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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.

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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.

 

There is a wet felted and stitched bookmark by Kiki Peruzzi. It is an abstract landscape in blues and lilacs, with two plum boats with shiny white stitched sails at the center and right of the bottom part.
Preparing for an Art Trail: earrings, bookmarks and other fast projects

Preparing for an Art Trail: earrings, bookmarks and other fast projects

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Hello!

This post will be about a few different projects that I am into: as they are all small and easy projects, maybe you will get inspired to try out your own version of them as well.

I am participating to an Art Trail in my area, it is a big event in our neck of woods: it is my second time and I think that I have a better feel for what I need to prepare for it. That is, small usable felt things, that can be added to what I have left from last year, that I can easily bring to our venue by public transport (I do not have a car, I live in Greater London, UK and using public transport is a sensible choice to avoid traffic and steep charges) and that I can sell for a reasonable price. As it is not a Fine Art Only event, but more of a festival celebrating the creativity of all the people living in our Borough, any craft is encouraged and stalls can also sport a mixture of fine art and craft as mine will be.

Last year I sold a few of my wet felted earrings, so this year I spent a bit of time in making a few more but with needle felting: it was very quick, I enjoyed the needle felting practice, and I feel that I can keep to a low price for them.

Here are the pairs that I have made so far (the flowers on the top rows and the blue hearts) with the ones that I have left from last year:

Eight pairs of colorful felted earrings are displayed on a black board that is held up by a hand
They were really a breeze to make, while I was stewarding for my last group exhibition.

I also wanted to bring the blue loop scarf and the yellow lightweight scarf that were shown in previous posts, as loop scarves were admired last year (though I did not sell them very well, but who knows, maybe this year I will) and I will add to them this new lightweight scarf that I made with the recycled banana yarn used as yarn for decoration:

Part of a salmon light scarf with wavy colored yarn, wet felted by Kiki Peruzzi, is visible on a clothes rack.
I loved the salmon colour and itched to use it.

It was pretty awkward to pair a very small amount of wool with the chunky yarn, it was really an experiment. I thought that maybe the yarn could give the wool a little bit more structure, but I am wary that the yarn will actually be a weak point of stress for the wool, and pull the wool apart quicker. Anyway, it was more work than I expected, as the wool was so thin that the yarn was not well felt in in places, so I had to needle felt the yarn in after drying it, and then cut all the hairy wool sticking out from the places that I had needle felted. I will maybe not do it in the same way another time: I could either go for a thicker wool layout or maybe sandwich the yarn in between two lightweight layers of wool.

I also am trying out an idea that I have seen from a British artist and crafter on Instagram, Maxine Smith  @tillyteadance. She makes those lovely bookmarks in her very colourful style with a mix of wetfelting and machine stitching, with hand embroidered or needle felted details. You can have a glimpse at the process in her posts: she seems to make a full rectangle of wet felted and machine stitched background, then cuts all the bookmarks from that single rectangles with a rotary cutter, adds some details and finishes each bookmark by stitching all the edges.

I thought that I could try my hand at it, and see if it makes the bookmark making more time effective for commercial purposes. And, to be honest, it seemed like fun. My brother had this game when we were little: a lot of scenes on paper strips that you could combine to make an always different composition that told an always changing story. Here, I was picturing something like that, but made of felt.

Of course, I do not have a sewing machine, so my stitching was going to be very limited. I am also much less of a figurative artist than Maxine Smith is, and much less of a cheerful disposition. Here is what I made, with merino wool and a few scraps of a pale blue scarf (possibly silk, I do not know, it was a charity shop find):

Four small rectangles of wet felt that will be background for bookmarks are on a light blue surface. the pieces are in light and darker blues and lilac, with accents of plum here and there to suggest details on a landscape.
Here are my background rectangles cut from the original sheet.

Then I had to make each one meaningful with some stitching (as less as possible) and have them tell a different story each. I also was keen on keeping them as abstract as possible, because I love that opening up of possible meanings.

Here are the stitched bookmarks as of now:

There is a wet felted and stitched bookmark by Kiki Peruzzi. It is an abstract landscape in blues and lilacs, with two plum boats with shiny white stitched sails at the center and right of the bottom part.
This is the most peaceful, maybe: just two little boats with shiny sails floating on a limitless sea..
This is a wet felted bookmark by Kiki Peruzzi. On the left bottom corner there is a light blue and plum shape resembling a bird, and on the left upper side there is a plum stitched sun.
This is the most disquieting of the four, but it just came out this way, and who knows, maybe someone out there would like a bird (pigeon? bird of prey?no idea) for their bookmark. My husband says that the bird shape is an alien life form under an alien sun: well, who knows, it could be.
There is a wet felted and stitched bookmark by Kiki Peruzzi showing an abstract landscape in different blues and lilac with a lone bush or tree shape in plum at the center left and a small house shape on its right, on what look like gentle hills. A moon stitched in shiny white thread is on the upper right.
This was meant to be an abstract landscape at night, so I stitched a moon in shiny DMC Diamant thread.
A wet felted and stitched bookmark by Kiki Peruzzi featuring an abstract landscape in blue and lilac, with a sun in plum on the upper right side, and shape resembling a solitary person on a path on the right side at the bottom.
This is lonesome or purposeful and dreamy, depending on what you feel it represents.

I have to hand stitch all the edges now, but I need to go and buy some good thread in the right colour at my local shop. I would like it to be pale blue or something like that, and I do not have embroidery thread in that colour.

An issue that I have with them is that they are not stiff. The ones that Maxine Smith shows are properly stiff: I think that part of it is due to the extensive machine stitching, part to the fact that, on second watching, I noticed that she made thicker felt to begin with. I have no idea if she puts some stiff backing or if she uses a PVA glue bath to increase stiffness. Now, I am thinking about what I can do to increase my bookmark stiffness without spending too much time on them. My friends say that they are fine as thickness goes, and I believe a bulkier bookmark is not super easy to use inside a book, so I am not inclined to add felt to them on their back. I maybe will try with the PVA glue bath. Some of my friends also do not see why they should be stiffer, so there you go, I could leave them as they are, and simply display them on a paper backing with a couple of temporary stitches to keep them upright. What do you think?

I have made a couple more small abstract landscapes in unusual colours, similar to those that I have shown in my last post, and I have not added stitched details to them, yet:

A small wet felted abstract landscape with a light green sky with accents of turquoise and white and a white sun, and a reddish ground.
This one has more sky and less ground, and I placed a round piece of silk rods up there on the right to make the sun.
A small wet felted abstract landscape with a reddish ground and turquoise and light green sky.
This one is slightly more square and has more ground/sea/whatever than sky. Or I can always turn it upside down.

Which details would you think for them? I am very undecided.

Another thing that I am preparing is my contribution to the fundraiser for the charity Ealing Food Bank in this edition of the Art Trail. Last year, the artists from the Art Trail were encouraged to donate a small piece on the theme “Home” to be exhibited at a special venue and sold for a homeless charity: it went very well, so this year we are doing it again, for a different charity. The theme this year is “Food for Thought”, of course, but the requirements for entry are the same: it must be a square piece 20cm by 20 cm (about 7.8 inches), and they are going to give us the canvas, if needed.

They are going to provide us the canvas later on, but I have the advantage that I can complete my piece with no canvas at all, and then just stitch my work on the canvas when I will have it.

I started with the idea of a still life with fruits and vegetables on it: I do not know, I think about still lifes a lot these days (see my last post). I was not feeling like making it in wet felt, I do not know, it did not feel like the right thing, I wanted more of a sculptural piece and I went for needle felting.

Firstly, I prepared a wet felted background with some “wool for felting” that I had as a gift from a friend: I have no idea which kind of wool that is, so I seldom use it, but for this it seemed perfect, as it is very natural (I do not think that it is dyed) and in different gradation of natural whites and browns.

A wet felted small square background is on a pale blue surface. The square is in shades of natural white and brown, darker on the right side.
This is the background that I felted.

Then, I decided that I needed a real life reference, so I got out some peppers, an apple and a small bowl. I experimented with adding some green vegetables like cucumber or lettuce, but it was not working well, too big maybe. I wanted some green grapes to drape over the peppers and apple, but I had none in the fridge, so I just simulated it with a small vessel that has long curly locks hanging from it.

There is a small black and white bowl on a light blue sofa. In it there are a yellow and orange pepper, a red apple, and barely visible a green pepper, and there are fuchsia wool locks over all of the vegetables. In the background there are cushions in a chaos.
Yes, I know, it is nothing like green grapes. And sorry about the background chaos of cushions.

Well, then I started making the shapes in core wool, thinking that I was going to cover them with dyed Merino afterwards.

There is a shape in white core wool that is being needle felted on a felting pad while a hand is keeping it steady.
Let’s start from the pepper, as I like the pepper.

Going on with the shapes, I wanted to better visualise how they were going to fit with each other, so I placed them on the background and then loosely needle felted them one to the other.

A white pepper shape made with needle felt out of wool is on a wet felted background in tones of natural white and brown.
White pepper on background.
A white pepper shape and half an apple shape made by needle felting wool are on a wet felted background in natural whites and browns
Pepper and the apple.
Three white shapes of vegetables needle felted in white wool are on a wet felted background in natural whites and browns.
Pepper, apple and hint of second pepper in the background.
There is a light green felting pad in the center, with grapes being needle felted in white wool on it. A hand holding a small tub of needles is on the left side. A bowl with brightly colored peppers and apple is on the upper left side, and shapes os peppers and apple in white wool are on the right upper side over a wet felted background in browns and natural whites.
Making grapes while thinking “What a brilliant idea, so fast to make!” or something like, if you get my irony and already know the nice words.

The grapes were a bit more time consuming, but when I saw the whole together I started thinking that I liked the whole as it was, white and almost ghostly. I feel that it is clear what the shapes are, even without colour, when seen in person. The photos get a bit confusing, to be honest.

A felted piece by Kiki Peruzzi is held up by a hand. It features white organic needle felted shapes of fruits and vegetables on a natural white and brown wet felted background.
I admit that it is unusual, as still life, a bit ghostly maybe, but that was the point of still lifes, to play with the concept of life and death by hinting at them. It is better in person than in photos, though, as the sculptural quality of the piece does not show well on camera.

So, in the end, I needle felted it all to the background and I will call it something like “I miss you”, because it made me think about a friend who recently passed away: she was a keen grower of vegetables in her allotment, and also still lifes are supposed to hint about life and death, and she passed away way too young, way too early, a typical theme for still lifes.

Another friend gave me the idea of felting coasters: it is maybe weird, but I am not one of the tons of people using coasters, so I had never really thought about making some, but it is actually quite fast and fun to make them, and it probably makes a lot of commercial sense (we will see if they sell well..).

Here are two sets of four coasters that I made recently:

On a marble-like top table there are two sets of four coasters in felt, they both have a white background and brushes of bright colors: pink and teal, and yellow or lilac depending on the set.
I went for bright cheerful colours this time.

I will go on making a few more pieces for the Art Trail event, there is still time until September, and I hope to finish the ones that need a bit of working on, but this is it for now: I hope that you like what I have made so far.

Kiki

@kiki.textile.art

http://www.kikistextileart.com

Bountiful Botanicals Exhibition at Lincoln Cathedral

Bountiful Botanicals Exhibition at Lincoln Cathedral

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Last Monday the Lincolnshire Textile groups Bountiful Botanicals exhibition was opened to the public in the Chapter House of Lincoln Cathedral. We always feature a central group piece and this year it consisted of a large vase framed by a floral arch which was adorned with individual flowers created by our members using a wide variety of materials, colours and techniques.

This can be a tricky venue for displaying textile art due to the fact that the Chapter House is not brightly lit and very little natural light filters through the stained glass plus there are limitations regards hanging the work. That said the team putting up the displays always do a wonderful job and once again we’ve had some fabulous feedback from visitors. These are just a few of the pieces that were on display…..

  • WDO CAMERA
 

There was a wedding taking place in the Cathedral yesterday and the members who were stewarding were paid a surprise visit by the Bride and Groom who had heard about the arch and were keen to pose for photos under it. I’m only sorry I cant give the happy couple a name check but if by any chance its you and you see this post we wish you all the best!

Unfortunately I haven’t been able to visit this years exhibition, the images I’m using have been to sent me from another member, so it was a lovely surprise to see several beautiful pieces on display that members had created as a result of attending my Tall Trees workshop in 2024

 

My submission was this wired 3d Tyvek fabric Iris.

Also this week I took part in two competitions that were held at the annual Lincolnshire Show. This is an event I used to love to attend when I was younger but at some point it must have lost its appeal as it dawned on me that it must be forty years since I was last there! Anyway, my friend Lucy told me a couple of months back about a craft competition she was taking part in with all entries featuring as part of a two day display in the huge Floral Marquee. Everyone entering a piece of work would automatically be sent two free Show tickets, it wasn’t dependent on winning, simply entering any of the numerous categories would ensure your free tickets so that sounded like a win-win idea to me! Each theme had its own criteria regards size and all entries were to be created using mainly plant based materials. Loving a challenge I chose to enter two categories, the first being “If The Shoe Fits”, which Lucy was also entering, plus a category to create a Necklace titled “Cartier, Tiffany, Chanel or….” We were given a huge list of what “plant based” materials would be accepted including cotton fabrics & threads, paper & cardboard, all cellulose fibres, wood, etc, and there were a few things on the list that wouldn’t have occurred to me including latex balloons, birds nests, cereals and pasta!

So knowing I wanted my two pieces to have a woodland theme I began with a walk in the local woods looking for inspiration and foraged various plant based bits including different types of tree bark, acorn hats, small twigs and tiny fir cones.

Having measured the length and width of one of my shoes I knew it would just fit in the space allocated so used that as a template to create a padded, stitched cotton fabric sole. One of the little twigs found on my walk was the perfect shape and size for the heel so that got added next. I spent a while cleaning up pieces of Birch bark and then applied acrylic medium to make it supple before glueing it on as the shoe insole, along with a little bit of moss. The leaves were all made using free motion stitch on water soluble fabric and by ensuring some of the glue remained on the stitching after rinsing I was able to form the shape I wanted the leaves to be by wrapping them around my “real” shoe. Once the shoe had been assembled the little flowers were created from frayed cotton fabric and wired in place.

 

There were some impressive entries in the Shoe category, and sadly my submission didn’t get placed, but it was great to see that Lucy’s amazing “paper” Walking Boot won first prize. In fact it looked so real that I overheard a lady telling her friend that someone had “obviously simply pasted paper on to a boot!” I was so pleased I could put her right and say I saw it being made and the whole thing was entirely made from paper! The look on her face was priceless!

As the deadline for submissions was looming I realized I didn’t have time to procrastinate over the design of my necklace. This would have to be a very quick and easy project so I made a base of soaked Kozo fibre and attached some of the bark and other left over bits that were on my table. The asymmetrical shape came together very quickly but it was lacking a bit of bling so I used a little gold and bronze metallic paint to bring it to life.

With it being a rushed job I didn’t think for one minute it would receive any votes so it was nice to discover it had taken third place!

I’ll leave you with the stunning exhibit that won first prize under the theme of Catwalk Queen and also won Best in Show…….

 

 

 

Anyone for Kinusaiga – a crash course?

Anyone for Kinusaiga – a crash course?

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Recently, a friend of mine mentioned that she was heading to a class to explore Joomchi. It is something that I would be interested in learning about but I have enough rabbit holes in my life at the moment. Curious (for future reference) I asked about the venue and headed online to check it out. I was scrolling through the lovely website and I came across a different course, one offering a three hour session on Kinusaiga. The photos of the finished work were really attractive but I got a bit of a shock when I saw the cost, which I considered prohibitive to most people. So out of principle, I decided to give it a miss. But my curiosity was roused at that stage so I googled the term and found many videos on YouTube. I can’t attribute my new knowledge to just one of these videos as presenters had their own view of what to look out for when making Kinusaiga. So this post is an amalgamation of my learning from my short visit into the rabbit hole.

Kinusaiga originated in Japan and is a form of fabric collage. It is a great way to use up fabric scraps and I found the whole process quite meditative and enjoyable. The process involves drawing a simple pattern which is transferred onto a foam block which has been covered in double sided sticky paper. Each section of the design is treated as a pattern piece which is used as a basis for a shape cut from fabric. You add on extra fabric to the shape to allow for tucking into the foam block so that none of the raw edges are showing. The sticky background holds everything in place. I think it’s probably easier to explain if I go through it step by step. I improvised with my materials as I wanted to produce my picture from stuff I already had. This might suit but you can buy kits online – I checked some out but I found them very expensive for what was on offer.

Materials:

  • Foam board – I used leftover scraps from the board I use when I am framing pieces but thicker is ideal if you have it to hand as there is less likelihood that you will pierce the back of the board.
  • 2 sided sticky paper. One side will stick to the board and one side to your fabric to keep it in place. I used some 2 sided sticky tape that I had left over from sticking down a floor rug.
  • Craft knife.
  • Metal nail file (one with a pointy end) or sharp small scissors (like an embroidery scissors).
  • Paper and pencil (for drawing your pattern)
  • Marker (for example a Sharpie pen) to outline your final drawing.
  • Fabric scraps (I used fabric I had left over from my mask making days of the early 2020’s)
  • 2 Scissors one for paper and one for fabric cutting.
  • 2 sided selotape

The how to:

Step 1

Sketch a very simple design being mindful that each outline is going to become a cutout. I used a two sided felted mobile that I made some years ago as my starting point:

My inspiration was based off a felted mobile I made some time ago

Here is my outline:

simple recreation of the chosen design

Step 2

Now number each section that you are going to cut out and take a photo of this for reference:

Here I numbered all the pieces and took a photo for reference

Step 3

Stick the two sided sticky paper or tape to the foam board, leaving the protective cover on the top layer of the paper/tape (I did not take a photo of this but you can see it in the next photo)

Step 4

Place the drawing on top of your covered foam board and secure. Cut through each of the shapes using your craft knife. Be careful with the knife and make sure it pierces through the sticky paper/tape and through the foam BUT that it does not pierce the back side of the foam board. Set aside each of the cut pieces of your design (now you can see why it is helpful to number them).

The drawing was secured on the foam and each section was cut out
with an imprint left on the foam block

Step 5

Choose fabrics from your stash that you feel will look pleasing together

my selection of fabrics

photo

Step 6

Start cutting out your shapes making sure that you allow extra fabric so that you can push this down the side of the corresponding cut in the foam board. Remove the cover off the sticky paper/tape (my tape was blue so it is easy to see this in the photo)

Inserting the first shape (the blue is the sticky tape)

Step 7

Align your shape so that you have enough fabric to push down the side of the foam board. Use your metal nail file or your small scissors to do this. Carefully trim off any excess if you find that the allowance is too big.

first piece inserted

Be sure to work methodically when securing the fabric. It makes it easier to complete and you can see your picture build up, which is nice. I was unhappy with one of my fabric choices when I laid them down initially so I was able to change them – the materials were very forgiving. One of the photos has an arrow on it to show where I changed my mind about a particular fabric.

  • first piece inserted
  • building the picture

Step 8

Finally secure the overhang at the side of your picture to the back with double sided sticky tape. Add a frame if you fancy. My fabrics were chosen at random from the stash so are a tad garish. It’s far from perfect but not too bad for a first try. Also, looking at the last photo I see I could have ironed some of the fabric before I used them, but sometimes it is good for me to leave precision behind and just go have fun.

finished picture

I hope this is a project you will try. It is fun, mindful and quick to complete. Let me know what you think and be sure to post your work so that we can include them in the gallery.

Helene x

A Sphere within a Sphere

A Sphere within a Sphere

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Ever since I saw the December 2024 issue of “Felt Matters”, the magazine produced by the International Feltmakers Association, my interest in making felted lights has been rekindled.  Since several recent posts have included confessions of failed projects, I thought I’d add mine to the list.

I started off making small globe lights by covering small spherical glass bowls in felt and placing them upside down on a felted base on which I had a magnetic puck light.  (I’d sewn lids from baked bean cans – painted to match the felt globe cover, to the base for the lights to “stick” to.)  These actually worked well.

I only had three bowls so had to look for a different design for the next light

. For some time I have been fascinated by the idea of making a sphere within a sphere in felt and have been racking my brain trying to work out how to do it. I finally decided that I could use a resist consisting of a large circle and a smaller circle joined together by a “neck”. Once felted it should be possible to push the smaller sphere through the neck into the larger sphere and the whole thing would sit on the base of the neck.

shows an empty Royal Canin cat food bag with the “dumbell” shape of the resist drawn on it.
The cat food bag resist. I use these bags for resists as they are flexible but a bit stronger than the foam underlay which seems to be quite popular these days. I haven’t torn one extracting it from felt – yet 🤫

If I made the neck wide enough then I should be able to push a light source inside the inner sphere.  This of course would mean that the outer sphere would need to be pierced in some way so that the inner sphere could be seen and, hopefully, the light shine through when turned on.  The resist could be removed from the whole thing through the piercing, and the outer sphere could be fulled using tools through the piercings.  The inner sphere could be fulled before being inserted into the outer by having a balloon inserted through one of the piercings and then the neck and inflated.  Alternatively, once the outer sphere was completely fulled, the inner sphere could be inverted and inserted into it and a balloon inserted through the neck. That would probably be better as otherwise the inner sphere might end up bigger than the outer – something to be avoided.

Next I cogitated on the steps necessary for the idea to work.  The inner sphere would need to be of fine felt for the light to shine through, but of course it would not be strong enough to keep its shape without some assistance.  I then wondered if some help here might be given by incorporating nuno felting fabric.  If most of the fabric had little or no fibres attached the light might shine through there, and of course I could always resort to PVA glue to help with the strength.  After several sessions of trying to visualise the process 🤔😓 I worked out that the inner sphere would be turned inside out when it was pushed through the neck into the outer.  So I would need to place the fabric face down to the resist with some fibres underneath as well as on the back, especially at the fabric edges, to make sure that it all combined when felted.

As for the outer sphere, I thought that this should be much thicker felt so that it would keep it’s shape on its own, and perhaps have a different fabric included. I debated whether to have the fabric on the outside or the inside or perhaps both.  In the end I decided I’d have it on the outside only and I could cut some shapes in the outer sphere for the inner sphere and the light to be seen through.

Next I set about choosing the fibres and fabrics I would use.

I knew that the fabric with the coloured stripes (from a charity/thrift shop blouse) would felt very easily even though I thought it was polyester, or possibly viscose, as I had used it before.  I had not used the flowered fabric before (from another charity/thrift shop blouse) but I was sure that it would felt because I had used a very similar fabric with great success.  I had mixed some merino fibres to match the colours in the striped fabric and would use that for the smaller sphere.  For the larger sphere, I had some darker coloured fibres which were coarser than the merino, and I thought that they would make a stronger felt, and they were exactly the right colour to go with the nuno fabric.  I would use those fibres for the neck of the resist as well.

Here are the progress pictures:

I set about the felting with a will.  I had no trouble with the smaller sphere, it felted very (too?) easily, but I was having trouble with the other end.  I just supposed that the courser fibres needed a little more elbow grease.  I tried the usual trick of just leaving it to settle and going back to it next day.

Ha! Here’s what I found:

showing the larger circle on the other end of the resist with fibres and fabric beginning to pull away.
Felting failure of the larger sphere.

The fibres hadn’t even skinned over, let alone penetrated the fabric.  So I took a small amount of the remaining fibres and did what I should have done before I used them – tried to felt a ball.  No, I couldn’t.  So I took off all the fibres from that end and the neck of the resist.

showing fibres and fabric removed from the larger circle of the resist
The fibres and fabric which practically fell off the resist without any help from me.

I really don’t know what the fibres were.  I suppose they could have been mohair or superwash. I was really annoyed with myself.  As I didn’t know what the fibres were or where I’d got them from (possibly a Guild sales table) I should have done the felt test before I used them.  I was even more annoyed because I did not have any other fibres the same colour and it did match the fabric I wanted to use. 🤬

On closer inspection I found that the fibres were in fact a blend of several colours, so I collected together some known merino fibres that should make a similar blend and set to on my drum carder.

I was still thinking about cutting shapes out of the outer sphere once it was felted and I decided to have a go at putting supplementary resists between the fabric and the fibres so that I would be able to cut paisley shapes.

Having cut these shapes out of masking tape and stuck them onto the fabric I then realised that I was probably going to have difficulty in making the cuts while the main resist was still inside the felted shape.  I was just about ready to give up at this stage.  But, gritting my teeth, I decided that I would not do nuno felt on the outer sphere, I’d get some thin lengths of merino in the colours of the nuno fabric on the inner sphere, use those for surface decoration and decide later on the type of cuts I would do.  That also meant that I would need to darken the blend of merino fibres I’d created for the outer sphere otherwise the decoration wouldn’t be very visible.

showing a batt of fibres with smaller sections of different coloured tops resting on top of the resist
The slightly darkened batt plus the sections of tops from which I pulled thin lengths for the 3rd attempt at covering the larger sphere.

Fibres laid out and felted ready for final fulling, I decided that I would make a cut in the neck of the shape to take the resist out.

That way I did not need to decide on the cuts I would make to the outer sphere yet. Once I’d completed the fulling I’d stitch up the cut.  Also I would need to turn the inner sphere inside out to see if my nuno idea had worked and if it needed anything doing to before it was pushed inside the outer sphere, and I could do that through the neck cut.

showing the felted shape, resist removed and a balloon inflating the smaller sphere
The felted shape with the larger sphere cut to represent sepals and the smaller end with balloon inflated.

It was as well that I did as, even though I did not use much merino, the fabric was almost obscured by the felt.  Out came the razor and the balloon.  I inserted and inflated the balloon and set to to give the sphere a shave.  Perhaps I should have asked my husband to do the shaving, though he’s had a beard for the last 50 odd years so he might have made as big a hash of it as I did.  Good job fabric doesn’t bleed!

I gave up at that stage.  I cut the outer sphere into sepal shapes – cutting them too far down so that they flop around tiredly, and poked the inner sphere through the neck so that the right side was showing and then threw the whole lot into the “I never want to see it again” box.

Here are the final pictures which I hope will show you how the sphere within a sphere should have worked.

Back to the drawing board. 😮‍💨

Denim jacket completed?

Denim jacket completed?

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Time to finish the denim jacket – and about time you may say!

I have added some stitching to both fronts, along with the front yokes. The stitching on the yokes is quite muted; I had drawn a design – a sort of clamshell, and used a perle thread to stitch, but it does not show up as well as I hoped. I thought that the very pale blue denim of my jacket would work, but the thread colour is too close in tone. I could not bear to take it out and stitch again, so, it stays.

The right and left fronts have narrow panels, breast pockets, and 2 side welt pockets, so I needed to decide how I was to proceed with these.

Again, I just drew some shapes onto one panel of each front, and some lines on the centre front panels, and then stitched them. I used a thread that contrasts better with the pale blue – an orange/bronze variegated floss. The pen marks disappeared easily with the hot iron.

 

The side panels needed a bit of thought. Some years ago I bought a piece of Japanese fabric (well, printed in Japan) that has a variety of fans as part of the design. I cut two of these out, and finagled with the placement, and then stitched these down using a zigzag stitch with the sewing machine. I have added a fabric fan shape to the back, and I think this links the front and back together quite well.

I have continued the stitching pattern into both chest pockets, it was not as difficult as I initially thought it would be – forgot this photo though.

Some more stitching beside the welt pockets. I did wonder if a fan shape would suit, but I decided not – too fiddly around the thick denim seams, and I could foresee some tricky machine movements. This little drawn motif suits well I think.

I am undecided what to do with the sleeves; I will ponder some more. But I have added some flower shapes cut from some scrap scarf fabric, to the sleeve cuffs. They suit nicely I think.