I have finally completed my winter birch landscape that I have been slowly working on. You can see the prior posts here if you missed them. I had about determined to skip adding any extra snow in the foreground but then I decided I should try a sample of needle felting the snow.
And, surprise, surprise, it worked better than I thought it would. So I added a bit of snow and then needed to figure out the distant red twig dogwood bushes. (You can see the snow in the final photo.)
First I tried using a marker on my sample to see if I could get away with something easy. The thinner marker made a very light line and the heavier marker was too heavy. Plus, using a marker on nuno felt gives a very uneven line. On to the next idea.
Next, I tried needling the wool thread into the sample background. It didn’t feel like there was much difference between the stitched bushes in the foreground compared to the needled line on the top left.
I decided I would try a cotton machine thread (30 weight). The stem stitched sample on the left shows two different colors. The redder color is straight off the spool but I wanted the thread to be a bit darker and variegated. So I colored the thread by hand with a black marker. The photo on the right shows the thread before it was darkened (left side) and the thread on the right side of the photo has been darkened with a black permanent marker. It worked perfectly although it’s a little messy on the fingers.
So here’s the finished landscape. I used the machine thread for the distant red twig dogwoods and you can see the small amounts of snow that I added. I’m happy with it but I will put it on the design wall to look at to make sure it’s finished. Then I will need to choose a “matte” fabric and get it ready for framing. I’m thinking of calling the piece “Winter Color”. Or I could stick with “Winter Birch”. Which do you prefer?
I have finally finished my stitching. I think it is definitely slow stitching. last time I had done a practice branch to see how it would go. /2023/01/13/stitching-some-trees/
I wanted to add some snow but felting onto the cotton wasn’t good. and yarn didn’t look right. So I thought, why not make it on some felt and then you can needle on some snow. The branch worked out really well. I do love stitching on felt.
Then I tried to add snow. Nope, it looked terrible. Sorry, no picture and no snow. I was a bit discouraged and was going to give it up as a bad job and then I thought I’d come this far, I should finish the piece.
And here is the finished piece. I used an app that takes out the real background and then you can add a nicer background.
All in all not a bad project with no real purpose other than to slow stitch. I had thought I was doing part of the first quarter challenge but on re-reading it I see I should do the same tree in each season and using an evergreen seems a bit like cheating. I have another idea. I saw a picture of making a tree that looked like it would work well so I am planning to give it a try. so hopefully soon I can show you.
And one last thing as it is valentines day in a couple of days I made a heart.
Recently, the Chinese celebrated the arrival of the Year of the Rabbit. How very fortunate of me, then, to have a couple of rabbits to hand stitch!
I had initially bough this Briar Bunnies kit for my mum, to keep her entertained during her Christmas stay with us… in 2021. My mother started making them, but lost steam somewhere along us all catching Covid and being flabbergasted by how messy our place was (if only she knew we had tidied up before she arrived!) After she left, the poor duo was stashed somewhere in my studio and completely forgotten, until recently.
This is how my mother left her bunnies. The blue pen markings were done by me with a heat-erasable Frixion pen. The ink would guide the stitches and would disappear once I ironed the fabric after sewing.
You’ll notice there are two pairs of ears and arms. I had suggested mum make two bunnies at a time to avoid what in the knitting world is called “second sock syndrome” – when you’ve knitted one sock and don’t feel at all motivated to start all over again and repeating the same steps to make another… Once I took over the project, I followed my own advise.
The pattern expects you to machine sew the bunnies, but in my mind that would completely defeat my notion of enjoying the making process to the full. Machine sewing these bunnies would mean I’d be done in a couple of hours, not nearly enough time to be mindful of even having held them! Hand stitching was much better for that.
My hand stitching skills are mediocre at best, but slowly I saw the rabbits shaping up. One of them has wonky ears and her leggings don’t quite match in the front, and I love that about her. It adds personality!
Here they are all finished. Those dresses took me ages to make! I can’t tell you how long exactly, but a good amount of an audiobook kept me company whilst I slowly stabbed the fabric and, once or twice, my fingers. The bunny on the left was supposed to have a bow made with the same burgundy fabric as her dress, but after almost losing my mind turning the other bow inside out, I decided to go for a red ribbon instead. It’s not cutting corners, it’s being creative…
Have you hand sewn anything lately? Do you love or hate the notion of slow stitching? Let me know your thoughts.
I am continuing with my slow(very slow) stitching. I have accidentally done part of the first-quarter challenge. Last time I showed you my tree trunk. Next, I got some of my handspun to make the evergreen part.
I pulled a lighter green first. it was much too light. I switched to t a much darker green that works much better. it is a thicker yarn too, which I think works better.
The practice one worked out well so onto the good ones.
The trunk on this one ended up a bit fat but I don’t mind
And the third one
And this is how it looks now
I like it so far but I am not sure what to put in the blank corner. I thought maybe a branch so I did a test one. I may try to add some cones or snow. I am not sure what kind of tree it looks like. What do you think? what would you put there?
My next step in finishing the driftwood piece was to create lichen. I had made lichen before from Tyvek but alas, I had none in my stash. So I looked for other materials that could be shaped with a wood burning tool and that would shrink and make interesting shapes with a heat gun.
What I found was a fusible lightweight Pellon interfacing and nylon organza. The interfacing does not need to be fusible to work, it’s just what I had on hand. I can’t remember why I bought it but hopefully, it would work so I wouldn’t have to buy anything else.
I painted the small pieces of interfacing and organza with a light layer of acrylic paint. As you can see here, the paint was not heavy and the shade of blue green was very light in value.
Next, I got out my wood burning tool and a piece of glass to burn on. I made random lichen shapes in the interfacing. I also did the same with the nylon organza. Once they were cut out, I held the small pieces with a pair of tweezers and used the heat gun to make them shrink up and get curly. I also added a bit of brown marker to the edges of the lichen as there are definitely brown bits on the real stuff.
Here’s the result. Yay, it looks like I wanted it to. Success. Now to add it and the dead teabag leaves to the mossy driftwood. I glued the lichen in place as it was mainly on the wood itself. I stitched the leaves down to the felt in a couple of places.
Here’s the result. You can click on the photo to enlarge it.
And the close up views. I’m happy with how it turned out and it was a really fun project.
I have been continuing to add more stitching and other bits to my mossy driftwood. You can see the progression from just felt to adding stitch in these two posts:
The moss has been getting filled in by hand stitching and adding the machine stitched moss I created. I am trying to decide how much more hand stitched moss to add. I think it needs more “trailing” knots in the “bare” felted areas. But I also need to add lichen in places but I haven’t created the lichen yet. I’m thinking I will try Tyvek lichen.
The next step was to create dead, desiccated leaves. I found a tutorial for making them out of tea leaves on Youtube. I had made them out of Lutradur before but not tea bags so I thought I would give it a go. I drink tea every morning so I started saving the old tea bags for this project. In the video, she used some type of stabilizer but I decided to try without one. I layered two flattened tea bags together and just started free motion machine stitching the veins. As you can see, you don’t want to stitch the outer edge of the leaf as it looks more natural without it. Then I cut them to shape with scissors.
The next step was to burn the edges and the holes. I found it was easier to get a more natural look when I was looking at photos of dead leaves. That way the leaves don’t all turn out the same. I used a wood burning tool for this operation (the video uses an incense stick). Obviously, you need to be careful when you’re burning things and it is pretty stinky too, you need ventilation. So I took mine to the stove and turned on the overhead fan to draw away the fumes. Plus the stove top is heat proof and won’t be burned or damaged.
So here’s the full piece with the leaves just placed on it. I will be stitching them down at some point to hold them in place.
Here’s a couple of close ups. You can click on the photos for a bigger view. I am happy with the progress and it is definitely looking very “forest floor”.
Last time I posted, I showed you a piece of driftwood that I had covered in green felt to represent moss. It definitely needed more work to achieve the natural look that I desired.
I took a small pair of sharp scissors and cut out some holes as well as making the ends not so uniform and straight. I then decided to use the left over cut out pieces as padding for stitching. I added the left over pieces in a couple of places and hand stitched them down.
I then decided to try adding more texture with needle felting. I had a pile of little wet felted scraps which you can see on the left and I needle felted those down. Then I added some wool from my carded batts that I had left over after wet felting. I needled those down but not too firmly. I still wanted the texture of moss, which you can see in the right photo.
Here’s what it looked like after I finished the lower layered bits. I left hanging threads as this will be the “grassy” looking bits sticking up between the moss.
Next was looking for different green threads. Here’s what I came up with. You can also just see on the left side that I found some of my photos of moss and printed those out for reference.
I then started adding some hand stitching. These are “wonky” French knots with hand dyed lace weight wool thread. This is going to take a while. I have another “slow” stitch project on my hands.
Next up was to try some machine stitching. I made a sandwich of the threads on the left between two layers of water soluble fabric. I then machine stitched a random branching pattern. The photo on the right shows the result after washing out the soluble fabric.
Here’s a small piece of the machine stitched moss by the French knot section. I haven’t stitched it in place as I think I will do more of the hand stitching first. I’m loving all the different greens as that is definitely what you find in nature. I will keep you updated on my progress.
Thankfully, the before and after experience of the abdominal surgery I had in July was not as bad as I thought it would be. But, there were some surprises with the things that we all take for granted, for example, it can be a big surprise to discover that sneezing, coughing, laughing, or even the thought of these things, will remind you to hold onto your belly for dear life, for fear of it splitting open. Similarly, turning over in bed, or getting in and out of bed will have you puzzling about the safest position to do these manoeuvres without your belly once again splitting open. Now, several weeks later, the anxiety of a split belly following a sneeze has gone thank goodness, and only the odd twinge remains to remind me.
I needed some stitching to keep my mind occupied while recovering, and I had some simple meditative stitching to keep worries at bay. My friend helped me a lot with the usual distractions. She also had a bed coverlet – given to her by ?, but now forgotten relative – and it needed to be repaired. It was a handmade hexagon top stitched onto a background fabric, that was folded over (top, bottom and sides), to the front and the corners mitred. There was no wadding or batting in the middle. She thought this would be a good project to keep me occupied, no time scale, just to do something if I could.
I laid the coverlet on the floor, there were quite a few missing hexagons, and some torn fragile ones. I was most struck by the variety of fabrics used to make the hexagons, how small they were, and what on earth had I agreed to do anyway? It is difficult to see any missing hexies from this photo above, you just have to believe me. I have placed a 50p coin to show the size of the hexagons.
I separated the hexagon top from the background fabric and set about replacing to torn, missing and damaged hexagons. I found one complete ‘paper’ and that measured 3/4 inch, measured against one of my 1 inch hexies. I replaced about 30 hexagons, and probably restitched that many again where the stitching had come undone. The hexagon top measured 84 inches x 45 inches, and the whole coverlet measured 104 inches x 65 inches when back together; it covers a single bed easily. The green background fabric is 2 pieces joined in the middle, and I think the width of each length is about ?40 inches.
Photos of some of the damaged areas, and fabrics in the coverlet.
When I finished the repair, the coverlet needed stabilising somehow, otherwise it was at risk of further damage. I decided to stitch the hexagon top to a piece of cotton – actually, part of an old duvet cover. This worked well, and then I stitched the top back onto the background fabric, this was probably the most difficult part of the job, trying to keep it straight, and prevent any tucks happening on the back. I wanted to do a sympathetic repair, the fabrics I chose from my bag of scraps fitted in very well, and I really had to look very closely to spot them when I had finished.
I used a few stitches to secure the top to the back in random areas. The above photo – on the right – is from my friend showing the coverlet on the bed in her spare room. I am really pleased with my efforts. I think this must have been started in the 50s or 60s, or even earlier? Maybe some of you can recognise some of the fabrics. I dread to think how long it took to stitch, but I am full of admiration for whoever did spend the time making this beautiful item. I am calling it a ‘coverlet’ because there is no middle layer, as there is with a quilt. However, if any of you know differently do let me know, I would love to have a definitive answer.
Before I get started on my new nuno felted landscape, I wanted to share the changes that I made to First Light, which I posted about several weeks ago.
This is what it looked like on the last post. I had a comment from Ann B. that it lacked shadows. I had hemmed and hawed about adding shadows. I had convinced myself that the marks on the background could serve as shadows as it was a bit abstract. But the more I thought about it, the more I agreed with Ann that it was lacking something. So I decided I would audition shadows with sheer fabric. And once I saw it, I knew the shadows were necessary. How could I call it First Light if I ignored the shadows?
And here it is after adding shadows. What do you think? Better or worse? I would suggest that you don’t rush whether a piece is finished or not. It was a bit of a challenge stitching the shadows down after the piece was already laced to backing board 😉
Now on to this piece. It definitely had beautiful autumn colors, so I decided I would add some silver birch trees with their fall leaf color. You will notice that I turned this around so the darker area was closer to the top of the piece.
I cut out some tree trunks from silk paper that I had made a while ago in preparation for trees. I hand stitched these in place.
Then I added some branches so the leaves would have somewhere to live.
Next up, I needed some background foliage. I didn’t want it to be too dominant but just needed some texture. I decided to use nylon organza and then burn it back with a wood burning tool to give it a leafy feel. Then I stitched it in place. You can click on the photo to enlarge it so you can see the details better.
Next up was to cut out a bunch of leaf shapes in two colors of silk organza. I hand stitched these in place but the leaves were still too transparent and weren’t giving the effect I wanted to achieve.
I looked through my stash and had this bright yellow in silk habotai. That would perfect from a more opaque leaf. Once cut out, these leaves were stitched down. The photos above show the progression from left to right. Then, I put the piece up on the wall and studied it. That leaning tree trunk on the far left was bugging me. I didn’t like that it took your eye off the edge and it matched the same lean as the tree towards the middle. So I did a bit of unstitching and removed it.
So here is The First Leaf. I haven’t found the correct background fabric for it yet so I will have to go shopping for that. But that gives me a bit more time for it to hang in the studio and make sure that it is really finished!
Back in June last year, at the end of my 2nd post on this felt painting, having remixed the fibres for my palette and removed the fibres I had already needled into the far background of the picture, I redid that bit of work and left you with this picture of where I had got to then:
Starting work
I am pleased to say that I have made considerable progress since then and here I’ll take you along for the ride!
On my next visit to the Hideaway Workshop – my friend’s place where I tend to do most of my work on my pictures – I set to to blend fibres for the palette for the main part of the picture.
Blending Fibres for Palette
I worked on the picture for about 4 – 5 hours once a month, until I was able to take this photo of the results on 26th February 2022.
This was still work in progress and I carried on and in May I was able to take further pictures of details – Red Devon cattle in one of the far off fields; sheep moving on the hill in the middle distance; the beginnings of trees and shrubs in the near distance; and the river in the foot of the valley with woods behind.
Red Devon cattle in one of the far off fields
sheep moving on the hill in the middle distance
the beginnings of trees and shrubs in the near distance
the river in the foot of the valley with woods behind
By then I had done pretty much all I was going to do for the landscape until the final details just at the end, and I needed to get on with the horse.
Now, I was toying with a new idea about how to do this. For some time I have been considering experimenting with the type of scenery often seen in simple stage sets like our typical panto village scene with shops and other buildings. Almost all of which were flat with one side showing a village shop and the other some other building for a different scene. These would be set about the stage facing square on to the audience so that they could see only the side applicable to the current scene, with further buildings painted on the backdrop. Cast members would appear from behind these and various other scenery flats like rocks, or bushes. I don’t have any suitable photos that would illustrate this, but I do have a couple of photos of children’s toy paper theatres which also demonstrate what I mean.
Toy Paper Theatres
I thought I might be able to do something along these lines for the horse in my picture. By affixing a fairly stiff piece of felt in the shape of the horse to the picture but leaving it’s head and the top of the body unattached and slightly proud. I was hoping that this would give even more depth to the whole.
Knowing that if I was to needle felt a “flat-ish” horse to the required size, I would actually have to start off with a slightly bigger image – as the more it was needled, the more it would shrink and become out of scale. So using my copier I enlarged the image of the horse by 10% and then made a tracing of the image. As I did with the actual landscape picture, I then stitched the outlines of the horse through the tracing onto a piece of thick white felt. This was a piece of the felt that I used for the background of the landscape, but folded into three. I needled it and then wet felted it so that it was a solid piece of felt which would if necessary stand up on its own.
starting to stitch over the tracing
ready to colour in
I blended some fibres to make the palette I would use, having decided that the picture I had taken would be a guide to shape only and I’d have a slightly different coloured horse in my picture.
Horse palette
I had by this time removed all the guide stitches from the landscape picture, except the lower part of the Golden Mean lines to guide me where to place the horse when completed.
Here is the horse, substantially finished, about to be cut out of his background.
And here he is having been cut out.
I have left the top part of the body with the original depth of the backing felt and have shaved down the backs of the legs, the belly and nose so that they will be more part of the picture as opposed to appearing to stand proud of it. I have also added coloured fibres to the sides and the rear edges for the whole horse so that no white background will be visible when the horse is attached to the landscape. The final shape of the legs and neck will be refined at that stage, and more grass added around the muzzle and hooves. I have left the tail and the forelock un-needled to emulate a slight breeze blowing some hairs around. I have also attached some linen threads to the back which I will use to secure the body to the picture. If I don’t do this it is possible that the horse might fall off the picture if he’s only attached by his hooves and his muzzle.
back view
And this is where I have come to a (“shuddering”) halt.
I was hoping that this would be the last post in this series; that I would have finished my picture of the horse on the Devon hillside. However the recent very hot (to us) weather we have been experiencing here in the UK has meant that I’ve had to stop work. So I was getting very behind. In addition, I seem to have acquired an RSI (repetitive strain injury) to the shoulder of my dominant right arm – to be exact “rotator cuff related shoulder pain”. Although I don’t think it was as a result solely of needle felting, I suspect that the action of frequently stabbing fibres for several hours at a time may have contributed to it. It certainly hasn’t helped it. Whatever, it has resulted in my having to put aside my needle felting for the moment. I will post again as soon as I can get back to work and finish this, which has fast become a labour of love. In the meantime this where I have got to.
