Felting and Fiber Studio

Needle Felted Nametags (and another picture felting workshop)

February 28, 2026 Jan Comments 9 comments

Since last we chatted, I have been busy.

I ran another needle felted landscape workshop for the local guild. How did I not notice it was scheduled on Valentine’s Day (?). I also forgot to take progress pictures as the students worked. I did remind them to take photos, since it is helpful to see your image digitally. Seeing the picture in a digital format, helps your brain focus and actually see what you’re working on, rather than saying yes, that green blob is a tree. You can also look at your picture in a mirror or rotate the image to help see spatial relationships (negative space) and proportions more clearly.

1.1) the students and their pictures

1.2 post-class debris (this is not the studio where I usually teach)

1.3) Display of 2-D and 3-D needle felting (Shark boy and the mer-pets volunteered this time), you can just see the front book is my early birthday present.

1.4) My new book, an early birthday gift from Glenn. it looks very good, but i will get a chance to start reading it after I get this posted.

Now on to what I have been working on:

I have misplaced, or possibly lost, my nametag sheep, with the magnet. I think the seatbelt knocked it off when I got out of the car. So, I may still find it when the snow melts! Which means I went into the guild social to work on the library without a name tag. I felt naked, even though I was well covered in my late mother-in-law’s apron and I even had clothes underneath it. I need a new nametag.

I do want to keep the sheep theme, so let’s do a little Google image search and see if I can find inspiration. I also checked the computer and found an old Word document with 29 pages of sheep pictures. I added it to the new 3 pages focused on Swaledales, Icelandic and “Other” like Badger faced Shetlands.

2.1) Some of the images I had collected

Then I narrowed the images down to 4 that I particularly liked. I inverted the images, so I could pick a left or right-leaning sheep (not political, just position on the tag).

2.2) Flipped pictures to see both direction options

You may have seen photos of the booth selling 100% wool at Twist Fibre Festival (in Quebec last August). The felt comes in lots of different sizes. You can see the large role behind the Field & Fleece sign. The ground felt I chose was the Garden Felt for Seed propagation rolls “Snailes”, which you can see on the shelf by the plants.

3.1 Felt selling booth at Twist 2025 (Quebec, Canada)

I have not tried to use it for its intended purpose, but it makes a good ground felt for name tags! It’s 100% wool but has a bit of VM still included. The fibre is coarser, than the fine Merino 100% wool felt, but it’s also cheaper. the Garden felt doses have Kemp, (you can pick out quite a bit of the Kemp, if you are really board and want to.) If this sounds intriguing, for name tags or pictures, or you want to try planting seeds in a wool snail, the company is called “WoolGrown Company” and can be found on Facebook or online http://www.woolgrowncompany.com).

3.2) Seed Snail, add good soil, then roll up and add seeds. From Wool Grown Company (Canada)

3.3) Seed snail with sprouted Seeds From Wool Grown Company (Canada)

Since the felt is meant for garden applications, it’s a good idea to check and remove any VM (Veggie-Matter) found on the surface. I purchased a few rolls. I wound up with a thin one and a couple of wider ones, as well as a piece from the main large roll. If I put a few pieces of the narrow one together, so I can add one of the sheep pictures.

There are two ways that I have enlarged a piece of background felt that is not large enough for the image I want to create (or I got distracted and ran out of background before I ran out of ideas). One is to just add wool off the side of the ground, needle felting it to create more background to work on. (You saw this happen on the moose Christmas card from a couple years ago.)

The second option is butting 2 pieces of wool felt together and using wool carded roving, like a glue-staple, laid across the butted edges to join the two pieces together. (i am sure that is clear as mud so let me try saying that with diagrams and photos!)

4.1 Attaching two pieces of ground felt

You could try pre-felt instead of loose wool as a backing to join the wool felt pieces but the loose fiber works quite well. I found that pins run parallel to the join held the 2 pieces closer together while I worked vertically. Be careful not to work over the pins!

4.2) Attaching two pieces of felt together

To join two pieces of ground felt together, start by abutting the pieces, use pins to hold them adjacent, then lay fibre perpendicular across the join. Work vertically fist, to adhere the fibre to the background. Then switch to an oblique angle to pull the pieces closer together.
Turn over the joined pieces to show the backside. On the back, you will see the fibre extending through the felt ground (similar to the effect seen with a reverse needle). Use a clover or fake clover punch tool to lock these elevated fibres into the felt (this is usually the side you will decide is the good side)

4.3) flip to the reverse side, and needle felt flat

You can see a small gap, but if you are adding fibre for your picture to the backing, it will disappear, and the joint will become even stronger. (I trimmed the edges to make it a better rectangle after the photo.)

4.4) looking at the joins

Now we have a wool felt base to work on, let’s pick the first sheep inspiration. I decided to use the Template technique. You have seen that before here. The sheep had his or her head tipped a bit to the side, so I decided to tip it a bit further. I also used a piece from the wider seed snails for my first name tag.

This slideshow requires JavaScript.

5.1-5.6) first sheep name tag

3 images for the next nametag 6.1) One down, what should I choose next?

6.2) The image has been transferred, and I crawled into bed to watch a murder mystery

NB: (I am not felting while watching the TV, I am felting during commercials (which I am not watching), so there will be less likelihood of blood dripping on the coverlet. That said, it’s not the best place to work; you don’t want to find a nice, sharp, pointy, felting needle as you roll over in bed! I only dropped my needle once and did find it before it found me!)

6.3) The background is obliterating the registration line

Note the outline of the image (the rectangle). I used it to keep the registration as I trimmed and added the image. I could not find my extra-fine point marker (Sharpie), so there is a bit of distortion by line width, but I tried to adjust for that. The registration line will disappear into the background, so I am not worried about it. If you are working on a lighter background, you can use a lighter colour of Sharpie (yes Sharpies now come in quite a few colours).

I am mostly using the short staple fibre, called Maori, which is a mix with Corriedale wool. It is a bit stiffer in texture than merino. Maori, can be needle felted to a very firm surface which will ware well for a nametag. it also works well with a Watercolour technique; using thin wisps, or washes of colour in layers, above a base colour.)

6.4) moved back to my horribly messy desk in the office. (I will tear the room apart and fix it……eventually….. maybe later.)

6.5) Colour in progress, and there is something odd about the angle of the lower jaw. Checking it with the face section. It is sometimes helpful to keep the pieces you have cut out as you transfer the image.

Ok, that is 2 options, lets try one more. I need some samples for the nametag workshop I was requested to do for the local guild. (It’s nice to know the names of other guild members. I can’t blame not-remembering names on 7 hours of anaesthetic forever, can I?)

I tried a variation on template transfer this time. I was able to find a small pad of transparent stickies (like the yellow ones, but clear and feel a bit plastic-y). i traced the image and then cut out the outline. I could then position the sheep wherever I wanted it.

7.1) A variation on the template method of transferring an image.

Name tag number 3 has me thinking more 2 and a half-D again…. ok it’s really 3-D in spots…. So I have trouble keeping pictures flat. Well, I am particularly good at being dyslexic, which suggests that I do see the world in 3-d and struggle with mere 2-d concepts (b/d/p/q are the same shape, some have turned the other direction, others have fallen over, but they are all balls with sticks stuck to the side of them!!! Really, I don’t see why it’s not obvious to the rest of you <grin>. If I must, I will bow to the greater number of you who see a difference. Let’s not discuss the horrors of E shapes and U shapes, thinking they are other numbers of letters!!) That said, I again fell off the wagon and decided that ears and horns and a head would be better if it had more space, so off the background they leapt. (I apologize for the brief rant about letters…they are troublesome still.)

7.2) no that’s not antennae, they will be horns shortly.

I could not find where I had put my swax (from Sarafina fibre arts) –it makes the wire sticky so the wool wraps easily. Well, comparatively easier. I also could not remember where I had put my tacky sewing glue. I will have to either go through all my teaching boxes or buy another bottle. So I proceeded without them.

You may have noticed from the fabric behind the wool mat (in its freezer Ziploc bag) that I have again retreated to the bedroom to watch Midsummer Murderers and felt during commercials.

7.3) first horn wrapped about to start the second

7.4) body added and starting to lay in the background

7.5) Remember to check back with your inspiration and reassess as you go. You don’t have to be identical to your inspiration. It’s the same as landscapes; you are the God of your landscape, you can move trees, or make them thinner, or just remove them if you don’t like them.

7.6) I have added eyes, but am now considering adding tiny beads for the eyes. I will put it aside and consider eyes again later.

If you get stuck, and are not sure what needs to be tweaked (you tried the mirror, digital image and inverting the image and reference), or if you’re not sure it is really done, you may want to go ask friends. This can be online, or if you are lucky, you can wander off to a guild social. I took the nametags into the social to get Ann’s opinion. I also wanted to decide which one I wanted to add a name to first.

8.1) taking the 3 name tags to the guild social

She liked them, but thought I should try a different theme, other than just sheep. I have other, non-sheep images collected and ready to try next, so we agree.

My husband had kindly stopped at the dollar store to pick up a roll of “Black satin ribbon”. When I opened the roll it was dark green velvet. It was very nice, but did not go with the tone of black I had used on the name tag. Second try at a different Dollerama, he returned with 6yrds of black satin ribbon. The ribbon is to make a necklace for the name tag. I sewed down one end and measured out extra length, using a pin to secure the other end. Once i have decided the length that is comfortable to take on and off i will sew down the other side or i may decide to add velcro to make it easyer to put on and off.

For the letters, I used fibre that looked pin-drafted, possibly merino. The section I have feels slightly felted. It was very easy to work with, even more so than the yarn I have used before.

8.2) The green and black ribbons and unspun fiber I used to finish the name tag

Tools and fibre for this project:

If you were curious about what needles I was using, you can see the two single needles in the wool pad. On the left is a Spiral, also called a Twisted (Triangle) 42-333 , this one has a purple shank. On the Right is an uncoloured T38-333. I also used the fake blue clover tool, which is full of T-40’s (the real green one is smoother and less noisy, but it’s somewhere in the boxes of workshop supplies).

The wire was the 18inch black unlabeled(no gauge) floral wire from Dallerama. I suspect it is around a 20-22 Gauge it was strong enough to hold the horns in position.

The fibre I used were small amounts of carded short-staple Maori (a Corriedale mix) and a bit of off-white core wool from World of Wool. I was working with sandwich baggies of mixed colours. Greys black and a blue, the white/beige and yellow (both from the chickadees), a mix of browns (from the Moose bags), pastel colours mix from Fibercraft and some brighter greens and yellows from The Olive Sparrow. These were all small baggies of fibre, most of which I had previously mixed for other projects and did not use. The short crimpy locks were from a sheep pin project, and some of the long locks I have been collecting for Mer-person’s hair.

8.3) Some of the baggies of fibre I was working from.

If you don’t want to start a big project or are looking for one that is small and portable, you might consider making a name tag. They are lots of fun, you can have more than one and people remember you if you remember to wear it!

A little project using differential shrinkage (and upcoming workshops)

February 25, 2026 helenefeltzen Comments 14 comments

Imbolc heralds the start of spring in the Celtic calendar. In recent years, a bank holiday has been established in Ireland to celebrate it. It is known as St Bridget’s Day and it is celebrated around 1st February. Before Christianity hit Ireland St. Bridget was the Celtic Goddess Brigid and like most females she was a real multi-tasker when it came to her role in mythology. If you would like to find out more about Imbolc here is a link to a good read on Wikipedia.

Seeing as how spring has supposedly sprung here (although personally I would question that given the amount of rainfall we are experiencing), the daffodils are making an appearance so I am writing this with a sense of renewed energy for the longer days ahead. I thought it might be nice to share my process from a recent little project I did. It was more out of curiousity than need that I did this. The focus is on differential shrinkage. You will not need a lot of fibre for this – you should have plenty left over if you set aside 15g. I used merino. I also used some felt ‘ribbon’ that I bought before Christmas from DHG Italy But you don’t actually need to buy this. You could as an alternative make up a rectangle of prefelt – lay down 4 layers for this as I have doubled up on the ribbon (each layer of the industrial prefelt ribbon is equivalent to 2 layers of fibre) then you could cut the prefelt into strips arouond 1cm wide.

You will also need your usual felting equipment and a few extra bits. I used decorator’s plastic (the really light plastic to protect the ribbons as I was felting them down. I also used underfloor laminate for my resist but you can use whatever you normally use for this. I am fortunate that I have some lovely wooden tools to help me with shaping but these are not essential as working the piece with your hands will also do. So now, I am going to take you through the making process:

First of all, I prepared my resist, this is oval shaped and measure 38cm at the longest part by approximately 24cm on the fattest. This was covered with 2 layers of fibre on each side – each layer will be perependicular to the other.

I have laid out two layers of fibre here – this is the first side
Both sides have been wet down

After this, I spiralled the ribbon prefelt around the oval. I tried to keep the blue spaces between as even as possible but it was not something I fretted about. Because the ribbon was only 2 layers I repeated the process. So I ended up with 2 layers of the blue on the main body of the resist and 6 layers of the blue/red on the parts that I wanted to highlight. I added my net, a little more soapy water and after a little gentle rubbing I covered the surface in the light decorator’s plastic. I made sure that this was air tight as then there would be less likelihood of the added layers moving as I felted it. I added extra soapy water to the top of the plastic so that my hands would slide easily over the surface. A little extra attention was paid when rubbing; to the sides so that the fibres stayed snug with the side of the resist and to the added layers. Then I started some light rolling. I did 100 rolls along the north/east/south and west of the piece, flipped it over and did the same on the other side. (800 in total) I kept at this until it was well prefelted and had started to shrink:

Here I have spiraled ribbon prefelt around the resist. I did this twice
Both sides have been wet down and covered in decorators plastic

At this point, I cut a small hole in the piece. I immediately set about sealing the hole by rubbing the edge so that the fibres would not contract and make the hole bigger. This was important as I wanted to sew the hole up again after I took out the resist. Once this was done, I used nylon thread to sew up the gash. Nylon thread will not felt in to the work so the stitches can be removed afterwards.

I cut a hole in the prefelt
pulling out the resist
sewing the hole with nylon thread

I want to show you all the bits and pieces at this point. You can see how much the felt has shrunk already when compared to the resist. You can also see three felting tools which I am using to work the piece and direct the shrinkage. The ball like one I found on a wood turners stall at a show. I wanted to buy it from him but he could not sell it to me so he generously donated it to the cause! The unusually multiangular shaped tool is most cherished as it was a gift from a friend who had travelled to Japan. ‘The third, more pointed one I purchased from a friend who is based in Germany.

all the equipment. the shrinkage so far!

Then I got down to the job of some serious fulling and shaping. Lots of rolling and rubbing with the well soaped tools happened at this stage. It would also be possible to do this stage with your fingers but it might be fun to see what you have around the kitchen that could also work. Here are a few photos of the work in progress:

focussing on in between the red sections using tools
another view with the tools to hand

Of the many joys felting brings into my life, I simply love the stage in the process where the wool begins to act like clay and starts moulds to my will and desires. These are always happy moments and they make what can often be lots of hard work seem very much worthwhile. Once I removed the nylon thread, I continued on to the final shaping and drying. And here is the final result from a variety of angles:

Spiral and its reflection
photos of the final piece (shaped but not completely finished)
photos of the final piece (shaped but not completely finished)
photos of the final piece (shaped but not completely finished)
photos of the final piece (shaped but not completely finished)
photos of the final piece (shaped but not completely finished)
photos of the final piece (shaped but not completely finished) (I like this angle!)

I may continue to play with the shape a bit more when I have time. I have since made a bigger version where I doubled the size of the original oval and used a different breed of fibre. This piece was made with a natural cream coloured fibre and I have to say I prefer the two colours as it highlights the spiral shape better. That said, I enjoyed my explorations into differential shrinkage.

I hope that this post will tempt you to try some differential shrinking. If you decide that this project is for you, please let me know. Better still, show me your results and let me know what tools (if any) that you have discovered around the house to help you with shaping.

Happy felting to all!

Helene x

Upcoming workshops:

I currently have two on-line workshops on offer through the Felting and Fibre Studio College of Fiber and Arts. The 3D felted pod is available all year round so you can apply to join it anytime. The workshop is recorded in real time so you can work alongside the videos. There are also PDFs that fully follow the video recordings. I am also available in the virtual classroom should students want to ask any questions or share their beautiful creations. Here is a link to further information on the course: https://feltingandfiberstudio.com/classes/online-course-wet-felting-a-vessel-using-a-simple-resist/

Wet Felting a Pod!
Laying out your fibre
Checking for ridges
The finished pod
Different shapes …

Registration opens on 13th March for my Wet Felted Hanging Spiral course. The course will start on 27th March and will run until 24th April. If you would like to find out more about this course, please head over to the page at https://feltingandfiberstudio.com/classes/hanging-felted-spiral/.

Here are some photos of students’ beautiful work from past courses:

Els’ spiral is a lovely shade with beautiful surface decoration
Elizabeth used a variety of autumnal colours on her lovely piece. Her decorative leaves are die cut. Inspiring!
Debbie’s beauty!
Margarethe P (Northern Italy) Isn’t it stunning!
Marie’s second beautiful spiral, spinning in the spring sunshine

Nuno felted dyed landscape with sheer green "hills", sheer purple/maroon trees and blue sheer for sky. Stitching and trimming completed around edge to hold everything in place.

Watercolors in Nuno Felt

February 22, 2026 ruthlane Comments 16 comments

I have been continuing with my experiments with trying to create a “watercolor” effect in nuno felt. I decided to take a few of the pieces that were the least successful with the dye/paint application and add more. The first addition of “more” is with sheer fabrics.

This is the piece I decided to start with. It had lost a lot of its color and still looked like a landscape but I felt it could do with “more”.

I started with adding in some torn tulle trees on the right hand side.

Then I took some sheer green fabric and added it on the left to give a feel of hills in the background. Some of these steps might be hard to see as the fabric is very sheer but it’s the layering that achieves the final effect.

I then cut off the left edge of the green sheer and added it back into the “hill” area. This gives a bit of value change as you add further layers of sheer.

After looking at the tulle trees as compared to the green sheer on the left, I decided to change the trees. Since the background was mainly yellow, I thought the addition of purple/maroon trees would give a neutralized tree color but still feel there was additional color added. That seemed better so I added in the shadows too. I added a bit of the purple/maroon on the left for a bit of foreground in front of the green hills.

Next up was to try and change the “straight line” over the trees on the right. It felt too abrupt a change in color. So I added a couple of layers of light blue sheer over the trees and then a full piece of blue sheer over the entire piece.

The next step was looking over the piece to see anything else that stood out. I noticed that the green sheer I had on the left needed a little work. It felt too straight along the bottom and there was a weird kind of ‘flag’ in the middle of the hills. So I changed those and then began stitching. It’s hard to see but there is light yellow stitching in the foreground. That wasn’t meant to add a hard line, just to hold the blue fabric down and keep the smaller sheer pieces underneath in place. I did add a broken darker brown horizon line which you can see I have started on the left.

I continued adding stitch to the horizon line as well as the sky. Again, in the sky, I didn’t want a hard line so I used a very light gray thread, not pure white that might “stick” out too much.

The final step was to make very small stitches all around the edges of the piece to hold everything in place. I am happy with the result, a bit more color but still an abstract, dreamy effect.

Photo shows a close up of a wet felted Wallhanging.

The Passage of Time

February 19, 2026 Karen Lane Comments 24 comments

I thought I’d show a few things I’ve been up to since my last post in December, starting with some pendants.
A while ago I did an online workshop with feltmaker Aniko Boros to make her beautiful wet felted Fuchsia pendant. It wasn’t my intention to carry in making more fuchsias but rather to learn Anikos technique for making complex pendants so I could apply it to my own designs. And so the fuchsia led to this yellow/grey pendant which in turn has led to a recent request from Region 8 of the International Feltmakers Association to teach how to make it.

I was concerned that some in the group I will be teaching may not be used to working with Superfine fibre on such a fiddly scale, so over the Christmas/New Year period I created three more sample pendants. Two of these involve some different techniques to Aniko’s, making them easier and quicker to create than my grey one, but they will produce a similar look. The third sample is made without resists and aimed more for absolute beginners, just in case we have any attend. The other obvious difference with these new samples is the addition of beading which can be optional. I’m looking forward to teaching this class on the 8th March.

Another project I’ve been working on recently is a planned IFA exhibition of Feltmaking titled Felt Connected: Bringing People and Fibre Together. It came about after we surveyed Region 8 members as to what they wanted from their Regional Coordinators and one of our members, Jo Cook, suggested we organise an exhibition of members work. Since then Jo and I have been working together to organise the event which will take place next month in Harding House Gallery in Lincoln. We have a total of 17 IFA members taking part with the aim of not only showcasing their talent but demonstrating the versatility of fibre and what can be done with it while at the same time promoting the IFA and hopefully attracting more members. If you are in the area we will be holding a Meet the Artists session from 1pm – 3pm on Saturday 14th March and it would be great to see you there.

Earlier this month I started work on The Passage of Time, my submission for the IFA 2026 online exhibition “Time” that launches during our AGM on March 28th. When I first read the theme title I have to admit that for a day or two I struggled to see anything other than clocks! Then I had a lightbulb moment, I’d make an Ouroboros, the mythical serpent that is often represented in Alchemy art depicted eating its own tail. It’s a symbol of the cyclical nature of time, the universe, and self-renewal and represents the concept of eternity and endless return. Image source: https://www.bbc.co.uk/culture/article/20171204-the-ancient-symbol-that-spanned-millennia

I created my 3D mobius wet felted version using Merino fibre but when it came to photographing it, no matter what angle I took it from, it looked really dull and boring. So I abandoned that idea and instead I’ve taken inspiration from the beautiful sandstone slabs on Seahouses beach in Northumberland. Coastal erosion and fossils are both dramatic indicators of the passage of time so seemed a fitting replacement for the failed Ouroboros!

The base is a mix of Carded Corriedale and Bergschaf fibre with silk fabrics, wallpaper, Tyvek, free motion stitch and hand embroidery. I’ve included a piece of felt I made a few years ago which mimics fossils, it’s one of two experimental samples I made and didn’t get around to using until now. After auditioning both of them in the pre-made hole I went with the darker option, which doesn’t look as dark in the flesh as it does in the photo. I’ve submitted this piece for the online exhibition but I’ve since felted another slab to add to the first one. It will be embellished in a similar way, to create a larger piece of work for another exhibition that Jo and I are hoping to launch in July.

I’ll leave you with a piece of work that was created by a lovely lady called Avie, also known as The Curly Sheep. Avie came to spend a day with me last month to learn how to wet felt a picture and how to do free motion stitch. Turns out she’s a natural at both as I’m sure you will agree!

3D Multi Part Resist Workshop Opens for Registration

February 16, 2026 Shepherdessann Comments 4 comments

Where did time go? It is almost spring. The 3D musti-part resist (book resist) workshop opens for registration today. A Masterclass on Book Resists. You can sign up using this form on the workshops page: 3d-multi-part-resist

The class runs from March 1st to March 29 2026. The instructor is available multiple times a day to answer any questions and give advice, so you can take the workshop from anywhere in the world.

This class is for people who have done some basic felting and used a simple resist and want to try something more challenging, learn some new skills and have some fun with them.

Here are some pictures from the last class.

Renee 3D with balloon

Fay, red star 1

Fay Starfish

Fay, Red six leaved book resist vessel

There is a full class description and registration form here: 3d multi part resist

Metal bead shaft for decorated key ring, with a small ring on one end and a small globe screwed onto the other

A Few Oddments

February 13, 2026 frabjousfabrica Comments 15 comments

On looking through my file of possible posts I have found that there are several subjects on the list about which I don’t have a lot to say, so I thought I’d put them all together.

First, my work basket. You may recall that I told you about the craft basket makeovers that I had done some years ago https://feltingandfiberstudio.com/2023/06/12/craft-basket-makeovers-part-1/ After we moved to Dorset I acquired a marketing basket, can’t remember where from now but at the time it was “in” to be seen wandering around the shops with a basket on your arm. I didn’t use it for that for long though as I was worried about my purse sitting on top of shopping and being a bit of a temptation. So I decided that I’d turn the shopping basket into a work basket. At that time I hadn’t been introduced to felt, I was still spinning, crocheting, tatting, sewing and embroidering so a market basket would be ideal for that.

I used some more of the fabric remnants which I had bought from the same shop in Maidstone where I’d got those which I’d used for the spinning baskets. I lined the basket, having attached some internal pockets to the lining and made a padded/quilted lid. That was fixed at one end of the lining and a covered button and loop held it closed at the other end. I had found a miniature washing basket at a charity shop and I turned that into a pin cushion and I made a small pouch to hold small accessories like cotton reels. That was fixed to the side of the basket lining with a snap fastener.

The basket got quite a bit of use, as you can probably see from the state of the lining. One drawback I’ve found to sewing the lining to the basket is that it makes laundering it a bit difficult!

An oval hand made willow basket, with a basketware handle rising from one long side and crossing to the other. — My marketing basket.

The willow basket with interior lined with fabric with a swirly pattern of browns and cream. — The lining sewn to the top edge of the basket. A bit rumpled I’m afraid.

The edge of the basket shewing the plain brown underside of the open fabric lid sewn to the edge of the lining. The quilting lines can be seen. — The underside of the open quilted lid

The closed quilted lid of the same fabric as the basket lining. — Work basket with quilted lid.

Miniature cane basket with handles, containing a pin cushion made from more of the same fabric

An oblong fabric pouch with snap fasteners showing contents - two cotton reels. — The small accessories pouch.

One of the first projects I undertook once I had learned to needle felt was a challenge from a company which used to supply packs of mixed yarns – at least I think it was from them though it might have been a Guild challenge. It was back in 2002 and as I did not make any notes that I can find, I’m not entirely sure. I seem to have taken some progress images as I have found lots of these though unfortunately they are not of particularly good quality.

What I do remember is that I had decided that I would make a miniature of a herb knot garden but |’m afraid that my memory of how I found/chose the design is now so hazy that I can’t be precise. I do remember that when I learned to needle felt our teacher gave us pieces of old woollen blanket on which to draw a design that we could fill in with needle felted fibres. The idea was that we could then wash the work and it would become permanent. I have amongst the progress pictures images of the design as drawn on a piece of blanket and of the lines becoming “box hedges” and the spaces being filled with “flowers”. I can also see from the last couple of pictures that I added a “topiary tree” in each corner.

a coloured design for a knot garden — Knot Garden design

a sample of needle felted hedges and flowers of a knot garden — Initial needle felted sample (made a sample? me? Now that’s very unusual!)

The basic design of the Knot Garden drawn on a piece of old woolen blanket. — The design drawn onto a piece of woolen blanket.

Some of the spaces in the Knot Garden filled in with needle felted fibres and yarns. — Starting to fill in the spaces with fibres and yarns.

The “box hedges” and most of the “flowers” filled in.

The finished needle felted Knot Garden — Finished Knot Garden with topiary trees in the corners.

A couple of years later, I acquired a quantity of (I think) Jacob fleece which had been carded all together so that what I had was a sort of grey mixture. I didn’t really want to spin it as I think I had been duped into buying a bag of really rough fibres. At about that time I had become interested in stone carvings – gargoyles (water spouts), grotesques, and heraldic beasts – particularly the Queen’s Beasts which are statues on display at Kew Gardens. Anyway, I decided that I’d have a go at needle felting some gargoyles using the grotty grey Jacob. No progress pictures I’m afraid, just finished pieces mounted on fabric covered card or canvas blocks.

The needle felted head of a goat head with horns and an open mouth in stone coloured wool mounted on a similar coloured base. — The “Infernal Goat” gargoyle. The colour reproduction is poor it does actually look like grey stone (from a distance!)

The stone-grey needle felted head of a bald man with staring eyes and open mouth mounted on a similar coloured base. — Stone Man Gargoyle.

The stone-grey needle felted head of a man with staring eyes and open mouth and receeding chin and long neck mounted on a similar coloured base. The original gargoyle was mounted on a corner of a church tower. — This Gargoyle is a direct copy of a waterspout mounted on the corner of a church tower.

The stone-grey needle felted head of a horned man with full curly beard and curly hair and open mouth mounted on a similar coloured base. — Horned Man gargoyle. His curly hair and beard was, I remember, quite “fun” to do!

Finally you may remember that Ann M told us about some sheepy key rings that she had made. https://feltingandfiberstudio.com/2025/06/13/sheep-key-chain/ These looked so good that I’m afraid I stole her idea. I told you back in December 2024 about the Norwegian Gnomes that I made at our local Museum Shop, for sale there. https://feltingandfiberstudio.com/?s=The+Museum+at+Christmas

Ann’s idea made me think that some miniature gnomes impaled on the metal “spike” could look good as bag charm gnomes to sell in the Museum shop. I had to change the description from key chains to bag charms because the gnomes were a bit too fragile to sit inside someone’s bag/purse, but should look good dangling on the outside. Here are photos of the “shaft” on which the gnomes are made, and a few of the gnomes.

A needle felted gnome with wooden nose under a green pointed hat. He has a green body and grey hair, beard and moustache. — Bag Charm Gnome 1

A needle felted gnome with wooden nose under a maroon pointed hat. He has a maroon body and green hair, beard and moustache. — Bag charm gnome 2

A needle felted gnome with wooden nose under a maroon pointed hat. He has a blue body and grey/brown hair, beard and moustache. — Bag charm gnome 3

Revisiting knitting

February 10, 2026 mariees26 Comments 17 comments

Hello everyone,

My post this month is about knitting. My mum taught my sisters and me how to knit when we were growing up and at school – not my brothers though…… I remember knitting jumpers (Aran patterns), socks and mittens. I have a vague memory of knitting gloves, and one sister remembers knitting gloves too.

That sister has continued to knit throughout the years, and she makes some wonderful items. I have not knitted since then; I also used to crochet at that time and enjoyed it very much. I think crochet is much easier to learn and remember, it seems much less complicated than knitting does these days, and I taught (assisted by YouTube!) oldest grand daughter how to crochet some time ago.

So when Christmas was over, and all the decorations put away, I decided that I would reacquaint myself with knitting and it’s language again. There had been a knitting show on TV before Christmas, and that also encouraged me ‘to have a go’. My sister gave me some of her needles – mostly circular ones, and some double pointed needles. I had used the DPNs with my mum to make socks, so they were familiar, but the circular variety were alien to me, and would have been to my mother also. My sister said I would get used to them ‘ in no time’, but with dire warnings about not twisting the cast on stitches when joining the circle. This was a struggle, and there was a lot of muttering, and some (in)appropriate words used during this battle.

Another dilemma was what yarn/wool to use. I had known 4ply and double knit when younger, but now there is fingering weight, spindthrift, lace and many other types. Totally confusing, plus pattern instructions are different – no longer many rambling lines of letters and numbers to lose your place on, and there are graphs showing the patterns. I don’t know if this is good wool or not – but it felt nice to touch.

What to make.

I decided on a hat, and it looked achievable and after a bit of reading I borrowed a couple of books from the library, and registered on Ravelry. There is a small local yarn shop in my town, and I paid a visit there.

I found one mistake when I was knitting, (too many stitches) but I left it in, and then corrected the stitch count – I did not want to undo it. There was another mistake with the design graph – I corrected that with a pencil on the chart, I will erase it before I return the book to the library. Both photos above illustrate the errors.

I am pleased with the hat and how it looks when finished, and really happy that I did not give up. I found the pattern a challenge for the first half, but it became easier as I progressed. I don’t like pompoms, so I crocheted a flower shape and secured it with a button. I had 2 buttons to choose from and decided to use a red one.

I enjoyed my own challenge.

I cannot get my pictures any smaller, it is so frustrating! I use a MacBook Air, and it’s tools to ‘edit’ the photos. I use my phone to take photos, and make them about half a Mb to upload. Apologies.

Closeup of the hap on the blocking mat, showing the wire stretching the lace section.

The magic of blocking lace

February 7, 2026 Leonor Comments 24 comments

Ah, lace.
Occasionally I crave a knitting challenge, so lace patterns (preferably with a chart) grab my attention and I just need to finish that thing and see it in all its glory.

Unlike a run-of-the-mill stocking stitch jumper/sweater however, lace looks absolutely dreadful and underwhelming before it’s blocked. If I were to show my finished lace project to a non-knitter and ask for their opinion, I’m sure they’d wonder why I wasted so much time hand making something so wrinkly and ungainly.

Give it a warm bath, a gentle squeeze and some vigorous stretching with wires however, and the thing blooms into beauty.

I recently decided to use some of my stashed lovely Mongolian cashmere yarn. As it happens, I saw a pattern in my LYS that I really enjoyed and cast on. A Hap for Harriet is a simple enough knit, with a lace border to keep you entertained.

Another closeup of a knitted hap's lace border before blocking. It looks unfinished and the stitches have no definition.

A closeup of a knitted hap's lace border before blocking. It looks unfinished and the stitches have no definition.

Looks quite underwhelming, doesn’t it? The stitches have no particular definition or structure. There’s something missing. No wonder, it’s not blocked yet! Out come the foam mats, the pins and the blocking wires. Mine have memory, so they move as I want them and go back to their original structure, giving me more control than the wires I usually see for sale.

Detail of an edge of the knitted hap on the blocking mat.

After a warm soak in wool wash, this hap was quite vigorously stretched. I showed it no mercy! It showed no mercy to me either, I was doing this on the floor on my knees. There’s other things I’d rather be doing in my mid-40s… my poor back. The sacrifices one makes for one’s craft.

This was a big one. Kenya in the background for extra cuteness and (maybe) size reference. I wonder what was going on in my cat’s mind as she saw me on the floor practicing human shenanigans…

Knitted hap on mannequin, showcasing the lace border.

After a couple of days of drying under tension, my lovely hap is now looking amazing and cosy! I do have to say though, a while after I’d finished blocking it a friend told me cashmere should be rubbed when being washed, so the fibre can bloom and make it extra fuzzy. Lovely to know, thank you, but I’m definitely not soaking this thing again for a long time… blocking is magical but also a lot of hard work!

Do you love or hate blocking? Any tips to share? Tell me in the comments section. Thanks for reading!

Greetings from New Mexico

February 4, 2026 Donna Dixon Comments 25 comments

My name is Donna and this is my first blog post on the Felting and Fiber Studio Blog. I read it regularly and recently responded to a post by Shepherdess Ann with the fact that I too am a shepherdess. Ann invited me to post about my sheep and felting. As the title indicates, I live in New Mexico, just east of Albuquerque, in the high desert, where it is not always warm as some might think of New Mexico. At an altitude of 7200′, we get snow and cold in the winter and warm to hot in the summer, but not enough moisture because then it would not be desert.

My husband and I started a hobby farm late in life because of my love of fiber. We presently have 18 sheep, 2 pigs, 14 chickens, 2 livestock guardian dogs and one Australian Shepherd. I started this adventure with Angora goats. Of course they have beautiful locks as you can see from this photograph of CeCe on the left but as you experienced felters know that fine fiber does not felt well without wool to hold it down.

I then acquired a pair of twin Leicester Long wools, Winken and Blinken, from a friend in Colorado. They have nice long wool but I was not pleased with their fiber color which did not resond well to dyeing. They are big boys, wethers. The goats have since gone to live with a guild member who is a spinner and weaver. I could still get fiber from them if I wish.

I decided that Wensleydale sheep were what I wanted. Thanks to the North American Wensleydale Sheep Association, I found a breeder in Oklahoma and my husband and I drove over to Kerrville and picked up a ram and 3 unrelated ewes to start my flock. There are not many Wensleydale sheep in New Mexico. The girls had 6 uncomplicated births. Then there was Maddie, my 7th, who was rejected by her mom and had to be bottle fed.

I brought her into the kitchen and luckily my experienced shearer came the next day and told me that was a mistake. She needed to be out with the flock for her own protection. If she wasn’t used to being with the flock and later kept separate from them she would be the first to be attacked by a predator. I complained to him that I was too old to be night bottle feeding in the barn! He set me straight with a morning, noon and evening schedule. Whew… At first it was exciting but quickly got old. (I bet Ann, the experienced shepherdess, is smiling at this.) I have not bred any more ewes since.

Here is Maddie when she was abandoned in the barn and here she is now.

I have since acquired 6 Debouillet sheep from a friend of mine. The Debouillet is a cross between a Rambouillet and a Merino. The breed was developed in Tatum, New Mexico, in the 1920s and they

have a nice wool fleece. The total now is 18 sheep, 3 rams who live a boring life, 13 ewes, and 2 wethers who live in another pasture. Winken since passed away and I sold one of my ewes.

Here is a picture of the ewes waiting for their breakfast. As you can see from the picture, the flock does not get to enjoy the green rolling hills like their relatives in the UK.

For those of you who purchase your wool, so do I. As many of you know, the process of preparing fiber straight off the sheep is an onerous one. It must be skirted (my least favorite job), scoured and then the locks must be picked. Last year, I had to take all my unskirted fleece to the dump because it had become infested with moths… Ugh! The moths especially love the dirty stuff. But surprise, surprise, there was much more after the shearer had come!

Here is a picture of the before and after the scour of some Wensleydale fiber.

I made cobweb felted scarf/shawl from some of the locks I hand dyed. It was one of the items I sent to a Guild sale and was asked by some of the members working if I knew it had holes in it and did I want to take it home and fix it 😢😢 sigh… There are not many felters in my guild.

Here is a picture of some scoured Debouillet fleece. It is a shorter fiber, and I have not used it in any felting projects yet. It still needs to be combe or carded to get more of the VM out, but it is not nearly as difficult to remove as it is from those tight Wensleydale curls.

I hope I haven’t bored you too much with the sheep stories. The sun is coming up and it’s time to feed all the critters. It may be in the barn today because the forecast is calling for snow.

Felted Lantern Cover Workshop.

February 1, 2026 Shepherdessann Comments 22 comments

I got to teach a felted lantern cover class recently. It was mostly people who had never handled wool before. This class is fun, interesting and technical. This project requires a very thin layout, but if it develops holes, that’s ok because it lets the light out. It’s a great one to use to practice thin layout.

I made a new sample with prefelt shapes on the inside and sari silk on the outside. I didn’t have a sample of either of those. It always amazes me how much the sill disappears when you wet it, even on contrasting colours

And the finished sample. The inside shapes worked really well. Some of the mwere swallowed by the scrunched-up part, but that’s ok.

I had eight students. I let them choose if they wanted to make it all enough to be able to make part of it scrunched, or just tall enough for it to fit the glass vase/lantern. I almost forgot to take pictures. It was about an even split. Scrunching them makes a fairly simple design stand out.

I almost forgot to take pictures. Here they are laying out their wool, lots of different ideas.