My local group had our annual retreat in early September. We go out to a lovely lodge on Little Bitterroot Lake and spend a couple of days creating and playing with art stuff. This photo is from sometime in the past. Sadly, this year, the air was full of smoke and you could barely see the mountains across the water. This year, our activities included deconstructed screen printing, making a book and creating some “faux” rice paper.
These are a few of the paper prints that I created. Deconstructed screen printing is done with a previously prepared screen in which the thickened dye has been left to dry. Then you use more thickened dye or plain print paste to release the dried dye from the screen. It is a serendipitous process and you are never sure what you will get in the final prints. I teach this process on felt in my online class.
I usually use fairly thick paper so that I can wash out the thickener that is left on the paper. That way I can do other processes on top of the paper without it running. These are similar to some of the papers that I used in my recent collage challenge.
One of the fun things about the paper is that you can end up using either side. The photo on the left shows the front side of the printed paper and the right photo is the back side.
Here are some of the fabric pieces that I printed. If you click on the individual photos, you can see what type of fabric I used. The little scraps on the top left photo are what was left over after I used a piece of printed hemp canvas for the cover of my book.
These prints are all on silk. The left side is silk habotai, the middle is silk organza and the right side photo is the silk organza layered over the habotai. You could print on many types of silk and this would be a great way to create your own fabric for using in nuno felting.
I will be using these for my upcoming classes that I am taking as backgrounds for stitching, in collages and wherever else suits my fancy.
Next time, I will show you the book that I created while at the retreat. It’s not entirely finished but you will be able to see the deconstructed screen printed canvas as the cover and a piece of printed paper as the inside covers.
Sorry to say I have been too busy to felt again. I am hoping to have a little more time now my mom’s house is in possession of the new owners. I thought people might like to see this post I made in 2012 about dying silk blanks with MX dye. this method works with big things too. I did a dress for my much skinnier self once and some boxer shorts. something else I learned since I posted this the first time is that you can use these dyes as acid dies by using a mild acid and heat. the colours aren’t quite as vibrant but if you can only get one kind of dye this will do double duty for you.
I dye my own silk and one of the ways I do that is with MX dye. MX Dye is a fibre-reactive dye and works on cellulose or plant fibres like cotton, linen and hemp. It also works on silk. As far as I know, silk is the only fibre that you can use both weak acid dyes that are for protein fibres and the MX dyes.
I like to use the low water dye method. With this method, you use a jar and just a little water. What I do is scrunch or twist or pleat up my silk to be dyed. In this case, they are all about 2 feet wide and 8 feet long. Then you pack it into the bottom of a jar that is big enough to hold the silk and the dye (1/2 a cup) and the fixative (1/4-1/2 cup). It is important that it be a snug fit for this method to work.
I mix up 2 colours of MX dye in 1/4 cup of room temperature water. Pour them over the silk in the jar one at a time making sure the silk is covered with liquid. If it floats, as you can see a couple of my jars did, you need to carefully weigh them down with something non-metal. Metal will affect the dye. This is another reason you want them tightly jammed in the bottom of the jar but sometimes it happens anyway. Once the dye is in the jar you don’t want to disturb them. You don’t want the dyes to mix completely and give you a solid colour.
I am very impatient. So I usually go do something else for 20 min to an hour then I come back and add the fixative. With MX dye you have to raise the PH to get the dye to stick. The cheapest thing for this is PH up from the pool store. You can use washing soda not baking soda (bicarbonate of soda) or order it from your dye supplier but pool chemical is cheap, especially at the end of the season. I add a tablespoon for each cup of water including the water you’re mixing with. Stir to dissolve and then pour it into the jar. You should leave it for an hour to react but I am impatient as I said and usually dump everything out after about 20 min. Rinse the silk in cold water then hot soapy water then one more cold. Here are some results.
I am sorry the pictures aren’t better but the wind wouldn’t cooperate. They were dry in about 10 min.
Here are some others I’ve done over the years. It is a really fun and easy way to play with dye. You should give it a try.
Creative Fibre in New Zealand are hosting a series of workshops next weekend, one of which is a beginner’s spinning workshop with Pat Old. She is quite the celebrity in NZ spinning circles but I’m not sure if that is also true internationally…. have you heard of her before?
I dithered about signing up for this class because one of the prerequisites was that you need to bring a wheel in good order, bobbins and lazy Kate. I wasn’t sure how much I wanted to learn to spin and buying all that equipment up front was quite an investment, so I put out some feelers to see if anyone had a wheel they would like to sell. I was (and still am) keen to make art yarns so was ideally looking for a wheel with a jumbo flyer. It took a few weeks of asking around but a friend from Auckland Fun Felters came through for me, she had an Ashford Traditional and best of all, it was already fitted with a jumbo flyer! 🙂
I took delivery of my new toy at the end of May and have been watching far too many Youtube videos ever since 🙂 These are my first efforts….
Autumnal colours spun from a Merino art batt full of textured bits and pieces, probably a bit ambitious for a first go but I was pleased with the results:
Aoifa says it makes a very nice pillow…
After reading Ann’s post on FFS a few weeks ago I had a shock of inspiration and added some orange to the singles I planned to ply post dying with purples and blues:
This is the plied yarn:
After plying I had some “single” left over on one of the bobbins so thought I would have a go at chain-plying (apparently it’s not very PC to call it Navajo plying any more). This method produces 3-ply yarn and in theory you can line up the colours on a gradient dyed yarn so you loose the stripy, “barber-pole” effect. I succeeded in places but definitely need more practice!
I am really enjoying spinning with Polworth (a Merino-cross breed that is better suited to the wet NZ climate), it is a lovely, soft wool. I crocheted this cowl but was not keen on the hot pink.
So I over-dyed it with blue:
One month into my spinning journey, a beginners class in Auckland came up so I toddled along with a friend (Margaret) who was curious but not really interested in taking up spinning (she couldn’t knit or crochet). They gave us some mystery brown and white wool to play with, I am pleased with the results but it is very coarse, too coarse for anything wearable so I am crocheting it into a bowl.
Margaret ended up buying the wheel she had been practicing on in the class (from the same person who sold me my wheel, I am starting to imagine Shirley has a house full of wheels that she has to climb over to move between rooms) 🙂 Margaret is also learning to crochet now she is enjoying spinning – another convert to the wonderful world of fibre!
I have also been playing with making slubby and chunky yarns and then dyeing it:
I found a few books on spinning at the library, the first one I read, Hand Spinning by Pam Austin was a bit disappointing, it didn’t cover anything I hadn’t already learned from watching YouTube videos. Frustratingly it mentioned a limited selection of art yarn types but didn’t offer any information on how you might spin them.
I found Spinning and Dyeing Yarn much more useful, jam-packed with technical, how-to information and lots of drool-worthy photos of beautiful yarns by different artists to give the reader inspiration and something to aspire to. For me, I was very taken with the art yarn chapter – I had no idea there were so many different species of art yarn and for each one there is at least one page explaining how to create it yourself.
I have only just started reading Yarn-i-tec-ture but I find the concept behind it intriguing, that you can spin a yarn with exactly the properties (stretch, warmth, shine etc) and colours you want…. Can’t wait to see if it delivers on that promise 🙂
I had to share these with you, there are several of them along the Wellington waterfront, they were very popular for selfies so I only managed to get photos of two of them but they are so cool I just had to share. Something for me to aspire to on my learning to knit journey! 🙂
Following several requests, I have posted my Concertina Hat and Snail Hat tutorials on Etsy. If you enter code FAFS30 (before the end of July) you will receive a 30% discount at check out. Alternatively, if you prefer a more interactive learning experience, the full online course, including the “taking it further module”, will be starting again in October, for more information and to sign up for notifications when registration opens please follow this link. Or for the bag class this link.
Imagine this: you’ve planned that project in your head. You’ve gone through all the steps and know what needs doing. You have all the materials, and you’re getting ready to work on it. It’s going to be epic!
Except… something goes terribly wrong and the end result is nothing like what you expected.
I’m sure we’ve all been there. Craft long enough and, be it due to bad luck or simple statistics, something will go wrong.
The problem: The yarn above is a colourway of mine called Love Heart Meow. At first glance, it looks exactly as it should, except something went wrong during the dyeing process and the end result is “muddy.” You can’t really tell in the photo, but in real life I can definitely see it and it’s driving me mad.
The solution: I’m going to overdye it. I find that when things don’t go as planned, a blue overdye can save things around. Who knows, maybe I’ll create a new colourway?
(Shameless plugin moment: I’m getting back to blogging in my own website and I’ll be sharing the over dyeing process over there very soon! I’ll of course still be working on new content for our lovely blog here.)
A while back I was doing an exchange with a dyer friend of mine and decided to send her some hand dyed silk cocoons. Silk comes at a price for the poor silk worm, so I was very keen to “make it count” (yes, I’m the soppy type).
I carefully dyed each cocoon, making it so that the exterior and the interior were slightly different and adding variation in shade/colour. I was rather chuffed with the result.
Of course, I then proceeded to ruin things beautifully. I don’t know what happened in my brain but I decided to set the colours with more acid… by dunking the cocoons in hot water.
If you’ve ever dyed these precious things, you’ll know they need to be steam set if you want them to retain their shape. Hot water is most emphatically not the right thing to do, as I remembered even as I was dunking them in the H2O.
The problem: I had a hot mess in my hands, the cocoons all melted into each other, were soft and (to me, at the time) completely useless.
The temporary solution: Remove from water and back away from the project! Make some tea. Curse out loud. Come back later.
The real solution: After keeping whole thing away from sight a while, I looked at it again. It was a mess, but I could make it into something different. The colours were pretty. Then it hit me…
Tah-dah, wall art to the rescue. The colours are actually brighter in real life.
I sewed the Cocoon Combo to some black felt, added some beads and shiny embroidered stars in gold and silver. The shape of the thing was asking for an oval embroidery hoop, so I bought one in a suitable size and Bob’s your uncle.
It looks like something done on purpose, doesn’t it? It’ll be our secret.
Now, this wouldn’t be a post by yours truly if I didn’t add a little sewing, would it?
While perusing one of my usual fabric supply sites I stumbled upon the most fun cat fabric. As with most things in the crafty brain, I had the “button” sorted but not the “suit,” so to speak. I had to come up with something to create with that fabric!
I decided on the Metamorphic Dress by Sew Liberated because it looked comfy and, best of all, asked for two complementary fabrics (the cat fabric had a “friend” that I thought made the cats look even cuter. Aaand, I’ll stop using metaphors now.)
I love this dress. It works great on its own or as a top layer, making it good for more seasons. It’s meant to be reversible, but this one isn’t (there are reasons but I shan’t go into them).
One great thing about being short is, I never need as much fabric to make something as the pattern says I do. After careful calculations, I knew exactly how much to buy and order it I did.
The bad thing is, if you don’t have extra and make a mistake… well.
I was on the phone with my other half and got distracted. Instead of cutting the top layer a specific way, I did it wrongly. I immediately noticed the disaster, but it was too late. My soul hurt. I didn’t want to order more fabric because of this!
The problem: No extra fabric and the huge unwillingness to buy more. I was doomed.
The temporary solution: The same as with the cocoons! Back away from the project. Make some tea. Curse out loud. Come back later.
The real solution: I had a little extra of the gingham fabric. Patchwork to the saving.
I had only made a mistake with one half of the fabric, so that became the back. I cut that piece in two and added a strip of the under layer fabric to the middle. It almost looks like it’s a proper feature, at least to my eyes.
I’ll have to confess I felt rather smug after this. My solution worked, I didn’t have to buy extra fabric and my dress is perfectly wearable.
My smugness was somewhat abated after my mum saw the dress and said it looked like a maid’s apron, but that’s another story…
That’s it, three examples of things that didn’t go as planned but had a solution. If you let your brain think about it for a while in the background, I bet you’ll come up with alternative endings for your “mistakes.” Like the cliché goes, mistakes can be opportunities to do better later. Beats giving up, right?
Finally, the random photo of the day:
My lovely osteopath Jane went on holiday to the Shetland Islands and I asked her to send me some sheep pics. She obliged and I thought I’d share them with you.
So far you have seen the Poker Challenge offerings from Ann and Jan. We are all members of the same Guild. I accepted to do the spinning challenge only.
My cards were
Colour – pastels only
Fibre – must include mohair
Technique – lock spinning
Structure – lace weight
I had some really lovely, top quality, pink, super-fine merino, and some pale blue mohair locks. The merino spins into lace weight very easily, almost wanted to spin that way on its own. The thing I found most difficult was lock spinning.
Research online showed a whole range of techniques, so it dawned on me that lock spinning is what you make of it. The mohair was really slippery and a bit of a challenge to maintain control, but the results were a happy surprise. I decided to ply the mohair with the lace merino to give integrity to the yarn. Once plied the locks on the mohair opened, but were held in place with the merino and the end result was a luxurious, soft, lustrous yarn. Unfortunately, I am not the photographic genius that Jan is and even though I chastised my camera for not using a flash to show the gorgeous soft pink and sky blue of the final product, it ignored me.
So, I took it to the next step and did a purpose made yarn of my own design.
I ordered some wonderful dyed Teeswater first clip from my favourite wool dyer. It arrived all clean, soft, shiny and tangle free; this is a special treat that I allow myself every once in a while. I used this for the lace weight ply and used some of my own dyed mohair locks for the lock spun component. I have to say the Teeswater wool is exquisite. I flick card it open on both ends and remove any tangles by cutting the knots out. This gives me a staple of approximately 15 inches.
This was spun as close to lace weight as possible. And I know my wheel needs to be fixed, I’m trying to find a craftsman/woman who can do that, any ideas?? If you look closely at the first hook you will see the groove that is nearly cutting through the metal.
The mohair is not carded at all and only pulled apart a little bit to keep the lock integrity intact. Unfortunately, I have only a picture of similar locks. I used up all the others before remembering to take out my camera. The lustre of mohair is amazing and the softness of kid mohair is delicious. Adult mohair is not my favourite fibre because as the animal matures the fibre gets so coarse it can’t be used for next to skin projects and it loses its crimp and becomes a misery to spin.
The mohair was then plied with the lace weight Teeswater to give this yarn.
My plan, among several others I’ve discussed with you over the past few months, is to weave this into a winter stole or shawl. The Teeswater is long enough to take the abrasion of being in a warp, so to that end, I made the leftover laceweight into a fine three ply cable yarn. This keeps the colour grouping together. If I were to do this as a true three ply the colours would tend to get muddy and I wanted to avoid that. I think I have enough for the project.
There are eight skeins that weigh 645 gms. If not I can always spin more of the Teeswater and fiddle the design a bit. Motivation is now the issue. You all amaze me with the energy you have, the creativity you show and your unflagging drive, thank you for showing me a whole ‘other world of fibre art.
It has been wonderful to get back together with my local artist group. We have all been completely vaccinated and have started our monthly meetings again. It is good to get out of the house, share our work and try out a few new techniques.
We recently tried some natural dyeing. Paula had a bunch of natural dyes and some earth pigments. This post is definitely not meant to be a tutorial because we didn’t follow any instructions, didn’t use any mordants and really just winged it. So the thread that I dyed is definitely not wash fast, color fast, light fast etc. I’m sure that there are specific ways we should have used each dye but we were just playing around.
Paula mixed up the various powders with water as well as coffee, tea, beets and avocado pits and skins. No mordants were added and we didn’t soak the fabric or thread beforehand except to get it wet. Before we arrived, she put some small strips of cotton fabric and some cheesecloth in the dyes to show us what the colors should look like.
So here are Paula’s control samples. If you click on the photo, you should be able to read the headings to see which colors are what. As you can see, some of the dyes worked better than others. But it was good to see what we could expect. Thanks Paula!
Then we put our threads in the different colors and left it for several hours. After that, we removed the threads, squeezed them out and put them in baggies to take home.
I did rinse the threads lightly when I got home. Except the indigo ones which I rinsed and rinsed and rinsed with little success in getting rid of the fugitive dye. I was pretty impressed with the colors that we achieved with so little effort. This is the 6 stranded DMC cotton. I didn’t keep track of the different dyes as it didn’t really matter to me and I wasn’t planning on repeating the process. The light blue one is Butterfly Pea and any of the really dark blue ones are indigo.
Here’s 8 Perle cotton.
And 12 Perle Cotton.
These are crochet cottons. I decided to try these as they are a similar weight to the 12 Perle cotton but significantly less expensive. I haven’t tried stitching with them yet. The really light one on the bottom left is dyed in beet. It definitely doesn’t dye very well without any mordants.
I also had this cotton yarn meant for weaving on hand so I dyed some of it too. It’s good for couching or laid work.
Here is the lace weight wool. The green in the upper right is from Matcha tea. It’s a lovely soft green. I’m always surprised how the wool and the cotton dyes so differently. I know that it does as I have dyed loads of threads but somehow it surprises me every time. 😉
I did dye one piece of fabric which is hemp canvas. I dunked it in the indigo and pulled it straight out. The indigo was very strong as you can tell from the darkness of the thread dyed in the indigo. We had a great time and I ended up with some fun colors.
Happy Independence Day to those readers in the US.
Silk thrums are gorgeous, jewel-like bits of temptation, rich in colour, shiny and sparkly, promising all sorts of lovely uses that will amaze everyone. Or not. Silk thrums are one part of the left overs from the sari silk industry. This is what can’t be woven on the loom and has to be cut off. I would like to see how saris are woven to understand the way the wastage is generated, it still puzzles me, but silk thrums are available in vast quantities to crafters all over the world. The problem with sari silk, and its a huge problem, is how the silk is dyed. There do not appear to be industry standards for colour fastness. Silk is a tricky fiber on a good day, so if dyers can’t determine dye acidity, water temperature, water hardness, or can’t properly degum the silk, the dye will run. I decided to try to use this characteristic of sari thrums to an advantage to see if there could be any benefit to be had.
I took a brilliant red thrum, trimmed the ribbon end and trimmed some silk fibers. The ribbon was soaked in hot water to leech out the dye. The colour saturation was evident as soon as the ribbon was in the jar. The water was totally red, but there is no way to do any metrics on this because the original silk was dyed with an unknown quantity of dye. All this is just a “see if this works” experiment. I snipped a tiny quantity of silk fiber, set it aside to mix with the wool roving I had chosen for dying.
I spun the rest of the silk threads into a single ply yarn. I’m taking a liberty in calling this a single ply, it is in fact a multiple thread yarn. The sari silk is made up of extremely fine thread. I respun those into a single thread with added twist. I can’t show them to you because my camera just can’t pickup the delicacy of those threads.
It was difficult to spin at first, because the fibers are nearly 36 inches long and tended to get tangled. I’ll try a different method next time, but it is possible to spin this into a reasonably nice yarn. The single yarn is plied against some of the merino top that is the basis of the dye bath test. I’ll use this later as part of the dye test.
When I plied the single merino wool with the single red silk they worked well together This is the most durable, hard to break fiber I have ever handled. Silk really is amazing.
I presoaked the remaining merino, drained, opened it along a mid-seam, sprinkled the snipped silk threads all along the centre. I then rolled the merino into a tube and wrapped it with the ribbon from the soak jar. This was set in an acid bath and topped up with the dye water from the soak jar. I use an oven to dye my wool. I cooked this for about two hours at 100C/220F. I expected a more vibrant red, not the pale orange, but this is an experiment, so expectations have to go on the back burner.
As shops, galleries and exhibitions start to reopen in England and I have quite a few sales & exhibitions coming up, I decided to make another picture based a local coastal bird. I’ve seen quite a few redshanks recently walking along the shoreline and haven’t done a redshank before so I think that would be interesting.
I start by making some prefelt for the back and tail feathers in a muted pewter and white tone, plus some firm felt I will use for the orange/red beak and legs. (I forgot to take a photo of these.)
I have a composition in mind and I make a quick sketch to get the shape, stance and size of the bird then lay out the bird’s body using a base of white merino tops and the prefelt feather shapes. There’s not much detail as I will needle felt this in later. I haven’t tried this before but I needle felt in some of the feather detail part way through wet felting then finish fulling the bird.
I’m not sure what I was thinking (if at all) as I’m not happy with the loopy-ness of the needle felting or the direction of some of the feathers. I park it for now and get on with the background. One of the many things I love about felting is that you can usually continue to work on it until you’re happy with the result.
Onto the background: I have bits and pieces of natural coloured prefelt that I cut into pebble shapes ready to form the beach. The redshanks I’ve seen recently have been walking close to the water’s edge, either in the water or on the pebbles. Thinking about the water experiments I did last year I lay out 2 layers of pewter-coloured merino for most of the picture with a white and rusty orange section where the wave and beach will sit. I put long strands of blue tops in two colours running horizontally to represent the light reflecting off the water. I leave a darker section near the top with some of the pewter wool laid at an angle as if there’s a small wave coming in there, though in the final picture you can’t see most of this because it’s behind the bird.
Next come the pebble pieces and finally the foreground wave, as it sits on top of both water and beach. I haven’t tried using mohair for wave crests before so I run a wiggle of mohair tops along the water’s edge and onto small sections of the sea as if small waves are cresting there. I’ve spent a lot of time looking at the water in my local sea / estuary so I know the colours and shapes well. The water is often choppy like this with small waves.
I wet felt the background then try out the bird body to see how they’re going to fit.
I needle felt the redshank’s body onto the background then add the legs and beak which I’ve cut from the red/orange felt. Then I add the eye and fiddle for a while until I’m happy with the bird.
The finished picture is about 50-55 cm square and will go into an oak veneer box frame that’s 64 x 64 cm. I took this photo in the evening, with electric light, so it’s a bit less yellow in reality.
As I didn’t take a lot of progress photos for my Redshank, I thought I’d add a few other things I’ve made recently. Like my felting friend Antje (who posted here recently) I took Judit Pocs’ milkweed pod workshop on 1 & 2 May. I direct dyed some 18 mic merino tops and some fine ponge silk for my pod.
It was a good workshop and I’m happy with the result. I got my dye ratios wrong which resulted in a lot of bleeding and dyed hands but thankfully it’s not a wearable so it shouldn’t now be a problem. I hope to use this silk pleating technique in future projects.
I realise the colours are very similar to the ‘hippy trippy’ Corriedale bag I was making when I last posted. It’s still work in progress but I’ve done some additional ink work on some of the silk patches and am part way through adding some stitching. I’m now adding some french knots in the rectangle near the top left. This combines some of the techniques I learned in Terri Berry’s bag class with some from Fiona Duthie’s Ink + Cloth workshop and my new venture into direct dyeing (using the Felting & Fiber Studio tutorial).
Previous picture on the left, current on the right.
As part of Fiona Duthie’s Paper + Fibre workshop I made a lamp shade (actually a sleeve that fits over a lamp). It’s interesting how the paper sections are barely visible when the lamp is off. I think I will make more lamps when I have time.
Finally, I’m making some smaller pictures to take the little beach hut gallery in Whitstable Harbour where I often sell my work. I’m in there from next Wednesday for 2 weeks. I’ve wet felted some mussel shells and am making backgrounds to set them into small box frames (without glass). They’re about 19 x 19 cm. Here’s one that’s nearly ready to go. The background is nuno felted with recycled silk and old curved lace. I just have to decide where to stitch the shell. What do you think?
When getting my materials together I was often frustrated that I could not get the colours I wanted. This was especially true of silk materials and you had to buy a large quantity to get only a small amount which could be expensive. It was not until my past time of trawling through Youtube videos that a came across the “colour your life, Rae Wollnough” episode. What a revelation. With a very simple process, I could dye not only silks but fibres too.
So I set about getting the materials I needed. Firstly the dyes themselves. I use EasiFix all-in-one protein dye. These dyes work on natural materials like silk and wool etc (I get these from Etsy). These dyes are fixed by heat so no need for a fixing agent. I use a mixture of silk but here I have used a ponge which has a lovely lustre.
The process is so simple. Cover your table in cling film and wet it with a spray bottle. Place your silk on top, here I have flattened the material out but you can get some nice effects if it’s scrunched too. Your silk must be wet as the colour spreads better and it will burn when heated if it is dry.
Next the fun bit. I use pipettes, brushes or simply pour the dye onto the silk.
Once I am happy with the dyeing I wrap the cling around the piece gently patting out as much air as possible. Once wrapped I pop it in the microwave. Only a couple of minutes does a small piece like this. Be mindful to follow the safety instructions of the dyes and only use equipment that is specific for dyeing and nothing you will use domestically.
Once heated I leave the piece to cool completely and it’s this that sets the dyes as well as the heat. This is the worst part of the whole process as I cannot wait to see the outcome. It is not an exact process but the results can be magical.
The piece is rinsed until the water runs clear and it’s done. You can re-dye if you are not happy or think it needs more.
The colour you can achieve are wonderful, the weaker the dye the paler the colour and you can achieve your own colours by mixing also.
The possibilities are endless and results are well worth the effort as little as it is.
The last time I posted here (in January) I described my plan to take various online felting classes. With all my sales and exhibitions cancelled or on hold I thought this would be a good way to keep me focused and motivated during our 3rd pandemic lockdown. Here’s the link in case you want to look back to January’s post.
This time I’m talking about my online learning since then, including how it has led me in some unexpected directions.
I was part-way through Teri Berry’s bag making class, which was great. I made my third bag, a backpack, and am very pleased with it. I’d definitely recommend Teri’s class. The instructions were clear and comprehensive and Teri was very responsive to my many questions, thoughts and comments. I learned a lot about bag making techniques, which is exactly what I was looking for.
Because two of the bags I made are large, relatively thick, and have to be fulled very hard, I admit bag-making was rather harder work than I’d anticipated. I rent a studio in an old industrial building that is largely unheated so maybe mid-winter isn’t the best time to be working so much heavy, cold, wet wool, but it’s a minor point. I had to use plastic gloves for the first time as my hands became so shredded and I often went home with sleeves wet to the armpit!
I’d planned to take 3 classes over January to March but was irresistibly drawn to a 4th: a 2-session live international felt-along by Aniko Boros (Baribon.Hu) learning to make her beautiful felted tulip pendant with pebble inclusions. Having signed up I realised it was going to be difficult to find the colourful 14 micron merino wool I needed. I only had white. I’ve never dyed my own wool before but I thought, why not have a go?
I already had some acid dyes so I started off with some 21 micron merino before going on to the finer and more expensive 14 micron. Then I tried silk hankies, Corriedale tops, mohair tops, silk fabric, alpaca & nylon …. nothing was safe. I had a blast. I had no idea how much fun dying would be.
Then it snowed and I thought ‘ooh, I could try snow dying’. That turned out to be great fun too. On the right are just a few of the snow dyed fabrics.
I had several colour choices of dyed 14 micron merino by the time Aniko’s workshop came around. The workshop itself was really interesting. A clear and detailed PDF was sent in advance and turned out to be very helpful on the first day when the sound or picture dropped out occasionally. It meant I could see what I needed to do next so was able to keep up. I’m pleased with my pendant (although I still have to add a fastener) including how the dyed wool worked, and feel I’ve learned techniques I will be able to use to make my own designs. Also, it led me into the entirely unexpected joy of dyeing.
In the meantime I’d started Fiona Duthie’s online class Ink + Cloth. We practiced adding ink at various stages of feltmaking with loads of potential for using these techniques in future projects.
Above are samples of adding dye / ink before felting (on silk fabric) and on prefelt
These are samples of ink added in different ways to finished nuno felt with cotton and two types of silk. I’d found an image in the V&A museum online catalogue (a fantastic resource) of an early 20th century furnishing fabric with this style of lollipop trees that I was thinking of using for the 1st quarter challenge …but that’s a story for another time.
At the end of this I decided to combine various things I’d learned: to dye my own Corriedale wool tops for a bag and maybe to decorate it with inked or dyed pieces. This is still work in progress as I am not completely happy with it. I decided to let it dry and have a think before doing the last bit of fulling. After I’d laid out the wool I dithered over whether to add silk and prefelt pieces or not as I quite liked the wool as it was. At the last minute I added all sorts of bits and pieces without properly thinking through the design. I fear it betrays its history. A colleague who saw me rinsing it at the studio casually commented it was very ‘hippie, trippy summer-of-love’ which is absolutely not the look I was going for! I will come back to it soon. I included the strap in the photo to give an idea of what it will look like finished.
Now I’m part way through another class with Fiona Duthie: Fibre + Paper. It’s a fascinating process of combining specialist paper with wool. We started by making lots of samples: paper and felt, paper relief, extreme paper relief and paper with prefelt.
Above are samples showing different amounts of paper felted into 21 micron merino wool and bottom right combines prefelt and paper. They feel lovely and there seems to be so much potential to use paper with felt in different ways.
This week I made a vessel with paper embedded into the surface. It’s not perfect: I got a bit over-confident near the end and tore some of the surface (you can just see it bottom left, between the two ribs). I’ve been interested in shell shapes for a couple of years so I shall enjoy making more 3D paper & felt shell-inspired objects.
In the coming week I will be trying out adding colour and surface designs with ink and paint plus making samples with some different papers. Fiona’s classes have been really enjoyable with excellent PDFs, photos and videos and lots of class interaction.
All the online classes I’ve taken have been great fun and very inspiring. They have given me lots of new skills and techniques that I will be able to use in my work. And they have definitely achieved my other objective: they have been really helpful in keeping me learning, focussed and motivated during what could otherwise have been quite a bleak time.