24 February, 2022

A Pamphlet Book with Spoonflower’s Grasscloth Wallpaper

2022-02-24T15:34:18-06:00An Artist's Life, Spoonflower & Fabric Design, Tutorials|4 Comments

I’m not really a home decorating kind of person, so when Spoonflower introduced a new Grasscloth Wallpaper, I was intrigued to know what it was like, but it was pretty unlikely that I was going to be inspired to wallpaper parts of my house. So I decided to think about another project I could do with wallpaper. I have been very slowly working on a “Book Arts Certificate” from the MN Center for Book Arts here in Minneapolis over the past couple of years. I’ve loved book binding, marbling and paper making and have not really loved the letterpress because of major ink fumes and inaccessibility (I can’t really do it at my house.) But I love working with paper.

So I decided to make a pamphlet book. I am woefully un-expert at all of the vocabulary of book arts; there is a LOT. But basically a pamphlet book is sheets of folded paper, stitched together to make a binding, with a heavier paper on the outside for a cover. With my sewing background, I love sewn bindings. So I ordered a swatch of grasscloth wallpaper in one of my designs and decided to use that as my cover. When it arrived, it was rolled up and wouldn’t lay flat, so I unrolled it, slipped it under the heavy cutting mat that sits on my desk and let it flatten out for several days.

Grasscloth wallpaper is like a woven fabric backed with paper. It has a warp and weft that is very prominent, making its iconic texture. One set of threads are heavier than the other, which gives it a rib like texture. On the sample you can see at the top, the heavier threads are running parallel to the selvedge (that unprinted edge of the wallpaper sample) or horizontally across my design. This is the sisal or the grass in grasscloth. The threads running the other way are much thinner. As a wallpaper, it has a really rich looking texture. It has a very matte finish and feels like a piece of art paper when you run your fingers across it.

The first experiment I did was to see if I could fold it because I needed to make at least one fold to make the spine of my book. It folds much better parallel to those heaver threads than if you fold across them. They are brittle, so they crack rather than folding. So I decided I needed to keep that in mind when I was cutting my cover. That meant that I needed to rotate 90 degrees so that my fold and the heavier threads were going the same way. It doesn’t really matter on this design, but you’d have to keep that in mind with a more obvious directional print.

One thing I noticed right away when I unrolled my wallpaper sample was that the edges felt a little fragile. It was easy to catch the fibers and peel them up from the backing. If it was glued flat to a wall that wouldn’t be so much a problem, but for a book cover it wasn’t ideal. I decided to bind the edges of the cover like you do with a quilt by wrapping a narrow strip around them. I tried a fabric tape I had and some simple 1/2 inch strips of white tissue paper. I didn’t have any in green, but I think that might have even kind of disappeared into this design. I made a couple of little samples and decided that I liked the way the tissue paper didn’t add any bulk to the cover, so I decided to go with that. For this one, I used gluestick to attach it to the cover. I think next time I would use a brush and some PVA (Elmers) glue because the glue stick was drying so fast, it was a challenge to get everything lined up and stuck in place. I stuck it to the back and then folded over to the front of each edge of the cover. I burnished it down with my bone folder to make sure it really stuck well to all of the bumps in the paper texture. It works great and traps all of those cut ends so nothing is rough or catching.

Finally I used the bone folder to score the cover and carefully fold it in half. I added the pages, which I made from some lightweight drawing paper, and used an awl to punch holes through so I could stitch the binding using some perle cotton thread. It makes a great paperback journal! I’m going to put mine under a heavy book for a couple of days to really set the fold so it doesn’t pop open. If you want to try one like mine, I cut my papers and cover to 9×6 inches and the strips of tissue paper were 1/2 wide and I trimmed them to length after I glued them. Here’s a really simple tutorial on how to make a pamphlet book like this. In the photo with the book cover open you can see the back of the wallpaper, which is a nice plain white paper. It comes without any paste on it, so you don’t have to worry about it getting wet or sticky, which makes it a better choice for a project like this than the Smooth Wallpaper that comes pre-pasted. I will probably be able to make 4 books like this from the 24×12 inch swatch I got. It was really fun to see if this would work and I think it makes a beautiful book.

9 June, 2021

Fabric Review: Spoonflower’s Minky, Celosia Velvet and Performance Velvet

2021-06-09T15:02:49-05:00Everything Else, Fabric Reviews, Sewing & Design, Spoonflower & Fabric Design|2 Comments

Spoonflower just introduced their new Performance Velvet fabric and I thought that it was a great time to do a fabric review of the Three Plush Fabrics of Spoonflower. As always with my other reviews of Spoonflower fabrics, I just want to say that these are my own opinions and experiences with these fabrics. I don’t get any kind of promotional, incentive, or other kickbacks; I just like to be able to share some in-depth info with students in my classes and all of you out there trying to get started designing your own fabrics.

Spoonflower has three great fabrics with a napped or plush finish: Minky, Celosia Velvet, and Performance Velvet. You can click through any of those links to see the detailed specs on each of those fabrics.

What they have in common.

All three of the fabrics have several things in common. All three are 100% polyester and 54″ printable width. All three have a plush or napped surface, which vary in pile length from .5mm (celosia) to 2mm (minky). All three are heavier or thicker weight fabrics compared to quilting cotton.

All of the printed designs are technically sharp, because the plush fabrics move around as you brush your hand over the surface, that can make fine details disappear and edges look softer than if you print on a smooth fabric like Sateen or Poplin.

Key Differences.

Here are some of the key differences I noticed that might help you choose which fabric is best for your project.

Fabric Base Color

Minky and Performance Velvet are bright white, where Celosia has a little more cream undertone. I don’t think it effects the print colors substantially, but you would notice if your design had a lot of white space or lighter colors in it. You can see in the photo above that the pale blue on the bottom of the design is slightly greener on the Celosia Velvet because of the warm base color underneath.

Look and Feel of the Fabrics

All three are very soft to the touch, but I think the Performance Velvet has the nicest hand feel with a very soft surface and a thick plush feeling fabric. Although Minky is very soft on the surface, it is also the thinnest of the fabrics, so it doesn’t feel as substantial. Celosia Velvet has a plush that feels slightly stiffer, more of what I think of as “upholstery velvet”.

Each fabric also has a distinct finish. Celosia Velvet has a subtle shine that is my personal favorite. I think that little bit of reflection gives it a more luxe look than the others. Performance Velvet has a matte finish. It reminds me of a vintage cotton velvet that you occasionally find in a thrift store. Minky looks “furry” to me and I think you see the nap or the fact that it’s a plush much more obviously than the others.

Drape

I think this is one of the most distinct differences between the three fabrics. In the photo above I tried to demonstrate so you can see how each fabric behaves. On the left, I pinched the fabric and picked it up, so you can see how the folds fall naturally. On the right, the fabric is laid flat, pinched and twisted.

Celosia Velvet is the stiffest, even though it’s about 2oz lighter per yard than the Performance Velvet. It has a more structural feel and no stretch. You can see it falls in very stiff folds.

Performance Velvet is the next softer drape. Although it is technically a thicker/heavier fabric, it falls in softer folds when you pick it up and it moves a little more freely.

Minky has the most drape of the three, with a more liquid sort of movement. It is only 6 oz per yard compared to Performance Velvet’s 11 oz, so even though it reads as “thick” it is really lighter weight. You can see the “furry” surface of Minky most when it is bent or rippled. Minky is also the only one of the three fabrics with a little stretch on the widthwise or cross grain.

The Back

One thing I think is always missing is a little info about what the reverse side of these fabrics look and feel like, which really is important for some projects.

Celosia Velvet is the most “upholstery” like with a plain woven back. Although Spoonflower’s site says it is a knit, it’s definitely not, as you can see the structure and it frays exactly as you’d expect a woven to do. It’s not exactly rough on the back, but it feels sturdy rather than soft.

Performance Velvet has a backing that feels and looks a lot like craft felt. It’s soft and has a slightly brushed look. The Performance Velvet is much creamier white on the back than it is on the front.

Minky has a smooth knit on the reverse.

What can you make with them?

I’ve used all three of these fabrics for different projects: Sara Coat (left), Filter Other Offset Jacket (middle), SeaSerpent Pillow (right). (you can click on any of those titles to read more and see larger photos)

Before Spoonflower had introduced either of the velvet options, I decided to try making a coat out of Minky. Because the Minky is so relatively light weight and stretchy, I actually backed all of the fabric with an inner lining of a lightweight twill before I sewed this coat so it looks much less drapey than it really is. That was a good choice for this project. It has a great texture, almost like a faux fur and the cuffs were made with velvet ribbon stitched in stripes. It was easy to sew, although I think my choice to line it also helped with that. If I were going to make a throw or a cuddly quilt, I would go for Minky with something else as a backing because it is so drapey; the others would make very stiff blankets.

The Filter Other Offset jacket is made from Celosia Velvet and I think the photo almost captures some of the sheen. Because velvet has a nap that wants to “push” the pieces out of alignment with each other as you sew, this took a lot of pinning and I really appreciated the walking foot on my sewing machine. I have also made a number of tote bags and other project bags from Celosia and everyone always comments on how nice it feels. I think Celosia makes a project look lush. I don’t think Celosia would be really great for clothing other than outerwear type uses. It really doesn’t have much drape so it’s good for structured or tailored shapes. I have also done a little upholstery with the Celosia Velvet.

The pillow was made from a sample fat quarter I ordered of the Performance Velvet. It’s a great pillow fabric! It was easier to sew than the Celosia (with much less slipping) and I really like the way it felt substantial and it went together so fast. I would really like to make a jacket from the Performance Velvet next. I think because it is a little softer/drapier than Celosia that it might make a great casual jacket or a winterweight skirt. I also think Performance Velvet would make great stuffed toys.

The fabric design featured in this post is called Wildflowers. It is made from a cut paper illustration made from handpainted paper and is available in my Spoonflower shop.

17 September, 2020

Live Online Class: Designing Geometric Patterns

2020-09-17T18:30:33-05:00, |Comments Off on Live Online Class: Designing Geometric Patterns

Learn how to create repeating geometric patterns – we’ll create them digitally but you’ll be able to print your patterns to make all kinds of projects on fabric, paper, wrapping paper or wallpaper. Becka will show you how step-by-step how to start a design with recycled paper and transform it using a tool that works like a digital kaleidoscope to create dozens of different patterns. Then you’ll learn to print them yourselves or upload to print-on-demand services like Spoonflower to make your own fabrics or papers.

This class will be presented as a detailed demo followed by a live Q&A and a handout so you can easily follow along with the steps in the process.

18 February, 2020

Cancelled – Digital Watercolor Velvet Clutch Bag

2020-06-08T14:55:47-05:00, |Comments Off on Cancelled – Digital Watercolor Velvet Clutch Bag

Create a one-of-a-kind velvet clutch bag using fabric that you have digitally designed and printed. First we’ll use watercolor brushstrokes and a digital kaleidoscope tool to create a pattern that looks like handpainted tiles. Once you’ve designed your pattern then you will learn how to create a cut-and-sew panel to make your bag, printing just the pattern pieces you’ll need at exactly the right size. Finally, learn how to upload and print that digital file at Spoonflower.com. Your finished fabric will be mailed to you after class and you can cut and sew to complete your bag. Materials fee $30, includes digitally printed velvet fabric, clutch purse hardware and notions for finishing your bag.

This class is a new option I am offering as a “hybrid class” with both an in-person and online component. We’ll do the digital work in-person at a class session where I can work with you one-on-one and you can interact with other students. Your fabric will be printed and mailed to you about 2 weeks after that class. The second part of class to sew and finish your bags will be an online class session that you can access anytime and on your own schedule. Most importantly, you can do it in your own sewing space without having to haul any tools and equipment anywhere. The password to access the online class session will be mailed to you with your fabric; you just need a web browser and internet access to participate in the online class. The online class will have video and written instructions step-by-step to help you finish your bag and the option to post comments and questions.


REGISTER HERE: https://beckarahn.square.site/product/digital-watercolor-velvet-clutch-bag/38


Supplies to bring

Please bring a laptop with a current web browser for this class. (Mac, PC, Chromebook, Surface are all fine). I recommend you also bring your power cord in case your battery runs low and strongly encourage you to bring a mouse and not just use the trackpad. If you don’t have a laptop, I have laptops you can borrow if you reserve one before class starts (limited number available). To RSVP a laptop, please fill out this form.

Skill level

You don’t need any experience with Spoonflower or digital design. Beginner sewing skills and a basic sewing machine are all you need to finish the project. You will need to supply thread, basic sewing tools, and a scrap of lightweight fabric (12”x18”) for lining your bag.

This class is held at HeartFelt Silks Studio.

13 February, 2020

POSTPONED – Embroidery on a Fabric Photo

2020-04-06T21:25:26-05:00, |Comments Off on POSTPONED – Embroidery on a Fabric Photo

** This class will be rescheduled for fall. **

Whether you choose a scene of your vacation paradise, your mischievous cat, or a vintage family portrait, there’s an embroidery stitch that can add color and texture to your design. First you’ll choose a photo you love and learn how to print it on to fabric. Then learn a few basic embroidery stitches that you can use to add texture, outline, and embellish your photo. Learn to mix threads to match or emphasize colors. Your finished piece can be used to make a unique and personal project, gift, or keepsake. 

Materials fee $8, payable to the instructor.


Registration closed.


IMPORTANT NOTE: Because fabrics will be printed before class, you must register at least 2 weeks in advance to use a personal photo for your project; otherwise you can choose from a selection of Becka’s photos. Photos must be uploaded by May 4, 2020.

Choosing your Photo

To upload your photo, go to Photo Class Uploads. You can use any kind of a photo you want to, but please make sure it is a photo you have taken yourself and is not a copyrighted image or an image that belongs to someone else. There is no requirement for resolution or size; photos from your phone will work great! Pick something that has good contrast – not too dark.

I recommend choosing something like:

  • a landscape from a favorite place or vacation
  • a photo of your pet
  • a photo of a flower or plant from your garden
  • a “still life” of an object you think is interesting (apple, pebbles, lichens, seashells)

This class is held at HeartFelt Silks Studio.

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