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Felted Vessel Workshop

Felted Vessel Workshop

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A few weeks ago, I taught a felted vessel class. A lovely bunch of ladies full of enthusiasm. As usual, I didn’t take as many pictures as I wanted, but here you can see the setup.

After everyone had their base ready, people got to work on embellishments. This is the hardest part, but also the most fun for most people. So many choices of wool and silk. They have to think about where they will cut their felt to take the resist out, to open it up, how big they want the opening and whether they want a very round pot or a flattish one. Where is the top, and where is the bottom?

I didn’t take as many pictures as I wanted to,  so we jump to the end.

Two ladies decided to cut slits and make their vessels into small bags. They need to work on the edges some more.

And one lady decided to turn hers into two small bowls. One was turned inside out so you can see the pattern better.

 

All in all, I think they did very well having never felted before, I don’t think any of them had ever handled fibre before.

 

Felted hat workshop #6?

Felted hat workshop #6?

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Felted hat workshop #6? It’s a fun workshop with Ann, so let’s take it again!

Nov. 29 2025, I was busy teaching needle-felted landscape for the Ottawa guild in the studio. As you saw recently, Ann took the workshop and was making an impressive forest with mist. She was also making funny faces as we tried to get a group shot!! (This was the best option, and really is pretty good…. I was so tempted to show you her best silly face!)

5 students holding up their pictures1) Most of the students from the felted picture workshop (one had to leave early) (Ann sent a shot of her progress on her picture, but I should let her show you in another post!)

 

Nov. 30th 2025, Wet Felted Hat workshop.  Glenn and I were back in the studio bright and early, but not quite as early as Ann. She had the tables set up and was laying out the tools we would need. I was going to be a student today, and she, the teacher!  She had me in the back by the door (out of the way…. I have taken this class a few times before, I think this is hat 6, or was it hat 7? I can make one on my own, but it feels safer to face the water in a group.).

Glenn was there in case I ran out of rolling power, partway through the day. In the meantime, he was working quietly at the back of the room on one of his game boxes (he was building inserts for the game pieces to fit in the box better). He seemed to be having fun and did stay drier than I did.

Husband setting up at table in front of snowy window2) Glenn at the table by the window

Ann with bag of wool balls3) Ann with a bag of balls of wool

More enthusiastic students arrived, and we wound up with a class of 7 students.  With a class size of 6, we usually are done at 4 pm, but adding more students adds more time for everyone to finish. We each chose a wool colour and a hat shape. Like my workshop on the previous day, we had students working on the same topic, but each was quite unique.

white hat with black edged brim and top of hat 4) Sample hat with brim

Ann showed us samples of some basic hat shapes.

a table full of various silks and other augmentation fibers Ann is standign to one side and showing a silk roving.5) showing us various types of fibre we can use to augment our hat

She had a full table of fibre to augment our base colour for the hat.  (Various formats: of silk, small curly locks, and other fibres.)

6) Drawing out the patterns for each student6) Drawing out the patterns for each student

She then adjusted the basic pattern for each student’s head size.

She demonstrated 2 ways to pull out thin wisps of staple lengths of fibre.

pulling thin wisps off the combed top then laying the down like shingles over the resist. pulling thin wisps off the combed top then laying the down like shingles over the resist. pulling thin wisps off the combed top then laying the down like shingles over the resist. pulling thin wisps off the combed top then laying the down like shingles over the resist.7.1-7.2- 7.3-  7.4) pulling thin wisps off the combed top, then laying them down like shingles over the resist.

7.5) A second way to pull off a staple length7.5) A second way to pull off a staple length

 

Our various hats

slightly ball and stick shaped hat resist covered with black wool8) My hat (black, strange shape), side one is done

Ann, helping with dreadlocks to augment this hat.  First lay out one side, then the other.

9) helping a student add dreadlocks to her hat9) helping a student add dreadlocks to her hat

Now time to add the scary water!!

adding water and soap to wet the wool adding water and soap to wet the wool10.1-10.2) adding water and soap to wet the wool

Gently pushing down, making sure the wool is wet all the way through.10.3) Gently pushing down, making sure the wool is wet all the way through.

11.) Side one, turn the edges around the resist.11.) Side one, turn the edges around the resist.

12) My hat is a bit behind the others!12) My hat is a bit behind the others!

 

The second side is placed over the resist and wet. Once wet through, flip and wrap edges. Be neat, or you get a Mohawk line on your hat!!!

13.1-13.2) Adding embellishment fibers over wet wool. 13.1-13.2) Adding embellishment fibers over wet wool.13.1-13.2) Adding embellishment fibres over wet wool.

13.3) Ann explained about rubbing directions, and what happens if you go the wrong way.13.3) Ann explained about rubbing directions and what happens if you go the wrong way.

 

The gentle rubbing (caressing the wool begins.) I am a bit behind the others in class, but I will catch up if I keep working!

14) The Tupperware juice container lid works great as a rubbing tool14) The Tupperware juice container lid works great as a rubbing tool

The water was starting to fight back,  I realized as I discovered my apron had dogged to one side, and let my knee take the wet, dripping attack! It was obviously time for the towels to come out, yes pinch test is a success, so on to rolling!

15) Finally I am rolling my hat!15) Finally, I am rolling my hat!

I am still behind; most of the others are cutting open their felt to expose their resists.

16) cut a hole to reveal the resist.  Then heal the edges.16) Cut a hole to reveal the resist.  Then heal the edges.

 

Once we had shrunk them down partway, we started to try them on.  (Ick!! Cold, wet wool hat….where is the dry warmth I remember from my other hats???)

17) trying the hat on.17) trying the hat on.

One had a flat brim developing; you can see some of the hat blocks.

18) Hat block and brim18) Hat block and brim

19) This was a technique, I did not favor, but seemed to be very effective! Ann is rubbing a hat while its on the students head19) This was a technique I did not favour, but it seemed to be very effective!

I think my weird hat reputation has been surpassed. This one looks like it will be truly intriguing. It’s not finished, I think.

vibrant yellow green hat! vibrant yellow green hat!20.1-20.2) vibrant yellow green hat!

These two hats are done21) These two hats are done

 

5 pm, already?!! I was still working on mine, but the basic shape is done. Next, I will rinse out the soap and do some final shaping. I am going to be run off my feet for the next 2 weeks at least, so maybe I can find time to finish it after that?

22) Packing up the room after the workshop 22) Packing up the room after the workshop

 

I was wiped after all that wet felting! As we headed to the car, Glenn agreed that dinner out at the pub, Rose and Crown, in Centerpoint (west end of Ottawa, which used to be Nepean), would be lovely, which it was. Then I fell into bed early. The next day was December 1st, which was the guild meeting. I was in to the studio early to beat the traffic and set up the library. This month I still have more guild work, including prep for teaching inkle weaving, and then there are blog posts and Christmas! For tonight, heading off to bed to get some extra sleep sounds very exciting. Maybe I will get a real rest in January!

If you have the opportunity to take a workshop with Ann, she is a fun teacher (even if there were no Smarties (candy) in her class!)

A Felt Landscape Class with Jan

A Felt Landscape Class with Jan

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I keep wanting to take this class with Jan, but it always seems to get scheduled when I have a class the next day or when I am at the Farmers Market. I finally got to sign up. My class was scheduled before Jan’s. Then I got the dates for the Christmas markets. The hat class was planned for the day after the last market. It would have to move. I would still be exhausted the day after the market. I don’t want to do that to the students or myself. So now I am taking Jan’s class on Saturday and teaching Felt hats on Sunday. I am sure it will be fine. I got all ready for my class early in the week, so all I have to do is load the car on Sunday morning.

To start, Jan emailed us some pictures so we could choose what we wanted to make. There was one I really liked, but thought it needed something else. So I had a chat with Jan about that. She does say you are the God of your picture. And she never does what everyone else is doing when she takes my classes. I went searching on the internet to see if I could find what I wanted to add. I did not have much luck. Google thinks it knows what I want to look at even when it doesn’t match what I put in the search. I found out later that I should try the in cogneto mode to get better results. Jan sent me a couple of pictures, and I found what I wanted.

I picked the one on the top right, but wanted to add a small shed. I know you were expecting one of the ones with sheep, weren’t you?

At the workshop, Jan had lots of her work to show us, to help us understand what we were doing.

 

 

Jan gave us lots of information about different ways to work. She explained all the needles she had given us to try out. You can see them stuck in the orange noodle. She included different versions of our pictures to help us pick out the wool we needed.

Then we had to pick our wool. She had a lot of wool. The bags covered 3 6-foot tables. There were also several books on the table for us to look at. I have no picture of the books. We were all wanting to get stabbing. I will ask Jan to look at the landscape book she has that I haven’t looked at before.

On to working. I chose to do a rough outline of where things were by holding the thin felt over the picture on a window. It was fun and absorbing, so I didn’t take as many pictures as I should have.

My friend Judy took this picture of me working.

This was my neighbour, she was working on a musk ox picture.

And here is a shot down the tables, of others busy stabbing away.

After adding the fog, I put in a little shack.

As we neared the end of the day, I went to add another layer of trees in front of the fog, but I couldn’t get them right at all. I think I was done with trees for the day. So I added the snow in the foreground. I may add the grass with stitching.

So now it is a few days later, and looking at the pictures, I can see the fog needs to fade out more. And maybe not cover all the trees. I will remove the tree trunks and fix the shack door.  Taking a picture really shows you what you can’t see looking at it live. I am not sure where I will go with the trees. I think I swapped the picture I wanted with a darker one. I may bring the fog down and add a few trees in the mid-ground, maybe with some snow on them.  We will see. I will take it to guild socials and continue.

Jan included a large instruction manual for us( 32 pages) in case we want to do another picture and forget everything we were told (completely possible, there was a lot to learn).

I think we all need to pester Jan to make this an online class or a book.  She has so much of it already done.

Further revelations on Onion Skins and book review on Pigments (plus new course announcement!)

Further revelations on Onion Skins and book review on Pigments (plus new course announcement!)

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I’m hoping the featured image will make you curious!

Before I start into my post I want to mention my new course on wet felting which was recently launched with the Felting and Fiber Studio. It’s designed for felt makers who are new to using resists.

It’s fully supported by ‘how to’ videos and PDFs and we work with the simple circle. You will learn how to make a vessel and at the end I discuss with you the possibilities of how you can take it further.

So, you start by learning how to make something like this ….

Then I discuss a few variations that can be made with the circle and you could choose after the course, to make something like this ….

I discuss how to make this sculpture on the new course

This course is permanently open so if you fancy it you can register anytime. Curious? Then feel free to head over to https://feltingandfiberstudio.com/classes/online-course-wet-felting-a-vessel-using-a-simple-resist/ to find out more.

Promotion over! Thanks for your patience, Now let’s move on to my post.

Onion skins were at the centre of my last post – I talked about making pigment out of the dye. I mentioned that I would return and show you a little bit more of what I did with some of the dye. Here is the link to the post in case you missed it: https://feltingandfiberstudio.com/2025/08/18/is-this-compost-or-dye-material-actually-its-both/

I had set aside around half of the onion skin dye pot to try out on some fabric (I used the rest to make the pigment). I decided to experiment with a little margilan silk and some woven wool fibre. I mordanted these fabrics first, using an alum solution. The alum attracts the dye particles and the colour is less likely to wash out.

Margilan Gauze dyed with yellow onion skins.
Woven wool sample dyed with yellow onion skins

 

I love the vibrancy of the results. I would describe the wool sample as deep orange while the silk sample turned out more of a golden colour. It is quite the challenge to get the photo to reflect the true colour of the fabrics. I now need to work out what to do with these two fabrics. To be honest, there is not a lot of either and I don’t have a toning fibre to use behind the margilan – I think I will have to make up another batch of the onion skin dye.

Once I finished dyeing the few bits of fabric, I transferred the remainder into a 5 litre container. I basically forgot about it and only remembered it when I came to put together this post. So it has been sitting around for two months.

Now I need to digress a bit. Our lovely little pooch, Archie developed a lump on his elbow a number of months ago. We have been keeping an eye on it as his vet warned that it would become impossible to remove if it grows much bigger. (there would not be enough surrounding tissue to easily sew up the wound). As fate would have it, it grew and Archie went ‘under the knife’. He was discharged wearing his ‘cone of shame’ which we quickly swapped for an inflatable version – much more comfortable for Archie and for the humans too – less bruising on our lower limbs. The only downside was that the cushioning around his neck caused him to snore. He sleeps in the bedroom with us and this was cute for about five minutes….. The cone was tied with an elastic bandage. I was having fun playing with the weave and thought it might be fun to felt with.

Archie in his blow up collar and sore paws

I made a bangle. First I laid down the bandage and wrapped it around a resist which matched the length of the bandage. Then I laid down layers of merino fibre – 6 thin layers in total. I felted it to fit my wrist and shaped it. The whole purpose was to see how it would take the old onion skin leftover dye. I did a cold mordant – I soaked it in 10% of its weight in alum and left it overnight. I rinsed it out and popped it into the dye bath, slowly bringing it to the boil.

Here is the result. The colour is a lot lighter than its first run. That said I decided to speed up the process as the smell of the dye bath was pretty awful. In fact it was pretty disgusting. I endured it for around one hour and then my nostrils got the better of me. I poured off the majority of the dye bath and then left the bangle to cool in the rest. I also lit a scented candle (it really did take away the stink – good to know going forward!)

Bangle made with merino and elasticated bandage dyed with yellow onion skins

While I like the colour, I think I will use it as a base to play with stitches. So I may be back to you on that.

I mentioned in my last post that I had just ordered a book on pigment making and that I might review it, if readers would like that. I know I am stepping away slightly from textiles and felt here but it is possible to combine pigment and textiles (alcohol inks anyone?). I was feeling quite excited as I had ordered the book and it was on the cusp of delivery. I got a positive response so here it is.

The book is called ‘Natural Watercolor Paint Making’ and it is by the artist Joanne Green. Some of you may already follow Joanne on Instagram (#joanne_green_art). I love watching her magically transform plant matter into pigments and then reconstitute it into a paint which she uses in sketches of the plant which has formed the basis of the actual pigment. Very clever and a great pleasure to watch.

Cover sleeve of Joanne Green’s book

Joanne’s book is beautifully presented and very readable. It’s a bit like sitting with a knowledgeable friend having a chat over coffee. The materials and supplies list is very comprehensive and I found that there’s really nothing on the lists that could not be sourced. With regard to the topics covered, I think the easiest way to show this is by sharing the contents pages. As you can see, there’s a whole section devoted to step by step instructions on how to make the lake pigment from the moment you have produced your dye bath through to turning your powdered pigments into watercolours and how to store your new treasures. Joanne is living in Canada but I can easily access many of the plants she uses in her recipes in Ireland.

Source: Natural Watercolor Paint Making; Joanne Green
Source: Natural Watercolor Paint Making; Joanne Green

Photography (primarily by Canadian photographer Tegan McMartin) – is sumptuous and a pleasure to view. It’s interspersed with Joanne’s tiny watercolours that are a feast to the eyes.

Source: Natural Watercolor Paint Making; Joanne Green
Source: Natural Watercolor Paint Making; Joanne Green

I am so pleased that I made the leap and purchased this book. I found it easy to source too. If you are a fan of Joanne’s social media postings or are curious about producing pigments, then it is a worthy purchase.

Felt Connect 2025

Felt Connect 2025

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As I write, nearly a week has passed since the 18th Southern Hemisphere Felters’ Convergence drew to a close but that peculiar mix of exhaustion, elation and excitement I felt as I drove home still lingers. I’m buzzing with so many ideas and happy memories! 🙂

The Felters Convergence is usually (pandemics permitting) a biennial event organised by volunteers from Australia or New Zealand. It is an opportunity for antipodean felt-makers to gather and share their knowledge and ideas. This year it was held in the beautifully quaint and historic suburb of Parnell in Auckland, New Zealand.

Before we arrived we were invited to “bring your smile”, a common refrain for anyone attending a social event but this time there was a twist…. We were to arrive with a smile and leave with a smile…. a felted smile! 🙂

Christine Roxburgh and Jenny Forrester (our very talented and incredibly hard-working organisers) put together an amazing, fun-packed program over the 4 days we had together. At almost any given moment there were 3 to 4 different classes or talks taking place and if that wasn’t enough, there was a room full of traders selling all manner of fibres, fabrics and felting equipment and a fabulous felt exhibition to visit. They REALLY crammed a lot in to the 4 days!

A small selection of pieces in the exhibition:

As Christine explained at the opening dinner, the Felt Connect title was a nod to the underlying philosophy of Convergence where feltmakers from far and wide come together to not only share their knowledge and love of fibre arts but also where new connections and international friendships form.

We had just shy of 100 attendees, 30 of whom were visiting from Australia and one came all the way from the US! Our headline tutors were equally international with Nancy Ballesteros from Western Australia, Katia Mokeyeva from Vermont in the US and Jacqui Collins from New Zealand.

Nancy taught for 3 very full days, covering topics such as:

  • colour theory for fibre artists
  • making properly fulled but beautifully drape-able felt in the Art of Drape class
  • the saucily titled, “Hanky Panky” session where she suggested lots of different ways to incorporate silk hankies into your felt
  • the Natural Rhythms class where she shared how she uses Fibonacci’s design principles in conjunction with her colour theory lecture from day 1. This allowed us the perfect opportunity to put some of what we had learned from her colour theory talk into practice while exploring wet-wool layout techniques.

Our sessions with Katia were a technological leap forward for Convergence, having someone teach 100 felt-makers from a different continent was novel and gave us the chance to learn from an expert that most of us will never have the opportunity to meet in person.

An example of Katia’s “Sea Waves” technique from her website

Katia provided us with pre-recorded videos of her signature “Sea Waves” technique and answered our questions over a Zoom call. Jenny did an amazing job of bringing it all together and resolving the inevitable technical issues that required her to hold the speaker jack in the computer so the room full of keen students could hear Katia’s replies to their questions from half a world away.

After our online session with Katia we were set free to experiment with our new learnings in the main hall.

Jacqui provided 4 full days of teaching, her classes were so popular many of them were over-subscribed. She covered a wide range of topics including, how to:

  • felt a fedora style hat using alpaca fibre,
  • make a wet-felted necklace,
  • painting on silk
  • construct and hang 3D wall art

And of course then there was the army of more than 20 volunteer tutors who offered to share their knowledge, a technique or ideas on how to develop your own style in new directions. There really was something for everyone!

A raffle was held to raise seed money for Convergence 2027 and the prizes were drawn on the final day:

Photographer – Pip Sturgeon

The final gala dinner and fashion show was a hoot, with heartfelt closing speeches from Jenny and Christine followed by the very funny “Glitter Sisters” AKA Lynn Evans and Sharon Fergusson, who hosted the felt fashion show with more than 20 stunning creations paraded among the enthralled diners.

L to R: Lynn Evans, Jenny Forrester, Sharon Fergusson and Christine Roxburgh. Photographer – Flo de Ruiter
Just a few of the fabulous felted outfits on display in the fashion parade. Photographer – Margaret Joppa
Bernice Mitchell modelling one of the three outfits she presented during the parade. Photographer – Margaret Joppa

Attending a Felters Convergence has been on my bucket list since I first read about the 2015 event and 10 years later, I’m pleased to say, Felt Connect 2025 massively exceeded my very high expectations and was worth the 10 year wait! Now I am hooked and Adelaide 2027 can’t come around soon enough! 🙂

Thank you so much to everyone who attended, organised and / or volunteered at this event, you are all utterly marvellous!

Ann’s Slipper workshop: from the students perspective

Ann’s Slipper workshop: from the students perspective

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I am very lucky to have a local weaving/spinning and felting guild in the city.  I know many felters are not so lucky.  As you have already heard, it is quite an active Guild, with meetings, socials, and workshops. Today we will have a chat about one of the felting workshops.

Ann will be teaching a few wet felting workshop this fall, including teaching wet felted slippers.  I had signed up quickly after registration opened, for both her slipper and hat workshops this fall. As you probably have notice I tend to be mostly a dry or needle felter, but occasionally I will get my hands damp or almost even wet and try a wet felting workshop.

It will be the first time running this workshop in the studio space, now that the floor looms have moved up stairs. This will allow for a slightly larger class size, we usually have 6 students for this workshop the extra space made it comfortable to try 8 students.

Ann had emailed the students a couple weeks before the workshop, to select their fiber colour. We would be using Corriedale for the slipper and she would have other fibers available to embellish them.

I gathered my wet felting bag from Living felt (Thanks Marie!) added some extra needles (just in case) found the camera, a Mer-boyfreind (in progress) and a large towel ready for the morning.

wet felting Kit from Living felt1.1) the Wet felting kit from Living Felt. I will be using the purple Ball Brause Wet Felting Tool.

6am, October 05, 2025 arrived much more quickly than I had anticipated.  I did a bit of computer work, then Glenn got my stuff into the car. I headed off to let Ann into the building, so she could set up for the class.

I heard the weather report as I was heading in and found out the sweater I had layered on, would not likely be necessary….. (The temp at 3pm, was 29.7c, which beat the 1941 record of 27.2 C.)

On Monday (the guild meeting day) we are expecting a high of 30 C and a humidex of 33c.  Did I forget to mention this is OCTOBER and its usually Much cooler by now. I am not complaining!!!! This gives me a bit more time to get the garden organized for winter.

I did arrive ahead of Ann but not by too much. She quickly got the tables up and started laying out the supplies for the workshop.

Ann cutting plastic with sisors2.1)  Ann prepping plastic for the workshop

bubble wrap, plastic sheet and pool noodle on table waiting for students2.2) bubble wrap, plastic and pool noodle

large storage bin in wagon in the studio2.3) Ann Brought not just the fiber for the slippers, but a wagon load of fiber.

Ann got the bag of 100 gr balls of the requested colours and handed them out.

distributing 100gr balls of wool in 3 photos  2.4) 100 gr balls of Corriedale fiber

She showed us sample of different types of slippers and showed the resist that would make that shape.

3 photos of sliper samples 2.5) slipper samples and patterns

We each selected our slipper shape and then traced our feet. Ann estimated the shrinkage and added it to the resist. We had the slipper with heal, the slipper without heal and a couple ankle high boot slipper shapes too. For high arch feet she had to add a bit of extra space.

Ann tracing foot shapes to create the resist shape 2.6) ankle books resist shape

this hart shape will create 2 slippers without a heal 2.7) heelless slipper resist

this is the shape with little off set wings that will make the slipper with heal2.8) slipper with heal resist.

We cut out our resist, (that’s floor underlay), it works well since we can feel it through the wool.

Next we divided the wool, fist in half (half for one side half for the other). I had to then spit each side in half, since I have two separate slippers, rather than one joined resist shape. For most, each side was divided into 4 equal lengths, since we will be adding 4 thin layers of fiber in alternating direction.

half fiber is devided into 4 balls, sitting on resist. one half of the fiber is still in a ball on the other resist3.1) starting to divide the fiber

Jumping ahead I have added 2 layers and was just starting the 3rd layer on the first side.

half the fiber is devided between the two resists. the same amount will be used on the other side of the resist.3.2) laying out the first side of the resist, last of the 4 layers starting to go down

 

After completing 4 layers over each slipper resist. I gently wobbled the fiber and then moved it off to one side and started what will be the other side.

thin even layers alternating direction there are now 4 shapes which are the top and bottom of both slippers.3.3) 4 layers on each slipper on each side

Once we had both sides with 4 layers of changing direction, it was time for lunch.

I mentioned Ann had brought a bit of fiber to embellish our slippers…. Ann’s wagon is obviously related to the Tardis! Boxes just kept emerging, and fiber appearing out of it! she covered the table with options, Marino top, Throwers waste, shredded hankies, sari waste top, locks and curls, silk blends, trilobal Nylon, her own hand spun yarn, and some mixed bits of odds and ends. We will get back to this distracting pile of clolours shortly.

another student looking through the embellishment fibers spred out over a 6 foot long table3.4) embellishment fibers filling the table

Next, we were getting into the really scary bit. We added water under the resist turned the edges and then added the second layer. The water even dripped on the floor!!!

this is a ankle boot shaped resist, Ann is carfuly tugging the fiber extending byond the resist on top of the resist.4.1) wetting the first side, and carefully wrapping the extra fiber around the resist

my resists sitting on wetted wool 4.2) my slippers start to get wet

plastic over the wool that has been added above the resist. the plastic keeps the fiber from sticking to my hands as i push the watter into the fiber.4.3) using the plastic to help spread the water (so the fiber doesn’t stick to your fingers)

the boot resist, wraping the fibers around the edge of the resist being very carefull not to make stong fold lines4.4) wrapping the second layers edge fibers around the wool rapped resist

Once we had the front and back wrapped around the edges of the resist,  it was time to consider embellishments.

3 photos of embelishment options.5.1) some of the embellishment fibers

Once the embellishing was added and in some cases wrapped to the other side, we wet the new fibers. I had chosen silk and wanted to give it a better opportunity to attach, so added thin whisks of hand blended merino wool over top of the silk.

after adding embelishment fibers more watter was added 5.2) embellishments added and then more water added

Maybe if I move the plastic you will get a peek?

Peekeing under plastic to see silk and wool added to slipper5.3) looking under the plastic at one of the tows of the slippers

Ann has been able to find a collection of the old Tupper ware lids. I will have to keep my eyes out for them too. We used them to gently rub from the edge of the resist towards the center. At first very lightly then adding just a tiny bit of pressure.

2 slippers in progress. tupperware lid used as rubbing tool.6.1) the rubbing with Tupperware lid

By this point the water was making a brake for it or a frontal assault, I’m not sure which. I employed the power of the towel and tried to keep the wetness in check! The towel did not stay dry long!

towl wrapped aruoung buble rap and plastic holding slippers/resists a bit of dampness is visiable on towl6.2) pinch test after rubbing is successful and it’s on to rolling!

I kept loosing track of my counting to 100 then flip and rotate the resists. You can see the slight rippling developing, there is some shrinkage happening.

during brack in rolling, opened plastic to see if there was any sign of shrinkage. only the fantest rippling present 6.3) checking everything is still attached and looking for signs of shrinkage

towl is now heavily saturated with water there is a faint lighened arria in one part of the center of the towl which is still dry.6.4) The water was making a valiant effort to soak me but I dogged as much as I could! The towel, on the other hand has only a small patch that is still dry, the rest is quite soaked

Mer-Stergon in progress turned away from the camera showing extencie gluteal development (he has a nice butt for a fish-person)) 6.5) Even the latest Mer I was working on, did not seem interested in getting wet! (Unrelated dry felting glute shot!)

Since Ann was having the other students stick their feet in the cold wet slippers, I used the original unscaled up foot tracing to check if my shrinkage was getting close.

laying paper foot shape over slipper shape to check asmount of shrinkage7.1) checking with foot size agents the length

this is another student trying on her bootie stile slipper, Ann was checking the fit and is now pulling the bootie off7.2) try it on

Once a slipper was close focused felting and shrinking were done to ether length, width or both.

Ann is rubbing the foot section side to side to reduce the width of the slipper7.3) adjustments

Mine still need more work but its getting closer.

2 slippers still need more shapping but are starting to look like slippers 7.4) still needs work but they now look like slippers, checking amount of shrinkage

I still have more work to do, but I can heat them up again and keep working on getting the heal a bit tighter. You can see I have had quite a bit of shrinkage I will work on them more this week.

But for now I have to head to bed. There is a guild meeting tomorrow as I am writing this, and I will need to leave extra early since there is expanded construction on the queens way today. I will give you an update on the slippers when they fit just a bit better (they are close but the heal is a bit loose, on one more than the other)

Ann was a fabulous teacher, as usual! She is very mellow and we didn’t feel rushed or confused.  In fact this is the second time I have taken the felted slipper workshop (and I stuck to the plan and actually made a set of slippers this time, not boots!  I think I have taken her hat class 5 times so far, each time making a totally different hat. this will be hat class #6. I still have to decide if I want to make a replacement for my stolen hat or make something new.) If you have the opportunity to take a workshop with her I would defiantly suggest it! and I do feel safer  from the evil wetness when I wet felt in a group!!

Have fun and keep felting!!

Registration for the 3D multi-part resist workshop is now open.

Registration for the 3D multi-part resist workshop is now open.

Comments 10 comments

Hi, I’m Ann McElroy. I have been doing in-person teaching for about 20 years now.  After hearing much demand for a workshop like this from people who do not have access to in-person teachers and much nagging encouragement from my fellow bloggers, I put this class together.  Doing multi-part resist is great fun, and there are so many possibilities for this technique. Registration opens today, and class starts Oct 17.  You can register here, just scroll to the bottom: https://feltingandfiberstudio.com/classes/3d-multi-part-resist/

Have you ever wondered about working with more than one resist? Have you tried one resist and found that only one is not enough? Do you want more? I can help! Why have a single resist when you could have a full book of them! This fun course will expand your felting horizons. This step-by-step course will guide you from building the multi-part resist to the finished piece and give you the skills to continue. Why use only one resist when you can use more?

This workshop is $60 Canadian, approx. $45 US, $37 Euro, $32 British Pounds, $66 Aus., $73 NZ.

The workshop will be open for 4 weeks: from October 17 to November 14, 2025.  Here is a link to the material list: 3D supply list.   You will likely already have most or all of this. Registration and contact information are at the bottom of the page. Registration will open on October 1 2025.

This course is designed for Felters who have felted over a simple resist before. An experienced felter may be able to complete this class within a single day; however, the course can easily be extended over multiple days as needed. You can stop at the end of each PDF and continue another day or time. Using a step-by-step guide, you will make a three-dimensional six-part resist. This type of resist is often called a book resist, as it resembles an open book with the pages splayed.

The workshop is accessible for four weeks and has four downloadable instructional PDFs. I will be available to answer any questions for the 4 weeks the class is open. You will also have access to community spaces where you can share progress pictures and connect with the teacher and other students.

Your learning goals

  • Learn how to make a multipart 3D book resist
  • You will learn how to lay out and manage your wool for a three-dimensional resist.
  • How to bring the wool and resist together in an organised and logical way. Including all the fiddly bits.
  • How to felt a multi-part resist, managing all the parts.
  • Learn three different methods of fulling and their advantages and disadvantages.
  • You will have the option to choose from various finishing methods.
  • How to use some everyday items to help with shaping and finishing.
  • Experimenting with different shapes.

By the end of the course, you will have a unique sculpture. Mastering the book resist technique, you will unlock new creative possibilities for complex sculptural felting.

 

This workshop is $60 Canadian, approx. $45 US, $37 Euro, $32 Pounds, $66 Aus., $73 NZ.

You will be billed/invoiced by PayPal, and the vendor name on the bill will be Shepherds’ Spring Farm. Class sizes are limited to 50. A supply list, a Class Website Navigation PDF, and an Adding Photos to the Class Website PDF will be attached to the PayPal invoice for your convenience.

Please remember that the course content is for your own use and should not be reproduced or transmitted in any form or by any means without obtaining my prior written permission. Please respect the copyright.

The workshop will be open for 4 weeks: from October 17 to November 14, 2025.

Registration is now open. Register here, just scroll to the bottom: https://feltingandfiberstudio.com/classes/3d-multi-part-resist/

 

Felted Flower Workshop

Felted Flower Workshop

Comments 12 comments

You may remember I did a post about dyeing silk hankies for a workshop at Pinhey’s Point.  https://wp.me/p1WEqk-j91  Sunday was the class.

I was set up in what was originally the dining room of the house. It was a bit tight with 10 people around 2 tables,

But everyone did fine. Everyone kept thier elbows down and we had a great time.

First, we did a petunia/morning glory. More in general shape than reality.  This is a nice, simple flower for people who have never felted anything before. Not a great picture, but it was the only one I could find that I had uploaded before. I used to be terrible at naming my pictures. I am much better now. Makes it much easier to find what you’re looking for.

Once everyone had their flower done, we had a break. The museum provided a great snack table for our break. We all felt very spoiled.

Then we moved on to the silk hanky flower.  I explained about what they were and how they were made, and everyone had to pick a colour. It was so hard to choose.

They learned how to make the stems and the stamens for a more complete flower. Here they are doing the dry rolling to compact it before wetting.

Then it got busy, and I was running around the tables helping people. It is always tricky getting the stem and stamen centred on opposite sides. But everyone managed.  The biggest problem was with stems not sticking. We had 3 with stems totally detached and one partial detachment. I think it was a combination of felting the base of the stem too hard at first and pulling it away when moving the stem to a different position to rub the flower. All but one had felting needles at home with instructions on reattaching the stem after it’s dry. I gave a needle to the last person and explained how to use it to fix the small area that was not attached properly.

No more pictures until the end. All in all, a great day. Everyone seemed happy, and there are definitely some new addicts in the making.

 

I have no idea what the white spot is. It is on the original in my phone.

Ann

 

 

 

Cyanotone print on paper then felted with Fiona Duthie

Cyanotone print on paper then felted with Fiona Duthie

Comments 16 comments

08-06-2025 Cyanotone print on paper, then felted with Fiona Duthie – fine felt

On August 6th 2025,  The Great Canadian Felt Project, using Cyanotype paper dying with wet felting, arrived in Ottawa, Canada. This is an ongoing project moving across Canada, starting in the Maritimes (east coast) and moving west.  Small 3-hour mini-workshops are set up as Fiona and her husband travel across the country in a vintage VW bus. The workshops are being arranged on slightly short notice, due to allowing for travel time to reach the next area where felters will be gathering.  (If you are west or north west of us, you can see if she is heading your way. She has a web presence, you can try to connect with her as she is moving west. https://www.fionaduthie.com/great-canadian-felt-project-2025/)

Liane contacted her and ultimately arranged for two sessions in the OVWSG guild studio for Wednesday.

I have worked in a darkroom at university, so I am familiar with the concept of Cyanotype printing. It’s a little like playing with the enlarger in the dark room, but more blue.  I also preferred keeping my fibres dry when I felt. Since I can have fabulous fun with photo-documenting the event, I suggested I photograph and let someone else enjoy the fun of felting. (If they were short students, I could switch, and there would be fewer photos.)  There was a lot of enthusiasm for such a short notice, mid-week event, and we wound up with 2 groups of 11 students, one in the morning, one in the afternoon.  We only had a few days to get it all organised. The guild is also in the middle of moving rooms and looms, so tables had to be tracked down, a quick clean-up of the studio, and we were ready to have fun. You may recognise a few of the students from previous times you have joined me on shopping and at guild activities!

By the time I arrived early Wednesday morning, hoping to get a tiny bit of library work done before starting the photography fun, Liane had the room all set, ready for the workshop. She arrived shortly after I did, and was quickly followed by the teacher and her husband. The students arrived soon after that. Everyone was very excited, and almost everyone was early.

FIona and husband arives in OVWSG Studio with tables set up ready for teaching1.1) The room arranged, and the teacher and her TA setting up

Fiona Duthie and her husband both used to work in Ottawa, but are now located in BC. They had been on the East Coast, giving a felting workshop and visiting family.  She gave a brief overview of the order of operations, and the students quickly got into laying out their local plants and other objects they had brought.

on table covered in striped blue and white plastic cover Trays (cat litter trays) for rinsing, hand laundry scrubbers, Ballbrasa, Soap and water buckets2.1) Equipment: Trays (cat litter trays) for rinsing, hand laundry scrubbers, Ballbrasa, Soap and water buckets

close up of the hand laundry scrubbers2.2) close up of the hand laundry scrubbers. I think these were made in Germany. They remind me of a sewing clapper (it’s used on seams to flatten them)

the magic chemicals that make the wonderful blue colour the magic chemicals that make the wonderful blue colour2.3-2.4) the magic chemicals that make the wonderful blue colour (Chemicals: The primary chemicals used are ferric ammonium citrate and potassium ferricyanide. These are mixed to create a light-sensitive solution.) She had examples of two ways the chemicals were sold. Fiona pre-prepared the treated paper for the class.

The Cyanotype printing process uses a light-sensitive prepared paper,  with something that will block light, making a silhouette, in this case with local plants and found objects. The paper with objects sitting on it is then exposed to (UV) light, which will create an image on the paper.  The students were instructed to lay out their designs on the Plexiglas, then, when ready, the light-sensitive paper would be provided and the plants/stuff would be moved to it. But first, get the design they liked laid out.

Fiona gave an the overview of what they would be doing today shows 2 previous prints on felt 2.5) The overview of what they would be doing today

morning and afternoon students for the workshop3) the morning and afternoon workshop groups

Laying out the design on the plexi

A board, a piece of plexiglass and bubble wrap were at each spot. Students brought plants, lace, stones, weaving tools, and found objects.

4.1-4.6) laying out the design

Magic Paper time!

When the composition was the way the students wanted, Fiona handed out 2 sheets of the pre-prepared light-sensitive paper. (Note she has it hidden from the light between two boards.) One page the students will keep, and the other will go into Fiona’s Group project.

Since as soon as the paper is exposed to light, it will start to etch (like photo paper in an enlarger). So pre-laying out the design made it faster to get the composition moved from the plexi, which had been moved out of the way, so the magic paper on the wooden board could be quickly covered with their selected stuff. Fiona was very calm, and although it is time sensitive, no one seemed to be looking rushed.

The paper itself is also important. Fiona talked about what she had found most effective that allowed the wool fibre to bond with the paper (I promise I will get to the felting!). She mentioned my favourite place to get paper when I was taking Printmaking at the University of Toronto, the Japanese paper shop in Toronto (Queen Street West). A couple of the papers sounded familiar, so I probably did use them for school.  Alisa remembered Lokta paper and Kita Kata paper. There was another suggestion, but I should have been smart and taken notes, not just photos. You will have to take her mini workshop to get a list she has found works with felting, or Ann says Ruth does felting with paper, too.

handing out the magic paper5.1) Handing out the magic paper

The plexi gets used again:

Once the foliage and other items were transferred to the magic paper, the plexi sheet was put on top to keep anything from shifting. A couple of boards had things that were lumpy; some were placed on top of the plexi, others were under, but a bit of masking tape was added to ensure nothing shifted.

plexi is now used to hold the plants down on the paper so it wount shift5.2) Plexiglass added to keep plants in place

Now it’s time to face the sun!!

Since I was just doing the photo documentation, I was volunteered as Door holder. Unfortunately, this presented a problem. I know the rules, no but shots!! I had a lot of trouble trying to get shots that kept to at least the essence of the rule.

students putting bords with paper plants and plexi on ground in the sun6.1) putting the light-sensitive paper in the sunlight

As with photo paper, Cyanotype is activated by light. So the prints were left out for the required time. (It was sunny and the smog from forest fires was less today.) Let’s take a peek at a few of the cooking prints.

sitting in the sun sitting in the sun sitting in the sun6.2- 6.4)  sitting in the sun

When the time was up, the boards were carefully brought back into the studio. (trying not to move anything) .

bringing the plexi covered paper and plants on board back into classroom6.5) back into the studio, leaving the plexi on and trying not to shift the leaves and objects

A couple of students at a time would remove their objects from the papers, then add them to the first of two rinse baths.  After the correct time, it was transferred into the second bath. This was to remove the extra active chemicals. This took a while to get through, 22 pictures, 4 at a time, but it was very interesting to see what had been created by the cast shadow of the plants and other objects.

the rinces baths of water and placing the papers back on the board after the rince baths7.1-  7.2)

Felting!!

When most of the images were through their baths, it was time to set up for felting. (I bet you didn’t think  I would ever get to the felting!) Fiona explained which direction to lay the paper images down on the bubble wrap, then demonstrated laying out the wool, which was limited to a measured amount, so all the pieces would be close in weight.

holding combed top and showing how to pull out shingles of fiber to lay on paper8.1) explaining laying out fibre for wet felting.

continuing to demonstrate laying out the fiber on the paper8.2) Laying out the fibre demonstration

Then the students worked in white or blue Merino wool. Most had combed top, but one had merino that may have been a batt at some point, but was now more tufts and clumps.

the students start to lay out fiber, teacher helps as needed8.3)

wetting the fiber covering with buble wrap and then gently rubbing with landry scrubber8.4)

Water was added, then gentle rubbing (effleurage), then gently using the scrubber. Once it was starting to hold together, it was time to roll, first one way, then rotate and roll again. They were not wanting to make a hard felt. The students will be stopping at the pre-felt stage, so Fiona will have options as she felts all the pieces together when she gets home.

rubbing on bubble wrap and students on far side of table rolling 8.5) various stages of rubbing and rolling

Rolling must be done carefully so the paper doesn’t wrinkle as the wool starts to felt and the paper gets entangled with it.

various students rolling felt8.6) more rolling and rubbing

gental tugging with flattened palms to remove wrinkles8.7)  Gentle persuasion removed a small wrinkle that was developing

Sander

We also got a demonstration of using a sander for felting. This speeds up the felting, but especially with this, you can not drag the sander, or you may damage the paper.

demonstrating using sander while felting9.1) Fiona shows the Makita sander

close ups of sander working9.2) Sander working

showing under side of sander with ikea shelf liner instead of sandpaper. there is tuck tape under the plate to keep water from entering the main part of the sander9.3) Under side view of Makita sander

Makita, variable speed sander, with tuck tape applied to the under plate and Ikea Shelf liner where the sandpaper would go.  This is the Expensive model, but it’s much quieter than the less expensive version. (Or the little one I have.) I was told they go on sale around Father’s Day if you are wanting to go hunting for one.

The final result

When the images were the requested size, and had reached the pre-felt stage (holds together but is not yet fully felted, so she can join them together when she gets home, they were finished.)

meusing to make sure size was correct, cutting excess and finished pices more finished pices checking out eachothers pices10.1-10.3) the finished pieces

Samples with this and variations on this technique

Fiona brought with her some samples, which she shared with the students

11.1-11.4 samples

Fiona has not made a final decision as to how she will put all the pieces together when all the group projects have been completed. I think either a medieval rose window, adding felt to make the stone traceries, or maybe a tall Gothic medieval stained glass window, which would give an interesting grid pattern and could be done in a series of windows. (a tryptic or more?) It will be fun to see what she decides to create.

You may have noticed I have a new camera, a Nikon with a wicked zoom lens and extra stabilising. It’s a steep learning curve from my Lumex, but I am trying my best to climb it! You may be muttering about my love of words (many of which I can’t spell), but also my love of photos. I did have a bit of restraint. For this event, I took 618 shots; there were a few with focus problems (stupid essential tremors), but also a few more with odd facial expressions that I ignored. That still left a lot of photos to choose from!

This was fun to photograph, and it looked like the students had both fun and learned a technique they can add to their felting skills. If you are somewhere West or north-west of Ottawa, check and see if Fiona will be somewhere near you too! (Her web contact is at the top of the post.) Have fun and keep felting!

Mostly just a question.

Mostly just a question.

Comments 26 comments

School is almost finished, this is the last week. I hope that school ending will let me get back to my felting life. I have managed to finish the first part of my planned book resistance workshop, but haven’t had time for much else.  I want to get your opinions on the best background to take the pictures for the next part of the workshop. I can’t use my tabletop as it is much to reflective.

 

I will be using pink wool for the workshop. Please ignore the fold lines, I will wash and iron the cloth before using it for taking pictures. Here are the choices

Grey

Blue stripes

multi coloured stripes

and Poka dots

 

I am leaning towards the grey. The white resist shows up well, and the pink does too. I kinda like the blue stripes (they look grey on my screen)as it gives me something to line up with.

 

I will need to add something to the background to let me know I am in the frame properly. I think just some painter’s tape will do it. This is the view from the tripod, right now.

 

Jan bought me this doohickey to extend my camera further away from the tripod. It works with the ring light, but the ring light is too tall.  The screw on the tripod is to short to add the ring light I have. I will have to find out the name of this thing and see if I can find one with a hole at one end and a screw at the other. It adds about 2.5 inches of reach for the phone/camera.

Back to the original question, which background do you like best?