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Clicking ‘Buy’ was so darn easy, now what to do?

Clicking ‘Buy’ was so darn easy, now what to do?

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Years ago, when the kids were small, I became a collector of recipe books. I didn’t particularly want to cook out of any of these, I simply loved reading the books and marvelling at the beauty of the process and the presentation of the meals.

More recently I have found that I have started collecting felting courses. I have been rather busy over the past few years – not sure where the time has gone – but last May, I decided that I had best do a stock take of the courses I have signed up for and not done. I discovered that I have at least 20 in my list. These courses either have indefinite access or I have been able to purchase and download the videos so there has never been an urgency in completing them. That said, I don’t want these to fall into the same category as the cookery books – lovely to look at but I wouldn’t like to do them.

Over the years, I have signed up for different Felting Camps offered by Corinna Nitschmann. Each year around April, Corinna invites a number of felting tutors to join her in her studio. The tutors record their respective workshops and then deliver the workshops on a specified date during the camp. Students can opt to work ‘live’ on the day, working with the pre-recorded videos with the tutor available to answer any questions they might have; they have access to these videos for a number of months, if they prefer to work at their own pace. Alternatively a student can pay a little extra and download the videos so that they are there indefinitely. This is the option I choose but I still enjoy being present during the live sessions as the sessions are always upbeat and great fun. Corinna herself is an amazing tutor and has a great sense of humour. There are lots of other activities taking place (besides the workshops) during the felting camp. Here is the link, if you would like to find out more about these https://cornitfelt.com/. I have 3 years of felting camp courses downloaded, that accounts for 15 courses. Then I purchased some courses that I found attractive from individual tutors and need to take. But for the summer months, I decided to focus on some of the felting camp courses. I thought I might share some of the results with you.

My first venture was called “Wet Felting Jewellery Basics” by Judit Haulik. It was part of the 2025 felting camp. This is a well paced course and the videos are divided nicely into sections so that it is possible to complete a task and walk away from it for a while. Students work with very small pieces of felt and Judit herself acknowledges that it can be a bit fiddly but, to be honest, I found that once I got into the groove, going small was not a challenge. I loved the repetitive nature of the design too and I can see possibilities for upsizing the process which Judit is teaching. My main learning on the course was how to integrate very fine chain into the overall design. I chose a very light chain for this process and I reckon that I will use a more robust one next time. That said I am very pleased that I rose to the challenge of the very fine chain as, after this, I feel the bigger size will be a dawdle. Here is the piece I made. I didn’t investigate further as I wanted to move on to another course. That said, I have ideas on where I can take my learning. I have done some quick sketches before they go out of my mind!

  • Full view of the necklace. Holes felted with sequinned material
  • Top section of the necklace with sequinned fabric in the centre
  • Base of the necklace with sequinned fabric showing in the hole

My next workshop came from the 2026 Felting Camp. It was one of the courses that originally attracted me to this year’s camp. The introduction to “Stool Covers” by Bea Nemeth was very joyous and depicted a variety of different shapes and sizes of stools which could be worked on. Bea also presented different possibilities for fibres which could be used in the design. We worked our design on prefelt and then if we wished we could adorn the stool cover with locks. Bea was fun and a little mischievous and at one stage headed to a dye pot with one of her samples. It was fun to see all this in real time at the session. As for the result ….. beautiful! I didn’t have a stool to work off so I headed out to our local Ikea. I made a variegated colour strong merino prefelt and I used my own geometric pattern for my design. I had some Bergschaf left over from making boots a number of years ago so I used this for the background. The resist was huge and I don’t know if you ever have that moment when you feel that a piece will never shrink down sufficiently (I had that on the stool) but it didn’t disappoint and, finally, with lots of patience, shaping and using tools it fit perfectly. I love the result and it acts as a reminder that patience works wonders when I am trying to fit to size.

  • full view of the stool – blue base is bergschaff
  • pattern on stool made with merino prefelt

Next up, it was a bit of a return to a comfort zone for me, fine art felt. I checked out Jorie Johnson’s ‘Fine Art “Small Works”’ Jorie studied textile design both in the USA,where she is originally from, and in Finland. She moved to Japan in 1987 and has been based there ever since. If you would like to find out more about Jorie you can visit her website at https://joirae.com/biography/. There was something very special about Jorie’s approach to the workshop – it kind of gave me permission to play with my design while being mindful of her teaching. While students had the freedom to use any style resist of their choosing, I decided to use the one Jorie presented, principally because it had some really challenging angles and shapes included. I also favoured roving over prefelt when I was laying out my background. I got a bit carried away with the design (Jorie recommended leaving more space between each element), but this was playtime and experimentation was the key for me here. Here is the result. Again, there was lots of learning on what can work and it is a great reference for future pieces.

  • sculpture with resist to show shrinkage (resist design by tutor)
  • front view of the sculpture
  • Nuno felted ‘window’
  • closeup of raised area and nuno felted pattern
  • closeup of textures and nuno
  • detail of some of the locks and textures
  • closeup of the linen section
  • Second side of the sculpture featuring a variety of textures

That’s all I have for now. I know there are 17 more courses to go, but at least I have made a start. If you like, I can keep you updated on my progress, but the danger is that I am likely to disappear down the odd rabbit hole (I can already see two opening up). Like Alice in Wonderland, there is a possibility that I might meet (or transform into) the Mad Hatter although I wouldn’t mind having some of White Rabbit’s energy (perhaps it would help me get through the classes quicker) because at the moment in this (what appears to be at time of writing) never ending heat wave, my character is more akin to the Dormouse, constantly ready to roll over for another sleep!

Is there anyone out there in the same boat with lots of outstanding courses? Please tell me so that I know I am not alone.

Happy felting!

Hugs

Helene

a green felted/tapestry of the word Exchange
A Few More Oddments

A Few More Oddments

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I’m afraid that the series of heatwaves we’ve been (and still are) experiencing have had much the same effect on me as the Covid Lock Downs. I have pretty much lost my mojo again though not quite in the same way.  Every time the weather cools down a bit I have managed to think about and sometimes even start a project, only for it to be abandoned as soon as the next heatwave starts.  I now cannot see my work table for various piles of project “stuff” in various stages of progress.

Also I haven’t managed to do much about preparing for this post, so I’ve once again picked some topics from my list of things to write about which are in fact mainly “historic”.

Many moons ago back, in the 70s, when macramé was first in vogue and long before I became interested in spinning let alone before I found felting, I was obsessed with string and knots.

Amongst the patterns I came across was one for a lampshade. Do any of you remember the Marshall Cavendish series of monthly craft magazines “Golden Hands” covering several different crafts, which could be collected into 4 (I think – possibly 6) annual volumes?   I loved them and made lots of things from their patterns.

I did think that I found the macramé pattern I had followed for the lampshade in one of the Golden Hands Magazines, but Mr Google has been unable to find it, so it may have been in some other magazine – possibly “Women”, “Women’s Own” or “Women’s Realm” (that was in the days before they started emulating “Hello Magazine” and the like🤢).

As it was so long ago that I made the lampshade I can only show you what it looks like now.  It was made from dishcloth cotton and made directly on a lampshade frame.  I lined the shade with red satin type fabric and gave it to my mother for one of her birthdays.

During my “macramé period” I started to make small free standing sculptures using just clove hitches, rather than mixing knots like flat or square knots.  Then my niece became pregnant with her first child so I thought I’d have a go at making a macramé rattle for the baby.  As it would need to be washable, I chose to use nylon curtain/blind cord and one of the indoor balls (the plastic lightweight sort with lots of holes in) with a couple of brass bells inside for the inner body.  I did not have a pattern to follow (by then I preferred to make my own designs rather than copy someone else’s).

By changing the direction of some of the clove hitches I was able to give the rattle a face.  Here is the only picture I have of the rattle, which my husband took for me before I sent it off to my niece.

 

a black and white image of a baby's white macrame rattle showing the "face" worked into it. There is also a small bunch of daffodils and a cube box of tissues with some pulled out to frame the rattle
Unacknowledged macramé rattle

My niece had another child a few years later, but I’m afraid that, as I have had no confirmation of receipt of the rattle (even now, although I know it was received) let alone any thanks, I stopped sending even cards to her!

Around the same time as I made these pieces, I made a crochet cotton macramé Dorothy bag, using a stuffed oval ball shaped thingy as the base to work on.  I added pearl beads and lined the bag with pink fabric and used it as a sample for a wedding accessory (back in the days when a couple of friends and I were making crocheted wedding “favours” and sold quite a lot of them – that must have been getting on for 50 years ago), but I wasn’t asked to make another one and I didn’t sell the original.  I still have it somewhere.

a white macrame drawstring dorothy bag with pink satin inner bag on a dark red background
Dorothy Bag – big enough for a bride’s handkerchief

Back in 2012 I was doing bits of tapestry weaving and to be honest I was getting bored with it – it was taking too long and I wanted to get on to something more interesting.  I had decided to weave the word “Exchange” but I can’t remember why now.  It may be because I liked the monogram EX that I was using.  The “e” was in black and the “x” was in bright red.  The background was to be a strong green.  The rest of the word was to be in black, but in outline only.  I managed to complete the monogram before I decided to do something different, which was to felt the rest.  I felted green merino fibres over both sides of the cotton warps with the work still on the loom.  This made the “fabric” quite tough so that it kept its shape.  I then needle felted the “change” in lower case.  I did actually exhibit it at The Exchange when we had one of our several exhibitions in their Café/Gallery.  The bear with the felted tapestry in the featured image was made by a friend, who makes bears for adults, and bought for my birthday by my husband.

a green felted/tapestry of the word Exchange
My felted tapestry woven Exchange

I did think that I might get some people commenting on the coincidence with The Exchange’s name but no-one seemed to notice, or couldn’t be bothered!

Back in early 2022  I told you about a couple of door stops which I had made, one of which was named Yoda by my husband.

https://feltingandfiberstudio.com/2022/04/18/we-need-a-new-door-stop/

During the making of Yoda I made what I now know to have been a construction error.  Because I was concerned that if he had been picked up by his head it might come off, I placed a strong loop made from the hem of a towel behind his head to be used as a handle.  This resulted in him becoming very tatty around the head.  Every time he was picked up by the handle it rubbed the back of his head and his ears and the fibres began to come away.  In addition his head was beginning to get droopy, as you can see from the way he is peering around the bathroom door.

felted doorstop cat peering around a door
Peeping Yoda looking the worse for wear

Thus he needed what my late brother in law used to call a “Warranty Job” (he used to make all sorts of parts for traction and railway engines for others as well as himself and now and then someone would ask him if he could effect some repairs).

As is my wont it was some time before I finally got round to doing Yoda’s warranty job.

I hadn’t been happy with the shape of his head, it was a bit flat at the back.  For this reason as well as his tatty appearance I removed his head as well as the handle.  I moved the handle to the middle of his back so that it would balance him when he was picked up and it didn’t rub against any part of his head or body.

Next I moved on to his head.  I didn’t have any more fibres of the right colour to match his body so had to blend some to match.  Then I started to cut away the rubbed fibres from his head and add more of the new.  I rounded out the back of his head a bit more and thickened up his ears.  I still had some of the correct pinky-grey fibres which I had used for his face so I tidied up his face too.

I decided to add yellow slightly opened eyes just to show that he was really awake.  This is him now.

felted doorstop smiling with slit eyes sitting beside the door
Finished Warranty Job – Yoda back at his post

That’s the lot for this post, hopefully by the time my next one is due I will have got my mojo back again and have something new to show you.  In the mean time here’s a real smiley cat.  I do wonder what’s going through his mind – any ideas?

head and torso of dark grey and white cat with closed eyes and smiley mouth
This is my Boy (originally named Radius by his previous owners). He really is a smiley cat.

A Mini Quilt

A Mini Quilt

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A friend persuaded me to enter a mini quilt into a local quilters group exhibition to be held towards the end August.

The requirement is for a mini quilt, A4 paper (UK) size, portrait or landscape, depicting a house or a home.

Three layers, and any technique, with a hanging sleeve and a label giving make details..

I have made some quilts before, but just for family, utility, or to use up some fabric bits and pieces, so no reason why I should not do a mini quilt, she said! I hasten to add that I have no prior experience of entering a quilt competition.

I decided that ‘the old woman who lived in a shoe’ would be my topic. I found a vector free picture of a house shoe online and used that as inspiration.

Some time ago I had made some patchwork squares with 1.5 inch squares of fabric (yes 1.5 inch squares). I thought that this would be fun, but it very quickly became a chore. I used some lightweight fusible interfacing, and ironed all the little squares on and then stitched the seams using the sewing machine. These little squares of fabric had been in a box for some time, and this was a good way of making a larger piece of fabric. I think they were all little sample packs; some were patterned, and some were solid colours.

I cut the shoe house shape, and the tree shapes from these patchwork squares. The roof and the tree trunks are from other scrap pieces. Then I appliquéd these pieces to the background; I used the sewing machine for this, and a little glue to stabilise the pieces while I stitched them. This is a raw edge appliqué, rather than a turned edge process. I added a few shapes to indicate windows, smoke from the chimney, and a door. Then I added some batting, a backing, minimal echo quilting, and bound it with some spare bias binding.

I was quite happy with the finished piece, and posted it to the contact for the little exhibition.

I have been to Orkney main island with my family for a holiday. We went there in 1994, and ’93, and we stayed on one of the smaller islands at that time. I really looked forward to going back. Mainland Orkney has changed quite a lot since then; there were lots of tourists and many visitors from cruise ships, and all the popular neolithic sites were very busy. But, I enjoyed our visit very much, and we visited many sites off the tourist trail. This copy from a gravestone in St Magnus cathedral reminded me that women are special, there were many more, but I loved this one – short and to the point.

I saw a wonderful tapestry in St Magnus cathedral, that was gifted by Norway to the people of Orkney, and presented by the King of Norway to the late Queen Elizabeth, in 1987, on the 850th anniversary of the foundation of St Magnus’ Cathedral. The tapestry is so beautiful, and my photo does not do it justice. The cathedral is a wonderful building.

Putting text into textiles

Putting text into textiles

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In March I attended a workshop, with the above title, given by a visiting tutor Jo Yeates (see – instagram@made52).

01
01a Examples of Jo’s teaching samples

01b

The idea was to hand-stitch a layered fabric collage featuring text which could be stitched, stencilled, stamped, written typed etc. To this we could add stitching, lace, buttons and ephemera to embellish. It could be a favourite word, a person’s name, a special place or a short phrase.

As you will have read many times before, I am incapable of going to a workshop ‘blind’.  So having done my research, I decided that for me, who never uses text in her textile work, the perfect word would be ‘FAMILY’. My reasoning….I’ve always wanted to set up a dedicated wall of significant memorable photos and in the near future I will have that opportunity.

What came out of my thinking was that you have a family tree related to ancestry and heritage – yes, I want to include a couple of historical photos on my wall.  Additionally, to me, family means the grounded roots and the growth of branches finding their own way….or am I being too philosophical here 🤔

 

With this in mind, I finessed my research online to explore the various ways one could write the word, that would spark my imagination – thank you to the originators of the text examples I studied and show below.

02 Text samples

Once we got going at the workshop, I fiddled with how I would undertake my writing.

 

Once we got going at the workshop, I fiddled with how I would undertake my writing.
03 Experimenting with my writing

Decades ago, I embroidered an initial letter on a piece of fabric by couching some piping cord down and then ‘wrapping’ a variety of beads around the cord. It was very effective. Although I recently found it, I forgot to photograph it and it has once again disappeared into the depths….so I will leave it to your imagination.

I thought about this construction for my ‘F’ but decided that it would be too deep especially as a certain Scandinavian store no longer sells the small, shallow (2.5 deep internally) Ribba frames that we have all loved for so long. the deeper ones yes, but not the shallower ones….😭   Instead I need to find a ‘forgiving’ ordinary frame!

Again, for the beading I had found some inspiring work online, sadly the author was not given – thank you to whomever you are.

An aside….Each time I gather research work for any workshop I file it. Over the years I have gained quite a bulging file to which I refer time and again to trigger inspiration. I’m sure I’m not alone.

04 Beading inspiration

Using a piece of our old sofa cover fabric (it keeps coming in useful!) and knowing the size I wanted the finished piece to be (the square of paper) I aligned the fabric pattern to suit my word and started adding the collage pieces before writing.

05 Aligning the pattern to suit collage placement and my word

06 Collage pieces added ready to stitch in place and word written

07 Stitching commenced

Stitching completed and the beading commenced it was all too soon the end of the workshop and time for the show and tell. There were many beautiful items produced (below is just a flavour) and I hope they all find a good home.

08-12 Work produced by some other members of my textile group

I had started the beading at the workshop, and you can see how it will, hopefully, look when matted. But, by the time I got home, I wasn’t totally happy, so I unpicked it and eventually started again with a better mix of beads.

13 At the end of the workshop within a paper mount

14 With the beading changed

I learned that my chosen word is unsurprisingly a popular choice generally (I was the only one in our group) although using it to announce a storyboard of photos seemed unique. There will be fun to come!

The piece is now potentially complete and awaiting stretching (my method using a sewing machine and mountboard), however I am prevaricating for two reasons – 1. I need to locate a suitable 23 x 23cm (9 x 9in) shallow box frame and 2. I think I need to emphasize the ‘amily’ a little more so that it can be seen from a about 1.5m away….

15 Unframed due to indecision

….do let me know your thoughts.

Door stop installed
New door stop

New door stop

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Our cottage now has a robotic vacuum, which means we no longer spend half our visit sucking up dead bugs. Technology wins again. Of course, the little machine has a habit of wedging itself into the most improbable places. The bathroom has been a repeat trouble spot, so we started propping the door shut with a brick whenever we leave. That worked—until the brick and the robot teamed up to scuff the door. My husband’s solution was to wrap the brick in duct tape, giving our makeshift doorstop a slightly more “gentle” finish.

Having finally identified the problem, I decided we needed a doorstop with a bit more padding. So I brought home a fresh brick to turn into our upgraded, cottage‑friendly version. I dug out my punch‑needle supplies and got to work. Step one was making a template: using the brick itself, I traced the top and each of the sides so I’d have the exact dimensions to cover it properly.

Next, I had to settle on a design. I ended up sketching a grid and decided to fill it with random blocks of colour. With that plan in mind, I dug through my yarn stash and pulled out a skein of Lion Brand Respun. Since the yarn shifts colours, I wound it into separate balls, snipping each shade apart as I went. That left me with tidy little piles of red, orange, yellow, green, and blue to work with. I also grabbed a ball of black yarn that was roughly the same thickness to round out the palette.

With my design sorted out, it was time to test my new frame—a rotating model from The Needleworks Shop  that I snagged back in November from a Facebook destash group. Once the Monk’s cloth was mounted, I could finally start punching. Since we’re looking at the back side of the work, the texture isn’t visible yet, but the layout is. I filled in the black squares first, then began adding the colours at random. My goal was simply to spread everything out evenly and avoid having two neighbouring squares in the same shade.

With the punching finished, I took the piece off the frame and flipped it over. The front was a wild tangle of yarn tails—messy enough that it was hard to see the actual design underneath. It was time to start trimming everything down and reveal how the pattern really turned out.

With the punching done, I set the piece aside for the night. I was pretty pleased with myself—drawing the design, winding the yarn, and punching the whole thing in a single evening felt like a solid win. The next day, I pulled out my brick and tested how the cover fit. That first attempt at folding it over the brick was surprisingly encouraging; everything seemed to line up just the way I’d hoped.

Wrapped around the brick to test fit
Wrapped around the brick to test fit

I dug out my sewing supplies and started stitching up the corners. Sewing around a brick turned out to be a bit awkward, but with some patience I managed to get all four corners secured. I used black thread so it would blend in with the punched design and disappear into the background.

With the corners finished, it was time to tackle the bottom. As you can see from the photos, sewing the corners left quite a bit of excess Monk’s cloth to deal with. I experimented with a few different folding options until I found one that looked tidy. Then I trimmed away the extra fabric so I wouldn’t end up with a big lump on the underside of the doorstop. Using white thread, I stitched the flaps down. The sewing isn’t especially neat, but it’s solid and functional—and that’s good enough for me.

A few days later, I brought the finished doorstop up to the cottage and swapped it in for the old duct‑taped brick. Here it is in its new home, doing its job and looking far more cheerful than its predecessor. I’m genuinely pleased with how it turned out, and I’ll probably make another one at some point. Small projects like this are such a fun way to experiment and build confidence in my skills.

Door stop installed
Door stop installed

 

 

 

More Circle Play

More Circle Play

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Come play and design with me…

In an earlier blogpost, I mentioned I had purchased a Flower Stitch Foot for my sewing machine. https://feltingandfiberstudio.com/2025/12/30/flower-stitch-foot/. I haven’t had much time to play with it since I purchased it and I was a bit disappointed that it only made smaller circles, closer to 1” in diameter.

I was recently at a quilt retreat with my sister and she was working on a wall hanging that involved making 6” individual fabric circles. Her little gadget was called a Circular Embroidery Attachment. It got me thinking that I could machine stitch bigger circles onto fabric using my machine’s decorative stitches and could then integrate my smaller Flower Stitch Foot circles into the mix somehow. I watched a couple of YouTube videos on using this new attachment and got a few good pointers.

Circular Sewing Machine Attachment at Amber Toney blog

I took a 16” x 16” square of cotton lawn fabric and fused some ShapeFlex101 to it. I set the attachment to go as large as it would go. (10 ½”). I questioned my choice of stabilizer on the sample piece but I may want to do some hand stitching on this so I don’t want it to be too stiff.

I decided to begin with a straight stitch. I had to really watch and handle the sample to keep it from buckling. One YouTube tip said that your machine is trying to sew forward, not in a circular motion so your fabric may try to buckle. I also wasn’t sure if the end of the circle would match the beginning of the circle. (It was close). Probably if I had used a stronger stabilizer than the SF101, these two things might not have been an issue.

White Fabric attached to circle attachment

Then I thought I would try adding 4 circles to the inside of the big circle to see how finicky the tool was. I divided the sample into quarters and tried to find the centers for my attachment pin.

Circle divided into 4 sections and adding circles within each section

I used a compass and thought I did a good job, but once I stitched all four of them, I see they all overlapped. So much for precision…in hindsight I should have done this step differently.

The four quarter circles machine stitched.

Next, I thought I would try using some decorative stitches. I also decided that I would use a triatic color scheme of green, yellow and red violet. Starting off I thought I would focus more on the red violet color. I’m having difficulty getting the beginning and ending of the circle to line up. Hopefully that won’t be too noticeable as I progress.

Using a decorative machine stitch on the quarter circles

I was attracted to the diamond shape in the middle so next I decided to stitch out from that as my middle point.

decorative machine stitching in the center of the 4 quarter shapes

Wow, that yellow sure took over! I’ll keep going in circles with a variety of threads and stitches to see if I can tone that down.

Now I’m kind of liking what is happening with the center circle areas. I changed to my small Flower Stitch foot and tried putting those four small circles into the center area. I thought the first one was perfect. Then I couldn’t get the other 3 to cooperate at all. And look at how the original four circles are standing out saying LOOK AT ME. Some parts of this I like, other parts not so much.

 

 

Next, I tried using some Inktense pencils around the outer rick rack looking circle and in the center. I can’t quit seeing those 4 red violet circles…time to do some unstitching I think to see if I can get my eyes to focus on the other circle.

adding green inktense pencil to two areas

 

Outer stitches and center circles removed. Interesting…I’m feeling it calm down a bit and it is saving itself from being tossed into the waste bin.

circle edges and small center circles removed

Then I added a small velvet circle to the center.

Added a small velvet circle to the middle

Next, I got a bit braver and decided to paint some more areas with the Inktense pencils. I painted the inside circle and around the outside circle with red violet, next to the red violet rick rack in hopes of eliminating any white fabric once I cut it away from the white fabric. I intend to applique it to a different background fabric. Very carefully, I cut the whole circle out and fused some Wonder Under to it. Amazingly it was laying pretty flat!

circle cut out and pinkish paint added to center area

It still seems too white to me.

Time to try out some background possibilities to see if that will help give me some direction to go with this. It’s amazing the ideas that crop up with all the different background colors.

circle on green fabric  

Well, that was fun! I decided to go with the two tone piece at the end. Now to play with some added elements.
I cut out some ½” and ¾” circles with fusible on the back of them.

circle on multi colored background with small circle elements added

Still too much white for me so I decided to do some more painting. This time I used some textile paint, red and white and watered down quite a bit. I had no idea how the threads (cotton, rayon and polyester) or the fabric would react to the paint. I was worried about it running. I very carefully painted one circle round at a time and the threads did not pick up the paint. Yay! I left some white showing. I can always paint it later.

added more pink paint to the circle center

Now I need to decide how big I want it to be upon completion. The one above is 18” x 22”. I’m leaning towards this size versus the cropped size in the next photo. I think it recedes better on the larger size.
I may still add other elements to it before I quilt it. I may do some hand stitching, too.

same as previous photo but a cropped version of it

It has been a challenging, fun experiment using my large circle attachment and working with the triadic pallet of green, yellow and red-violet. I think that the four circles that were giving me such grief in the beginning ended up bringing some interest and movement to the final circle. I was happy to be able to use a piece from my painted fabric stash as the background. And I can add this piece to my series of full moon quilts.
Thanks for playing along with me! I’ll try to remember to show you the finished piece in a future blogpost.

Happy Creating!
Tesi Vaara

The Curious Case of Percy the Purple Piggy

The Curious Case of Percy the Purple Piggy

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One of the unexpected joys of moving to New Zealand has been discovering fibre retreats.

For some reason, they seemed to be relatively rare in the UK, and when they did happen they were often centred around a tutor-led, multi-day course. They were wonderful, but by the time you added tuition, accommodation and travel, they weren’t exactly budget-friendly.

New Zealand seems to have embraced a different philosophy and I absolutely love it.

Here in Auckland we’ve been lucky enough to have at least 4 fibre retreats every year. Rather than everyone working on the same, tutor-guided project, they’re more like a creative escape. We spend two or three days away together, sharing accommodation, meals and ideas, while everyone works on their own projects.

The best part? Inspiration is wonderfully contagious.

This image has an empty alt attribute; its file name is IMG_4748-2-copy.jpg

Someone will usually demonstrate a technique, that others will then add their own interpretation to, someone will try a different fibre, another will change the resist or shape and someone else will scale it up… and before long half the room is experimenting with the same idea, each taking it in a completely different direction.

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It’s impossible to come home without learning something new. This is a post I wrote after a previous retreat that perfectly demonstrates how everyone will take the same idea and take it in so many different directions my mind boggles.

Of course, retreats aren’t just about making things. They’re about uninterrupted creativity, glasses of wine, home-made cakes, solving each other’s problems, enabling each other’s fibre purchases (“Go on, you know you need it!”), and those conversations that only make sense to fellow fibre enthusiasts.

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Sadly, at our last Auckland Felters retreat we received some disappointing news. Bella Rakha, the retreat centre we’ve called home for years, has been sold, and the new owners won’t be hiring it out.

Our March retreat was our last one there 🙁

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The extensive collection of works made at our last AFF retreat

Finding a replacement is proving much harder than any of us imagined. It turns out we are (mostly) well behaved but rather particular guests.

We need a large hall with hard floors (water and carpet are not natural companions!), comfortable single or twin-share bedrooms rather than bunk rooms, somewhere to prepare or reheat shared meals and enough space for up to 20 felters to spread out with what can only be described as a completely reasonable amount of wool and equipment. 😉

So far we’ve discovered that most venues can offer either the accommodation or the workshop space but rarely both.

I have been contacting boarding schools to see whether they’d hire out their facilities during the holidays. So far… no luck.

Fortunately, Lyndal, one of our AFF members who makes the 1.5 hour journey from Hamilton to Auckland for our regular meetings and retreats, came to the rescue. She found a lovely venue closer to her home and very generously organised a weekend away.

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It cost a little more than Bella Rakha, but the facilities were wonderful. Bright workspaces, comfortable rooms… and, perhaps most excitingly for a group of wet felters, a laundry complete with spin dryers and tumble dryers right next to the hall! Luxury indeed.

Sadly, it’s probably a little too far south to become our permanent home, as it would mean a three-hour drive each way for members travelling from Auckland’s northern suburbs. Some of whom can only attend retreats as day visitors due to family commitments.

Still, every retreat produces at least one memorable story…

This time, mine involved a boring, green plastic mailbox.

I’d decided to make a cover for our rural letterbox in the shape of a purple tabby cat. Everything was progressing beautifully until I fitted the felt over the postbox and discovered I’d positioned the ears incorrectly.

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They were so far apart that my elegant feline looked less like a cat and more like… well… something more porcine.

After a few moments of artistic denial, I accepted the reality.

My purrfect, pampered purple pussy became a pig.

A very cheerful, glittering, purple pig. He looks like he is ready go dancing!

We called him Percy, Percy the Purple Piggy 🙂

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Mr TB sporting traditional Kiwi footwear while installing a worried looking Percy, “Where are you going with that screwdriver?!!”

Even though he isn’t what I imagined when I started this make, I love him to bits and Jaq’s idea to add an ear tag for the house number was inspired!

Perhaps that’s another lesson retreats teach us. Sometimes the best creations aren’t the ones you planned—they’re the ones that happen after you’ve made a mistake and decided to embrace it.

Can You Help?

The search for a new Auckland retreat venue continues.

Do you know of somewhere within an hour’s drive of central Auckland that might suit a group of enthusiastic fibre artists?

We’re looking for:

  • a large hall with hard floors
  • at least 10 single or twin-share bedrooms
  • kitchen or meal facilities
  • somewhere affordable enough to keep retreats accessible

If you know of a retreat centre, boarding school, scout camp, church facility or hidden gem that might fit the bill, we’d love to hear from you. Please leave a comment below or send us a message.

Who knows—you might help us find the next home for many more weekends of creativity, friendship… and the occasional accidental purple pig.

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Summer Fiber Prep has started for 2026

Summer Fiber Prep has started for 2026

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July 17 2026 (how did that arrive so quickly?) I am just back from my Doctor’s appointment (I passed my blood work and am good for another 6 month! still not quite back to normal but moving in the correct direction.) its summer so let’s do some summer things! Ok, so how many fleeces have I collected…. and now need to wash?

Fleece 1 for 2026:

A couple months ago I went south of Ottawa to the town of Spencerville, (it has a very photogenic mill you saw in a post a few years ago as well as a lovely small fiber festival).

brick low building with dubble glass doors and name "Drummond Building" in Spencerville Ontario Canada.1.1) fabulous parking space rite by the door of the event!  We were a bit early.

It was a small but well done event, lots of variety in booths and lots of shopping. From fiber to Yarn to finished products as well as fiber prep and weaving equipment.

5 photos of booths and close ups of the sale in spencervill3 20261.2) a few shots of the sale 2026.

One of the booths had some very nice looking fleeces. I took a few photos there and then kept on with the photo documentation, definitely planning to come back for one of the fleeces.

open bags of various fleeces , close up of 2 bags and th name of the booth 1.3) The Sweet Sheep Co. booth full of bags of fleeces.

I am sure you have already guessed it was an Icelandic cross with lovely shades of tog from white to cream to grey. The thel also had lovely variations. Unfortunately as I returned to buy it, someone had spotted this fine fleece and had the bag in hand, and was BUYING IT!!! I was so disappointed. Oh well, maybe I will get next year’s sheering?

2 people in booth with bags of fleece 1.4) shopping Oops, missed the fleece I had  wanted.

Seeing my obvious disappointment, the vender said she had a smiler Icelandic cross under the table…. It was bigger…. So I stopped the photography, percussed it and added it to the walker! (Ann ran it out to Glenn who was possibly snoozing in the car. Thanks Ann!) It was a much bigger fleece as you will see further down. That should keep me busy this summer.

 

OOPS Fleece #2, 3 and 4:

The local Ottawa Guild was contacted by a sheep farm outside of Ottawa wondering if we wanted their fleeces. They are primarily razed for meat but were described as having good fleeces and some were “not white”. Jean got the message and drove out to pick up the fleeces from the “organic sheep”. They arrived the afternoon of a guild social and we emptied one of the multiple feed  bag stuffed with what we thought was a fleece each,  onto a table to see what the fleeces looked like.  we found there were three fleeces in the first bag. I re-bagged them in clear plastic, so they could be seen, and admired, more easily. I selected two brown fleeces that night,  then the next week picked a black and white fleece which was particularly soft.

1.5 (fleeces in feed bags at studio), 1.6 (photos of the top of 4 of the feed bags showing fleece), 1.7 (the 2 dark brownish fleeces i chose) Organic sheep fleeces Jean picked up for the guild. (There are still a few bags left!)

hand washed samples from one of the dark fleeces also a bit sample of spinning in the greese1.8) sampling one of the fleeces, quick hand wash and mostly dry and sample spin the grease.

I left the two dark fleeces in the side yard, they looked reasonably serkerted, and took the multi-colour fleece to the cottage. Glenn got the 6’ folding table set up on the deck and I spread out the fleece to evaluate.

2.1) Third fleece from the guild it is multi coloured but mostly white and off white. top photo fleece in clear bag, lower foto fleece on table2.1) Third fleece from the guild it is multi coloured but mostly white and off white.

This particular fleece would be called lightly skirted. I did find quite a bit of second cuts, that’s short bits that the sheerer cut a bit high then neatened up the sheep with a second pass of the sheers. I pulled out the second cuts, any vegi matter and a few lumpy brown bits.

  2.2) spread out on the table you can see the fleece is multi-coloured 2.2) spread out on the table you can see the fleece is multi-coloured

3 photos top and to Left close up of fleece, to right purple bucket with wast fibers, and VM2.3) close up of parts of the fleece and bucket of rejected bits

some of the second cuts were longer than i usualy see2.4) second cuts some were longer than i usually see

 2.5) picking and sorting fleece on 6’ table 2 bags of similare fiber are sitting on adjacent chair2.5) picking and sorting fleece on 6’ table

I was sorting the fleece while shaking sections, picking out VM (veggie-matter) and short cuts. Then bagging similar sections of fiber, into clear bags. The local chipmunks and squires will have extra warm homes this coming winter. the Phoebe who had its nest in the corner of the deck was not quite as excited about me using the deck.

small brown song bird called a phoebe sitting on a wooden railing2.6) phoebe on the deck railing

I hit a much cleaner section and was starting to think the fleece wasn’t quite as filled with hay and burrs as I had thought then I noticed the ground…. What a mess! I am just over half way through the fleece. I will keep working on it over the next few weekends when we get down to the cottage (there is a lot of work to do there but this will make a nice brake).

showing deck floor, lots of bits of wool and VM which have escaped the overflowing purple bucket. this is not all the fleece done. 2.7) the deck is a bit of a mess.

I was going to add the fleece bits to the garden, (it will hold water, suppress weeds unless the weed seeds are in the dirty wool, and help feed the plants, well the butt end wool  anyways), but there are quite a few burrs in there. since I don’t want burr plant popping up next year I think the most of the purple bucket will be garbage.

After shaking and picking the next step is a soak in the stock tank to wash it. But I have only 2 small bags of fiber from this fleece well picked and sorted, so I think I will switch to the Icelandic Cross from Spencerville.

 

Stock tank:

You have seen this part before, the 75gallon stock tank is usually used to water livestock, but it makes a great bath to wash fleeces. The larger sizes have a drain to make changing water easier. (they go on sale at the local princess auto so watch there flyers if you are looking for one, you might get lucky and find a second hand one on line.)

3.1) the Black 75 gallon stock tank from Princess Auto, I have added a hose and shut off valve to the drain.3.1) the 75 gallon stock tank from Princess Auto, I have added a hose and shut off valve to the drain.

I have added a hose extension and shut off valve so I can empty most of the water, then tip out the last bit. Other than the first wash (which tends to have a lot of weed seeds and soap.) the rinse water can be used on the flower boxes along the side yard. if the water is quite clean i can reuse it for the next soap batch.

3.2) five strainer buckets soaking in stock tank.3.2) I picked, shook, and pulled out a few burrs from the fleece, and separated the first part of it into five strainer buckets.

3.3) close up of the edge of 2 stainer baskets and very dirty water.3.3) after letting it soak for most of the day the water was very brown.

I found a few spots with Sheep Dandruff but most of the fleece so far looks good.

Once the fleece had soaked and released a lot of the dirt, I lifted each strainer basket, resting it on the edge of the stock tank, and let most of the dirty water drip out.

some of the strainers hanging from hooks along the side yard trellus3.4) once its reasonably less drippy, each was hung up by the side garden.

The first batch of was returned to the stock tank to rinse.  (They were hung up to drip while the water was changed). after the first rinse the soap seem to have left, that was a surprise it usually takes 2 rinses,  so on to the drying racks.

ikea floding drying rack in white mettl and plastic coated wire3.5) I have been using Ikea’s folding laundry drying racks.  

a second smaller wier rack hanging under cover in the side yard3.6) I also put the overflow fiber on the upper drying rack which also dried well.

CLose up of 2 photos of fleece. one sitting on my hand to show the length of staple3.7) here are close ups of the fleece after washing

 

the first batch washed and mostly dry:

This is defiantly part Icelandic, with a dual coat. The tog is quite soft and there is a bit of black kemp-like fiber in arias.

fleece in sunlight showing bits of the kemp within the fiber (black courser hairs but still not too course in this particular fleece)3.8) I may use this part to spin part of the weft for an Icelandic blanket (with tufts of tog).

I am working on washing the second set of strainer baskets. The amount I have left will be 3 or 4 more strainer baskets to finish the fleece off.  so its likely 13 or 14 baskets to wash this one fleece. Oh the tag on the bag said “Icelandic X” 5.20 lbs, “Midnight #44302”.

 

I had better get back to work and switch the second set of strainer baskets while its sunny and not raining. The weather continues to be hot, but occasionally we are getting cooler nights. We have seen signs of the smoke from the forest fires well north of us. The sky spent a day being yellow and we have smelt the smoke as it drifts across the city. I hope they can get it all under control, then out soon. I hope also that the weather is being kind to you and you can do some outside fiber prep.

rhubarb is sprouting new baby leaves in large pot by front door. 4) what odd weather, the rhubarb is starting again in one of its 3 pots?!

felted hydrangeas
Mr Whippy 99 and the Seagull, Printed Fabric and Finished Blooms

Mr Whippy 99 and the Seagull, Printed Fabric and Finished Blooms

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Lyn

Seagulls worldwide are looking forward to easy, rich pickings on ‘Ice Cream Day’.

President Reagan wanted to dedicate a day to one of America’s favourite desserts and it’s now internationally accepted to be the third Sunday in July – this year it falls on the 19th.

So I made a felt sketch to celebrate my favourite ice cream, a Mr Whippy 99!  It’s a traditional ice cream in the UK – soft ice cream twirled into a cone with a stick of Cadbury’s Flake chocolate.  Optional extras are hundreds and thousands or fruit sauces.

Seagull stealing ice cream from a cone

It’s wet felted, using handmade merino felt inlays, then detailed with needle felting when dry.

I wanted the ‘hundreds and thousands’ to be round and clear – had I wet felted them in they would have lost their clarity and been a bit fuzzy.

I tried to needle felt them on but mostly the nepps were too hard to do so.  After a bit of thinking I decided that as the picture was just for me, I would stick them on!

Firstly I tried a sample.  I speared a nepp with a felting needle to dunk it into some neat PVA then pushed it onto some scrap pre-felt using the end of the felting needle.

sticking a nepp to felt

I waited a few hours for it to dry and found that it had stuck well.  So I finished my ice cream … eventually … but it took longer than I anticipated!

With all this hot weather it’s plenty of ice creams in the garden then!  If you have young ones to entertain during the summer holidays, here’s an idea from Anna and Clara.  It’s a fabric printing project involving flowers from the garden, a piece of scrap fabric and a hammer – children love hammering stuff.

The printed fabric can then be used to make, for example, bunting.

https://sostrenegrene.com/en-gb/diy/print-flowers-on-fabric-d-21966

I gave it a quick go but ignored the advice on choice of flowers and I paid the price.  The fushcia was too thick and turned into a splodge!

I picked 2 flowers and 1 leaf to try this project.

2 flowers and 1 leaf

This was the resulting printed fabric.

2 flowers and 1 leaf printed onto fabric

And Annie finally finished her hydrangea picture!  It’s approx 60cm x 85cm (23″ x 33″) and was a bit of trial to complete in a small work space (the space is smaller than it should be cos it’s rammed full of wool and fabrics and other supplies!).  Time to think about some smaller projects for a while!

Annie holding her hydrangea felt to show size

felted hydrangeas

The really hot weather is not so much fun, but enjoy the long days and time in the garden because it won’t be long before we’re moaning about the cold and dark!

 

Technique chat: Shingling

Technique chat: Shingling

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You may have seen my last post, making a fluffy llama. At the end of the last post I still needed to finish his eyes and add eyelashes. Today we were going to consider shingling; adding layers of small amounts of combed fibre or fibre locks in a pattern that mimics the coat on a creature, like that llama I was working on. The fur mimicked by shingling is usually on the longer side, but it can be used for shorter fur too.

When I first started to needle felt, there had been only one option suggested for making a long-ish coat: shingling, with the use of combed top.  I now know a number of variations on this technique and a few other options besides it. But let’s look at where I started and a couple of the variations.

As with all the projects I leap into, after the idea, it starts with a bit of fun research to find out what type of fur you want to mimic.   Remember to check if there is a summer or winter coat, or if there are regional variations to your animal. It will not look right if you mix the coat of a red wolf with a timber wolf, or have a winter coat on the shoulders and summer coat on the back and legs! Google image search will help, but you have to be careful; sometimes the image descriptions for photos on the internet are labelled wrong. Look for sites that are researching the animal, breed associations, or even hunting groups can have some helpful photos (although not the hunting or cooking parts).  It is also helpful to try to get shots from various angles. (I was extremely pleased when I found a picture of the underside of a polar bear foot!)

chart of lengths of coats examples of aimas and techneeks to consider5.0) chart of coats of animals examples and techniques

For those needle felters who don’t mind getting wet, Sara (of Sarafina fiberarts on YouTube) had been experimenting with making “Pelts”, which are wet felted skin pieces she adds over her shaped felt under structure. Her results have been effective and interesting but do involve getting wet (so I have stayed with the dry techniques for now. I promise I will get brave eventually!)

There are a few things to consider beyond just getting the colour you want and deciding on a working direction to add your shingles (bottom to top or top to bottom; I have seen other felters who work in both directions successfully).  Let’s look at some of my variables; you may have more considerations to add to this list.

Variables in shingling you may want to consider:

  • Which fibre will best suit your project (there is more than just colour to think about when picking fiber)
  • Fibre Staple Length
  • Blending your fibres and colours (Blended colour will look more natural than flat colours)
  • What scale to work in/ how big or small is your creature?
  • Working with locks
  • Amount of fibres used in each shingle
  • Stacking your shingles

Let’s expand each consideration.

Which fibre will best suit your project: (there is more than just colour to think about when picking fibre)

  • Stiff or softer fibre will give a different drape (use photo reference to decide which you need).
  • How likely is this fibre to felt to itself from handling or rubbing?
    • This is more important if the creature is repositioned regularly (handled).
    • Silk, viscose, alpaca, and llama don’t have scales as most wool does, so are less inclined to felt to itself. Wool that has less crimp and outer guard hairs like kemp and tog is also less inclined to cling to itself (felt easily) when handled.

amples of viscose fiber folded in 50/50, 25/75, 75/25 proportions as well as a sample using wool to help adhear at the fold location.5.1) samples in viscose

  • Trim or not to trim (embroidery curved blade, dog grooming scissors/ thinning sheers are options)
    • Trimming can occur to shorten the fibre length you are applying, or you can trim the fibres after you have applied the shingles.
    • A stiffer fibre vs a softer fibre will also react differently when trimmed by scissors. Stiff fibres can give a more bristle-like appearance when trimmed short.
  • Silk, Viscose and similar smooth fibres can be difficult to attach securely to the felted under structure:
    • Adding a bit of carded wool or soft spun wool yarn to the area you are securing will help adhere the slippery fibre, like a staple or glue. (You may not need to add assistance to adhere if you are finding it is embedding deeply and securely. Working the fibre in a bit deeper and varying the angle of needle insertion will help it stay without adding extra fibre as glue. If you can’t work a bit deeper, then try adding the staple or glue-like bit of fibre. Remember the extra embedding to secure the fibre will shorten the staple length showing as fur.

diagram devided 50/50 showing needle felting perpendicular to fiber lenght5.2 – fibre divided 50/50 felting across to create the shingle

5.3) Add a bit of carded wool or loose spun yarn to attach as glue or a staple to hold the shingle5.3) Add a bit of carded wool or loose spun yarn to attach as glue or a staple to hold the shingle

5.4)Alpaca fiber; folded, tacking folded fiber, and using extra fiber to help hold slippery fiber (staple or glue using loose spun wool yarn or carded fiber)5.4)Alpaca fibre; folded, tacking folded fibre, and using extra fibre to help hold slippery fibre (staple or glue using loose spun wool yarn or carded fibre)

5.5) Sample using Viscose5.5) sample using Viscose

Using a bit of carded wool as a stable, to help embed the viscose fibre. While a bit of the staple or glue fibre is visible in the sample, using a similar colour as the shingle will make the assisting fibre or yarn invisible. The next layer of shingle will also obscure the previous attachment site.

5.6) using a wider attachment area for slippery fiber5.6) For slippery fiber you can also create a wider attachment area

Fibre Staple Length

  • If folded, what percentage of the fibre is used.
    • Folded in half (50/50 split) was what was first suggested to me. This can create a lot of loft or thickness in the shingle. If folded so cut end is under tips, it will lift the tips and give a thick dense coat.
    • Folded (25/75) folded tips on top of longer cut end, gives tips dispersed amongst longer cut end.
    • Folded (75/25) folded longer tips on top of cut end, gives lift from the cut end with longer draping tips.
    • * You can also use almost all your fibre as coat, and only secure one end (90/10). This is not exactly a folded shingle, but in some cases it’s the proportions that work. You still position it overlapping, as you would in any of the other shingles.

samples of alpaca fiber, various proportions folded6.1) alpaca samples

  • Single needle line of attachment or wider area of needle attachment (for slippery fibre, the wider attachment site can again help the fibre stay attached to your creature)
  • Using scissors to shorten the fibre length if needed (we are felters and like scissors!). If you are using combed top, it is easier if you pull off staple lengths then trim, rather than cutting the combed top itself, which will give mixed lengths to deal with (harder to blend and attach)

Pros:

  • Twice as fast (except for (90/10))
  • Under layer can lift the top layer and make a fluffy-looking coat
  • Works well for large colour gradations

Cons:

  • Can become heavy-looking depending on the scale of the sculpture
  • Can create small colour changes but can be a bit tricky to get exact location
  • Fluffy look can be out of scale to smaller figures.

 

Blending your fibres and colours (Blended colour will look more natural than flat colours)

  • Using the same fibre length will blend easily and produce a uniform length of coat.
  • Nature is not flat colour. It helps to mix shades and tints of colour to make your creature look more realistic. (Dyeing over a natural grey fibre will also give more depth and subtle variations within the colour)
  • Matching colours can be easier if you use a “window”. Cut out a small square in a piece of white or black card stock, leaving at least a 2-inch border to separate the window from the rest of the picture. This lets your eye and brain separate the isolated colour from the background, which makes it easier to colour match.
  • Areas with spots of colour change can be easier if switching to smaller amounts of fibre in your shingles (many little shingles). Your other option is to carefully blend the colour changes within the larger staples. The difference is more about the amount of control, suggesting a colour change or spots vs trying to mimic a specific animal’s colour patterns.
  • For stripes, you could try to lay in following the colour pattern. I have seen a felter who drew the pattern on her animal then just filled in each adjacent colour section, slowly working up the side of the animal.

blending colours of muskox fur. used alpaca to creat the fur7.0) muskox layers of alpaca to make the muskox coat

What scale to work in/ how big or small is your creature?

  • Smaller will have less detail but will need to suggest more with what you have. You will also have to use shorter fibers or trim to get the fur in proportion to the size of your creature.
  • Larger can have more detail but will require more work and attention to photo reference. Enjoy the process of needle felting and don’t rush.
  • As an example of scale, my fox picture has a problem with the whiskers. They are the wrong scale to the image. I used horsetail fibre for the whiskers, and the size is too light in visual weight. I need to find something a bit visually heavier ether a coarser horse tail or possibly the outer coat of a musk ox. I have heard of felters using the bristles from paint brushes (the house painting kind) as whiskers too. (The awl and glue method was used with the paint brush bristles. I used a large eye sewing needle to secure the horse hair.)

7.1) the visual weight of the whiskers is too light for the scale of the image7.1) the visual weight of the whiskers is too light for the scale of the image

 

Working with locks

  • Which part(s) of the fibre are you using, Tips only, tips and tails?

8.11-8.12-8.13) Samples with locks

  • Locks with crimp are easier to attach than locks with less crimp, like the hair I used on my Mer-people. It’s not a huge difference, but remember to check the fibre is adhering securely and will suit the purpose you intend to use it for. If your creature’s purpose is to sit in one pose on a shelf, you will not need the same security of attachment that a creature that is regularly reposed would require.
  • Crimpy curly little locks make fabulous outer coats for little sheep figures and pins. If you find little short locks with lots of crimp, put them aside for a later project if you don’t need them now.

 

Amount of fibres used in each shingle

  • Are you making a puff ball or something sleek? Sample thin layers of shingles vs fewer thicker layers. You may also find the thin layers helpful if you are working with stripes or subtle colour changes.

shows soap on a rope hedgehog wet felted understructure then needle fleted brisles9.1) ”Crevis” is a soap on a rope hedgehog. I used stiffer fibre and packed it quite tightly to give good scrub-ability. I had fun mixing light colours around the face. I wanted more of an emotional expression of hedgehog rather than an anatomical Hedgehog, since his soapy centre is rectangular and rather flat.

 

Stacking your shingles (patterns)

  • You also can change either the spacing of the shingles or the way the shingles are staggered; (stacked / offset(running bond) / 1/3 offset/shingle pattern / random placement). Looking at the way tile is laid out can give a good reference for shingling patterns. Again, a bit of quick sampling will suggest your best option.

10.1) Wooden shingles, layers offset each row, not necessarily the same size adjacent shingle.10.1) Wooden shingles, layers offset each row, not necessarily the same size adjacent shingle.

tile patterns that we can use with shingleing10.2) patterns of subway tile to consider for felting layouts (Straight stack, offset or running bond, 1/3 offset)

10.3) alpaca shingle samples spacing10.3) alpaca shingle samples spacing

10.4) Alpaca shingle sample of spacing- side view10.4) Alpaca shingle sample of spacing- side view

  • Direction of work: Start from lowest furred area, working to highest, or the other way around. Both work; I just found the former easier than the latter, which requires you to lift the shingles above to position the next below. An example of starting at the lowest point and working up and forward would be my partly 3-D Muskox picture. I also check and see if there is a direction of hair growth and hair fall. This could indicate the direction to lay in the fur.
  • How much fibre will you use in each shingle section? If you have areas that have denser fur and areas that are sparser, you may be altering how much you use in different areas and /or the shingle pattern you chose to follow. An example of variations of fur on a single creature would be a Bison or Buffalo. You may also want to use different fibres to mimic the different sections (longer, softer and shorter, stiffer fibre). As long as the colours for the different fibres work cohesively together, your creature will look realistic.

 

There is also a way to add locks without shingling to create the illusion of fur. I used it to create part of the sheep pins, and Ann uses it on her little sheep figures. Those tiny crimpy curly locks are layered over the surface of the creature in swirls, then tacked down, catching bits of the crimp locks.

10.5) Ann’s Sheep using tight crimpy locks to creat the fur/fleece.10.5) Ann’s Sheep using tight crimpy locks to create the fur/fleece.

 

Let’s take a quick look at some of the tools I have collected that can be helpful when adding a needle felted fur to a creature.

Tools that may be helpful: (new toys you might like to try)

  • Sharp embroidery scissors: straight and curved bladed
    • Excellent for careful trimming and getting into difficult spots. The curvature can mimic the curve of your creature. There are various amounts of curvature and length of blade available, so it’s nice to have a couple choices.

11.1) there are a few brands of curved embroidery scissors, as well as fine sewing scissors and curved blade pet trimming scissor11.1) There are a few brands of curved embroidery scissors, as well as fine sewing scissors and curved blade pet trimming scissors

  • Pet trimming scissors for thinning coats/salon version for people (look like they have notches along one blade). They are used to thin bulk along the side of hair or at the ends, also for blend transitions, or give movement to hair. They are used teeth side on top and usually at an angle to the hair (perpendicular can give harsher lines if over trimmed).

11.2)Thinning scissors have different teeth spacing that removes different amounts of hair.11.2)Thinning scissors have different teeth spacing that removes different amounts of hair.

If you are really curious, this is a quick video on using them. https://www.youtube.com/watch?v=lEqi7qfZyOY

  • Eyebrow brush and comb (weird original idea, but great for felting). This tiny brush and comb allows you to do small adjustments to your creature’s coat. I saw a tiny mettle comb version, but haven’t seen it again now that I have a use for it.

11.3) Eye brow tools11.3) Eyebrow tools

  • Eyebrow trimmer – strange razor trimmer (again, why is this a thing? Ok I admit my eyebrows never fully arrived so why trim them? What if trimming scares them away and I wind up with none?!) Again, an option for doing fine trimming and adjusting.
  • The puffer for blowing lint off your camera lenses; it can help to fluff up a coat or blow out trimmed hairs after using the scissors. It comes in a number of variations, including an electric version that may blow away your creature!

11.4) air blower, originally for cleaning camera equipment11.4) air blower, originally for cleaning camera equipment

  • You could even consider Hair spray or styling gel, but sample first; you don’t want fibre to yellow over time!! (I was a cheap art student (many years ago) and some of the very cheap hair spray we used as fixative did yellow the pastel paper.)

 

I hope this has sparked a few ideas to consider when adding fur on your creatures. I am sure I had more to add, but the AC seems to be struggling; ok, it’s give up, since it is almost 30C in the house.  You may have more options or tools to share; please add your suggestions too.

I hope you have found a cool, possibly air-conditioned spot to felt.  Ottawa has been hot with repeated waves of aggressive thunderstorms and flooding (the street west of us had flooded basements; Glenn said ours is still dry, but we did lose the cover to our side door).  If you are South of us celebrating your 250th birthday, have fun on the 4th, and hopefully you will get to enjoy your fireworks. Canada Day had spectacular thunderstorms, but fireworks would have been more fun.  Have fun, stay cool and keep felting.