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MMT – Part 1 – Surface Distortion – Tutor Feedback

There’s so much to think about! Faye has given me some excellent pointers, I’ve certainly got plenty to do. I’m finding the MMT exercises pretty boring but I think that’s the idea; take a simple idea and push it to the limits.

I’m still finding this difficult to do, I find it really difficult to loosen up and just keep trying something over and over again. I do have a comfort zone and it’s a place I soon find myself hiding in. If I’m going to get really good at this I’ve got to push ideas further and further. I think sometimes I hold back from this because I know I’ve got to write something interesting about all these little bits but that’s just an excuse. 

So onwards and upwards and let’s see if I can push some boundaries. I’ve put the highlighting/underlining to show the comments I’ll be focusing on.

Overall Comments 

 Well done Sally- you have made a good start to the course and display good reflective skills and the ability to progress ideas.

I found that the project was relatively tentative, in that I feel that you would have benefitted further from a deeper investigation into materials and their possibilities. Each technique that you tried showed potential to be pushed further in exciting ways, and got particularly exciting when you began to combine materials and techniques (for example, stitching and pleating/cutting and layering/embossing and paint). I would have just liked to have seen more testing- perhaps in a methodical way- of the techniques. For example, you could have taken the pleating further by trying to pleat plastic (using heat too?), foil, thick cardboard, two materials sandwiched together…then maybe explored large and tiny pleats…and then looked at the different pleats you could try- not all pleats come in straight parallel lines. I think you should perhaps look into tessellating origami- I think that you would appreciate the patterns and lines created. I liked that you tried out irregular folding though, and the pleating of the images was beginning to get interesting when you created a more obscured or abstract image.

Perhaps in part two you should try out the same technique but challenge yourself to try as many different materials as you can get your hands on– sometimes the most exciting results come from trying out the unknown, or pushing the boundaries of a material to its limits.

It was great that you enthusiastically tried out all the different ideas and I could tell that you really engaged with the project, but I can’t help but wonder if you truly pushed yourself out of your comfort zone? Only as the whole body of work had a certain ‘style’ to it- on one hand that’s great as a practitioner, but on the other hand I urge you to really try out new aesthetics across this course so that you truly find yourself at the end.

The most successful pieces were those that looked a little bit different to the rest: the clean, cut geometric sheet; the layers of straight cut pattern; the combination of pleating and stitching and a couple of your abstract collage pieces. I also thought that some of your observational line drawings were really beautiful and showed a really sensitivity to line quality- more of these please!!

I suggest also that you experiment further with scale on the next project, don’t be afraid to go large for some experiments! Too often, students make the mistake of sticking to the same scale/style throughout a course, and they will never have truly made an informed decision about their own use of scale without having a direct comparison to reflect on. I get a lot of energy from your work and think you could really have fun with trying out more new approaches and setting more challenging goals!

I really liked where you started to experiment with contrasting materials too- this could be something that is pushed further throughout the course. I particularly liked the pleated piece with the direct contrast of matte paint and glossy paper.

It was great that you chose to explore colour with these techniques- but at times I felt that your palette became a little ‘muggy’- perhaps you would benefit from spending a day or so doing more work on just colour- creating sheets of collected colour/looking at colour theory/extracting colour from photographs? Also don’t underestimate the beauty of crisp white materials to really show off the texture of a manipulated surface.

You have an excellent connection with your research Sally, well done. You really tell me why you appreciate other work and why, and you show good reflective skills of your own practice too- keep this up and don’t be afraid to question your practice even deeper. I would suggest to continue to be continually looking at other practitioners, or things that inspire you regularly, and incorporate them into your personal work to keep it fresh and continually moving forward. Your initial brainstorms were great- I would maybe use them throughout your project too and not just at the start as they provide you with a good way to stop and reflect on your work to date and how to move it forwards (or which ideas to leave behind). Your blog is really great, keep using this as a learning and reflective tool- don’t forget you can always scan in and working lists/brainstorms etc. to comment on.

Overall, a good start and with more investigation into materials, more informed colour choices and experiments with scale, I am really excited for your next project!

Feedback on assignment

Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

• Good range of approaches and willingness to jump in and try new ideas.

• Displays evidence of being able to progress an idea- just need to push the ideas even further through scale and material application.

• Idea of ‘contrasts’ and combining processes showed lots of potential for further investigation.

• Good to try out colour, but palette needs to be more informed.

• Avoid being too ‘comfortable’ and take risks.

• Be aware of things visually fighting with one another.



Demonstration of technical and Visual Skills, Demonstration of Creativity

• Good use of sketchbook as a learning tool.

• Don’t worry about trying to cram things into an area- for example your mini booklet of line drawings was too beautiful to be tucked away!

• Sketchbook shows a methodical approach to work that should definitely be built on in the next project.

• Good use of sketchbook- don’t be afraid to work out of it more so not to limit your scale choice.




Context, reflective thinking, critical thinking, analysis


• Excellent connection with contextual research.

• Try widen your search for contextual research- more gallery visits/archive visits/books to enhance your knowledge.

• Consider stopping to pause and reflect at more regular intervals throughout the project with a brainstorm/spider diagram.

• Don’t be afraid to question your practice even further!


Learning Logs or Blogs/Critical essays

Context, reflective thinking, critical thinking, analysis

• Excellent use of blog as a reflective tool.

• Consider uploading pictures of to do lists/spider diagrams etc. to reflect on.

• Reflect on this tutorial as soon as possible to help you make decisions for future work.



Suggested reading/viewing


These books are great to look through if you can access them at a local library?

Comme de Garcons did a collection campaign some years ago now using folded faces as the main focus: You’ll find more from digging around the web!

Art · Feedback from tutors · MMT - Assignments · MMT - Feedback from Tutors · MMT - Part 1 - Surface Distortion · MMT - Reflection · Textiles 1 - Mixed Media for Textiles

MMT – Part 1 – Surface Distortion – Video Tutor Feedback

This is the first time I’ve received my feedback via video. 

I was worried that using this method would give me nowhere to hide if the feedback was negative and I was upset but Faye was brilliant and I actually found the face-to-face conversation really useful.

After the call I thought I better write down all the feedback swirling about in my mind as quickly as possible.

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MMT – Pt1 – Assignment 1 – Sketchbook 

After I had finished the samples for each of the exercises I decided that I didn’t want to work strictly to the brief and review the stash to decide what to submit for assignment 1 instead I decided to make a small body of work in a sketchbook, inspired by Alison Worman‘s sketchbooks in Uppercase magazine and on her website. 

My intention was to draw together the techniques and their application that had inspired me and peeked my interest so far with some research that I’d done in my sketchbook during Project 5 – Ex2 – Stitching, with some photos and ephemera left over from the sample making.

Page 1

Oh those little balls, tied up in sari silk, they had such potential but they just didn’t work out but it didn’t mean that the photos didn’t.  

I’ve connected them together with stitch and a few words. I balanced up the composition with a bit of ripped paper and used scratching and colour to add some harmony.

Page 2

And back a step to a photo before the bouncy balls were wrapped up, I loved the contrast of the bright colours and the absolute circle shape against the more random and faded patten of the sari fabric.

There’s a bit more connecting with stitch between those defined focal points and the words I’d chosen.  And because nothing is left behind I added some of the fabric mounded with hot water and the bit of felt that kept sliding off the bubble fabric mould back in MMT – Pt1 – Pj3 – Ex3 – Using Hot Water.

To highlight the textures and ripples in the mounded fabric I added some coloured ink. I particularly like the edited version of this on my Instagram feed.

Page 3

I went back to Michael Von Hassel‘s book for this piece and did some distorting and messing with the image to add drama. I used the yellow thread to over emphasis the rays of the sun breaking through the clouds. I work very much with my gut when I make scenes like this, I tweak them until I get the jarring and feeling of interference to make me feel either harmonious or disturbed. 

It’s this internal gut feeling that’s so difficult for me to explain and express so that I can effectively demonstrate my ‘conceptualisation of thought’. I have to dig deep to find the words and face the feelings that influence and direct my gut. 

I also don’t think I would be able to do this without the learning blog, there’s something about typing the words and considering a wider audience that motivates me to think harder and longer about what I’m writing.

Page 4

It was the original Japanese ladies sample that started me down the route of using photographs in this part of MMT and I decided to revisit the original idea for page 4.

The incremental folding wasn’t enough this time so I added some connecting threads and words and it was the thread coming from the eye that made my gut kick in this time.  I added the words ‘timeless’ and ‘treasure’  because I felt the ladies had an almost haughty look about them as if they know they are guardians of this timeless treasure of Japanese culture and no one was going to tell them otherwise.

Page 5 

Lots more distortion and mixing up of the techniques with this piece. I’m loving cutting out circles and altering the rotation of the cut circle inside the outer setting.  I just went for a subtle movement and over exaggeration this time.  Less deal meaning here but just some playing around with colour and texture. 

I had some feedback on this photo on Instagram ‘The textural distortion really enhances the red depth’ thanks to @cbankssurrey, I think that pretty much covers it.

Page 6

Many of the images that had appealed to me when I’d done my research for Cutting Holes had included holes that had been burnt, I did have a brief go at burning a photo with the flame from a lighter but after a rather scary moment when I thought I might set my, super combustible, workroom on fire I decided I needed a less dangerous method of burning holes.

In the end I dug out a soldering iron that I’d bought years before and never used and put it to work burning a few holes into a photograph I’d taken of some cow parsley.

I then added some stitching working with the burn holes as a guide and found that I was definitely more drawn to the longer more elegant ‘stitches’. 

The composition was okay with the stitches but it still felt very empty so I added some of the failed and only vaguely mounded fabric from the Using Hot Water exercise and added it to enhance the dreamy quality of the distorted photograph. 

I particularly like the colour palette that was finalised by the intervention of the page colour.

Page 7

The photographs of the sari silk bundles had come out so well I couldn’t just leave them, so I did another experiment with the circle cutting idea. 

And because I was rushing and used a knife instead of looking properly for my circle cutting contraption my circles weren’t very good. So I found one of the less that successful pieces of sari silk and used the only interesting elements – the bits of stitch I’d added before boiling it in the hot water to fill the holes.

I then made a useful discovery, if you sand down the edges of cut out pieces of photograph you get a lovely white edge and those edges fitted very nicely with the white lines made by the photographed threads.

I feel that this composition is unfinished but I decided not to mess with it any further because I was in danger of destroying the original image. It looks better here close up than it does on my Instagram feed, which is unusual. Often the original is greatly enhanced by the use of clever chopping, sharpening and the application of the right filter.

Page 8

When I was doing the research before MMT – Pt1 – Pj5 – Ex2 – Stitching I had been drawn to the long threads found on the looms of weavers and my favourite place to see weaving is the Dovecot in Edinburgh. 

This page draws together and is my response to my 2 favourite exhibitions.

 I had originally intended to cover the work of Chun Kwang Youngin my research before I began part 1 because his work is all about surface distortion and he manipulates and works expertly with paper to translate his ideas. His work totally blew me away the first time I went to the Dovecot back in 2016

Page 9

The music festival season is back upon us and this year we’ve not been able to attend many of them but we are getting to go back to Looe Music Festival. It’s a great weekend and the first time we went we loved the stage on the beach and the flags that added the perfect interactive decoration.

At night the flags were often dramatic and thrashed about in the wind heightening the atmosphere surrounding the act on the stage at the time. And during the day the colours made them more serene and summery.

I’d used 3 of my photographs in the exercise and had played with the images. using my iPhone and a couple of photo manipulation apps. 

This pinky, purple one was my favourite, the app had added a couple of bit blobs of light and I decided to highlight them with scratches and colour. Then I found a scrap of a magazine article with some random words that I (and my gut) liked.  

I don’t have the vocabulary to explain why I bought together an article on post modernism and the current resurgence in music festivals attendance, maybe I should be doing a different degree!

Page 10

More balls wrapped in sari silk! I’m just not getting over the fact that this didn’t work and I just keep having to try and made a success from the failure.

This piece is a lot more messy, I was working at night and playing with some liquid gauche that I’d just bought. I was only going to do some painting but it dried so quick I decided to continue. Tiredness made me more random than usual.

I went for cutting some slits and threading with silk fabric rather than cotton embroidery thread, though I did add some later to pull down the bottom flap like an eyelid being dragged down. It gave me an unsettling, macabre feeling that I liked.

The idea of eyes wouldn’t go away so I had a rummage about and found this image on an advertising flyer. It was perfect for making another unsettling eye composition.

Faces had featured a lot in my research but after using the image of the geisha’s face I hadn’t really revisited it despite being fascinated by the work of other artists on Pinterest who make manipulated portraits. 

The words ‘remedy’ and ‘memory’ were chosen because I’ve been listening to a book (A Song of Shadows) that has the thread of finding and bringing to justice the last few Nazi war criminals running through it. It’s a piece of fiction but the author uses the story to raise questions about the validity of continuing to peruse these old people.  My choice of words is my response to that question, we have to keep the memory of the horrors of the Holocaust alive, but does that provide the remedy? Perusing and prosecuting war criminals for their acts of genocide continue as new atrocities are committed, it’s not stopping it happen, but does this public show of justice become part of the remedy for healing the people left behind if not the actual act of wiping out an entire group of people because of their beliefs. 

As you’d expect I got lots of gut feelings from this piece and I spent quite a bit of time moving the elements round to get the layout exactly how I wanted it.  And I was the only one, I knew my composition was working when I got this comment from my lovely friend @tesswyatt on Instagram ‘Those eyes are creaking me out – what are you tapping into my subconscious I wonder’. I had to admit that it was nothing subversive and maybe just a request for her to ‘buy me cake!!!!’

Now, that’s Part 1 of MMT all done, now time for a cup of tea and maybe a piece of cake ….. Tess!!

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MMT – Part 1 – Reflection before Assignment 1 

I have to confess that I have sent Part 1 off to my tutor for feedback so I’m playing a little bit of catch up now with the blog. I never find this review bit easy and I haven’t done myself any favours by doing this after the post has gone ….. too late now if I want to change or add something. 

This has been a really interesting set of exercises and as I worked on my contents sheet I was satisfied that I had covered most of the areas.

 There are a few less appealing areas of course, like embossing for example. And as is always the case, there seems to be so little work for all the time I have spent on it. 

The brief asks me to reflect and review looking at 3 categories :

1. Working Practises

What’s good? I’m inventive, I love to experiment and I never get caught up with the brief (not anymore), I’m willing to take risks and I’m always drawing on things that didn’t go well by updating and bringing them along for the ride to include in later experiments. It’s hard to be inpartial but I do think I have my own visual language, you can tell it’s my work and I can feel this becoming more and more evident as I continue with these studies.

What might cause me problems? I’m messy and I don’t write enough down. 

During this part of MMT I have made a few forays into explaining why I like something and using works to explain how an image ‘speaks’ to me. I know I have a long way to go with this but I’m very keen to keep a good balance between interesting dialogue and droning on. 

I’m also probably not drawing enough, I might be making too many samples and not going through the research, make, review, remake cycle enough. But then that could be me being a little bit too harsh on myself, I have after all worked out of the brief by bringing together what I have learnt from each exercises into a body of work (Assignment 1 Sketchbook)

2. Results from Sample Making

What’s good? Again,  I am creative (all goes towards that 20% of the assessment criteria for creativity) and I’m inventive. My samples are a good mix of simple experiments and pieces that are one step away from being resolved. I’m not sure that my technical skills (40% of the assessment criteria) would totally satisfy an old time City & Guilds assessor but the fact that some of my samples could conceivably be put on display must meant I have some skill (gulp!) 

I have made more effort with my critical thinking this time and I have 2 clear examples:

This blog post: MMT – Pt1 – Pj2 – Ex4 – Cutting Holes

And this sketchbook entry:

What might cause me problems? Do I follow an idea through enough? I think my weaknesses here are with how I express/document my ‘discernment’ and ‘conceptualisation of thought’. This makes up 20% of the marking at assessment for Quality. I will be interested to see what result I get for this with ATV and what Faye makes of what I have done so far.

Another concern is the balance between sketchbook script and blogging, will assessors have the time to read and consider the commentary written in blog form. I’ve set up menus for this part of MMT and I hope this will help point reviewers to exactly which blog post goes with each sample/exercise.

3. Links between research & practical ideas

What’s good? Oh do I love to research, Pinterest is my close companion and I have a passion for magazines.  I think that I present research well in my sketchbook and when I’m on form you can see the links between what I’ve been looking at and how I’ve taken that forward.  

What might cause me problems? During ATV Rebecca was often reminding me that I do lots of research but that there was very little evidence that I considered this research when working to a brief. I’m still finding it difficult to find a way do this simply and easily. I get very fed up with having to add the appropriate referencing and I often don’t do it at all, don’t get me wrong I put in the artists name and a link to their website and I’m really hoping that this is enough.

Art · MMT - Part 1 - Surface Distortion · MMT - Pt1 - Pj5 - Ex2 - Stitching · MMT - Pt1 - Project 5 - Punching & Stitching · Textiles 1 - Mixed Media for Textiles

Fun with Flipagram 

I love a good image to edit and then run as a Flipagram 

Art · MMT - Part 1 - Surface Distortion · MMT - Pt1 - Pj5 - Ex2 - Stitching · MMT - Pt1 - Project 5 - Punching & Stitching · Textiles 1 - Mixed Media for Textiles

MMT – Pt1 – Pj5 – Ex2 – Stitching

Oh, this has given me a headache; for a while I drifting but I think I might be getting back on track. 

As part of A Textile Vocabulary we had to do some stitching on paper and I’d enjoyed the process of texting design ideas on manipulated paper so when I came to do this exercise I felt very lost without a theme to guide me. 

I spent sometime thinking about whether I should choose a theme and whether I should do this for the rest of MMT.  The only problem is the course material wasn’t written with this in mind and what if in the end it just tied me up in knots. The challenge still was, how could I find a focus for these experiments?

So to loosen up I did a bit of stitching and then took a break to do some drawing with a friend at Attingham Park.

The break was useful and on the drive home I started to think about stitching I’d seen on paper before and what I’d liked or disliked. As soon as I got home I decided to look through some magazines for some inspiration. I’ve not been doing half as much research as I would normally do and I started to wonder if this was why I was starting to drift and lose interest in the exercises.

And with some help from Uppercase and Selvedge magazine and the artists Andrea D’Aquino and Alison Worman I felt some ideas starting to evolve. 

I’ve never been keen on thread stitching on photographs, I have an aversion feeling when I see pieces on Pinterest but I don’t think that’s because I don’t like them but because I’m jealous that I didn’t think of it first and scared that I can’t do something original and different with the technique. 

When I looked at the pile of ‘research’ I could see some links and similarities between what I’d chosen; connections, long threads and mixed mediums (paint, thread, photos). 

This gave me some constraints to work within; long threads and mixed mediums and a mini theme to explore: Connections.

So to grab the moment I made 3 little samples using some old photographs. In the first sample I used thread to replicate the sound and wind that was blowing over and from the speakers towards the flags on the beach at the Looe Music Festival.

I then added some very smelly paint to the next two photos as a different way to express the wind and the sound. And then on the second sample I used thread to highlight the strong stable flag poles to connect the blast of the wind with the strength of the poles.  Finally I went very simple and ‘drew, lines between the speaker and the flapping edges of the flags. 

Simple but pretty effective for me. I’ve always liked these photos and I loved the flags in situ at the festival and I’m happy that I could put my own mark on the images. I think my lines make the photos more dramatic and atmospheric which was just what it was like to be there.

Following on from this I’m going to bring together a less than successful attempt to mould some more fabric, with the more effective photographs of the bundles of solid objects wrapped with material with the 3 elements of long thread, mixed mediums and connections. 

And phew, today for the first time for ages my blogging has caught up with the actual work. This has me on time for getting this part of MMT finished and Assignment 1 sent off for feedback by the end of the month.

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MMT – Pt1 – Pj5 – Ex1 – Punching

Here’s another technique that I’ve only dipped into. 

I’ve played with some simple little punches. This are nice and gentle and I particularly like the little triangle stab holes I’ve made with a craft knife blade. I can see me using this to add some delicate texture in large expanses of colour in a collage composition. 

I then went on to experiment with highlighting areas with different sized pin and knife marks. I like the way you get different effects from punching from the front or the back of the paper. This now looks like a satellite photo of a grassy area. 

After doing the section of creating flaps and layering holes I though I might experiment with making a hole big enough to see a picture through the punched marks. I’m not happy with the ragged edges of the holes and I don’t think it’s a very good way to work with layering.

For my last quick experiment with punching before I moved on I thought I might try pushing some of the background through as I punched the hole. It hadn’t worked very well with the more detailed/interesting element underneath the punched hole maybe it would work better the other way round.

It was fiddly and you need lots more fabric or silk paper that you think you’ll need. I also cheated a little by using a fibrous paper that I could force the fabric through easily.

This is the exploration that I would put more time into and take forward.

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MMT – Pt1 – Pj3 – Ex3 – Using Hot Water – Part 3

The one thing about this strange bubbly mounded bits of synthetic shiny material is that they work really well when put over another strong interesting surface. If like me you like looking at things from different angles and indifferent lighting situations then this is perfect for you.

I laid one of the samples over a piece of bright yello scrim. The shadows are really appealing. The shapes are very random and fractured but if you keep manipulating the pile of fabric you get some intriguing structures.

Laid out on flat scrim works well too. They look like thin clouds at sunset.

After taking some photos I ran one of the pictures through some iPhone photo editing apps and came up with a couple of interesting results. The apps defined the lines (with a view to finding areas to draw) and added some sweet extras,

 There are textile possibilities here, both to work with the original fabrics and to replicate the marks and shapes with stitch.

As before I returned to my sketchbook and made some effort into recording the textural qualities of the samples and capturing the chaos created by all the different lines, textures and shadows. I also had a go at simplifying the lines and working with some colour.

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MMT – Pt1 – Pj3 – Ex3 – Using Hot Water – Part 2

Not deterred by my first disastrous attempt at moulding with hot water I decided to take a more restrained approach to my next foray.

I only wrapped a few items, using a nice dependable cotton thread.

I have to admit to one mistake, just to be all edgy and interesting I included a couple of oxtail bones. And yes they did make the water all sticky and fatty. It was not pleasant but luckily it did wash off … eventually.

The little pebbles in a row came out okay, the moulding was good and clear and they were nice and springy.

 The only problem was they gave me the creeps! All bubbly like the scum you sometimes see on the beach, or jellyfish – not elegantly swimming about but rotting and sickly looking on a beach after the tides gone out.

Could they be rescued with felt? I’d done some wet felting on lacy fabric to make some nuno felt.

Did it work? Did it hell. The fibres just slipped off the fabric …. could have been the bone scum! So undeterred (again) I just wrapped the blasted thing in some prefelt and rubbed until the fibres started to join. I soon got fed up with this and added some stitches to hold the whole thing together.


Not too bad in the end and ploughing on with the course instructions I started to draw what I’d made. This proved to be far more satisfying. Drawing is not in my comfort zone but that’s taken a bashing through out this exercise so I just went for it.

I’m actually quite pleased with the result. Keeping the bubbles white I worked at keeping the feel of contrast between the smooth, clean bubbles and the intense felt surround.

Developing this idea further I used some masking fluid to draw the bubbles onto a sheet of paper and once it had dried I painted over it with acrylic ink.

It was very wet so being impatient and not wanting to waste anything I soaked up the excess paint with one of the disaster mounded samples. 

The end result after lots of drying and rubbing of the masking fluid made me smile. I love the tones and the contrast of the void areas.

To finish the painting off I used Inktense blocks with water and a brush to darken the edges around the bubbles.

Art · MMT - Part 1 - Surface Distortion · MMT - Pt1 - Pj3 - Ex3 - Using Hot Water · MMT - Pt1 - Project 3 - Heating & Fusing · Textiles 1 - Mixed Media for Textiles

MMT – Pt1 – Pj3 – Ex3 – Using Hot Water – Part1

Polyester fabric? Uck! It’s horrible stuff but you need it for this exercise. The only other time I’ve used synthetic fabric was when using transfer paints. You do get some lovely bright images but the fabric is just so unpleasant to handle. 

I was not enthused about this exercise but I chose this one over the heating and burning exercise because I’m unsure about these as well because of the horror stories I’ve heard about harmful gasses filling up your lungs.

To start I needed to identify which fabrics in my stash were synthetic, in my memory was something about burning the edge of the material and from how it burnt or smelt you could tell if it was man made or not. In a well ventilated room I did a bit of burning, I didn’t go as far as wearing a mask, I’m not that paranoid, I did used to smoke after all.

I could smell celery, so it’s synthetic – don’t ask!!!

Next came selecting what I wanted to wrap, I have no shortage was solid items with interesting shapes. I’m a hoarder of pebbles, shells and other interesting (to me at least) ephemera.


All enthusiast at last I started to wrap up my items with loom bands.

I added seeds that I thought might add some colour (no chance really on synthetic material) and interesting bits of glass.

They all looked so cute wrapped up and then ready in the pan for boiling. There are more images on my instagram feed Sallyharrisonart.

I stood over the pan all excited then disaster struck. The loom bands, I’d been so proud of this time saving idea, were melting, everything was unravelling. It was a horror story in a saucepan.

Not to be defeated I whipped then out of the water and plunged them into cold water and then put them out to dry. As you can see even Gemmie wasn’t that impressed.

And in the end? Rubbish! There is some moulding and shape but it can’t even be described as subtle and delicate. It just looks weird and half hearted. Back to the drawing board then.