Mokume-Gane Metal Techniques with James Binnion. This is a very old technique of fusing various different metals together using pressure and heat.
Bring vibrant color and whimsy to your space with this "Rainbow Butterfly" fused glass suncatcher. Expertly crafted using the vitrofusion technique, this beautiful piece showcases a rainbow arch adorned with a delicate pink butterfly. Dangling colorful glass rods catch the light and add playful movement, making it the perfect addition to any window, patio, or garden. Handmade with love, this suncatcher is sure to brighten your day with every glance. Charming suncatcher to decorate any room in your home. It looks great both indoors and outdoors, it is the decoration that will beautify your home or garden. This product a perfect choice for a gift for someone special. Handmade using the fused glass art technique. It's perfect for hanging in the window and works as a beautiful sun catcher. Add a splash of color to your space with this unique creation. During the process of making items we only use high quality materials. Since each item is fragile, we make sure they are safely packed in a box to deliver it to the customer in excellent condition and with a letter of thanks for your purchase. Be aware that each item is handcrafted - final product could slightly differ. Measuring (approx.): - Width: 8 inches ( 30 cm) - Height: 11.8 inches (20 cm) Please, feel free to contact us
Glass Fusing at Home: Essential Tips and Techniques for beginning fused glass artists to do this fun hobby at home. Learn what you need and where to start!
In previous lessons we have been fusing a shape onto a base fabric. Today we are not going to be using a base fabric but fusing one strip onto another. More like piecing, rather than applique. The idea of strip fusing is so integral to my work that I can't imagine making a quilt without them. I want to share some examples and the problem is not what to show, but what to leave out! All of these began by making strips fused together to form new fabrics as shown below. To begin, select several colors that you love, and cut some strips, varying the widths. Place one strip next to the first and overlap a tiny bit, just enough to attach it. Fuse lightly. Then place a third strip onto the first fused set and again fuse lightly. Continue fusing strips into a panel of strips. Now you can trim it even or fuse it to another set of strips, leaving an uneven edge. Something that would be a time consuming task if we were sewing strips instead of fusing them. Continue adding strips, building larger and more complex fabrics. Some of the ways strips can be used with larger sections of fabric.
Learn about using a microwave kiln. There is a lot to learn about fusing glass but you don't have to know it all to get started.
To make a fused composition from a pattern I have chosen a simple little design in which I can demonstrate how to use a drawing to create a small work. The original piece is only about 7x10". Using the release paper leftover from the Wonder-Under, draw a facsimile of the quilt pictured. (I added a few extra lines in the drawing, no biggie!) With a second piece of release paper, trace the shapes of the little tree. I suggest that you write G on the tracing to remind yourself that the G goes on the GLUE side of the fabric. Cut the two pieces apart, on the drawn lines. Audition fabric for this piece, using some previously strip fused fabrics Flip the pattern piece over, as well as the fabric, glue side up, and place the pattern where you want it. With the iron's tip, CAREFULLY fuse the center of the paper to hold it there temporarily. Trim the fabric, close to but not exactly on the pattern piece. Never rotary cut through the paper. Lift the paper off the cut shape and flip it over. Notice that the fabric piece is just slightly larger than the pattern. Totally correct. Audition the second piece and again flip it over and tip-press the iron onto the fabric. Trim the fabric away from the paper shape. Slip the darker green section under the lighter green section and fuse them together, LIGHTLY. Trace the area 'behind' the tree shape, bringing the drawn lines in so a small bit fabric will be under the tree shape. Cut the background paper shape and test that the tree shape fills the void. Again mark the glue side with G's. Choose a background that will contrast with the tree shape and place the pattern piece on the fused side and fuse lightly. In this photo the Gs are visibly backwards. This is correct. Flip the fabric over and remove the paper. Place the background fabric in the spot on the pattern that corresponds. Fuse lightly. Then trace the shape above that section, marking it as before. Slide the top piece into place under the tree shape and fuse lightly. NOTE: While it is possible to just fuse the tree shape onto a background, the lesson here is that there is nothing underneath the tree shape but a narrow edge to fuse it too. In larger works this is more important, but this is an easy way to learn how it is done. Since the next spot would line up later with the trunk of the tree, I wanted a two color piece, so I lay the pattern on a fused combo of two fabrics. I was more concerned that it lined up with the center of the tree than if it fit perfectly under the background piece. You will see how to cover that gap later. This is the bottom left section and I wanted a strippy look, so I traced the section, found a plain fabric and added strips, then trimming them even. I added a turquoise square under the yellow one and then I am ready to trace the outer edge of the composition. The tracing of the outer edge... Audition a complex striped fabric to see if it works with what is already created. Fuse the paper in place, lightly and cut away the excess fabric. Place the edge piece and fuse it just to the PAPER pattern, not the rest of the composition. This stabilizes the section so more strips can be added to it. This is when the gap is covered with a fabric strip, hiding the opening and connecting the top and bottom sections, as well as the side edge piece. Trim the outer edge and fill in the top left section with fabric, also striped. To add the 'tree trunk' cut a straight strip and trim one end to a point and cut the other end on an angle. Place the strip on the join of the tree curving it as you press, and continue it down on the join of the section below. The trimmed composition place next to the original pattern. At this point dots can be cut and added as the final elements. This is a good time to fuse the whole design to release paper with more than just a light touch. Next week we will fuse the composition to batting and finish it with stitching.
Het is wel hoogseizoen met workshops maar ik geniet er dan ook enorm van. Gisteren een workshop ´fusing en structuren met plastic´ bij Marjo...
This project is one which has evolved out of my recent experiments with fused plastic. It’s a way of recycling old crayons and plastic bags creatively and I love the finished ‘leaf-like’ feel of these. The finished leaves can be used for a wide range of purposes, or alternatively you could cut the fused plastic sheets up into any shape you like. Materials Plain white plastic bags – or bags with large areas of white that can be used. Roll of Cling film Old wax crayons Metallic Gold Ink Pen Baking parchment Equipment Old kitchen grater Domestic iron Pinking Shears Heat Proof board (I used a toughened glass chopping board) Preparation Cut up your white plastic bags into pieces that will fit onto your ironing board – my pieces were about A5 sheet size. Grate your wax crayons into separate colours, and place in different pots – I used cake cases for the purpose, which worked well. Place the heat proof board onto your ironing surface, and lay a protective sheet of some sort over it (I used an old tea-towel). Cover this in turn with a piece of baking parchment bigger than your plastic. Place your base sheet of plastic on top of this. Method I like to start by ironing the plastic smooth to begin with, so place another sheet of baking parchment on top, and switch the iron onto a medium heat non-steam setting. The actual setting will vary slightly depending upon the thickness of plastic bag you are using. Thicker bags require higher heat to fuse – just experiment. Iron the sheet smooth for a few seconds. Remove the top layer of parchment paper and you are ready to start decorating. I found that the most effective way to do this was to build up the design in layers of different colours one at a time, separating and sealing each layer with cling film. If you don’t do this, and put all the colours on together in a single layer, you are in danger of creating a muddy mess as all the colours mix together. The designs shown here all used about 3 or 4 different layers. Because each was separated from the other, the colours do not physically mix, and each layer acts like a glaze creating beautiful bright and colourful designs. Less is more – you don’t need to sprinkle very much on – as you are not looking to cover the plastic completely with each individual layer. After you have sprinkled on your first layer, place a sheet of cling film a little larger than the base plastic over the top of the sprinkles, and then a sheet of baking parchment over this – again, this should cover all the plastic layers so it doesn’t melt on your iron. Iron the layers together – you will see the wax crayon sprinkles melt very quickly, but you may need to press a little harder and longer to enable the cling film to fuse to the plastic beneath depending on the heat of the iron and the thickness of the plastic bag used – just experiment and you will soon get a feel for it. Repeat this with different colours, sealing each layer of crayon sprinkles with cling film, and fusing them together using the baking parchment to protect the iron. Small air bubbles will become trapped and the plastic will wrinkle, creating an almost leather like marbled surface. You can see each individual stage below. Once cooled, trim the extra cling film away from the sheet and cut it into whatever shapes you like – using pinking shears makes a particularly decorative edge for leaf shapes. You can draw on the fused plastic with sharpies, or other pens – for example I used a metallic gold ink pen to draw decorative stylised veins on the leaves. If you want to make a bookmark like I’ve done here – punch holes in the end of two of the leaves and attach together with ribbon leaving the ends trailing. Alternatively this would also make a decorative gift tag. If you make lots of leaves, you will have enough to make a garland, or simply hang them individually onto twigs and branches placed in a pot. There are plenty of possibilities! If you want to make a bookmark like I’ve done here – punch holes in the end of two of the leaves and attach together with ribbon leaving the ends trailing. Alternatively this would also make a decorative gift tag.
Модная одежда и дизайн интерьера своими руками
Have you heard of block fusing interfacing? In this post, find out when and how to use this technique when adhering interfacing to apparel fabric. Hint: it's a huge time saver!
Guild member's sample
Wow! What a response! You make me feel so great. Over 50 of you signed up for this class, so gulp, it's a GO! There were a lot of questions and I promised to address them here today. Since this is a free class, with no fees, hotel, meals, or travel expenses, I feel better about insisting that you put your money toward good hand dyed fabrics, and plenty of Wonder-Under, or for you overseas, Bondaweb. Some have asked how much will I need? Fabric: Variety in color and value. Lights, mediums and darks and some neutrals, white and black. Textured or solid, but at the early stages, nothing fancy like shibori, or tie dye. Minimum of fat quarters of each. This is an investment I know, but now quilting fabric is nearly the same price as hand dyed, and so I don't think this is too much. You will be a committed fuser when you have collected and fused a wide array of color and value. Why hand dyed? Because it has no commercial finish, like perma-press, which CANNOT be washed out (hence the name perma-press). That commercial finish prevents permanent bonding. You could substitute commercial solids or batiks in the early phases of this class, but you will notice that the weave can more easily fray and the smaller bits we fuse may peel off or just fall off by themselves. Are you a dyer already? Can you recommend a good source of hand dyed cottons/silks? Let me know in a separate email. I found that my two favorite dyers have ceased production, so I searched for a new source and found two. Hand Dyed Fabric by Lori and Vicki Welsh. Fusible: Wonder Under PLEASE. And you will need a lot. Bolts. It is currently on sale for $2.09 at Joann's. How convenient. Get as much as you can afford. Buy 805. Why Wonder-Under? See these reasons. How long will the class last? My goal is to have a group of committed fusers who will continue to make art along with me for a long time. Eventually you will all be famous and I will say I knew you when...ha! This class will attempt to loosen the bonds of the quilt police and help you to see yourselves as fiber artists. At first you may meet with resistance from your quilting friends, but repeat this mantra; I am an artist and my medium is fabric. I make art for the wall. I will be treating you like artists, not just workshop students, using art terms (explained) and referencing the work of other fine artists. Of course you may still make regular quilts, but we will be doing really different things that just cannot be created in any other way. And FASTER too. What will we make? In the beginning we will not be making finished quilts. We'll be learning techniques and making sample parts. Everything will be used in future work so it is not like other classes. Because we have longer than one day together, the work can grow and mature. And with fusing, even the tiny bits can be used to make decorative surfaces, so you'll want a storage container for these pieces. Space to work. You will need a workstation which has a cutting area and a pressing area. You will be cutting and pressing continually. If you have an applique sheet or teflon pressing sheet, you will find them to be very helpful. If not, the paper that is removed from the Wonder-Under will also work as a fusing foundation. Either side of that paper works. Tools: Rotary cutter and mat, sharp scissors, and long nosed tweezers, the kind that come with sergers, or surgical types. For marking, slivers of soap, any kind, or white pencils. The Class Website. I have decided to post the classes on a separate site. Focus On Fusing. All the classes will post on Friday, and you can refer back to them (and share them) whenever you like. There will be a link on this blog so you can easily keep me in your feeds and then jump to the class site. On the class site I will take questions in the comment section and answer them there for the sake of everyone participating. I think that about covers all the questions you asked. I am very excited to be working with you and I hope you will enjoy the experience too.
Guild member's sample: Heather
Glass Fusing at Home: Essential Tips and Techniques for beginning fused glass artists to do this fun hobby at home. Learn what you need and where to start!
If you are brand new to sewing, interfacing might seem a little mysterious. You might even be wondering if you really need it to use it. For a lot of garments you don’t need it but for many it is essential for adding structure to the garment. It is often used on facings, collars, cuffs and button ba
Ok, ça fait bien longtemps que je n’avais pas parlé d’un produit magique sur ce blog (pour voir d’autres « c’est magique », voir ici, ici ou encore ici). Mais aujourd’hui, je vais parler d’un produit que vous connaissez toutes : le Vliesofix. (Je vous entends déjà : « ben voyons, c’est ça son truc nouveau et magique, … Continuer la lecture de C’est magique, le fusing! →
Charlene wrote: Will you be talking later about the design step? Any tips about composition? I replied: Yes, I will be discussing composition, but what do you mean about the design step exactly? Charlene wrote: I say 'design step' as another way of saying composing the final piece. Once you have all the parts made, next you put them together, designing or composing the whole. I'm really looking forward to that discussion. I said to myself: Gulp. This is where the lesson plan all falls apart. But here goes. In my experience there are two ways of designing, with a plan and without a plan, also called improvised. I went to Wikipedia and searched for Composition, hoping for a way out of having to declare HOW TO DESIGN A COMPOSITION. https://en.wikipedia.org/wiki/Composition_(visual_arts) That pretty much said all the things you need to know, but I wouldn't dare tell you that this is THE WAY to design. Art just isn't like that. For our class, I am hoping to give you the elements and techniques that allow you to come up with designs or compositions of your own without having to fret over the so-called rules. I NEVER think about the rules. It takes all the fun out of discovering something that you have never seen before. In artwork, a design may be something that has a planned layout or composition, say a grid, or vertical panels, or concentric squares, or cruciform, landscape or portrait etc. There may be a motif which is the focal point of the design, or it may have a subject matter, such as a house, a tree, a horse, a circle, or star. All the elements within that design may be supportive of that subject matter, but already I am wandering off into rules and specific definitions. I hate that! When it comes to doing something with the parts you have made, this is where you play (or improvise) with them and arrange them in a manner that is pleasing to you. TO YOU. It is important that you feed your brain with images that appeal to you and determine what it is about that piece that is its strength. I call this research. Pinterest has millions of ideas and I suggest you take advantage of what can be found there, and not just in quilts, but in all sorts of design imagery. I collect designs on a pinboard called Surface Design. I am constantly inspired and feed my muse with the clever things I find and pin there. I also pin ideas on my Fabulous Fusing pinboard. You might see some of your own work that I pinned there from our Show YOUR homework page. So for today's lesson Join or go to Pinterest.com and make a Design board for yourself. Once you have collected some thrilling-to-you-images, share the links to your boards in the comments. ++++++ OK, you want an assignment. I get it. So let's practice what we learned and this time you will make something of your own design. Make something small. In this case we are going to cut the batting first and that will give you an idea of what size shapes to put on it. OR you could draw out a rectangle or square on the release paper and use that as a guide. When we fuse a small work it helps to start with an idea of the finished size. Then the pieces we use will be to scale. Or use the release paper from the Wonder-Under, and draw the finished size on the paper with a pencil. We will assemble the top on the paper, and after it is completed it will then be fused onto the batting. The reason we have drawn the size on the paper is to help place the pieces within the space. This is especially helpful when cutting the background pieces. Large pieces of fabric are often daunting to cut, so I suggest cutting off a three inch piece from each color. You may still have to cut into the large pieces but you will have some small pieces to cut into details. I am using chunks of leftovers and some are already missing large parts, but no matter, I just put another piece in the missing space and it looks like I layered it over a full piece. But the deceptive truth is that everything that is on top is covering an empty space. The turquoise piece on the left shows that missing part. I used the sliver of soap to outline the part covered with the orange piece, and then I trimmed away the turquoise piece. It fits under the orange now with only a small bit connecting the two. I am not suggesting any of the dimensions of these pieces, as you will be making those choices yourself. Just keep it simple and it will all work out just fine. Really. I keep adding more chunks of fabric, building up the composition. Nothing is fused down YET. I am still arranging and judging how it looks. This is where the 'designing' comes in. I am just looking for a pleasing arrangement, with colors that look good together. There will be some trimming and neatening of edges before I do the fusing. Nothing has been measured or is perfectly square. Let go of perfection for this project. The composition is nearing completion, and I am adding the larger chunks to fill in the background spaces. It really helps me to know where the outer edges are, so I can work in the fabric were it fits. Some gaps occured and that provided 'design choices' such as that horizontal turquoise piece on the right. I have begun adding thin lines on top and underneath the pieces to ground the composition. I really dislike floating objects. The shapes need to relate to each other and the outside edges as well. At this point I have LIGHTLY fused all the pieces to each other, and onto the paper. I use a tweezer to lift some edges to insert the thin line pieces under the top layer. The finished top, fused onto the batting and trimmed to size. I've added a few more lines, some dots and triangles and stopped myself from overdoing it. I will rely on the machine quilting to add the right finish. IF I were going to do any hand stitching, now is the time to do it. I would stitch through the top and batting with either embroidery floss or perle cotton size 8 or 12. Then later after the backing is sewn on, the machine quilting will be done. Keep in mind that trimming each piece of fabric before the final fusing helps keep the look of the design neat and clean. After the composition is complete, follow through with the finishing technique of your choice.
Silai Pillow by GAN Inspired by the “petit point” embroidery technique, the Silai Pillow by GAN is a contemporary masterpiece created by Charlotte Lancelot. This collection aims to rediscover traditional sewing techniques, fusing them with modern design to produce a unique and stylish accent for any living space. Key Features: Contemporary design: Combines traditional craftsmanship with modern aesthetics. Intricate "petit point" embroidery: Showcases the artistry and skill of traditional sewing techniques for a unique and stylish look. Elegance and sophistication: Adds a touch of refinement to any living space. Crafted with care: Meticulous attention to detail ensures a high-quality product. Elevate your home with the Silai Pillow by GAN, a beautiful fusion of heritage and modernity.
Alexandre Bikady - Artisan vitrailliste - Méthodes Tiffany et traditionnelle sous plomb. 4630 Soumagne Rue des Deux Tilleuls. 7
Color theory has never been so enjoyable to learn! Students will love painting this magical Color Wheel Umbrella while learning science. Grades K-2.
Appliqued piece created from vintage and recycled fabrics which are deconstructed and meticulously fused together using different textile techniques.
