my work, which is helpful. Most of my sales have been “word of mouth”, but I did participate in a craft sale and have another one coming up at the end of April.

While it’s often hard to have the energy after work to put into my craft business, as well as home and family, it’s extremely fulfilling to me, so it’s worth the effort. My advice to any crafter is to do what you love, what’s satisfying to you personally- and keep evolving to stay creatively fresh.

Written by Rose Marie Dammann of http://www.domino.etsy.com/

Spotlight #30 - Lazy Cat

Crocheting with a difference today... Let me introduce Allison, Stasia and Kelly from Lazy Cat.

1. Tell me a bit about your background and how long you have been an artist/crafter.

Three women are involved in our shop: Allison, Stasia and Kelly. We started crocheting together while we were all working on our post-graduate degrees (medicine and biochemistry). We each had a grandmother who showed us how to crochet when we were younger. We each have now been crocheting for about 10 years. Within the past 5 years, we have expanded into crocheting with wire and beads to create artisan crochet bead jewelry.



2. Where do you find your inspiration?

We find our inspiration from current styles and trends that we see in boutiques and magazines. Our goal is to create hip, modern pieces that are current for today's fashions.

3. Do you sell your work, or is it purely for pleasure?

We sell our work through our Etsy store: http://lazycat.etsy.com/ and our website: http://lazycatgifts.com/ that focuses solely on our boutique jewelry line. We also sell some of our jewelry at a clothing and accessories boutique in Ann Arbor, MI.

4. If someone was looking to take up this craft should they have any related experience before they start?

Before beginning to crochet with wire and beads, one should have a fairly strong mastery of crochet techniques with yarn. Once you feel comfortable with the different simple crochet stitches, begin with using a thin yarn and string beads. From there, you will be ready to try crocheting with wire. It is also good to learn jewelry finishing techniques.

5. What would be your top 5 tips for a beginner?
a) Master single crochet and chain stitch with yarn.
b) Begin with a medium gauge wire (26 gauge). Wire is very unforgiving-- you can't make a mistake and pull it out. As you move to using thinner wires, they are more flexible, but also more easy to break.
c) Use a metal crochet hook, size G or H to start.
d) Begin with beads that are of a uniform size and shape (like spheres).
e) Start with simple, uniform styles.
Bonus tip: Keep your cats out of your beads!

6. What would be your top 5 items of essential equipment?
a) Metal crochet hook
b) Jewelry wire
c) Bead organizer
d) Wire cutter
e) Needle-nose pliers

7. Can you recommend a technique or 'tips' book ideal for a beginner?

No single book, but you can find a number of options on wire crochet in your local bookstore.

8. Can you recommend any brands to look out for, when buying equipment or kit?
Artistic Wire makes smooth wire in many gauges and colors that doesn't tarnish.

‘Tragedy and Triumph’ by Guest Writer Pamela Baker

In January I wrote an article for “Crafts of Texture” regarding a quilting project “Tragedy and Triumph” that I, http://www.magdalenejewel.etsy.com/, and another Etsian, Andrea of http://www.jennygardener.etsy.com/ started. We came up with the idea of asking other Etsian’s if they were interested in submitting a quilt square for our project. Our goal was to mainly stick to something historical that has affected you personally or affected a part of everyone’s daily life, for example the war in Iraq, Sept 11, the floods of Katrina, the Tsunami in India and Sri Lanka, etc. We didn’t wish for the tragedies to rule since there are many positive aspects that have affected our lives also. That is why Andrea, "JennyGardener.etsy.com" and I decided to assemble 2 quilts depicting both themes. That is how we came up with the title, "Tragedy and Triumph".

As a follow up to our initial idea, we currently have almost 40 different artists from Etsy who have submitted their ideas of what they would like to contribute. The ideas that were submitted for our Tragedy quilt range from the “Bombing of the Twin Towers”, the “Oklahoma Bombing”, “Katrina”, to the numerous killings on school campuses, which is one that I submitted called “Columbine.” Our Triumphs include “America has Heart”, “Global Awareness”, and “Heart Value Surgery.” Other quilted blocks will be dedicated to those who lost someone to “drug abuse”, the “First Parliament in Edinburgh, Scotland, to “Women’s Rights”, “Space Exploration” and one done by a breast cancer survivor.

As Andrea quoted “The inspiration for the quilts are all those people who recorded history in their artistic expressions. We don't know their names, yet they captured history in their homely work. Tapestries, quilts, needlework - these are all we have left. Yet these works inform our understanding of history."

These are just a sampling of a few of the squares already submitted, which can also be found on my blog, http://magdalenejewelspjk.blogspot.com/.

The first square by Betsy @ http://www.spongetta.etsy.com/ represents “Katrina”, Notice on the left the deep purple waves; the dark background represents the richness of the culture along the Gulf Coast; and the “red X” represents the “X” that the recovery workers used as they searched each home. The second block done by Marion @ http://www.mademarion.etsy.com/, is dedicated to all those who are “Breast Cancer Survivors”, (of which she is one). The third block, submitted by myself, called “Columbine”, calls for a stop to all the needless shootings on school campuses.

The fourth quilt square done by Jacki of www.ChristieCottage.etsy.com called “In Memoriam” is dedicated to our US Troops fighting for our safety. Note, in the upper right side are 3 tiny pearl drops, one representing the death of her father, the other to her husband, and the third to all of those who have lost their lives fighting in Iraq. The next square, “Poetry”, by Debi of www.grayeyedscorpio.etsy.com, represents the world evolving around us. We need to remind ourselves of the beauty that surrounds us, and not to waste or destroy what we are lucky to have. Another beautiful square I received is called “America Has Heart” by Gayle of www.whatshername.etsy.com.

There are a few more quilts blocks on my blog which I invite all to view; and as more squares come in, you will be able to view them on my blog with each update.

Written by Pamela Baker of MagdaleneJewels.etsy.com

Annie Sherburne, eco supplies shop

Shop: Annie Sherburne
1:10 Oxo Tower Wharf
Bargehouse Street
London
SE1 9PH

(Opening Hours: Tuesday to Saturday from 11.30am to 4.45pm)

You can also find her shop on-line at http://www.anniesherburne.co.uk/


In today’s society eco friendly products are becoming more and more important in our daily lives. So it s not unexpected that artists and crafters have started searching for eco-friendly and fair trade supplies to make their products with. Annie Sherburne is a textile artist who has had the foresight to start providing for us…

Sara: Why are fair trade and eco friendly products so important to you?
Annie: Because the system of production for textiles is polluting, and the way that people are treated in countries without our high levels of protectionism is unacceptable. Abuse of human rights to get things made cheaply, or with little care for the local environment can be changed by using the capitalist system, if enough people chose to buy products that do not exploit people or the environment. I decided a long time ago, that all I could do was whatever I can personally do, the problem is too big otherwise. Research was a way of finding out the truth behind the issues.

Annie’s shop is a wondrous collage of colour and texture, which pulls you in to explore from the outset. Among her own fabulous rug designs (which are eco friendly, of course), Annie sells jewellery made from vintage components and handbags made by her partner. She also stocks a range of eco-friendly yarn, natural dyes in powder form, some mordents, knitting needles and crochet hooks and some gorgeous buttons too. And if you are looking for home products you can also find neem bathroom cleaners and other laundry materials (because laundry is 85% of the impact which textiles make on the environment.)


Sara: Apart from stocking eco friendly and fair trade products and supplies in your shop, how else do you try to get your eco-message across?
Annie: Lili, another Masters graduate has produced a great game that will help people understand the issues by actually designing various products. I currently stock this in my shop. It is useful a useful tool for teaching teenagers and undergraduates too. I also sell eco design books, and materials and am always happy to debate with visitors.

This shop is a great starting point for artists and crafters wishing to make the move into environmentally conscious work. This is where I found out about an event called Eco Design Fair, based here in the UK. Run by Louise Kamara, Eco Design Fair have also produced ‘the sustainable directory’, which is also useful for people wishing to buy completed works.

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This review can also be found at as part of my contributions on DIY City Magazine

Working with Felt... a new social network!

http://workingwithfelt.ning.com - A community of feltmakers who love to learn and share new techniques, tips and resources, as well as showing off their own creations.

I created this social network, as an oppourtunity to mix with other people who enjoy this craft and also as a resource pool for it's members.

I look forward to meeting you all,
Sara x

Spotlight #29 - Kate Austin

Kate Austin is a talented artist living in the US, her textural work has great colour inspiration.

1. Tell me a bit about your background and how long you have been an artist/crafter.

I've always wanted to be an artist, and I went to Hartwick College for two years as an art student. I wasn't sure what to do with an art degree, however, and dropped out and worked with at-risk youth through AmeriCorps for two years. I'm back in school now, at Empire State College. I've been making art my entire life, but I've been exhibiting and selling my work now for about a year and a half.



2. Where do you find your inspiration?

Most of my work is autobiographical. I feel as though I have a story to tell, and I've been working on editing my journals into a book as well as creating my artwork. Lately I've been making more "to sell" art to support my less buyer-friendly projects, as well - art that's decorative, rather than emotional. Oftentimes my pieces just flow through me and make themselves, and I think that the creative flow is in everybody, but artists have developed the skills to harness the flow and capture it on paper.

3. Do you sell your work, or is it purely for pleasure?

I do have a hard time parting with my work, but I do have prints available of those that are very close to my heart. I sell my work at galleries in and around Glens Falls, New York and Killington, Vermont (my hometown) and have an online shop located at http://aephemera.etsy.com/. My regular website is http://www.aephemera.net/, where you can catch upcoming shows and news.

4. If someone was looking to take up this craft should they have any related experience before they start?

As I said, the skills to harness that creative flow are necessary to be able to properly convey what it is you want to say. Technique, composition, knowledge of materials are all useful. Nothing's stopping you from picking up a paintbrush, and that's the first step, but if you're frustrated with your work it never hurts to take some classes to work on those skills.


5. What would be your top 5 tips for a beginner?

a. Just let it out! A class will help you with the skills and technique, but most people are afraid to even pick up a paintbrush for fear that they won't like what they draw. Don't ever be afraid to try. There's no reason not to! Paint what you feel, and if you want to hone your skills, you can always enrol in a course.
b. Never throw any artwork out - it's all part of the process and it is all important! Always sign it too, no matter how much you hate what you just made. You never know when it could be worth something!
c. Keep a sketchbook with you always, so if an idea comes to you, you can jot it down or sketch it out. This is important - I always forget all my best ideas!
d. Use quality materials, if you can afford to. A mediocre painting made with good materials outshines a good painting made with mediocre materials. www.Aswexpress.com and www.cheapjoes.com are good places to find a deal.
e. Experiment! It is important to work on technique, but once you've got it down, think outside the box and have fun with it! You need to know the rules before you break them, but don't think twice about breaking them once you know what they are! And don't be afraid to get dirty!

6. What would be your top 5 items of essential equipment?

a. Yupo paper! This is a plastic kind of paper, and I've done all kinds of experimental painting with it. I love it!
b. Good brushes - lots of big ones! The Harmony Quill series are nice, and my new favourite is a 1" flat brush.
c. Quality paints and inks. My water-colours are Holbein or Winsor & Newton and my inks are Daniel Smith.
d. Gesso! I like to paint with gesso, a primer, over water-colour paper (Lanaquarelle cold press is nice) and then use water-colours on top of the gesso for a unique texture.
e. Lots and lots of paper towels! I can wipe acrylic paints off the yupo using a paper towel dabbed with rubbing alcohol, and can wipe water-colour paint off the gessoed paper and yupo with just water. I go through a lot of paper towels... I think I should start buying recycled ones.


7. Can you recommend a technique or ‘tips’ book ideal for a beginner?

I think that it's easiest to learn from a class, so you can have some personal feedback on what you're doing. A fun series of videos are Robert Burridge's - http://www.robertburridge.com/ and a helpful book on creativity (not technique, though) is Julia Cameron's "The Artist's Way".

8. Can you recommend any brands to look out for, when buying equipment or kit?

As above, Daniel Smith, Harmony Quill, Holbein, Winsor and Newton, Lanaquarelle and Arches Water-colour Paper, all available from http://www.aswexpress.com/ or http://www.cheapjoes.com/

Mail Order Catalogue Launched!

Launched today, you can now buy from my Boutique Collection... just download your catalogue and price list, and note down what you fancy over lunch with friends (they can play too!)... then drop me an email!

You can find it at http://www.sarastexturecrafts.fusiveweb.co.uk/TheBoutique/tabid/755371/Default.aspx

Spotlight #28 - Aurora Rosselli

Today's feature highlights how many forms of art can capture the essence of texture and our imagination. Here is my spotlight on artist Aurora Rosselli...




1. Tell me a bit about your background and how long you have been an artist/crafter.

Art has played a role in my life for as long as I can remember. At the age of nine, I began at the LICEO ARTISTICO in Italy and became devoted to the world of Art. After that, I enrolled at the Accademia di Belle Arti where I continued gathering the tools necessary to express the passion you see now throughout my original artwork. My artwork was displayed in exhibits across Italy. I was very proud to have my pieces shown in private homes, galleries, nightclubs, bars, and offices. Designers and decorators use my artwork for their showrooms, model apartments and homes. With over 16 years of experience, the images you see on your monitor are just a taste of the art that i have created. My specialties extend far beyond painting. Photography, sculpting, and scenography, are just a few of the other forms of art I have embraced. .I also enjoy creating customized orders, including rare and one of a kind pieces. As an artist who loves to capture the uniqueness of the world in photographs, I created Eclisse Creazioni Art & Photography.

2. Where do you find your inspiration?

Throughout life I have been keenly sensitive to the visual world. For me, it comes naturally to "see" the world on a level foreign to most. Colors dancing together on pallet knives, fingers molding clay, a shade of lipstick on a mouth, light catching beads of water on skin, fresh vegetables scattered on a counter--such seemingly ordinary things often strike me as remarkable. After discovering the ability to preserve these gorgeous arrays of "everydayness" indefinitely, my passion for art came to embrace photography. I am extraordinarily passionate as a person and I find constant inspiration simply by celebrating life and remaining aware with "eyes open." The extensive, formal background I have of fine arts is incorporated into this perspective. However, it has enhanced rather than formed my artistic viewpoint. Along with capturing the fine art of every day scenery and culture in my work, I am especially drawn to people. The life and energy of a person's expression or the look and mood found in an individual is the magic of humanity suspended in time. Thus, I find the most joy in photographing a glimpse of a wondrous child, a provocative woman, or a pensive man, in a timeless array of portraiture. When I manage to preserve the vastly beautiful and complex images of faces and emotions, I feel for a moment that a breath of eternity has gone through my camera and will remain on film. I'm influenced by everything I see and everyone I meet. If I've met you, then you probably influenced me in some way!

3. Do you sell your work, or is it purely for pleasure?

I sell my work in Fashion show, Art Galleries and on-line. U can check my artwork Flikr at http://flickr.com/photos/eclissecreazioni

or at MySpace http://www.myspace.com/eclissecreazioniphotos

and http://www.myspace.com/eclissecreazioniart

4. If someone was looking to take up this craft should they have any related experience before they start?
I think your start should be Visual... start looking at magazines, art book, nature... everything visual. Look at cuts, colors, composition and after that start sketch with a simple pencil and paper over and over.

5. What would be your top 5 tips for a beginner?

• As i say give yourself a visual culture.
• Sketch and Draw as more as u can.
• Capture on camera everything capture your attention and start to study your color scheme.
• Start to draw simple shapes over and over 'till perfection.
• Start with using color pencil or pastels really soft and good drawing paper

6. What would be your top 5 items of essential equipment?

• High quality watercolor paper.
• Watercolor pencils
• Drawing pencils HB and B
• Eraser
• Painting Isle

7. Can you recommend a technique or ʽtipsʼ book ideal for a beginner?

My favorite technique is watercolor pencils on Paper. As a book i don't have any favorite one except for any Art Book where u can study the Great Masters of the Art Classic

8. Can you recommend any brands to look out for, when buying equipment or kit?

The brands i love since i was in Italy are KOO-I-NOOR and STABILO the best in the Market. I've been using those for 24 years now and I've never be disappointed.

Book Review: Beginner's Guide to Silk Ribbon Embroidery

Beginner’s Guide to Silk Ribbon Embroidery

By Ann Cox

This is a great introductory book to silk ribbon embroidery. Covering essential tools and materials, Ann Cox takes us through easy to follow stitch techniques and shows us a myriad of individual plants, flowers and other objects we can create from them. Each stitch is fully explained and illustrated with step by step pictures, so even a true beginner can recreate (although some with a little practise!) any of the stitches with ease. The reader is also shown how to plan, create and mount larger artworks and there is a range of six equally stunning projects to follow.

This was a new craft for me and so I was thrilled at how simple this book made those first tentative steps into silk ribbon embroidery and also at just how many ideas I came away with. I would certainly recommend the ‘Beginner’s Guide to Silk Ribbon Embroidery’ to fellow embroiderers and textile artists.

ISBN 10-0855328355

ISBN 13-9780855328351

Price: £6.99

Purchase from The Textile Directory.

Reviewed by Sara Millis of Sara’s Texture Crafts.

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This review can also be found at as part of my contributions on DIY City Magazine and The Textile Directory.

Spotlight Feature #27 - Loli Gil

Today's feature, shows that texture can be created on the most soft and lustrous of surfaces, like Silk... all you need to do is work with good colour and print. Here is Loli, to tell us more...

Hola! I am Loli Gil Bea, and I'm mostly famous in my family for being the crazy artist! I love to paint silk and make all kind of accessories with it, because I think art should not only be stared at, but also enjoyed 24h a day.



1. Tell me a bit about your background and how long you have been an artist/crafter.

I started taking painting lessons for a few years, and focused in painting watercolors since 1990. After a while I discovered the techniques of silk painting and have been happily doing that for over 10 years.

2. Where do you find your inspiration?

Almost everywhere! In nature, landscapes, architecture, people, animals, museums, and art in general. Anything that makes me feel something new will draw me to paint.

3. Do you sell your work, or is it purely for pleasure?

At the beginning it was only for pleasure, but at some point I started selling my watercolors in art galleries. When I started painting silk, I decided maybe the best way to get this craft out to the world was to make something wearable. I opted for the silk scarves. All my friends loved them, so I started selling them at boutiques, art galleries, online at http://gilbea.etsy.com and now also in my own website http://www.gilbea.com



4. If someone was looking to take up this craft should they have any related experience before they start?

Experience in art or crafts is not really needed, as anyone can start in this craft from scratch. However, some basic drawing and coloring knowledge would be a great start.

5. What would be your top 5 tips for a beginner?

 Patience, patience, patience..!

Seriously, apart from being very patient, this also helps a lot:
 A lit up work room
 learning about silk special properties never stop experimenting
 Getting in touch with other artists to share ideas.

6. What would be your top 5 items of essential equipment?

I can’t live without:
a. Frames in various sizes to hold the silk.
b. Paintbrushes suitable for silk painting.
c. Good silk paint.
d. Gutta.
e. Pressure Cooker (Device used to fix the color to the silk). For beginners, the best idea is to start with silk paint that can be fixed with an iron.



7. Can you recommend a technique or ‘tips’ book ideal for a beginner?

These books were very useful to me:

Beginner's Guide to Silk Painting by Mandy Southan
Silk Painting: The Artist's Guide to Gutta and Wax Resist Techniques by Susan Moyer

Definitely the best way to learn this craft is to try and try and try again until you reach something you like… but books from experienced artists with great tips are always welcomed!

8. Can you recommend any brands to look out for, when buying equipment or kit?

I live in Spain and usually get my equipment from a crafts supply store in Madrid. However, most of the stuff I buy is international, so anybody can buy it too at a local crafts store. I would recommend Dupont paint (high quality), and Pebeo or Marabú for beginners.

Also, if possible, buy the plain white silk scarves instead of buying the fabric, this saves a lot of time! These can be found at craft stores too.

You can see more of my work at http://www.flickr.com/photos/gilbea

Hear it on the Radio!

I came across a forum thread, over at diycityguides.ning.com that talked about arts and crafts on the radio... intrigued I took a closer look and met the wonderful artist Wendy Humphreys (Wendy's Etsy Shop). Wendy is a contributing host for a new arts and craft based radio show called 'Art Talk Radio'. I've asked Wendy a few questions to help us find out a bit more about it...

1) I understand that you have become a contributing host for a radio programme on Art Talk Radio… can you tell me a bit more about Art Talk Radio and the programme you have become involved with?

Yes, Niki Jackson asked if I would speak about my jewelry designing on one of her shows. Of course I said yes, the ZNE network has been such a wonderful supportive place for me. I initially wasn't sure how to reach or interest all the artists that listen. In my first program I spoke about Artistic Origins, Inspirations, Techniques and I was ask to come back for the next show!

2) As a contributing host, what will you be talking about in your broadcasts?

I will be talking about inspiration and where to find it. I will go over different resources, I will share different basic how to books and where to find them. I spoke about Lark Books, publisher of many creative resource and learning titles. My next segment will be Building Your Toolbox: Tips and Techniques.

3) Where and when can I find the Radio Station?

http://vintageniki.typepad.com/art_talk_radio

If you wish to hear the latest shows on Art Talk Radio then please follow this link http://www.blogtalkradio.com/Arttalkradio/feed, turn your speakers up and press the ‘headphone’ symbol next to each show to listen to the Audio.

Thanks Wendy for telling us a bit more about Art Talk Radio... I'm off to have a listen now!

The Diary of a Textile Crafter: The Exhibition - Part 14

The Show!

I thought I would make myself sick with nerves before the show... that was always my 'party trick' when it came to London Fashion Week, or design interviews, but strangely I found myself feeling overly excited and filled with anticipation. Quite a nice feeling as it happens! That's not to say I didn't have a few butterflies of nerves as we woke up on the morning of the 'Build-up' day (where you decorate your stand before the opening). I've never really organised anything like this solely on my own... there's the booking of the stand, the lighting, the furniture, the van hire and car parking spaces, the insurance, the display settings and most of all the entire stock. So it's fair to say that there was a lot at stake... but luck was on my side and as we arrived everything was set out for me to start.



After a few moments of bouncing around at seeing my name up on the fascia board and pinching myself that it was all for real after six months hard work, we thought about getting to work! We? Yeah, I got my wonderful boyfriend and his brother to come and give me a hand... wasn't sure how long it would take to set up, or how much extra brawn I needed to get it put together!

Putting the fabric up on the walls took me a while, who knew it would be so difficult to work it over the length of the panels, without pulling, ripping or snagging! Once we had that worked out the pictures went up quite quickly... well after I painfully scrutinised over positioning and colour placement... 'an artist's right', I told them!

Still the law of Sod got me back later, by dropping a hammer on the top of my foot... and yes it's still black now! Fortunately not broken though!!

There they are hard at work, adding the hooks for my display pieces... Thanks guys!

This is the finished article... I was quite pleased after looking around - no one else had opted for a light background. I was hoping that would make mine stand out and look fresh.

Tired and hungry we treated ourselves to a burger and fries on the way home and I put myself to bed early to prepare for the next day - show day!

So here we are... show day and customers are stampeding the doors of the venue, you could actually hear the roar of the excited chatter! Here's an aerial view from a little later in the day, once things had quietened down... you can see I had some wonderful neighbouring stands.



Yes, that's me standing on the edge, looking in. It's difficult... I only had a two metre squared stand, so it was impossible to stand inside, without blocking the view or way of potential customers. And can you see the shopping pull-along trolley that one lady is using? There were lots of these about, starting as empty and by the end of the day waring down their owners with the weight of shopping... fantastic idea to have a stand like this right by the front door!

By the end of the four day show, as you can imagine I was pooped! I'm not used to standing on my feet for that long, or talking out loud so much either... I'm used to typer's cramp, not a sore throat! Still it was total worth it. There are a few really great things that came out of the show...

Firstly meeting the customers and recognising a few friendly faces! Customers and browsers were so friendly, that really lifted my spirits from any nerves about my work... the reception was amazing. I also had a few drop-in visits from people I knew too - Thank you Shirley and Sooz!

Secondly meeting my neighbouring stands' exhibitors - what a lovely, friendly and inspiring bunch of people. I must give a shout out...

www.sewgoodbooks.co.uk - the most fantastic range of crafting books I have come across in a while... needless to say you have made me penniless! well, at least until the next time we meet!!
www.buttoncompany.co.uk - truly a button for every occasion!
www.themillineryschool.co.uk - the perfect way to learn how to make your own hats!
Eliza McClelland - bead artist and author of 'Traditional Beadwork'
www.countyneedlecraft.com - fabulous and unique cross stitch designs
www.travellers-tales.com - colourful geometric cross stitch designs

And thirdly... something I never expected... future possibilities, like teaching workshops and taking commission work. I had several conversations with people about this and hopefully all being well it will pan out into a new branch of Sara's Texture Crafts for me. It's funny isn't it, I'm sat here plugging away, making products and selling craft kits and equipment, but I never considered myself as an artist, or as someone who had something creative to offer before... I don't know maybe it takes something like this to solidify all of that work into something more serious? If it works, it could mean my decision to take Sara's Texture Crafts full time after the show was not necessarily a bad idea after all.

So that's it, that's the exhibition finally over... what's next? Well I'm planning a few craft markets shortly (more news coming soon) and well, I'm looking into teaching as we speak... any tips and advice would be greatly appreciated!

Love to all!
Sara x

Craft Shop: Send me those finished piece pictures!

I've met a lot of very inspirational people over the last year or so that Sara's Texture Crafts has been running and most impressive of all are my customers, who never cease to amaze me with new possibilities for my existing craft products.

So I am looking for you to send me your finished artworks, toys, models, etc from kits and materials you have bought at Sara's Texture Crafts. I want to share with my readers all kinds of art and craft experiences and I am hoping that with your help we can extend our crafting community, by sharing our own love of what we do.

Also remember that all photos should have copyright logos on them to protect your work. This also protect the rights of the guest writer and the artist/photographer/crafter involved.

Sara x

To see some of the pictures I have received already press... Customer's Work