On Mondays, we have a social in the guild studio. I think some guilds call it open studio days. Because it is summer I usually go in around noon. I thought this would be a good time to do my visor cover. Jan can take some pictures too and all will be happy and bright. So naturally………
I packed my rolling mat, plastic, bucket, spray ball, rubbing tool, and wool but I forgot to ball of pencil roving. This is essential if I am going to try Ildie’s method of making the design with wet wool.
The forgotten ball
The best laid plans of mice and men often go awry. I am not a Mouse or a man so I had a look through the donated yarns and found one that was not too thin or tightly spun
This is as far as I got before I gave up. Yarn is not a good choice. It has too much structure so it doesn’t want to stay where you put it.
Besides learning that yarn is not good for this I also decided I had made the design too small. It will be very fiddly to add the colour.
Now I am back in the studio with all my supplies. All but one of the colours is Corriedale. One is Merino. the grey bat is unknown. I would say a medium wool and it is a short fiber. I sized my template for 30% shrinkage. you can get 30% out of most fibers. And why do a sample when you can live life dangerously?
The pencil roving was much easier to use to outline the designs. I wet it with soapy water and it stayed where I put it. The yarn had too many ideas of its own. I just did them freehand using the template to keep my design inside the lines.
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Next was adding the colour. I got better as I went along. the first colours that have to be completely within the lines but right up to them is the hardest. When you add a colour next to another colour you can overlap and no one will see it. It will be between the other colour and the backing. Thinking upside down is a hard thing to do. you feel like you should say inside the lines. although I didn’t mess up the design lines I kept smudging the outside line. next time I will add them at the end.
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I added the bat to the back. it was quite thin so I did 2 layers, one in each direction. and made nice straight lines, not that they will stay that way.
I rubbed this side first and then flipped it over. Doesn’t it look pretty all wet and bright under the plastic? Once I flipped it I was pleasantly surprised the sheep was on the right. Which, if you think about it, makes sense but when I was adding it I was thinking I wish I had left more space for it on the right. So that was a good thing.
I rubbed this longer than I usually do because I wanted the design to set well and stay put. I had no problem with it moving. boarder was another matter. it was constantly moving. I would lift the plastic and fix it. Then rub carefully and then it would move. In the end, I put it back where it should be and thought if it doesn’t stick, I will just needle felt it in place.
It moved a little while rolling but for the most part, it stayed put so I was quite happy. I rolled it a lot to get it to shrink. Whatever the bat is it makes a sturdy felt but does not shrink as much as Corriedale. I rinsed it with hot water and rolled it more, and more and when it wouldn’t budge anymore, I stopped. It got close but not quite there. I am sure it will still work but I haven’t checked yet.
It needs to be shaved to bring the colours back up and ironed to block it. I haven’t decided if I will add any stitching or beads. but I am out of time for now.
I bought a new to me car. The visor mirror cover was glued shut for some reason. When we tried to unstick it, it just came right off. Maybe it had fallen off so they glued it back on? I don’t know. The result is when I put the visor down I have the mirror. Even though you are not really looking at the mirror, it is distracting while driving. Must be because I am so beautiful I can’t resist looking at myself. LOL It is actually very hard to take a picture of a mirror and not be in the picture.
My thought is to make a felt cover for it and velcro it on to hide the mirror but I could still remove it if I needed the mirror.
I measured the mirror and a small amount around it to get the finished size I will need. I think I will add a little more.
Then I thought why not try Ildi’s method of felting with outlines and wet wool? I have some pencil roving and lots of wool and it’s a good sized to try it out. Here is a link to one of Ildi’s posts so you can see what I am talking about. https://feltingandfiberstudio.com/2022/06/27/felted-rug/
So far I have measured and done a couple of sketches of possible designs. these are smaller than they need to be but that is the size of the paper. I will have to find one of the larger sketchbooks to do a final design and then try to use the computer and the printer to enlarge it for shrinkage.
Aaaand, that is as far as I am. The plan is to have it for my next blog post, but we all know about the best laid plans of mice and men. I have my fingers crossed. It’s going to be a busy week.
We have three public houses in Sturminster Newton (at one time there were 11 in our small market town!) and The Bull Tavern is one of the oldest. The building consists mainly of a 3 roomed 17th Century cottage with an attic room, built of old timber infilled with wattle and daub. Some additions were made in the 18th Century. Records show that the cottage was definitely an alehouse by the late 1700s. Apparently there was a slaughter house at the rear and a Pound where straying animals were kept until collected – upon payment of a fee of 1 shilling (which must have been a fortune when you consider that a married man’s weekly wages at the Town’s Workhouse were all of 9 shillings and a single man’s only 6). Part of the C18th additions was a stable block (which eventually became a skittle alley and later part of the restaurant of the pub). It is rumoured that the horses stabled there were used to help get carriages and carts up the adjoining steep hill leading to Sturminster Common and the small community of Broad Oak.
About 18 months ago, after our then favourite landlords moved from the White Horse Inn in Hinton St Mary, the pub was closed for refurbishment. Hinton is a village about 1.25 miles away, where the Pitt-Rivers manor house is situated. We used to walk there 3 times a week – our exercise with benefits – but since the benefits had disappeared we decided to patronise The Bull – for our exercise of course. The only trouble with that was that it’s uphill on the way home whereas it was down hill from the White Horse.
During that time we had come to enjoy the chats with Marianne and Lance, the Bull’s managers. Lance being the very good chef, and Marianne “Front of House”. Early in January 2021, they announced that on Christmas Day they had got engaged.
One of my felt paintings – commissioned by a mutual friend – had been given to the White Horse landlords as a wedding present a few years ago, and Graham, my husband, suggested that I do something similar as a wedding present for Lance and Marianne.
My interpretation of an early image of The White Horse, Hinton St Mary
Although The Bull itself is a very interesting building, I wondered if I should do a picture of an actual bull for them. No date had been set for the wedding at that time, but I thought I should at least start collecting reference pictures, both of the pub itself, including some of their Pub sign and of some animals. I thought about breeds that might have been around in the 16th Century – White Park Cattle and black Gloucesters; and also looked at Herefords since that was the breed on the Pub sign.
The Bull Tavern and it’s signGloucester and Park White Bulls3 Hereford Bulls. I eventually picked the one at top left.
In the end I decided on a Hereford bull. After a lot of thought and manipulation of pictures, and also starting on a background field for the bull to stand in, I still could not come up with a layout that I was happy with. One idea was to surround the image of the bull with cameo pictures of nearby local landmarks – the water mill and the mediaeval bridge – with perhaps an image of the pub itself as well.
Initial composite picture
Second go at composite picture
Then, just after Christmas 2022, Marianne said that they had set the date for the wedding – 10th June 2023. Now I had to get my ideas together and get on with it. The picture would need to be simplified if I was going to get it done and framed in time.
It was about then that my picture of the horse on the hillside in Devon was finished and it occurred to me that I could use a similar method of producing a figure with more depth.
Detail from my Glorious Devon picture showing the horse added to the finished landscape.
I finally decided upon a cameo type picture of the bull’s head and shoulders and I would use the background which I had made back at the beginning of this saga. I would paint (with wool) the shoulders and neck and outline of the head on to a piece of flat wet felted core fibres. With a separate face and ears, and a further separate set of horns and the nose on another piece. I would cut all of the pieces from the backing when these were substantially finished. I would fix the torso and neck onto the original background and layer on the face and ears, horns and nose, then I would do the final titivating and framing. I made a start and here are the initial progress pictures:
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As I said earlier, it was intended that this picture would be a wedding present for Lance and Marianne, but at the beginning of April this year, they told us that, because of various unforeseen difficulties arising out of successive pandemic lockdowns (which included them catching Covid between lockdowns so having to shut the pub again) they had decided to give up the tenancy of the pub. They had obtained a job, with accommodation, managing a Touring Caravan Park in Cornwall. Marianne was leaving almost immediately and Lance would stay on for a couple of weeks, with his last trading day on the 19th April. So the picture was going to have to be a leaving present.
That caused a bit of a panic at home as you can imagine, so I had to get my head down and finish it NOW! These were the final steps;
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I managed to finish the picture and, with Graham’s help, I mounted it in a deep box frame in time to hand it over to Lance on the 19th, when we went in for a final lunchtime meal.
So here’s the completed and framed picture – my entry for the 2023 Third Quarter Challenge – Something Special About Our Town.
Thankfully I have friends with grey wool. Jan and Bernadette found me some grey in many shades so I could complete my picture. I explained to both that I only needed a little bit, a handful would be more than was needed. I just needed it for a few rocks on my picture
Picture of wool
picture of me taking a picture
I didn’t take any progress pictures of the rocks. I was busy poking and talking.
And finally the finished picture, or so I thought. when you take a picture, you can see so much more sometimes. I really don’t like the roots over the rock. I had tried putting a rock in front of the tree but that looked worse. So, I will take the roots off and continue from there.
I managed to take the roots off and played with the rock some more and now I think it really is done.
This is a guest post from Diane Coe, one of our readers, who recently submitted a photo for our 3rd Quarter Challenge. Thanks for sharing Diane!
My name is Diane Coe and I live in Featherston, New Zealand. I started being creative at a young age. Drawing, painting, and learning to knit from my Granny. I used to make tiny felt mice and exhibit them at a local annual art show as a young teen. Later on in life, in the 80s, I discovered Leadlight and produced for markets and made windows for houses. Then I progressed to Mosaics which I enjoyed for a while. I discovered a local felting group in 2014, and have been hooked ever since. Mainly I use wet felting with some needlefelt.
I was inspired to create Te Karanga Whakamutunga Ote Ruru (The Last Call of the Ruru (Morepork) from Maori Folklore, in which the Ruru is regarded as a guardian. With much of our planet being endangered, I wanted to portray the Ruru guarding the NZ Bush as a last call, as time is running out unless there is a change and more protection.
I wet felted the background and then needle felted, adding wool roving and balls of wool recycling from Op shops. The Kiwi is a scrap of possum fur. I spread out all my colours and fibres and picked up pieces to needlefelt as I went along, choosing what would work best for what I wanted to portray in each piece of the picture.
This close up photo shows more details of the intricate work.
There is hidden in the picture a Powelliphanta (native NZ giant snail). The piece took months to complete and is framed in native Totora farm posts.
This is the photo that I submitted of the piece for the Third Quarter Challenge. You can click on the photo to enlarge it.
Here I am in my studio, creating another landscape.
I have created other pictures like the portrait of my friends dog.
I have also entered recently a national competition in NZ called WoolOn, in which you can enter anything wool. It will be on the Catwalk and judged later in August 2003. Felting is a beautiful artform and a wonderful natural product. There is always so much to learn and create with.
Thanks so much Diane for telling us about your felting journey.
If you would like to submit a photo for one of our challenges, you can do so here. If you are interested in telling us more about yourself and your fiber art, we would love for you to write a guest post. Just fill out the Contact Us form to let us know of your interest.
I was looking through some of the simpler backgrounds I had on hand to jump-start my summer tree. I did this agt our guild social so I was too busy chatting to get you a picture before I started.
I decided to use some more of the pencil roving I have. It is sold as Buffilo roving or Brigs and Little Country Roving. It comes as 5 strands of thin pencil roving wound into a cake. It looks to me like it has been prepared to go through a spinning frame and then be plied into usable yarn. Why else wind 5 strands together? https://briggsandlittle.com/product/country-roving/
This is the brown I am using but not a solid colour so it has more depth. I wound off 2 strands to pop into my felting bag.
When I am not sure of my artistic ability ( most of the time), I tend to go small. If it’s little it is harder to see it’s not very good. However, trying to make a small tree in the distance did not go well. It looks more like some sort of demented scarecrow. You can see it’s quite a nice background though.
So I ripped it off and started a much bigger tree in the foreground. You can see how using the pencil roving makes it easier to make branches as you lay them in for the trunk.
I tidied that up top and bottom and that is as far as I have made it.
I like the way the pencil roving forms the tree but I think I need to add a little lighter ( and maybe darker) colour to help define it more. I am not happy with the blob in the top middle of the trunk. I think I will have to open it into the branches more. I will have to do some searching for pictures of winter trees to see how that part looks. It may not matter once I add the leaves. Isn’t it funny how you know exactly how a tree looks until you come to make one? I also have to work out what I want for the rest of the picture. Maybe some rocks, sheep are always popular, a fence?
The only other thing I did this week was to make some felted balls for my goddaughter, for her cats. Again, too much talking and not enough picture taking. they are small styrofoam balls with a bell pushed into them.
This title made me chuckle. 🤭 It sounds like I’m going to lecture, about good hygiene. But no, my post is about felting soaps, as take-away gifts, for my niece Lauren’s bridal shower. The shower was in Phoenix, this past weekend. I declined my invitation, knowing I would surely melt in July’s hot temperatures – never dreaming there would be a triple digit heatwave. However, as her only aunt, I wanted to send something special, to help with the shower. Felted soaps are always appreciated, by any recipient I give them to…so I asked her mother what she thought? I explained they are lovely, and useful, pieces of hand made art. With a few questions, about colors and theme, I was ready to tackle the job.
The theme: Petals and Prosecco.
The first 21 bars felted, using assorted carded batts.
I taught soap felting classes, at a fiber show, and a couple fiber retreats. In doing so, I developed a descriptive narrative, to help people understand the process. I experienced many pitfalls, in my learning process. I like to share my mistakes, to prevent my students from experiencing the fate. Felting soap, while not hard to do, can humble any experienced Felter. [Truthfully I had 2 bars fail this time.] Sometimes it just happens!
Generally, the following method works pretty well for beginners. This recitation, is close to what I usually say to my students, as we felt our soap together. I have inserted photos as illustration, where necessary.
1. Use wool that felts well! – For my batts, I try to blend dyed merino, with another easily feltable wool. Add fancy fibers, like silks and angelina, sparingly. I tend to add those fibers to the top of my batts; that allows me to pull small amounts of the add-ins, as decoration. Always try to add a thin web of wool fiber, on top of your silks and fancy fibers. It helps them felt in better.
Photo #2 demonstrates peeling all sharp edges from soap, with a vegetable peeler. Remaining photos, all #3, demonstrates amount of fiber, and wrapping technique.
2. Use a vegetable peeler to remove all 90 degree, or pointy edges of your soap.My best advice – use less wool than you think. Lay out 3 very thin layers of fiber; only enough to cover the area of your bar of soap, with a small overlap. (Photos)
3. Wrap bar of soap, being mindful to cover corners of the bar. This is where you can add wool yarn embellishments, if you choose.
I wrapped this bar with boucle yarn, and what I thought was wool yarn. It didn’t felt, so must’ve been super wash wool. So I pulled it off and kept right on going.
4. Carefully wrap in a nylon knee high stocking. Better yet, use cheap nylon footies – ones you use to try on shoes with. [Amazon sells them – $8 for 144.] Grab the wool wrapped bar, with your socked hand, and carefully pull it over.
5. Add luke warm water to a 2 quart bowl. Wet wrapped bar – dipping quickly. Pull wrapped bar out of water, and begin pressing air out of the wool. (You will hear the air leaving the wool – sounding like little farts.) Press sides, press edges, press ends…keep pressing as the air continues to bubble out. Do this for a minute or two. As you press, soap suds begin to form. Some soaps foam more than others.
6. Quick dip in water again, begin pressing the fiber as before. Keep pressing. You should be able to feel all of the contours of the bar of soap. The wool should feel so tight, on the bar, you almost don’t feel it present.
*Only after about 5 minutes of pressing and pressing, around the bar…should you attempt to start rubbing. ***This is where the felting problems happen. Ask me how I know this?? When I am in a hurry, and rush the process, the wool says “No, no, no!”
7. When you do rub, imagine your bar of soap is a new-born baby. You wouldn’t rub your baby roughly…start by rubbing very very gently. After a minute or two, your baby is 1-2 months old, so add a little more rubbing for a minute. Rub all the edges and ends too. Now, your baby is older and you can begin building up the rubbing. [Wipe your soapy hands off with a towel – don’t add more water unless you absolutely have to. Trust me!]
8. You can peel your stocking/footie back, to make sure the wool is tight to the soap, and not sticking to the nylon. If still sticking, you need more rubbing, so wrap it back up and rub some more. Otherwise, remove the stocking, and rub all over some more.
9. Here if you feel the need to felt a bit more, you can rub the soap bar on bubble wrap, or something with a little texture. Make sure every edge is tight to the bar, and you’re pretty much done.
10. Start running some warm water, in your kitchen sink. Rinse your hands off, and quickly like before rinse the bar. Press all the water out, dry outside of bar with paper towel, then set aside to dry.
I generally stop at this point feeling satisfied with the beauty of this simple look. But for the shower, I planned to try something different. I decided to use bits of fiber and felted scraps, to needle felt a loose flower shape. I didn’t take pictures of that process, but I did think to photograph my leaf process:
I dug in my bin of felted pieces and off cuts. I found a lightly felted bit of prefelt, in various shades green. Perfect for leaves.
Leaf shape cut from a piece of lightly felted green piece.I placed the cut shape in one hand, and rolled it back and forth, to round and felt the cut edges a bit.
I placed my rough flower shape on the bar of soap. For this example, imagine a round piece of felt/fiber. I divided the round shape by eye into petals. Then at a petals edge, I grabbed it with my felting needle tip, and pushed toward the center of said flower. I did this 2 or 3 times around the flower. As shown in the photos above, I cut leaf shapes from the green prefelt and rolled it between my hands a couple times. Whenever my leaf rolled on itself, I flattened it out, and kept on going. (Note: that could work well for another project) For the stems, I used a US-E hook and green yarn to crochet a chain of about 10 stitches. Each of these flowers, stems, and leaves were totally different. I let the colors and fibers determine their own destiny.
This photo shows the best way I found to needle felt (applique) pieces to the felted bar surface. Catching the edge and running it between the felt and soap
This close up shows how this blob of wool and silk reminded me of a flower. I simply added some tucks from the edges to make petals
I broke 4 felting needles, on this project, before I figured out my mistake. I watched a YouTube video that said to “needle felt directly into the soap.” I beg to differ with them, unless they have an endless supply of felting needles. I found keeping my felting needle between the felt and the bar of soap worked fine. (See the edge of the leaf, photo above.)
While I am sharing tips with you, I should warn you, these soaps took a good bit of time. For these, I chose to use organic, specialty bars of soap, because they were for my niece’s family and friends. If you ever try selling them, as I have in the past, don’t bother using good soap. While purchasers enjoy, good quality soap, they rarely believe you have used it. I did a fiber show in Mississippi, and used “free” 2oz soaps, we got when traveling. I sold them for $5 ea, and they were gone in 40 minutes. I used a better quality, organic soap in my next batch, and couldn’t get people to part with $7.50. As I sit here writing this up, I don’t see these as money makers at all! But, if you have the supplies, and a bunch of soaps hanging around, they make pretty nice gifts, or stocking stuffers. And…they look so pretty on the tables at a shower.
I was looking around my studio wondering what to write about in this blog. I was remembered Ruth Lane’s recent comment in her blog here about using up supplies. I have a carded batt of merino / A grade mulberry silk from World of Wool that’s been kicking around for a while. I can’t remember if I bought it for something specific that didn’t get made or if I bought it on spec. I was interested to find out how it felted and what I might do with it so I decided to make a small test vessel.
I cut out a circular resist using a small mat as a template then started laying out the fibre outwards towards the edge. Apologies that these pictures are mostly white on light colours – I was thinking more about the making than the photography. I laid the second layer in a circular pattern before flipping it over to smooth the overlap onto side 2. After 2 layers on the second side, I flipped back and laid 2 more layers on side 1, followed by 2 more on side 2.
The resist & its templateFirst layer side 1 startFirst layer side 1 completedLayers 1 & 2 side 14 layers each side, ready for wetting out
After wetting it down I spent a lot of my time working the edge by pulling the voile over the edge so I wouldn’t get a ridge around the middle of the finished vessel. It felted quickly and I was soon able to start fulling – initially without removing the resist.
Working the edges FullingWorking the felt
Once I’d cut out the resist I found, in my vast collection of miscellaneous wooden objects, that the handle of a wooden pestle (as in mortar & pestle) was the perfect size for getting inside the vessel and working it from the inside.
I spent a while fulling it as I wanted it to be smooth and very firm.
Wooden pestle handle for fullingPacked & dryingvessel on original templateThinking about the green colour insideFinished merino / mulberry test vessel
I packed the vessel with strips of recycled bubble wrap that I keep for this purpose – you can see it green inside. Looking at this green bubble wrap made me wonder if I could make a vessel with a coloured interior but retaining the pale colour outside. I thought maybe if I used silk rather than wool to add colour I’d get less colour transfer, so I thought I’d give it a go.
While pondering this, I decided to try using the same resist as the test vessel but to make 2 small bowls rather than one vessel: so, cutting it in two around the middle rather than making a hole at the top to remove the resist. I dipped into my big boxes full of second-hand silk scarves bought in charity shops and chose a plain turquoise and a patterned blue one.
Carded merino / mulberry silk batt & two silk scarves ready for recycling
I put a circle of silk on the resist and decided to run a small line of coloured merino tops around the edge: partly as I was interested to see how it would look and partly as I thought I might not know where to cut when I was ready to remove the resist and separate the little bowls – I’ve made that mistake before!
I put a circle of the blue patterned silk on the second side. The merino and silk fibre layout was the same as the previous vessel. This time I also remembered to do the circular layer first followed by the radiating layer – I’ve learned that one before and obviously temporarily forgot for the previous vessel. It makes following the resist with the circular layers much easier and I prefer to try not to overlap that layer if possible – again it reduces potential ridges and produces a better join if you only overlap the radiating layer, in my opinion. I’m sure some of you will disagree but that’s one of the many things I love about wet felting: with experience everyone works out the techniques and tools that work best for them.
Process shots of the bowls
I was interested that I could see quite a lot of the inner colour throughout. I quickly began to suspect this was more about the amount of dye bleeding from the turquoise silk as about seeing the silk through the wool. I was getting a lot of turquoise in the felting water.
Again, I fulled them thoroughly. During the fulling, I decided I liked the silk on the outside better than the inside so here they are, still wet.
Bowl insidesBowl outsidesThe finished small bowls
And here are the 3 items. You can see how green the wool of the little bowls is compared with the vessel. I’m pleased with the bowls’ blue rims – I like this effect – but the vessel is my favourite. In each of the test pieces the fibre has felted beautifully: it’s very firm and extremely light – it has an almost papery quality about it that I find really appealing.
My imagination is now firing about what I could make next with this fibre. I have a dried poppy seed head sitting in a vase next to my desk. The felt reminded me of the texture and colour of the seed head. I’ve felted poppy seed heads before – one of my favourites. Another thing I have in the studio is some vintage cotton lace I was unable to resist when I saw it in a local second-hand shop.
Dried poppy seed headVintage cotton lace
I thought maybe that the lace would add a subtle surface texture so why not have a try? This time I made a small square sample using just 2 layers of the wool / silk mix batt with strips of lace in parallel lines.
Layout: fibre and laceFinished squareClose up of surfaceTest square of the batt with strips of vintage lace
Although it’s subtle, I really like the effect. As you can see in the close up shot, the batt has quite a bit of vegetable matter which in this case adds some interesting specks, enhancing the natural look.
I was running out of time but decide to start the poppy seed head. The merino fibre length in the batt is very short which makes the layout quite slow but very precise. In the first photo you can just see the strands of lace which I’ve laid out on top of 4 layers on the under side and are waiting for me to finish the final 2 layers on the top side before bringing them over.
The second photo shows how far I got yesterday before I had to stop. This is a multi-resist piece that will take a while to make. I’ll show it finished in my next blog.
I enjoyed letting the fibre lead my imagination in what I might do next. I’ve done mostly production felting recently – making multiples of things for shops and sales – so it was great just to see where things led me and enjoy felt-making for the sheer fun of it. I’m looking forward to getting back into the studio soon to finish the poppy seed head.
In my last post I mentioned a few of the projects I was working on with the “Making Waves” theme, along with other members of the Waltham Windmill Textile Group. I’d begun work on a 50cm x 90cm felted wallhanging inspired by the markings on large stone slabs on the beach at Seahouses in Northumberland.
Having recently bought myself a drum carder I carded a variety of left over bits of fibre, mainly blues, greens, yellows and neutrals, to make my background and laid them out with off cuts of hand dyed silk fabric, scrim and large nepps. On the left is how it looked after felting and on the right is where it’s at right now. I’ve added synthetic sheers, machine wrapped cords, hand and free motion stitch and in some areas I’ve heavily machine stitched to push them back and encourage the adjacent areas to stand out. The original bottom left section wasn’t working with those silk circles so they were pulled off and replaced with some stiffened, rust dyed fabric circles, recycled from another piece of work. I’m calling it Going With The Flow because a) it’s inspired by a trip to the beach b) it has flowing lines and c) like most of my work its design wasn’t preplanned. It’s evolving as I work on it, adding bits in and taking bits off until it feels right. It’s got a way to go yet before I can call it done.
One of the other challenges within the Making Waves theme is to make a 3D fish and my immediate thought was to create what many would regard as an ugly fish but which I prefer to think of as a fish with shedloads of character……..one that would get noticed amongst a group of pretty fish!
AnglerfishTasseled ScorpionfishOyster Toadfish
Having typed “ugly fish” into Google I lost many hours over the next few weeks looking at images and some incredible videos of life deep in the depths of the oceans. Each new search revealed yet another fascinating species of fish, some quite honestly didn’t look real while some, like the Tasseled Scorpionfish were strangely beautiful. One of the weirdest I discovered has to be the Red Lipped Batfish. If ever there was proof we descended from the oceans this red lipped, whiskered fish that “walks” on its specially adapted fins has to be it!
Red Lipped Batfish
Last month the Waltham group had a day making felted fish, some are finished, others are still work in progress.
Lucy made a wonderful wet felted Puffer Fish adding recycled plastics, including pipette tips, wine bottle netting and glass beads with recycling symbols underneath, to highlight the plight of our oceans.
Sue is very new to wet felting but she’s taken to it like a fish to water (couldn’t resist!) and has made “Angry Fish”. I think he looks more sulky than angry but he’s terrific!
Barbara’s felted fish is still work in progress but looking great, as is her sketch book and fabric fish purse!
Originally I had intended to wet felt my ugly fish but, after all those hours of studying them and getting excited about what I was going to make, for some reason when I took out my carded Corriedale fibres I found myself felting a cartoon version of an Angelfish…….I didn’t see that coming! Her name is TroutPout and she’s approximately 33cm x 36cm excluding her fins.
I’ve been enjoying teaching 3D Seed Pod workshops recently using wire wrapped with Tyvek fabric so decided to make my Anglerfish from wire rather than fibre. It was only when I’d got the 60cm x 33cm framework made that I sat back and realised I’d gone past the stage where I had meant to start adding my fabric! Time for plan B…..maybe I could use wire mesh to give it “body”?
I looked for some online but hesitated as I wasn’t sure how flexible or suitable the mesh would be. Having put the fish to one side, a few days later I joined the Lincolnshire Textile group and at my first meeting I was offered a piece of silver coloured Sinamay. Sinamay is one of the most popular hat-making foundations. It’s woven from the processed stalks of the abaca tree, a type of banana native to the Philippines. I couldn’t believe my luck……..being silver coloured this off cut looked like wire mesh but wasn’t and if I sprayed it lightly with water I could easily shape it to fit and stitch it with aluminium wire to my framework. So this is how far I’ve got. I’m going to add a few more wire spirals and do something more interesting with the eyes. He should have menacing teeth but I might not go that far!
Wire frame Anglerfish
Another feature of next years Making Waves exhibition will be an Octopus’s Garden so once the fish are done it’s straight on to making lots of coral and a few Octopus. I’m loving this theme and could quite happily continue with it way beyond our event next year…….it has to be the most interesting and enjoyable we’ve had so far!
I added free motion machine stitching to the distant shore. Whenever I start FME on a landscape, I always think that the first few areas where I have stitched look like it’s too much. But I keep going and usually, once more stitching is added, the initial lines don’t feel excessive.
The next step was to stitch the rocks across from the tree. I considered adding some stitching into the foliage above the rocks but decided to leave it as is.
Then on to stitching the tree. I added the dark bits to the trunk and stitching through the felted paper was a breeze, no problems at all either by machine or by hand. The dark branches were added next and then decision time on how to add a few more leaves. I considered needle felting some smaller leaves on the dark branches but then decided I would hand stitch the leaves.
I then hand stitched leaves on to the dark branches using hand dyed lace weight wool thread and detached chain stitch. I added a few bits of grass at the bottom of the trunk as well.
The miracle is that I found a backing fabric, stitched the felt to that and then wrapped/laced the piece around matte board so it’s ready to frame. Since the piece is small (matte size 8″ x 10″), it went quickly and now I have two pieces ready to take to the framers. This piece counts for the year long tree challenge for spring. I have to think about the summer one as it wouldn’t really look different than spring, a few more leaves perhaps?
The winter birch piece is also ready for framing. I used a darker gray hand dyed fabric for the winter birch as it felt “colder” that way. Now on to the next landscape as the gallery wants me to replace the one that sold last month. (Doing a little happy dance!)
This is the piece that sold called Remembrance. Yay!
