Appliqué, meaning “applied,” is the adhering of ornament to a surface for decoration. It is most commonly used in the making of textiles, where it is achieved by stitching independent fabric pieces to a backing cloth to form a pattern or design, and is also seen in ceramic work. Appliqué is not always focused on independently: it often forms part of a broader textile practice, such as quilting, or is used in general sewing projects. Appliqué is slow, steady work and requires perfection and patience, particularly when creating intricate patterns.
Basketry is a beautiful craft whose process, depending on your material source, can begin well before any actual weaving takes place. Foraging for materials found in nature, such as willow along riverbanks, grasses, or even the collection of humble twigs, adds to the organic quality of basketry. So does the time-consuming preparation of materials, both found and bought, such as rattan cane. Once prepared, materials are woven using a variety of techniques: coiling, plaiting, twining, and wickerwork (when the material is woven in and around a stiff frame). As well as enjoying a deep connection to nature, the basket maker has good opportunity to be a sustainable maker.
At its core there is something magical about making ceramics: the moment your hands meet the raw material of this practice you will be won over. Don’t let this passion fool you, though: there is real skill involved in making ceramics, and achieving even the simplest of forms requires technique and perseverance. Ceramics are predominantly either hand-built (meaning the clay is rolled out and cut to shape before being joined) or wheel-thrown (forms are made by rotation on a potter’s wheel). Both techniques have their individual variances. Of the two, hand-building is a considerably more straightforward technique than wheel throwing, and requires less learned skill. The ceramics project on this page is a good introduction to working with clay.
The caning, or weaving, of chair seats and/or backs is not difficult, but takes time and patience to perfect. The repetitive practice of chair cane (the outer bark of rattan) being woven into a lattice pattern is often seen in classic Thonet bentwood chairs. Other materials and techniques used to weave chair seats are Shaker tape (fabric tape is woven in a checkerboard pattern on Shaker-style chairs) and Danish- or paper-cord, in which twisted brown kraft paper cord is typically woven into four triangles whose points meet in the center, as seen in many mid-century chairs such as Hans Wegner’s Wishbone.
Embroidery is entirely addictive: the house could be falling down and the embroiderer might not even notice! This type of hand-stitching is used in the embellishment of fabric, although it has been known to adorn other base materials, such as paper and wood. Embroidery is another form of fabric surface decoration and employs a variety of stitches in textured yarns to create patterns or designs. This is a craft that belies its age: the stitches used in embroidery today are the same as those in the earliest samples from the third century BC.
Embellishing fabric is a very different practice than producing fabric, and offers an experimental experience to the textile maker. Fabric dyeing and printing can use “resist” techniques to block some areas of fabric to the paint or dye and allow it to color other areas, forming a pattern or design. Popular resist techniques are shibori, in which fabric is folded, stitched, twisted, and compressed with rubber bands or thread, often around small pieces of wood and poles, before being immersed in a dye bath, and screen- or block-printing, in which a design in paint or dye is transferred onto fabric via a silkscreen or stamp.
Felting is an experimental craft based on the fact that fibers bind to each other when they are tangled or agitated. Fibers that can be felted successfully are those covered in tiny scales which assist the binding process; these include sheep’s wool, mohair or cashmere from goats, and angora from rabbits. The felter can use two techniques: dry (or needle) felting and wet felting. Dry felting forms a dense mass that is suited to making objects. Wet felting, which uses water and agitation to encourage the fibers to bind, forms a dense fabric that lends itself to the creation of larger two-dimensional pieces such as wall hangings. It is not uncommon for felters to also have a keen interest and involvement in the production of their raw material.
Glass blowing is all about air inflation and its ability to expand molten (melted) glass. Representing a deeper understanding of the properties of glass, it was invented during the first century BC at the height of the Roman Empire, which embraced this new technology. The art of glass blowing comprises both free-blowing, when the glass blower uses short puffs of air to inflate a molten blob at the end of a pipe before working it into shape using rotation and other controlled moves, and mold- blowing, when the molten glass is still placed on the end of a pipe but is inflated directly into a mold to form its shape. Glass blowing is used to form vessels and lighting and involves learned skill and patience, not to mention a good set of lungs.
One of the most widespread and irresistible of the textile and fiber crafts, knitting is essentially a fabric production method in which stitches are created by looping yarn in consecutive rows using a pair of knitting needles. Fabric outcome in terms of weight, texture, and character is dependent on a combination of needle size, tension, yarn, and stitch type and can be used for textile pieces such as throws, cushions, furniture, and lighting. Ultra-fine work is used for lampshades, while the chunkiest throws are achieved using giant needles and thick yarn. Knitters’ fingers work incredibly swiftly and, due to the slow-forming nature of their work, they must often summon bucketloads of resolve. In return they are rewarded with a lovely, meditative making experience.
This glasswork technique was first used to make stained glass or leadlight windows, but during the nineteenth century leaded, or “came,” glasswork moved into three- dimensional forms such as sculpture, terrariums, and lighting. Two-dimensional leaded glasswork assembles pieces of cut glass with “cames,” metal divider strips, usually made of lead or zinc, which join the glass pieces, provide the metal to be soldered, and form the decorative lines within the glasswork. In three-dimensional work, the copper-foil and solder method, or “Tiffany method,” is used. Developed by the son of the Tiffany & Co. founder, this method made possible a level of detail that was previously unknown by drawing on the flexibility and strength of copper to create more intricate and lightweight pieces.
Leatherwork is the crafting of objects, textiles, lighting, and furniture from animal skin that has been processed into leather. The practice requires skill and physicality; it also requires much experimentation to master. Leatherwork often involves not only shaping but also surface decoration. Shaping can be done by cutting and hand-sewing, or by a technique known as cuir bouilli (literally: boiled leather) in which the leather is soaked in hot water until pliable, then either shaped by hand or with the use of a mold until it dries and becomes very stiff. Embellishment can be achieved by various carving, stamping, dyeing, or painting techniques.
Part of my own ongoing making practice, macramé is essentially the repetitive knotting of rope to form an intertwined pattern. Macramé is highly decorative and revolves around one central material: rope, and lots of it. Rope is usually mounted onto a strong rod or ring for large-scale projects and often worked from the height of a ladder. Used predominantly for making wall art, macramé can also be seen in lighting and furniture. This highly interpretive craft relies on the knowledge of a catalog of various knots. It is physically demanding and its success is dependent on preparation, attention to detail, and regular chiropractor visits to relieve upper body tension—trust me!
Metalwork is a broad term and is often associated with sculpture, lighting, kitchenware, and furniture making. There are many processes used to work metal and they can be categorized into three main areas: forming (for example, forging hot metal and spinning cold metal into vessels and lighting); cutting; and joining (of which the two most common examples are welding and soldering). Joining is possibly the most achievable for aspiring makers and requires (as does any type of metalworking) a fastidious approach, technical knowledge of materials, commitment to safe practices and working conditions, and fine motor skills. The wall-hanging project on this page is a good introduction to working with metal.
It is often hard to believe that such incredible work—wall art, objects, lighting—can be made from an everyday material like paper. Using a variety of techniques such as modeling and sculpting (in which paper is cut, glued, and ultimately reworked into a three-dimensional form), cutting (to create textured flat surfaces), and origami (folding paper into three-dimensional forms), paper practice has the ability to create things that are far from “everyday.” Another paper technique, albeit a little different, rather messy and slow working, is papier- mâché. This process begins with a lightweight base (often cardboard) upon which many layers of torn paper are pasted to build a form. The form can be sanded, drilled, and painted once it has dried hard.
Quilting is a sewing technique used predominantly in the making of quilts (hence the name!). The process involves joining layers of material, typically three: a decorative top layer; a middle layer of batting or other insulating material; and a plain backing fabric. This results in a bulkier material. Quilting employs a running, or straight, stitch that can be sewn by hand with a needle and thread or with a sewing machine. Patchwork is the stitching together of small pieces of contrasting fabrics to form a pattern or design (called a block) and is traditionally used to form the top layer of a quilt. Both machine- and hand-quilters will need to summon accuracy, resolve, and patience to complete a quality quilt.
Floor rugs are a staple in every space and are often produced by machine for affordability. When they are made using techniques such as hand-knotting—as in intricate Persian rugs—these pieces can take up to a year to craft. The labor involved, coupled with the level of quality this brings, produces rugs of heirloom standard which are highly priced. A couple of more achievable methods of rug making are called hooking and latch- hooking and can produce a patterned, sturdy, and heavily textured floor covering in a much shorter time. During the repetitive hooking process, loops of yarn are pulled through a rigid woven base by two different techniques, using the appropriate version of a specialized, crochet- like hook tool. Warning: patience is essential!
Sculpture is essentially the making of any two- or three-dimensional representative or abstract form. The shaping techniques vary according to the raw materials being used, for example: the sculpting of a pair of ice skates using paper that is cut, glued, and reworked into a 3D form; the formation of a plaster bust using a mold; or a collection of twigs and branches or welded steel rods that has been constructed into abstract wall art. Because the practice of sculpture spans so many methods and materials, the personal level of skill required of the individual maker varies greatly.
Making shades for lighting could be seen as a flippant craft, but it is one that is open to serious interpretation. The diffusing of light in a space can be transformative and with this in mind, the maker should consider both form and function. Luckily, the list of techniques employed—leaded glasswork, basketry, ceramics, macramé, leatherwork, and metalwork—can all afford the shade maker the leverage to do this successfully. Typical shade- making practice involves the construction and covering of a metal rod frame in fabric. Depending on the shape of the frame, this can take substantial technical, pattern-making, and sewing skills to perfect.
This experimental fiber art is as addictive as any other in the textiles category and its creations are often at their best gracing a space as wall art. Tapestry weaving is practiced on a weaving loom; it is different from the production of cloth on a loom in that a design is formed by weaving the weft thread over the warp, covering the warp completely (most woven cloth shows both the warp and weft threads). The early days of any weaving practice require patience as the process is a slow one, but with skill will come speed. See the project on this page for an introduction to tapestry weaving.
I have seen many an aspiring maker take on an upholstery project only to quickly discover what hard work is required. Physical and labor-intensive, upholstery is a commitment. However, being aware of your skill level and starting with a project that is appropriate to this will make the process enjoyable. Depending on the furniture being upholstered, the process of this craft often begins with the addition of a spring system to a (usually) wood frame, followed by the construction and/or renovation of cushions and padding and, finally, the covering of these with fabric or leather, which might involve sewing or the use of specialized upholstery hammers and nails.
Willow bending is the nature-loving furniture maker’s dream come true. First, a frame is made up of the thicker parts of willow branches, called rods. Switches, the thinner and more pliable ends of the willow branch, are then bent and woven into this frame. Bending willow to make furniture requires carpentry skills and a connection to and understanding of working with materials found in nature. Some craft practices have a strong association with the sourcing of their materials and willow bending is a good example of this. Preparation usually entails the selection and collection of willow from its natural riverside habitat, followed by lengthy periods of drying out of the rods and switches, followed by soaking prior to bending.
Wirework is an uncomplicated and relatively simple craft, using straightforward materials and tools, but it can be harder than it looks. Used in lighting, wall art, and the sculpture of objects, wirework is all about technique. These techniques are based on the use of various pliers to form curves, straighten, twist, and cut. The rest is up to the maker’s hands and imagination. See the project on this page for a good introduction to sculpting with wire.
Woodwork is an inclusive term that covers a variety of crafts focusing on wood as their core material. Makers working with wood can practice techniques that fall into many different categories. Carving can be done by hand for vessels or small objects, or with the use of a chainsaw for furniture. Turning is the shaping of wood as it rotates on a lathe. Furniture and cabinet making require the cutting and joining of wood to form larger pieces. The woodworker can also focus on surface decoration such as pyrography, in which a design is burned into wood, and marquetry, in which wood veneer is cut out and rejoined to form thin, decorative panels which are stuck to the face of a furniture carcass. The woodworker requires dexterity and a good understanding of the tools and materials used. The lighting project on this page is a good introduction to woodwork, while the project on this page gives an introduction to a combination of marquetry and parquetry.