More Nametag samples and the Nametag workshop
Back in February, I showed you some of the samples I had been making for my most recent workshop, Felted nametags. This was the first running of it so I had to organize notes, samples and figure out student supplies. It was exciting and very stressful!
I wound up with nine samples, which were highly enjoyable to make. It is an opportunity to work on a small project, or try a new technique you want to explore, but maybe not on a large size project. They were also very portable and easy to start and stop work on. (I have a few more I would like to work on too)
1.1) samples from the workshop
I have been continuing my investigating using iron on interfacing as a tracing medium to transfer the image from my reference to the felt.
So far I have notice a few things, and can see the usefulness of this approach for some projects. I have tried the “thin” interfacing from fabric land, which seems to be the same weight and transparency to the “Medium weight” interfacing from Walmart. I also purchased a meter of double-sided fusible “interfacing”, it’s just glue on both sides and is extremely transparent. The problem with the double sided fusible was it was too see through, so much so that it leaked ink through the surface to the image beneath. (What a mess) it may be useable with different pens or markers. I tried a ink roller pen (fancy pen for handwriting –it was that archaic way of communicating before keyboards were invented). I am not totally giving up on the double sided but it will need the rite marking device to make it work unlike the true interfacing which was very effective.
I could see using interfacing to trace out a tree or fence rails then position them on the finished felted background. This would allow you to have wild tumultuous sky that flowed cohesively across the background. This can be harder to achieve if you are felting around where a tree will be or where a tree already is in your felted picture. I can see the appeal of getting lost in creating the sky then just drop the tree or fence shaped interfacing down when you are done.
2.1) I went with a muskox to try out the interfacing.
2.2) I also looked at the transparent sticky notes, which was more see through, but would work better using the template transfer method.
2.3) using a window as a light box
A sunnier day may have made it even easier to see the image of the muskox, but even with the dark picture, tracing using the window as a light table was still not too challenging.
2.4)close up of image and tracing on interfacing
2.5) lifting interface to check drawing
2.6)side by side comparison of image and tracing.
I did find that the sharpie marker did leak through to the image just a bit. You can see some of the marker dots along the ground line under the muskox.
2.7) a quick check of the position of the muskox on the felt background
Remove the parts of the interfacing not covered by fiber. You can see I have not totally thought this through; I have to remove the space between the legs, as well as the ground he is standing on, which will not be necessary ether when I add the background.
2.81) removed interface muskox and I created a background
I put aside the image and started work on the back ground.
2.82) positioning interface muskox on background with a pin
Once the background was done I pined into place the muskox. Still have a bit of trimming to do. I will notice that shortly.
2.83) OOPS! I cut off a leg, found it and held it in place with a pin
While trimming off the areas which will not be covered by fiber, I accidently cut off a leg and left part of the negative space….. I can fix that. I found the missing appendage and used a pin to position it. Once a bit of wool was added I could remove the pin and continue creating the image. (I love felt, it’s so forgiving, you can add a missing appendage!!!)
2.84) adding a stream to the background
I found that a T-42-222 needle was effective. It passed through the interfacing without distorting it. I found working with the needle in a vertical orientation, until the interfacing was securely attached to the felt ground worked best. Once secure, felting at an angle worked fine.
I want to try ironing on the interfacing to the felt, to see how that would effect shifting or distorting, but that would involve finding the iron…. which has chosen an excellent hiding spot in the basement… somewhere past the stairs, Pretty sneaky of it. I will let you know how that goes, when I brave the stairs and find it. But, not today.
I also have prepped a couple little frogs and a dragon fly, Ann insisted I needed more than just sheep as options for the workshop.
3.1) On the left the lightweight iron on interfacing, on the right double sided fusible (iron on glue not really interfacing)
3.2) tracing onto interfacing then cutting out the image allows the image to be positioned on the felt ground where you would like.
The Nametag workshop was a Thursday evening mini-workshop. It was a bit more mini than I was anticipating. I had the odd idea I would have about 3 hours and discovered it was about half that. Oops. Next time make sure it’s a longer time slot!
How can I speed up the process and still get a nice name tag?
For the base, we are working with the Horticultural felt, which felts down to a nice solid nametag but it takes a while, a couple hours to add wool over top and increase the density. If we add a craft felt over top of the 100% wool, and switched from one needle, to a punch tool, it would take a lot less time to create a solid colour base to start from. I tried and sure enough, using craft felt and a fake clover punch tool it was about 6 minutes of intense yet controlled pummeling, created a reasonable starting place. (Remember to lift the nametag regularly, so it doesn’t stick to your work surface)
4.1) front and back covering Horticultural felt with craft felt to give a solid colour base.
If you cut the craft felt about 1 inch bigger than your base felt, you can use a single needle to tack the extra around to the back of the base. I did an origami corner to make them look neat. Once tacked in at an angle I flipped back to the front and used the punch tool to solidify the edges. If your craft felt is similar in thinness to pre-felt, you can always add 2 layers, rather than the 1 have added here. You can also cover the base with more than one colour, ( blue sky and green grass).
Tracing onto interfacing is faster than templating an image but I could speed up adding the image even more if we tried stencils, which would allow us to draw on the covered base.
Using stencils for the students are also helpful if they are uncomfortable drawing free hand. Stencils can be approached in a number of ways. The most obvious is to use them to trace an image or a group of images directly onto either the felt or interfacing then felt from the created image. I did this with the bee stencil and I used part of a Mandela pattern, both drawn directly onto the wool felt. I tried one of my non-sharpie pens for the Mandela, it did not go well and started transferring to the side of my hand. I stopped and went over the image with the permanent sharpie which stayed where I had put it.
4.2) blue ink smudged on the side of my hand so I redrew it in permanent sharpie
I had selected part of a circular mandala. I am not sure I chose the best part, it looked fine when I started but my fiber colour choices, the bag of fiber sitting beside the desk was the bag of pink I had purchased to replace the missing bag of pink. As I started to add colour I realized the pattern looked a bit demonic.
4.3) outlining some of the shapes by drafting out combed top.
I was not happy with the smudging from the blue marker (not a sharpie) so I added a light pink between the shapes. I also found the demonic face affect I had accidently created a bit less disturbing if I turned the image the other way around.
4.4) sometimes its good to be flexible as to which way the design wants to go
The other stance example I made was treating the image in a more 3-D way. I had selected the Bee image and added one to each end of the base felt.
5.1) adding bees to the nametag
5.2) Adding the background around the images (not as fast as adding the image to the background, but felting is flexible, and you can approach felting in lots of different ways)
5.3) adding white wool to make a larger name tag
I decided that I wanted more space for the name on the tag so decided to add a “bit” more white fiber to create more background. You can see from the back how much that little bit was. (1/3 horticultural felt and 2/3 added wool fiber)
5.4) cutting the extended name tags into two tags
Luckily I am felting and not spinning so I can use scissors on the wool!! I cut it into 2 name tags each with one bee.
5.5) the bee with bull rush and flowers near pond I think is done, I am still considering the bee with sky I may add a bee hive?
One of my students used a textural pattern stencil of trees in silhouette. Instead of tracing the image onto the felt, she used small clumps of wool directly into the stencil. She was able to create a cracked mud effect without having to get wet!!
5.6) cool effect using a stencil
As you saw at the beginning, I had a selection of examples to help inspire the students. So I should show you a few shots of the workshop. I was very focused on teaching but my very patent and helpful husband took a few shots (than read his book and had a nap) so there are not too many to inflict upon you.
6.1) tables set up for workshop with 3 six foot tables full of bags of fiber, close up of notes
Unlike the hefty book of notes from the needle felted landscape workshop, this wound up to be 10 pages of notes and 2 pages of sheep line drawings. I also had 5 or 6 sheets of sheep, alpaca, lama, frogs, dragonflies, and muskox. They were options to trace onto the interfacing.
6.2) I had samples of various work surfaces (from the bottom of the pile: upholstery foam, larger and smaller wool mats, very well used garden kneeling pad, and commercial felt stuck together at edges with a piece of sponge inside and pens (sharpies in colours)
6.3) I had cookies and cautionary Band-Aids
6.4) the craft felt came in quite a few colours, I had punch tools, carding brush, ribbons, horticultural felt , scissors, painters tape and wire cutters and benders.
6.5) close up of the 3 tables of bags of fiber to work from
At 7pm we had 5 of the 8 students in the room. I started teaching Glenn took over photography as well as reading and napping. (he got distracted so there are only a few of me teaching.)
6.6-6.8) Glenn’s shots of the workshop
I think the students enjoyed themselves, but it defiantly needs more time, I hate to rush students (that usually requires more Band-Aids!).
I still have a few more samples I want to make. I have a couple of people who will check over the notes so I can amend them. I want them to have reference material to get them restarted if it takes them a little while to get around to their next project.
Update: I found out that two of my missing students had a dog emergency, surgery (the dog was doing better now), the other was out of town and came in to the social today to work on her project. I had a small supply of wool and other things she could use. She did a landscape with a rainbow sheep! She still was working on getting it just rite, and will add her name when she is ready. I gave her a goodly length of buffalo roving (it’s very thin unspun roving). I had a few natural tones, but was looking for other colours. I was able to find 2 cakes of it in variegated blue/brown and whitish, and a soft denim blue at the Peterborough fiber festival last Saturday. I bot both. I hope to find some other colours eventually since they are so easy to make letters with.
I was going to tell you about the shopping trip to Peterborough, about a 3 hour drive (266km) there and the same back) and the Photography workshop the next day. But this has been a long post and I will show you shopping when we get a chance to chat again.
Have you investigated working with interfacing as a way of transferring images? Have you tried to iron it on first? Have you any tips or suggestions? Have fun and keep felting.
1.1) Arriving at the guild with my trusty vehicle, laden down with fibre, camera, and cookie.
2.1) Diagram of the side view of Mega-Stega leg design with four separate leg blocks
2.2) Front view of Mega-Stega bag with separate legs vs 2 carved blocks representing 2 adjacent legs
2.3) Dropping legs and adding belly to the general shape of Stegosaurus
2.4) Ann suggested changing the angle of the neck and lengthening the tail.
3.1) Ann helped me create the floor underlay resist shape.
3.2) Considering plate locations. Ann’s multi-part resist is on the other side of the table.
3.3) close up of plate location considerations
4.1) Blue Faced Leicester (BFL) and silk 100 gr in shades from yellow through orange into red
4.2) Sampling over white wool
4.3) sample on black wool
4.4) Samples of pates
4.5) samples and templates for the plate
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.
2.1) Some of the images I had collected
2.2) Flipped pictures to see both direction options
3.1 Felt selling booth at Twist 2025 (Quebec, Canada)
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)
4.1 Attaching two pieces of ground felt
4.2) Attaching two pieces of felt together
4.3) flip to the reverse side, and needle felt flat
4.4) looking at the joins
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
6.3) The background is obliterating the registration line
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.
7.1) A variation on the template method of transferring an image.
7.2) no that’s not a
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.
8.1) taking the 3 name tags to the guild social
8.2) The green and black ribbons and unspun fiber I used to finish the name tag
8.3) Some of the baggies of fibre I was working from.
1) 07-12-2025 Jan Demo, Glengarry Museum
2.1) The sample piece was used as a basket cover for demos, one of my felt hats to the Left of the basket
3.1) Jack Lain teaching how to weave a reversing border for a folded hem.
3.2) Jack showing one of his Overshot coverlets (he also did tartan coverlets, three panels wide)
3.3) 08-23-2014 Twist Saturday Art Yarn with Esther Rodgers
3.4) art yarn with Esther close up
3.5) Sarafina Fiber Art, Mermaid Felt Along 1: Armature, May 9, 2020, keeping us sane during the pandemic.
3.6) The mermaid she made during the felt along.
3.7) Ann McElroy teaching wet felting
3.8- 3.9) careful use of water in wet felting
4.1) OVWSG January Meeting, the Zoom attendees outnumbered the in-person people
4.2-4.3) participating in the studio and online
1.1) Above the card from Eleanor, below was the card I sent to Eleanor
2.1) Moose head and moose landscape bag. At this point, it was still probably a good idea not to be doing a lot of stabbing with sharp objects.
2.2)A surprise from Living Felts on line Birthday party
3.1) Spencerville Fibre Festival
3.2-3.3) Oops, still can’t count!
3.4) I somehow forgot we evicted another garage dweller. He was not impressed.
4.1) new Nikon bird watching camera with sneaky powerful zoom feature.
4.2) I continued to putter on the Mer-Boyfriend I was creating for the missing Miss Mer.
4.3) Demo at Dickonson Day
4.4) one of the vendors at Lamsdown
4.5) A 75-gallon stock tank becomes a perfect fleece washing station.
4.6) Glenn was very helpful working the spin dryer for me. (It’s an old RV hand washer/spin dryer)
4.7-4.8)the Father’s Day weekend brings a blacksmithing workshop to the Glengarry Pioneer Museum in Dunvegan Onrario (East of Ottawa).
4.9)There was also a demonstration of finishing a blanket by walking it. (walking is likely spelt differently when applied to a wet blanket thumped repeatedly on a table.)
5.1) 3 more bins to sort and wash.
5.2) Trying to sort without a skirting table.
5.3) 3 of the Mer Family and their pets get out to a demo. It was an extremely hot day, and they seemed happy to be in the shade of the porch.
6.1)Cyanoprinting with felt
6.2) I missed out on this size, but got a piece from the big roll
6.3) I seem to be focused on fibre acquisition again; I see more fleece washing in my future.
7.1) Birds of a Felter booth, at Almonte FiberFest
7.2) big Shetland fleece (looks like he took a mud bath before shearing)
8.1) Jan’s almost finished slippers at the end of Ann’s Class.
8.2) cottage option
8.3) Fibre-related board games 
8.4) Glenn with the young Mer-sturgeon now with bumps!!
8.5) Fall colours and the locks at Merrickville
8.6) Happy with his hand upgrade 
9.1) Ann showing how a drop spindle works (she is wearing her new name tag).
9.2) November students and their felt Paintings (it looks like they had fun)
9.3) My odd-shaped black hat in progress. (Can you guess what it will look like?)
9.4) Inkle weaving workshop
1) Most of the students from the felted picture workshop (one had to leave early) (Ann sent a shot of her progress on her picture, but I should let her show you in another post!)
2) Glenn at the table by the window
3) Ann with a bag of balls of wool
4) Sample hat with brim
5) showing us various types of fibre we can use to augment our hat
6) Drawing out the patterns for each student
7.1-7.2- 7.3- 7.4) pulling thin wisps off the combed top, then laying them down like shingles over the resist.
7.5) A second way to pull off a staple length
8) My hat (black, strange shape), side one is done
9) helping a student add dreadlocks to her hat
10.1-10.2) adding water and soap to wet the wool
10.3) Gently pushing down, making sure the wool is wet all the way through.
11.) Side one, turn the edges around the resist.
12) My hat is a bit behind the others!
13.1-13.2) Adding embellishment fibres over wet wool.
13.3) Ann explained about rubbing directions and what happens if you go the wrong way.
14) The Tupperware juice container lid works great as a rubbing tool
15) Finally, I am rolling my hat!
16) Cut a hole to reveal the resist. Then heal the edges.
17) trying the hat on.
18) Hat block and brim 
19) This was a technique I did not favour, but it seemed to be very effective!
20.1-20.2) vibrant yellow green hat!
21) These two hats are done
22) Packing up the room after the workshop
8.0-8.1) Setting up the Exhibition on Friday night, again a blur of activity
8.2) The new banner for the exhibition that can be reused for future years
8.3-8.5) Let’s join the people who are already looking at the exhibition
8.6) The crowd of people looking at the exhibition is getting bigger.
9.0) Left front grids.
9.1) Wild Weaving By Liane. “maple stems, thistles, anemone, False indigo, pearly everlasting and evening primrose are all native to Ontario. Only the dandelion and Curly Havel are not.”
9.2) Fall Foliage by Marie-France. “Rusted materials collected while hiking in Kanata. Rusted Techniques were learned from Maiwa in Vancouver.”
9.3) Woven Basket by Molly. 100% Canadian Dorset Wool, Embroidery Floss sourced locally, a weathered Branch from the woods.
9.4) Blue Handwoven tapestry (Sorry, cannot read tag)
9.6) Foraged Fairy Baskets, by Liane “All materials were grown and or Gathered locally “ There will be a workshop on making these through the guild.
9.7) From Above, by Nicole “A view from above looking down at the Canadian Landscape using materials sourced from multiple Canadian provinces flown over by the artist.”
9.8) Reflections: Morning sky on water by Moira. “This piece stems from my love of dying and weaving with silk and the beautiful colours reflected in Lac Tenpenny in Val-des-Monts, Quebec. This Calm little lake reflects the sky, Sun and Surrounding Forest as the day progresses: it is ever changing”.
9.9) Scarf in Fall Colours, by Bernadette. “Canadian breed Fleece”.
9.10) Summer at King Mountain, by Barbara (description out of focus). This tapestry will be taught as a workshop.
9.11) Maureen’s Vacation 2024, by Jan “guild Member spinning on Canadian guild wheel at Gros Morne Historic Park”
9.12) Crab, By Nicole. This piece is intended to convey the beauty and decay of our Oceans. Using all Canadian-sourced fibres combined with two mass-produced Dollerama Halloween decorations, the crab shows the interplay between our supply lines and sea life.”
9.13) Jellyfish, by Nicole. “Jellyfish Found off the coasts of Canada created with Canadian sourced fibres”.
9.14) Mr. Mer by Jan. “Mr. Mer is a Mer-man or Fish-Person. I started with a YouTube Felt-along (Saraphina Fibrr Arts) for inspiration, but went way off in another direction. I have made a family of Mer-People with family pets. Each is a unique fish. Mr. Mer is based on a Northern Pike, which I saw frequently at my parents’ cottage just outside of Perth, Ontario.” (Mrs. Mer was canoodling with her husband in the project bag, and seems to have snuck into the exhibition. She has Canadian wool and hair from Olive Sparrow and other Canadian suppliers, like her husband. You can see her in the photo at the top of this section.)
10.0) The back of the left grid panels:
10.1) Triangular Shawl, by Francesca and Jean, owned by Ann S. “Front panel woven separately, and the back was created by weaving the warp of one panel as the weft of the second strand by strand. The piece was designed by Francesca Overend, and woven by Jean Down, both of Ottawa. The materials were provided by an Ottawa shop, and is owned by a Canadian.”
10.2) Garden and Field Shawl, by Amanda. “Shawl made with yarn spun from fleeces of various sheep belonging to people I know, and dyed with a variety of plants from the garden or gathered locally. Crochet pattern from a 1970s McCall’s Magazine.”
10.3) Snowflake Scarf, by Kanika. “Quebec Yarn, woven on a Quebec 8 Shaft loom, Canadian Weaver, Glass beads from Canada Bead Supply. The scarf is meant to represent snowflakes, which is very Canadian”
10.4) (upper Right) Shawl, by Ann S. “One of two shawls woven for the wedding of a Canadian by her Canadian Aunt. She had a choice of blue or burgundy and chose the blue. Hence, I kept the burgundy.”
10.5) (On Left) 75th Anniversary Moose Bag (Glenn’s), by Jan. “This is a Canadian Moose, it was made with fibre from a Canadian Supplier.”
10.6) Quilted Jacket, by Maureen. “ Quilted Jacket with Homespun Canadian wool arms and edging.”
10.7) 75th Anniversary Moose Bag Landscape, by Jan. “The theme (of the bag) is a Canadian skein winder (Moose), fibre purchased from a Canadian vendor.”
11.0) Centre Display
11.1) Fireside Blanket, by Karin. “Blanket was woven Double Width, from Canadian wool from a Company, Briggs and Little, 2ply 100% wool. The Red and Orange wool for the warp were hand dyed by Karin Hendriksen. The black for the warp and weft were factory dyed. The colours remind me of sitting wrapped in the blanket by the fireside, reading a book and sipping hot chocolate.”
11.2) Poppies Remember, by Barbara. “Made at one of the guild’s Workshops with Wendo van Esen”
11.3) Lighthouse with Flowers, by Ann. “A lighthouse is iconic from coast to coast, appearing not only on both coasts but on so many lakes between them.”
11.4) Northern Lights, by Ann M. “Northern Lights are an iconic symbol of Canada.”
11.5) Heavy Heart, by Nicole. “Combining fibres from artisans across Canada. The Sculpture brings together the people and places of Canada. And when displayed on a scale as intended, suggests the surprising weight of our collective awareness—the lightest fibres gaining weight and strength when combined.”
11.6) The guild group project, the Parliament Buildings, in various fibre arts techniques. 
11.7) Polar Pixies, by Paula. “This piece was made in Canada from Canadian wool processed to roving at a Canadian mill. The yarn was handspun and knitted by a Canadian, too!”
11.8) Summer Table Runner, by Karin. “The summer colours of this table runner, woven with Canadian made Orlec from Leclerc, was influenced by the colours of my perennial garden.”
12.0) The Right Front grids, 
12.1) Remembrance, by Carlene. “The red and black design reminds me of both poppies (remembrance Day) and the Red Dress Project, which seeks to remember the Indigenous Women who have gone missing.”
12.2) (On Right) Canadian Muskox, by Jan. “The Canadian Muskox is a source of one of the most expensive fibres on the planet. We have Canadian Muskox in both the eastern and western Arctic. I made this for the Canadian 150th anniversary art show. Using Canadian alpaca for the top coat.”
12.3) OVWSG Sheep to Shawl 2025, by the sheep to shawl team 2025. “Vibrant, glow-in-the-dark shawl produced for the Almonte Fibre Fest Sheep to Shawl Competition by October (Toby) Anderson, Jay Perry, Heather Farrar, and Olivia” (I think this was the first sheep to shawl for all participants; this shawl won Second place!)
12.4) Diamond Jubilee by Ann S. “This piece is a diamond made of 22 columns and 22 rows of twill weaves, creating 284 diamonds to commemorate the 75th anniversary of the OVWSG.”
12.5) Aurora Borealis Skeins, by Bernadette. “Fibre sourced from a Canadian hand dyer.”
12.6) (Left) Zita’s Yarn, by Wendy. Made from a blend of our dog’s fur, locally raised border lester sheep’s wool and Cotswold hand-dyed by Bernadette Quaide, this skein of yarn was inspired by the Guild’s Summer Fibre Poker Challenge.
12.7) Scarf by Marianne Heggtveit, owned by Ann.S. “The Weaver, Marianne Heggtveit, is a proud Canadian of Austrian ancestry. She is also proud that Tencel-which is derived from wood pulp, was developed in Austria.”
12.8) Aubergine, by Carlene. “I wove this piece between June 30 and July 7th 2024, and it was part of my Celebration of Canada Day Holiday time. This piece is a study of the colour purple with many shades and textures incorporated into the work.”
12.9) (Framed on Right) On the Prowl, by Marie-France. “I live in the Countryside, and foxes are regular daily visitors all year round. This artwork is based on a photograph I took on my property in Val-due-Monte, QC. I love the 4 seasons in Canada, but Autumn is the one that inspires me the most.”
12.10) Magical Moose Mittens, by Judy. “These Mittens are made from local Shetland wool that I bought raw and then washed and carded. The white is from a sheep called Amber from Karberry Farm. The brown started out as off white fleece from Steve Welch. I dyed it with black walnut hulls that I collected in my neighbourhood. Then spun the wool into yarn and knit the mittens using my own pattern.”
13.0) Back of Right Grids.
13.1) We Stand on Guard for Thee, by Carlene. “This piece celebrates the Ceremonial Guard and their bear Skin hats. I created this Piece in 2017 for our Guild art show.”
13.2) Reflections: Evening sky on water by Moira. “This piece stems from my love of dying and weaving with silk and the beautiful colours reflected in Lac Tenpenny in Val-des-Monts, Quebec. This Calm little lake reflects the colours of the sky, Sun and Surrounding Forest in an ever changing tableau. This scarf highlights the colours as the water ripples in the lake and the sun begins to sink below the horizon“
13.3) Walnut Smudge Sweater, by Carlene. “Handspun and naturally dyed”
13.4) Tied On, by Joan. “Made from Silk ribbon bought at a (quintessentially) Canadian yard sale”
13.5) Basket of tea towels
13.6) Scarf with beads, by Kanika. (I did not see a description.)
13.7) Socks, by Maureen. “ Hand-Spun and knitted from Canadian sourced wool.”
13.8) 2 vests and shirts, and a tapestry of foxes with fluffy tails.
13.9) Summer and Winter, by Deborah. “Designed and woven by the submitter, handspun yarn spun by my daughter. Inspired by the guild’s Summer Fibre Poker Challenge.”
14.0) Wendy was the head of the Exhibition team and did a fabulous job.
1.1) The pile of stuff is ready to go, with the black grids just visible behind the folding tables.
1.2) Busy setting up the team, the room and dome is beautiful, but possibly had a leak
1.3) the various guild teams bringing in the guilds and vendor stuff (the blur of activity is Ann)
1.4) The booths popping up look like magic! (but it’s actually a lot of work)
2.1) Molly Underhill’s Birch Trees
2.2) Molly’s Canada goose bag and Glasses cases
2.3) Inge Dam’s Weaving
3.1) info table with survey and QR Code (QR removed since the draw is over!) 
3.2) The Door prizes 
3.3) Even if you don’t win a door prize, you still get to pick a sticker!
4.1) Ann helping a new spinner in the demo area
4.2) Weaving and spinning Demos
4.3) Felting Demo (I am looking forward to seeing how this progresses)
4.4-4.5) Make and take table, the team was busy most of the weekend!
5.1) The Vendors list and Map, in case you get lost, we will meet at the end near the exhibition
5.2) These are blankets woven on the Guild’s 100-inch loom. The proceeds will help fund the guild.
5.3) A few of the items in the co-op booth
5.4) Booth 2, Wendo’s Booth
5.5) Booth 3, This is October Knits, a NEW vendor, with hand dyed yarn and fibre. 
5.6) Booth 4, Judy Kavanagh and Don Haines
5.7) Booth 5, Studio Three Fibre Arts and Unwoven
5.8) Booth 6, Top of the Whorl
5.9) Booth 7, Wööl, emporium de laine
6.1) Booth 8, Luna
6.2) Booth 9, Fab Fibre Two (Jean Sharp and Bernadette Quade)
6.3) Booth 10, Handweaving by Janet Whittam
6.4) Booth 11, Strapped for Cash
6.5) Booth 12, WindWeft (NEW this year)
6.6) Booth 13, Inge Dam’s Handwoven Textiles
6.7) Booth 14, Wayside Weeds and Wool (Amanda Carrigan) Handspun yarn, natural-dyed yarn, handknits, kits and patterns
6.8) Booth 15, Farmer Brown’s
6.9) Booth 16, Weave Me Be
7.1) Booth 17 & 20, Mapi Creations 
7.2) Booth 18, Maple Weaves
7.3) Booth 19, Felt by Molly
7.4) Booth 21, Carmen Deschênes, Lise Susin-Horth, Elisabeth Davy
7.5) Booth 22, Makeloo Studio
7.1) Oakville Memorial garden
8.1 Monika welcomes us to the Olive Sparrow
8.2-8.9)the Olive Sparrow, an overwhelming amount of fibers and colours!! I noticed more things in the photos than I saw while there!!
9.1) Glenn found a comfy enough chair to read and nap as we chatted.
10.1-10.2) line drawing, picture felting on antique linen and reference photo, and using a transparency overlay on the image to check proportions and progress.
11.1) hand blending 
11.2-11.5) blending larger quonties similar to wet felt layout but stacked in thin layers
11.6) rolling up the fiber keeping the locks parrelell 
11.7-11.8-11.9) she continued to layer the wisps then rolling until the amount of blending she wanted had been reached
12.1-12.3) keeping the blended fibers organized and ready to use
13.1) some of the needles in sets, she also has a broad selection of individual needles available too.
14.1)The young Mer seems happy with my shopping and is being helpful holding my map notes on our way back to the car. (the Mer-Boyfriend is enjoying his improved hands!)
1.11) A map of the edge of Ontario, between Ottawa and Oakville, to give you perspective of where we are going today
1.12) Some of the landmarks I could see
1.2) This is a nice office, I don’t want to be underfoot, and the lighting is better over by the window.
1.3) Settling into a corner under the stairs.
1.4) There were some iconic buildings in my view. The Hudsons Bay building, a church(out of shot to the left) and what I finally figured out was old Toronto city hall and New City Hall.
1.5) a shell of a building? 4 massive turbines stick out of the middle of what remains of the stone building.
2.1) Diagram of wool density around a joint
2.2) working on the muscles of the forearms (the extensor group)
2.3) working on the posterior aspect of the upper arm just above the elbow joint
2.4-2.5) working around the thumb
2.6) Mer resting and having a break in his project box (needle in lat border of the palm).
3.1-3.2) watching roofers lay out plastic on top of the black layer, and wondering if the area with rock is finished or yet to be worked on. Using the zoom, I figured out that the gravel is the top layer.
3.3) Storm clouds and reflections in the glass tower before me.
3.4) The landscape reflected in the glass with a sunbeam piercing the clouds, highlighting a stretch of trees and houses.
3.5-3.6) It was particularly striking with the blue sky reflecting in the glass and the storm rushing in behind the building.
3.7) The storm rushed past, determined to dump water somewhere else since the sky cleared and the reflections of clouds were fabulous
4.1- old city hall disappearing into the new building surrounding it
4.2- just peeking over the building, the fabulous fenestration and detailing are just visible, 
4.3- Gargoyles!! Oh, the dentils in the roof and repeated under the gargoyle’s ledge! What is that pattern just under the clock? If only I could get closer…
4.5- Oh yes, I can get closer! 
4.6)- more patterning on this gable end, the sun with swords, circles with a bar and plain weave?
4.7-In the late afternoon, the sun came out, giving this raking light, creating depth and accentuating the details
4.81- As the sun swung further around and pierced between buildings, it finally struck the glass neighbour of old city hall. Bathing the old building in reflected light and shadow patterns from its towering neighbour.
4.82) Sunset is approaching, and the reflections off the glass tower onto the stone and copper roof are intriguing but almost lost amongst the urban landscape. 
5.1)The young Mer showing the progress on his hands 
5.2) Hands can be a suggestion, or you can spend a long time adding knuckles and surface detail (ask Google to show you surface anatomy, and you should find diagrams of the superficial features)
6.1) Another sunbeam strikes the landscape reflection in the building across from me
6.2) The reflections and cast light were getting interesting!