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The title of this collage – Tudor Timbers – refers to the picture at the top of the arch which shows one of Taunton’s most iconic landmarks, dating from the 16th century. This lovely half-timbered building stands right in the centre of the town, and always used to be known as the Tudor Tavern. Today it is a coffee shop, but I remember it back in the 1970s as a Berni Inn (oh happy days!!), with a separate room at the back called the Hangman’s Bar. The hangman in question was the infamous Judge Jeffries who presided over the so-called ‘Bloody Assizes’ in Taunton in the late 17th century. This followed the suppression of the ill-fated Monmouth Rebellion at the Battle of Sedgemoor, in which many local citizens had unfortunately been involved. Despite this somewhat grisly association, the Tudor Tavern remains a potent symbol of Taunton’s history, and seemed to me to be the perfect centrepiece for a Tudor-style collage. I like the way the steep roof of the Tavern zig-zags down towards the right hand side of the arch, highlighted by a subtle patina of moss on the richly coloured roof tiles.
Like my other collages, this piece is divided into brightly coloured black-bordered sections reminiscent of a stained glass window, with quatrefoil tracery shapes positioned on the inside of the arch. The tracery is constructed from 3mm pastel yellow/silver-edged quilling strips, crowned by my quilled interpretation of a Tudor rose. Two of the window panels contain typography: look closely and you will see that the one positioned towards the lower right includes the opening words to the famous Tudor song, ‘Greensleeves’. I decided to decorate this particular panel romantically with a folded paper rosebud. The interlinked silver spirals in the gold panel above it were made with a punch – I had to insert the paper first forwards and then backwards into the punch to form each pair, because the paper I used was only coated in silver on one side. (I’ve had to learn how to think both upside down and back to front when making these collages!) The serrated decorations on the left hand side of the arch were made by cutting paper with pinking shears, and I’ve also included numerous tight pegs made from gold and silver edged quilling strips throughout the design. The borders for the arch were created using the quilling strip ‘sandwich’ technique described here.
I worked with 3mm (1/8 inch) wide quilling strips, cut into lengths as detailed below. These lengths are necessarily short, since the main body of the finished rose measures only 30mm (just over 1 inch) across – yes, be warned, it’s fiddly to make! However, the pattern could easily be scaled up if required.
Make 10 closed loose coils out of 26 mm (1 inch) lengths of crimped white paper, and five tight pegs out of 26 mm (1 inch) lengths of grey paper. Create five pairs of white coils by gluing them together side by side. Then add one grey peg to the base of each pair as shown in the photo. Glue these three-coil sets together in a ring, working over circular graph paper.
Use a yellow strip to create a tight peg big enough to fit inside the ring, and glue it in place.
Make 5 teardrops from 3 mm (1.25 inch) lengths of dark green paper and glue these in position between each pair of white coils, pointing towards the centre of the rose.
Make 5 crescent/bunny ear shapes (refer to photo) from 225 mm (8 inch) lengths of dark red paper for the rose petals and glue these in position above the white coils, separated by the dark green teardrops. Glue the tips of each petal together.
Make 5 teardrops from 3 mm (1.25 inch) lengths of lime green paper and glue these in position as shown in the centre of each red petal.
If you use this pattern and post a photo of your Tudor rose online, I’d be grateful if you could please include an acknowledgement to me and a link to this blog post – thank you.
Tudor Timbers will be placed on public display at various locations in the coming months, including the Taunton Live 2016 arts festival. Should you be interested in purchasing something similar (custom-made), please contact me by emailing firstname.lastname@example.org or leave a comment below.
It seems I’ve got a bit of a reputation … and deservedly so, because it’s based on an indisputable fact: I’m not particularly ‘into’ quilling flowers!!
I CAN quill them, of course, and I have made many, many of them in the past during my ‘card-making years’ – but these days my preference leans much more towards abstract work than conventional quilled ‘prettiness’. I’ve always been a bit of a rebel, and I guess it shows in style of the work that I generally produce.
However … I did make an exception this year when I created a card to enter into one of the prestigious craft competitions at Taunton Flower Show – a very high-profile horticultural and country show staged annually in the South West of England.
The requirement was for a card to welcome the arrival of a new-born baby, and here’s my design, made to conform strictly to the competition criteria of ‘an original design using no commercially-made embellishments’:
I decided that, if I was going to make a quilled flower, it would definitely have to be a ‘wow factor’ one! So I set to work with a combination of huskings made on onion-holder prongs, ‘curly’ pixie-hood loops (as first pioneered by my friend Janetta van Roekel), teardrop shapes and a central fringed pom-pom using a graduated strip – all in one of my favourite colour combinations.
I quilled the lettering using a multi-strip outline technique that I learned from Jane Jenkins and which we are, incidentally, going to feature in the Autumn 2015 issue of ‘Quillers Today‘ magazine because I’m sure that many other quillers will be interested to try it.
Anyway, my decision to go down a more conventional, ‘prettily designed’ route definitely paid off, as I won an award for this particular card at the Flower Show. That really meant a very great deal to me since Taunton (where the Show was held) has always occupied a very special place in my heart.
It goes to prove, too, that exceptions do sometimes prove the rule … now, will my reputation remain intact?
Ever since The Quilling Guild endorsed Pixie-Hood Looping as a recognised technique seen in antique quilling, I’ve been fascinated by its creative potential … and when Janetta van Roekel demonstrated her ‘curly flowers’ variation at the Guild’s recent Shared Ideas Day, I was definitely ‘hooked’!!
I wanted to combine Janetta’s curled petals which are made using open pixie-hoods with much wider closed pixie-hoods that create a kind of calyx sheath. I’ve found that the two go together quite well, as you can see in this new card design:
Several people have asked me for a tutorial since I first posted a design like this on Facebook, so here it is:
Take 7 x 12cm lengths of 3mm paper in lilac, and glue a 12cm length of 3mm deep purple paper to each, gluing along its whole length. Allow to dry.
Make the resulting two-tone lilac/purple strips into loosely open pixie-hoods, with the deep purple side on top.
Trim the cut ends of each of the two-tone pixie-hoods (referred to from now on as the ‘cross-over end’) and pinch the opposite loop into a point, now holding the pixie-hood with the lilac side uppermost. Secure the pinched point with a dot of glue. Allow to dry.
Place a cocktail stick across the inside (lilac side) of each two-tone pixie-hood, thread the ‘cross-over end’ through and under the ‘pinched point end’ and pull tight, bending both ends up towards you before removing the stick. Then, holding both ends, pull again gently to tighten the curls.
Insert the ‘cross-over end’ of each curled pixie-hood into a green pixie-hood sheath as shown, securing with a dot of glue. Press down for a few seconds with a cocktail stick until firmly attached.
Assemble on to the card as shown in the first photo, and glue a small fringed pom-pom in the centre. I also added a little printed ‘Happy Birthday’ greeting tucked in behind the petals, inspired by a special personalised touch in the lovely birthday card that I received recently from my talented friend Jill Chapman of Paper Daisy Card Design.