Re-upholstered 1950s kitchen stools

original-kitchen-stools

I recently bought a couple of 1950s stools from a local junk shop. I love this style of furniture as its simple, robust and very functional. The stools were structurally very solid, but obviously the upholstery was in need of some updating! These are the simple steps I took to reupholster them.

seat-removed

The first step was to remove the drop-in seat. To do this there were four simple wooden pegs that spin around to lock/unlock the top from the base. Once lifted off the next step was to remove the old fabric.

remove-old-cover

On newer pieces of furniture fabric is usually stapled in place. I used a staple remover and pliers to carefully remove all of them. With some reupholstery projects it is often a good idea to keep the old fabric to use as a template for cutting the new fabric; but as the shape of these seats were very simple it wasn’t necessary.

cut-foam-to-size

The next step was to cut a new piece of foam. The 1950s stool generally has a thin foam seat. However, this isn’t always as comfortable, especially if you’re planning on using it for more than occasional use. The foam I used was 1.5″ thick and was pre-cut to a square shape. I then drew around the seat with a black marker pen and cut around the corners with scissors. As an alternative to scissors you could always use an electric bread knife, which is more useful for thicker foam.

heavy-duty-glue

I used a strong adhesive spray to fix the foam to the seat, which I did outside in the garden. As the spray is very sticky I put down a plastic sheet under the seat before spraying.

cut-fabric-to-size

The next step was to cut a new piece of fabric. I positioned the seat on top of the fabric and cut around it leaving a border of approximately 2″.

attach-fabric

The next step was to attach the fabric. I always work on the edge furthest away from me as I can use my body to push against to create a consistent tension when pulling and stapling the fabric.

I put my first staple in the edge directly opposite me (i.e. the ‘north’ position), folding the fabric over and placing one staple in the middle about 1/2″ from the edge. I turned the seat 180 degrees (so that ‘south’ was at the top) and pulled the fabric tight and placed one staple in the middle. I then repeated this process for the ‘east’ and ‘west’ of the seat, giving me four staples to anchor the fabric in place.

Beginning from one of the middle staples, I then pulled and smoothed the fabric while stapling along the edge working towards each corner, leaving about 1″ away from the corner. I repeated this step until I had stapled along all four edges.

trim-excess-fabric

I then stapled the corners and trimmed off any excess fabric to prevent the corners from being too bulky and finally trimmed off any excess fabric from along the edges.

completed-stools

I put the drop-in seat back on the base and fixed it in place. These are my finished stools.

workspace

The stool is a perfect fit for my little creative work space.

Live drawing at the English National Ballet

The English National Ballet offers live drawing workshops in venues across the country. This gives the public a unique opportunity to observe and draw ballet dancers during their daily company class. Without the costumes, makeup, lights and scenery you get a very authentic, behind-the-scenes, view of the dancers. This fresh perspective helps you to appreciate the dedication, repetition and hard work that is required to produce the effortless-looking polished performance.

The workshop was held at the Coliseum in London and was led by artist Heidi Wigmore. The session began at 10am with an introduction and some basic warm up, observation exercises. At 11am we were taken into the stalls in the main auditorium and as we had the space to ourselves we had the luxury of sitting wherever we chose.

The company class was divided into two parts; a warm up session on the barre; and a more energetic and complex set of dance routines performed across the floor. The dancers arrived wearing furry boots, leggings and jumpers to keep their limbs warm, which were gradually removed as the dancers warmed up; ballet pointe shoes were only worn during the second half.

The company class finished at 12.30pm and we finished the session with a review of the work we had produced. These are a few of my drawings…

Simple blue line drawing
Simple blue line drawing

 

Female dancers
Female dancers

 

leaping dancers
Leaping dancers

 

Quick sketch from photo
Quick sketch from photo

 

Quick overlapping sketches
Quick overlapping sketches

 

Sketch using two pencils simultaneously
Sketch using two pencils simultaneously

Photography calendar project:Thames Estuary

In January 2015 I began to take photos of the Thames Estuary for my own photography calendar project. As I live by the Thames Estuary, and travel along its coastline on a regular basis, I became aware of how varied the estuary looked throughout the seasons. Sometimes the view is affected by the light and reflections; the weather; the tides; or from the various shipping vessels and social activities in the water. I decided to capture some of these changes throughout 2015 with the aim of creating a calendar for 2016.

Each month I visited a different part of the estuary, between Shoeburyness and Leigh-on-Sea, where I took a selection of photos. I then selected my favourite photo from each month to use for the corresponding month in the calendar.

These are the photos I selected:

photography calendar project - January to June

photography calendar project - July to December

Life-drawing workshop

Following on from the Creative Journal courses I have been attending at Metal in Southend, I was given the opportunity to attend a one day life-drawing workshop, also at Metal, and I took the challenge. The last time I did life-drawing was during my Art Foundation course (which was a good few years ago), so I was definitely overdue.

The workshop was led by Heidi Wigmore and combined life-drawing with the theme of theatrical/props/masks.

During the morning we had a female model and we began by doing a few quick one-minute sketches to warm-up.

life-drawing-workshop-female-quick-sketches

This was followed by several longer poses where the model wore various props and theatrical accessories including a tutu, feather boa and mask.

life-drawing-workshop-female-props

After lunch we had a male model and again began the session with a number of one-minute poses to warm-up.

life-drawing-workshop-male-quick-sketches

This was followed by longer poses using more theatrical props and a mirror.

life-drawing-workshop-male-props

The day was a lot of fun and I’ve really got the bug for life-drawing again. The next workshop I’ll be attending is at the English National Ballet in London, where we’ll be drawing the dancers during their rehearsal – very excited!

Creative journal course – autumn

I’ve now completed my third six-week creative journal course, which are held at Metal in Southend. As this session began in autumn, our work was very much inspired by the vibrant seasonal changes in the natural environment.

autumn-leaves1

autumn-leaves2

Some of the themes we covered were decay, colour, form and repetition; developing our ideas with a range of mixed media including bleach, ink, pencil collaged with scrap paper…

autumn-journal-page2

…mixing natural and unnatural colours with leaf rubbings…

autumn-journal-page3

autumn-journal-page6

…making observational drawings with pen and ink.

autumn-journal-page4

I particularly liked the skeletal form of the hydrangea petal and the shadows I created with the leaves…

autumn-journal-page5

autumn-journal-page7