Why do Felting needles break? Do you blame your tools or is it operator error? In 3 parts

Why do Felting needles break? Do you blame your tools or is it operator error? In 3 parts

Part 1

Why do felting needles break?

Do you blame your tools, or is it operator error?

I have bumped into this question a couple of times so far this year but had not been up to considering the answer. The question has two factors which we should consider. The needle itself and how it is used.

Let’s start with a review, what industrial felting needles were originally designed to do: make nonwoven fabric in industrial machines.  We can divide the needle itself into two parts: first, the needle and its intrinsic qualities and second the machines the needles go in.  Then, we will consider our use of the needles.

DIagram of a felting needle with parts listed1) Parts of a felting needle

(The diagram above should be looking quite familiar if you have read the other blogs about needles.)

Quick overview of the properties of needles:

Length:

Needles vary in length, depending on the machine they will be used with and what they are making. Needle lengths range from 2.5”,(3”, 3.5”, 4”, 4.5”) to 5”. The most common Length for us is 3”, which fits in the clover and fake-clover tool holders. So sellers who sell needles by length, small, medium and large, may be selling you the same gauge just in different lengths. We will chat again about that silliness later.

2.1-2.2) range of Gauges used by hand needle felters

Gauge:

Needles also come in different gauges. That’s the thinness or thickness of the working part of the needle. We usually work in the range of 32g to 42g, with most needle felters preferring the 38-40 range. But within the industry, the range is much larger; standard Triangle needles range from 12–46 gauge.  The higher the number the finer the needle and the more vulnerable it will be to mishandling.

Shape:

You also have various shapes of the working part of the needle. The most common shape is the triangle. There are other options such as the tri star (3 Sides), quod or cross star (4 sides) (both stars are more limited in gauges and lengths available), Twisted or Spiral needles (Higher production speeds possible and good compaction of the non-woven fabric. They are used in the automotive and filtration sectors.), and the Crown, which is a Structuring needle (one barb on each edge of the working part, closest to the point. Used in Automotive interiors and home textiles: Floor coverings)

Some we don’t tend to see;

  • Vario barb (Graduated barb size per edge, 1-3 barbs per side. The closer to the point, the smaller the barb),
  • Conical (tapering angle from the point to the end of the working part, like the Vario, the barb size decreases the closer to the tip and up to 3 barbs per side; barbs come in 3 styles. Available in 18–43 gauge)
  • GEBECON (as the previous 2 needles, tapering working part and varying barb sizes up the working part.

These three previous needles are all used in Pre-Needling machines and are popular for their resistance to bending or breaking. They are used in the manufacturing in the automotive sector, synthetic leathers, geotextiles, filter felts and any type of technical felt.

  • Teardrop working part, 4, 6 or 8 barbs on one side. This needle is described as having a gentle effect on the warp and weft threads of the base material. It is used when base materials are used; examples given were in paper machine and filtration felts or for needling furniture upholstery fabrics. 30–40 gauge, 2 barb types and 2 lengths are the regular availability.
  • EcoStar 3-sided triangular working part, most commonly 2 barbs per side. It is described as having a Lower penetration force required in felting machines.

Barb:

 

verious differnt shapes of barbs on a felting needle 4 exsamples 3) Barbs: Some of the B.G Barb styles

Needles have barbs, little notches in the working part of the needle that grab one or many fibers and moves them into the felt or ground you are working on. For most needles, the gauge of the needle will determine the size of the barb. With Courser Gauges can have bigger Barbs that can grab larger and courser fiber or more of a finer fiber with each insertion. Inversely, smaller barbs/finer gauges will only grab finer fibers since a fiber larger than the barb will not fit in it, so it cannot be moved by the barb. There are different styles of barb shapes.  When perching from a reseller, we don’t usually know which type of barb or the barb spacing we are getting.

Point:

There are also different points on felting needles. Again, they are usually not listed when you buy them from a reseller, and now, many of the manufacturers are not listing them on their packaging. We seem to be getting the standard sharp point, which was stated as the most common, but there are other options available.

feling nedle tips options we usualy have the sharp option.4) Point options from G.B,  some are commonly found, and some are not seen by us

The Point comes in more than one shape. We tend to be sold sharp, pointy tipped needles. Although they are brand new needles, as you can see, they can have a rounded tip. These points are usually associated with needles working on a woven ground, so the point does not break the fabric as it is pushing wool into the fabric. These are not needles we tend to get our hands on. The exception is a fork needle, which is now being sold to us as a felting needle. It is not, it’s a structuring needle and does not have any barbs. It is used mostly by doll makers to add hair to their newborn baby dolls.

A few years ago, there were rumors in the technical papers of new coatings to increase the flexibility of needles and allow an increase in the speed the web could pass through the line (machines).  So far, the rumor has not given us a flexible needle, but a new coating/finishing process for barbs has been introduced. It reduced the speed the barb wares, once worn, it no longer grabs the optimal amount of fiber or grabs no fiber at all. This requires the replacement of the needles in the needle board. This new needle gave much longer run times before needing replacement.  This may not be quite as impressive for hand felters but it is an interesting development in technology. I will keep hoping for the mythical flexible needle to turn up, which will likely be helpful to us, but I am not holding my breath.

Different needle manufacturers.

There are various needle-making companies. Some make the machines and the needles, others seem to only make needles for others’ machines. When I was surfing around the web trying to find technical details on needles, I would occasionally come across a snide comment about “needles made in India” on a site not in India, or “fragile needles from China” on a site selling needles not coming from China. Oddly, I never saw anyone saying anything bad about the German Groz-Breckert company (G-B) (I have some of their needles and they are nice). That said, they were difficult to contact. When both Ann and I tried years ago (there was a branch office in Canada, now gone), they wanted you to buy in boxes of 1000 needles and ignored us. There are a couple of resellers who are getting needles from them. So, if you want to, you can try them out without buying a full box.  I can buy in boxes of 500 needles from Doer, but because of the weight the shipping is sometimes as much or more than the box of needles.

The advantage of going straight to the manufacturer is that you know the needle specifications and can reorder exactly what you find most helpful.  I have shown you photos before of the ends of the needle boxes I have bought with the needle code on the end. The disadvantage is you now have 500 of one type of needle!

A couple of years ago, I was reading one of G-B’s industry newsletters (for fun) and found an article that horrified me! G-B would be dropping the full specification of their needle boxes and instead giving a customer code that would work with the customer’s inventory system. DRAT!!!! Why would you want to do that? I want to know what the needle specks are, gauge, barb type and spacing (especially how far from the tip the first barb is), length of needle, (I will admit I am not as interested in the length to first and second step down), there is even a code for the type of tip!! I know I am a bit of a nerd in wanting to know all this but barb spacing and working depth are variables that interest me.

I kept reading the article….. and they finally got to the point. The removal of the needle coding is to thwart industrial espionage by snooping at the boxes being loaded into needle board/beds for a specific job.

old and new lables on boxes of felting needles5) GB new labeling.

Oh. Ok, I can see where that is important, but I still want to know the specs for hand needle felting and I am willing to share with other felters what needle info I have! Doer is the company I have been chatting with and buying boxes of needles from. They have not gone quite so extreme as G-B, but I have noticed they have reduced the info on their boxes, too. I ordered a box of “15x18x38x3 GB2222” and got “38G Star” stuck on the label.  I took a pen and added the rest of the code.  Ok, enough ranting about the lack of info on needle boxes.

Let’s look at what the needles are made of: I can’t find a document saying how the needles are exactly made (more sneaky digging in the internet in my future!), so let’s think like a blacksmith for a moment. What is the needle made of, and has it been finished to change the metal’s properties? From numerous times of dropping a needle on the floor (really, that can’t be good for the needle or my feet) I can pick it up with my extendable magnet. So the sites saying carbon or high-carbon steel are likely correct.

The amount of carbon in steel will change the properties of the metal. More carbon makes it stiffer but also increases the fragility. Less carbon will make it more flexible but not as stiff. Carbon content is not the only thing to consider.

extendile magnet and light with needle attached 6) Needle pick-up tool (extendable handle and light by magnetic end; I found mine on sale at Princess Auto)

If you have ever had the opportunity to watch a bunch of blacksmiths work, it’s not only a highly photogenic opportunity, you also occasionally see them changing or adjusting the hardness of what they’re working on. Think of a knife or sword. The blade edge must be hard and be able to be sharpened, but the rest of the blade must be flexible enough not to break when used. So I asked Glenn.

As you work with metal, it hardens.  This can be countered by annealing, quenching and tempering. You are wanting to create a metal that is strong and, in our case, flexible enough to withstand the stresses of repeated stabbing into the web as the machine is running and the web is moving.

Annealing alters the physical and mechanical properties of metals, improving their workability. Annealing involves heating steel to a specified temperature, holding it there for the right time and then cooling it very slowly. The controlled cooling helps refine the metal’s structure and relieves internal stresses.

Tempering increases the toughness of the metal, untempered steel is very hard but is usually too brittle for most purposes. Tempering involves heating the metal to a temperature below its critical point, holding it there for a specific amount of time, and then quenching it again to preserve its condition. Generally, low temperatures will reduce brittleness while maintaining most of the hardness. Higher temperatures reduce hardness, which increases elasticity and plasticity but causes some yield and loses tensile strength.

I also spotted information on optimal needle storage:

How could this lead to breakage? Well, if you have rust developing, especially on finer gauge needles, they become increasingly fragile and are more likely to break. So, poor storage may increase breakage.

Suggested optimal needle storage:

  • Air humidity < 40 %
  • Temperature 15–25 °C (59-77 °F)

When you are buying from the manufacturer directly, they will have tested the needles to ensure quality control. Getting a rejected box of needles is not too likely, but be wary of secondary vendors who don’t know what gauge they are selling, and are a bit iffy on how needle felting works. There are a few on aliexpess and amazon, I am sure elsewhere on the web, that are a bit suspicious, which I avoid. However, the majority of needles are properly made, lightly coated in oil, and wrapped in waxed paper to reduce rusting and are ready for us to use. There are many excellent resellers of needles who are knowledgeable about what they are selling, know who they are dealing with when buying their needles and will sell you good quality needles.   If you are in a higher humidity area, even if the needles are perfect when you buy them, it is important to take added precautions to keep your needles dry and protected from rust. To reduce both the appearance of rust and the weakening of the needles, causing brakeage.  (Do not store your needles in a cellulose sponge; it attracts water and will defiantly rust your needle if you leave them in it)

cellulose spunge attracts water and will rust needles if left there for storage.7) Cellulose sponges attract moisture and will rust needles if they are stored in the sponge.

Next post, we will look at how the industry uses these needles.

Post script health update: still quite tender but starting to sleep through the 2 am meds! I am also finding I am extremely tired again and keep noticing how nice and comfortable the bed looks, which is where I am heading next.

A little Progress on the Workshop and Some Nice Yarn.

A little Progress on the Workshop and Some Nice Yarn.

I have finished the first draft of the resist workshop. 6 pages, and I haven’t added any pictures yet. I printed it out, and I am working on the first sample. I will add notes to the draft and add in anything I missed. The first sample is a circle resist.

stack of wool resists
All stacked and ready to go
stack of resists and rubbing tool
Time to start rubbing

That is how far I got, one set of all the surfaces rubbed. I am going to have to find my studio microwave and set it up so I can reheat these when I get back to them.

 

The only other fibery thing I have done lately is spin on my drop spindle. I do this mostly when I go to guild socials. It’s a nice, portable way to work.

Here are some balls I made earlier,

 

The dark pink has some silk in it, I think it came from Louet a long time ago.  The light blue and purple is from a batt I bought at a fiber show. The other three I made on my blending board. They are meino and sari silk. I like the pops of colour and slight slubbiness it gives the yarn.

Now, I am working on a sample pack from World of Wool. I got it last year. I am just getting to it now. They no longer sell this wool. It is Merino and Stelina (metallic-coated nylon). The Stelina is very sparlkely.

                       

 

I did the yellow first, mostly for a change. I don’t do much yellow. It is hard to get the sparkle with the camera but there is lots of it.  As usual, I found it stuck to several things when I pulled my laundry out of the dryer. It really does get everywhere.

That’s it for my fiberiness for the last little while. I hope everyone is coming out of the winter blues and into the joys of spring. I am looking forward to being able to sit in the garden, in the sun and enjoy my felting and fibers among the flowers and bird song.

Grove of Trees – Part Five

Grove of Trees – Part Five

My grove nunofelt landscape is finally complete. I added a bit of ‘grass’ in the foreground to balance all the lines at the top from the stitched branches.

Completed nuno felted landscape with applique and hand stitch.

I didn’t think that it needed a lot, but just some suggestion of the higher grasses. I also stitched down the loose edges around the entire piece. Now to move forward on getting it ready to frame.

Completed nuno felted landscape with applique and hand stitch on tan background.

I didn’t have a lot of fabric to audition to see how the background matte would look. This is on a piece of tan fabric. To my eye, it is too close in value to the piece itself and doesn’t match with the colors.

Completed nuno felted landscape with applique and hand stitch on medium gray background.

Then trying on medium gray. This is slightly darker in value but still feels very similar to the values in the piece. It doesn’t do it for me.

Completed nuno felted landscape with applique and hand stitch on dark gray background.

Next up is a dark grey background. The darker value is definitely better and brings out the light in the piece. I could use this color, it’s okay.

Completed nuno felted landscape with applique and hand stitch on dark red background.

Then I found a piece of dark red maroon/burgundy colored silk fabric. I won’t use the silk for the background but it was in the color scheme so I thought I would try it. The value is good again, making the light from the back of the piece feel more prominent. The color seems to work pretty well.

What do you think? Would you use a different background fabric color? Or do you like one of the ones I tried?

I’m thinking of naming this one “Golden Grove”. Any other name ideas?

‘Soil’, an exhibition at Somerset House, London, UK: all about…you guessed, soil!

‘Soil’, an exhibition at Somerset House, London, UK: all about…you guessed, soil!

Hello all!

I have been in a low mood recently, and I wanted to find new inspiration and focus by exploring more art exhibitions, especially since I have become a member of an amateur art group that is local to me, the Ealing Art Group (a link here to the long history of this local art group), in an attempt at making new friends and connections in the arts. The idea was to go to exhibitions together, and it worked for other times, but this time I ended up being on my own: well, since I had already decided to go, I went anyway, and it was actually quite nice to have this afternoon to enjoy an inspiring exhibition!

It was called ‘Soil. The World at Our Feet’ and you can see its poster here.

And inspiring it was: I learned quite a few things about soil, its conservation, its importance, things that are done all over the world to improve soil, things that are done all over the world to destroy it, how people can use it and love it and preserve it, and see it with fresh eyes. The topic was tackled both by artists and by scientific researchers and social activists, and often the three would merge.

A written text white on black background, from the exhibition 'Soil'
An explanation of the wide-ranging approach to the topic ‘Soil’ in this exhibition.

As you can maybe read from this explanation that meets the viewer at the very entry of the exhibition, there was a lot for lovers of the scientific in art and of the beauty of natural phenomena, from the very small of bacteria to the size of the whole Earth, passing through a lot of the rest: I managed to enjoy myself for about three full hours at this exhibition, and could have stayed a bit longer but I was exhausted and had to go back home.

I am not normally very keen about art with a very scientific inspiration, but I must say some of the works were stunning, such as these below by photographer Dr Tim Cockerill in collaboration with microbiologist Dr Elze Hesse: photographic images of bacterial growth on agar plates.

Dr Tim Cockerill in collaboration with microbiologist Dr Elze Hesse: photographic images of bacterial growth on agar plates, on black background
Twenty flowers? Abstract shapes? Twenty alien planets?
Photographic image of a bacterial growth on black background by Dr Tim Cockerill in collaboration with microbiologist Dr Elze Hesse.
One of the bacterial shapes that I liked for its resemblance with a flower.
One reddish bacterial growth on black background by Dr Tim Cockerill in collaboration with microbiologist Dr Elze Hesse
This seems very much like an alien planet to me, in deep space!

Sorry for the bad quality of some of the photos, as unfortunately the whole exhibition had very low lights, especially this part where those photos were. Of course, no flash was allowed.

There was an interesting approach to techniques and media, though it was a bit skewed towards video contributions or works that included video elements, that I personally sometime find a bit too long for an exhibition with so many artworks: some of the videos lasted up to almost 40 minutes, and I certainly could not have stayed at the exhibition long enough to watch them all beginning to end! I only managed the shortest ones.

Some of the videos were combined with installations:

A video installation on a curved curtain, by Wim van Egmond
This one on time lapses images of what happens in soil on curved curtains was by Wim van Egmond.
A Fly Agaric mushroom on grass and leaves, on a black background. Still of a video by Marshmallow Laser Feast with Merlin Sheldrake
This one was of a full cycle of Fly Agaric: fungi are important to soil! By collective Marshmallow Laser Feast with Merlin Sheldrake.

I loved the wide range of techniques, there was nothing old-tradition about them:

An Iron Age sword in a glass display case.
This was the only old-style item on display! Iron Age sword found in Cambridgeshire because preserved for about 2000 years by the soil composition there.

Some artists where interested both in what is made of soil and what is in it, such as ceramist Jo Pearl. I imagine that using clay, that is a type of soil, can focus one on the importance of it, and she also seems quite interested in all the environmental issues: I met her close to her artwork and we had a brief friendly chat about the topic.

Installation of ceramic pieces on black background by Jo Pearl
It is hard to convey the variety of the small dangling ceramic pieces in this big artwork installation by Jo Pearl: I loved to observe each one of them.

Ceramic shapes by Jo Pearl Ceramic shapes by Jo Pearl Ceramic shapes by Jo Pearl Ceramic shapes by Jo Pearl

I was wondering how one would make similar shapes in felt or mixed textiles: I am sure that much fun may be had by pursuing this inspiration, but my time is limited, so maybe one day.. Some of her shapes were also in the Exhibition shop: a temptation!

Ceramic artwork by Jo Pearl, white plants and mushrooms on black background
This ceramic piece by Jo Pearl also was very interesting to me: the use of white for the plants and fungi really is a neat trick that focuses the perception on the shapes. I guess that it would work in felt too..

I liked the use of soil as pigment as well, in this artwork by herman de vries explaining about earth pigments:

Earth pigments displayed by herman de vries
Earth Pigments by herman de vries
Earth Pigments by herman de vries
This was a still from the video where she explains about earth pigments and their use in the whole of human tradition.
A display case showing some earth pigments and paper with marks. By herman de vries
Part of the Earth Pigments installation by herman de vries.
Front cover of a book about paints made using foraged ingredients.
And I found this in the exhibition shop: it seemed quite detailed, so I took a photo to be able to maybe find it again when I will have time to try and make my own paints..

Inorganic matter had its own moment at the exhibition:

Installation made of various pictures of rock strata by Joana Hadjithomas and Khalil Joreige
An installation part photography, part drawing, part writing about rocks and what they can let us imagine or understand about the past. By Joana Hadjithomas and Khalil Joreige.

But also organic matter was represented, with the idea that soil is or should be a living thing:

A picture of flowers in bright unconventional colors. By Alexandra Daisy Ginsberg
Flowers as a pollinator would see them. By Alexandra Daisy Ginsberg
Bronze potatoes in a display case. By Anya Gallaccio
The humble spuds. This artwork is by Anya Gallaccio in bronze cast.

There was a video by pioneer performance and landscape artist Ana Mendieta that I can not show, because photos of it were not allowed, but I liked it: it was called ‘Birth’ and it was in black-and-white. There were two earth mounds in the vague shape of a woman’s vagina, and there were gunpowder explosions or similar coming from the centre enclosed by the mounds. Well, Earth is represented as an earthen goddess by many ancient cultures, so it made a lot of sense to me.

I found the next two works by Lauren Gault less easy to understand, though they were made with materials found in the Isle of Skye that she wanted to represent or linked to it, including a wool blanket that has been restitched by the artist. Some of you may recognise the plastic buckets included in the second piece, apparently very common supplement for sheep rearing..?

In the background there is a wall made of grey concrete blocks, and in the foreground an artwork by Lauren Gault with brown blocks of mineral and a wool blanket.
Carved mineral blocks and a wool moving blanket are part of this piece by Lauren Gault
There are two cut plastic tubs of Lifeline supplement for sheep on a white marble shape over pieces of wool moving blanket. By Lauren Gault
Can you recognise those? Artwork by Lauren Gault.

I really loved these next two pieces: the first was a very organic sculpture made of beeswax on a 150-year-old found walnut tree wood, the second does not seem much to see but its magic was its scent that I loved!

An organic white beeswax shape on an irregular slice of wood in a darker room. Artwork by Marguerite Humeau
By Marguerite Humeau. I loved its simple yet moving linearity, and the use of natural materials.
A brown hanging textile with a yellow g-shaped connection tree. A scented artwork by Fatima Alaiwat
Inoculated printed fabric (with bokashi bran) scented soy wax (with perfumery ingredients and essential oils) by Fatima Alaiwat.

I wished I could stay in front of those two for a long long time. I have always wanted to add scents to my works: is it something that any of you have tried? I wonder what is bokashi bran and how you can use it to inoculate scented soy wax into fabric? Would it work for felt? It just seems a lot of fun to be able to add this new dimension to one’s work! Maybe one day..

This other work was about fiber and how finding new ways to use natural fibers is helping people reshape and restore the environment in their area.

A white hairy low shape is on a platform and a screen on the top left is showing a person on a donkey alone along a countryside path. By Fernando Laposse
An agave fiber (sisal) shape, very fluffy and inviting, is in representation of all the uses in design and art that a people collective is trying to promote, giving new life to traditional handmade local agave processing in Southern Mexico, as explained by an interesting video. The selling of processed agave fiber and furniture or sculptures made with it is funding a regeneration project for soil devastated by damaging agrochemicals. By Fernando Laposse.

Have you tried agave fiber in your work? can it be used in our textile artworks, felted or manipulated? I have never tried it, but maybe now I am curious to know more about it.

There was also a Khayameya patchwork artwork by Asuncion Molinos Gordo, showing the two different types of usage of soil for food production in Egypt, seen as if by satellite: on one hand the many small rectangular shapes of smallholders who grow crops for internal food consumption using the water from the Nile as renewable source. On the other hand, the circular shapes of extensive farming in areas into the desert for international food consumption using non-renewable fossil water through sprinklers.

Part of a three pieces patchwork artwork by Asuncion Molinos Gordo. Two patchwork shapes in white, green, yellow, and black.
These patchworks seem to show how huge those circular farming areas are in comparison to the rectangular fields of smallholders.
Part of artwork by Asuncion Molinos Gordo, a square patchwork with a background of rectangular shapes in green, yellow, brown, and black, and white circular shapes.
Here the white circular shapes seem to want to engulf, to eat up all the tiny rectangles, like not-so-funny Pac-Man shapes.

Another textile work was in fact made of roots! The artist grew the plants to weave naturally into a net and produced an organic fabric of a sort:

A brown and green artwork made of roots growing into a green net is hanging on a wall. By Diana Scherer
I liked how the green-blue of the net shows in between the roots and gives the brown a different personality. The idea was to have a collaboration between man-made and natural. By Diana Scherer.

Two other artworks were exploring the link between cotton crops and exploitation:

A hanging textile in white with colorful embroidery spelling 'Unlearn The Plantation Plot' and white lace. By Annalee Davis
This is on cotton, for obvious reasons linked to the protest message of the artwork. By Annalee Davis
Yellowed paper is painted with red Latex, representing Saccharum officinarum and Queen Ann's lace pattern. By Annalee Davis
This is also by Annalee Davis and is Latex on plantation ledger pages. It represents the roots and shoots of sugar cane, along with a Queen Ann’s lace pattern symbolising cultural exploitation along with the physical one.

There were of course many more artworks, but I want to finish with one that was at the end of the exhibition: ‘Soil Kitchen’ by Something & Son.

A reproduction of kitchen 'Soil Kitchen' by Something & Son, in the background is a big interactive image of the Earth.
The kitchen that you can see from above is very peculiar..
Details of the artwork by Something & Son: a kitchen tap with a rock underneath, a bottle of Slime mould, and other kitchen objects.
All the things that you see are part of making a healthy soil, and not what you would normally find in a kitchen.
There is cracked mud in two pans on a hob, and a rock on a serving plate.
Cooked mud is not good for soil health, though.
A white kitchen towel with a description of ecological groupings of soil organisms.
This innocent-looking kitchen towel was mushroom infused!
A detail of a clear plastic bag full of white kitchen roll paper with the words 'Fungi Super Absorbent' on it
Fungi were very much present in the whole exhibition! Here it is the kitchen roll that is full of them.
A kitchen counter drawer shows different leaves and vegetable matter, and over the counter there is a goat leg with the label 'Carcass'.
Animal and vegetable matter are part of healthy soil.
A kitchen robot holds mud and has a label with 'River' written on it.
And the river acts as mixer!

There were more bits, but you get the general idea. Then, on the other table there were recipes to make your own environmental friendly changes to soil or behaviour.

A recipe to grow Buckwheat, Mustard and Clover is written on a tin plate, with a square of clovers enclosed in plastic at the top left
How to help the right plants thrive in your soil.
On a tin plate there is a recipe to add microorganisms to soil and an image of microorganisms.
How to add microorganisms to your soil to make it healthier.

I hope that you will have some food for thought about our soil (he he, all of this talking about recipes and kitchens..).

On the same day, there was another small exhibition at the Somerset House, that I found fascinating: it was about salt and the Salt Line in the Indian subcontinent. Part of this smaller exhibition was a big outside installation of textiles from salt sacks printed in traditional patterns, representing the Salt Line, a barrier grown of spiky plants by the British to impede the access to a Salt lake to the populace, in order to keep for themselves the sale of salt during Colonial times.

In front of the white buildings of Somerset House, a textile installation made of hanging brown fabric with traditional prints.
Salt Line by Himali Singh Soin and David Soin Tappeser.
Brown fabric hangings with printed patterns in black and white.
Some of the patterned fabrics.
Hanging fabrics with dark brown, black and white patterns.
More patterned fabrics. The patterns were traditional, taken from stamps found around the area where the actual Salt Line was grown.

Please, let us know what you thought about it! Cheers.

What Would You Have Done?

What Would You Have Done?

I have a confession to make…. Actually 2 confessions, if I am totally honest….

The spinners among you will know all too well that spinning wheels are a lot like sheep, if you don’t get the tension just right they can be a little skittish, they need feeding (with fibre) and of course they are always happiest when gathered in a flock. 🙂 I suspect you already see where this post is headed….

My first, beloved wheel is an Ashford Traditional fitted with a jumbo flyer. She is a lovely wheel. I have spent many happy hours learning to spin and making some (prize-winning) art yarns on her but I have been hankering for a e-spinner almost since the first time I plied 2 singles together.

Mr TB likes a good engineering challenge, so he offered to design and 3-D print an e-spinner for me. Three years later we are surrounded by various iterations of e-spinner parts but nothing that could function as an e-spinner.

Sexy eh?

In January a friend posted on FB that she had signed up to the Electric Eel Wheel Kickstarter for his newest e-spinner, the Fold. As the name suggests it is a decent size but folds down to make it much more convenient to travel with. I had to have one! So I signed up but soon realised I would have to wait until March 2026 for it to be shipped! Oh well, I’ve already waited 3 years for my first e-spinner, what’s another year? So I resigned myself to having an only child (wheel) for another year.

Phew! that’s confession #1 revealed, that wasn’t so hard but Mr TB was rather disappointed that I had given up on him producing an e-spinner.

Earlier this month was the annual Pukekohe Spin-in, I was trading at the event, and overheard a conversation about an e-spinner on the pre-loved equipment stand. The other traders were still setting up their stands and the doors weren’t due to open for another 30 min. I was just going to have a look, there’s no harm in looking right?

Ten minutes later I was happily putting the e-spinner through her paces in the hall kitchen, I was in love! I knew I was breaking the first rule of selling at craft fairs – “don’t spend more than you’ve earned”, but I didn’t care, she was coming home with me! 🙂

Next, to “sneak” my new purchase into the house….

Mr TB just rolled his eyes at me.

The first few evenings I had her sitting on the coffee table but it was a little too far away for comfort, so I started looking for a height adjustable trolley and came across various tables that are probably meant for people who are bed-bound. I ordered one and braced myself for the inevitable barrage of jokes from Mr TB, but as yet he’s not made any comment. I suspect he doesn’t realise what the table is…

It’s perfect for spinning with my feet up on the Lazy-boy in front if the TV and the castors make it a doddle to wheel out of the way when not in use.

I’ve only had the spinner for a few days but this was the first skein she has produced for me:

I am delighted with my purchase, she wasn’t cheap but e-spinners seem to keep their value on the second-hand market here. I will probably sell my Ashford e-spinner once the EEW Fold arrives. Mr TB thinks I’m crazy buying 2 e-spinners just a few weeks apart, do you think I made the right call?

Self-Felting; a Fictitious Fun Felting Class for The Fur-bearing Who Lack Thumbs

Self-Felting; a Fictitious Fun Felting Class for The Fur-bearing Who Lack Thumbs

Here’s a quick update: I am improving, but it’s two steps forward and a step and a half back.  Unfortunately, the two blog posts I have been working on are just not ready to go yet. So I wanted to tell you about something a bit different, I have been working on. It is felting adjacent and made Glenn laugh a lot.

The local guild is working on recruiting new teachers for our workshops. One of the barriers suggested to the acquisition of new teachers is “the paperwork requirements are intimidating”.  I am easily intimidated by forms, but I didn’t find this process at all scary.

The request was:

  • Craft CV (basically, what’s your background in your craft and how long have you been doing it?)
  • A lesson plan for your first workshop. Giving a suggestion of what you will be teaching, outcome goals for the students and a very basic idea of how you will do this.

Later all the teachers will fill out a spreadsheet that is used to create the schedule, and the web pages.  I made a yearlong catalogue of workshops to be displayed at demos and the guild sale. I used the information the teachers provided, and the schedule the team put together to produce it. After I had all the cut and paste and layout done, there were always lots of spelling mistakes that would be attributed to me….. I cut and pasted! Not my spelling problems!!  Since the pandemic, we are no longer doing a full catalogue, but I am no longer in trouble for other people’s spelling problems.  I do miss the fun of layout.

Now, on to the point of this very odd post.

I wanted to help by giving a non-intimidating sample form, for “New teacher”, of a new yet fictitious felting class. After writing this, I had this odd idea that actual felters might enjoy reading about this very unlikely felting workshop I created as a sample to make the forms less scary for potential new teachers. I have simplified the wording of the original questions again to reduce fear.

__________________

This is a craft CV ( which is just a fancy way of saying “what you have been doing in your craft”). It’s a way to find out about the potential new teacher’s background in what they want to teach. (it doesn’t have to be a stuffy list of all relevant education and exhibitions!) So let’s see what Miaka has to say about herself and her felting background. She has added some extra remarks beyond the questions that she hopes the teacher acquisition committee will take into consideration.

Fiber CV for Miaka Scott-Martin,

Education: Home schooled and self-taught felter.   I have been the Center of the universe for many years, directing my staff in its running. Unfortunately, my staff are not too bright and refuse to do my carefully explained bidding.  I use my love of felting to relieve this stress and utter disappointment.

o             When did you start the craft you are going to teach? In my teens.

o             Have you taken workshops on this topic, or are you self-taught? I developed this technique myself.

Craft experience: I watched my mother weave, felt and spin and assisted in some of these activities. Then, in my teens, I started to experiment with techniques of self-felting. After years of experimentation, I have come up with a style of felting suitable to those of us inflicted by a lack of thumbs.

My technique is suitable for most fur-bearing people who shed. It is easier if you are also able to purr. I practiced my felting for close to 20 years.

Teaching experience: my full-time job has me instructing and supervising the staff, but I must be patient with their inadequacies. I have extensive experience successfully instructing the big barking bad smelling new sibling on how to be the perfect cat.

o             Do you have teaching experience (with adults)? Great success with other fur-bearing people, the furless ones have proved a bit dim.

o             If you do not have previous teaching experience, you can partner with a guild teacher in your field to help give you experience.

Shows and exhibitions: This is not essential. Guild members can participate in guild shows and exhibitions if you would like the experience.

o             Have you participated in any art shows or exhibitions in your field? Alas, with my busy schedule of keeping the universe running, I was unable to enter any shows or exhibits even though I was a family member of the guild my entire life.  I was also unable to make anyone understand my superior typing style of body slamming the keyboard, so all the needed letters were there; you just needed to sort them out on your own.

Portfolio: Show examples of their work in the field of their workshop. (shows that the prospective teacher has not just taken a workshop on a topic, and after one piece is wanting to teach the topic.) Some teachers have a web presence and we can be directed to see their work there.

o             Do you have a portfolio to show us or a website to direct us to? Due to the ephemeral nature of my work and the horror of passing vacuum cleaners, most of my art installations have not survived. Please talk to my mother (one of the Guild librarians) for further details on them. I was particularly proud of my master-work, “Self-felting on white Dining room chair cover”. Alas, this great work too was lost to the horrid vacuum.

o             Please provide a good quality digital photo of yourself for web publicity and teacher bios.

Possible teacher photos:

small black and white cat sitting on cow hide in a spot of sunlight1) Miaka, taking a break from work,

small black and white cat leaning out the back of a cardbord sports car. licene plate says Miaka Rules and has a helow kitty skull and crossbones beside the licence plate car made of the finest cardbord box. 2) Miaka, looking out back of her sports car,

small black and white cat lownging in a patch of sunlight staring at vewer. 3) Miaka, center of the Universe, “Don’t interrupt me I’m Busy!”

____________________________________________________________________

New instructors were asked to write a very basic lesson plan of their workshop, giving an overview, goals and objectives. This gives the committee an idea of how the topic will be covered and that the teacher has thought through and has an organized presentation. This is Miaka’s plan to teach her workshop on self felting.

Outline of lesson plan for workshop

1 day  workshop with longer homework project

Class size; maximum number of fabric-covered chairs that can sit in good direct sunlight. Any Students who are too big to lounge on a chair are required to bring a blanket or pillow that they will fit on.

Prerequisites for this workshop:

  • No experience in felting necessary
  • Must have shed-able fur

Housekeeping

  • introduction of the teacher and what the workshop is about
  • where the washrooms are
  • point out the coffee maker, microwave and fridge
  • Mention local food sources.
  • Gets students to say their names and felting experience

Overview of the course

  • what students will be expected to do and learn
  • What the final project will be.
  • Notes can be given at the beginning or end of the workshop
  • Contact information for the teacher in case the students have questions

Introduction to felting,  (fibres and how it works)

How to grow your own fiber (good diet, lots of naps, dual coat, good grooming, etc)

Tools required

  • Sunny spot with a comfortable sitting item (Chair, couch, other fabric covered object)
  • An un-sunny spot can also be used, but it’s not as warm. This is sometimes the better location to felt, depending on your home cleaning staff.

Shedding

  • Practice shedding with suggestion from the teacher. (use of music, turning and repositioning regularly, long yawns and brief naps may be helpful)
  • Some find shedding easiest at certain times of the year, others are more fortunate and can shed whenever and on whatever they like.
  • Professional shedders can shed a single colour to stand out most on what someone else is wearing.

Self-felting

  • Regular turning and repositioning with constant purring will improve speed of felting.
  • Drool may also be applied but is not necessary for felt integrity.
  • This is not a quick process, and may be best achieved on a fabric surface not regularly used by others.

Problems you may encounter

  • BEWARE of the Vacuum, which can ruin months of good shedding and felting! I suggest “vomit in shoe” revenge if this happens.

Inspection and Positively critique the sample felting produced today.

  • Be positive and make suggestions for use on their masterwork home project. Answer any questions the students may still have.
  • Fill out the workshop questionnaire, since the students lack thumbs, their staff may assist them.

homework student master pieces

  • Students will practice what they have learned in the workshop at home, in a location of their choosing.
  • Suggested time line is working over the summer and have your self-shredded felt ready for the September show and tell meeting.
  • Students will bring in their finished felt for show and tell to a guild meeting. (get your staff to drive you back on the meeting Monday)

________________________________________________

After a teacher has done their CV and Sample lesson plan, the teacher acquisition committee will review the information provided and, if accepted, will pass along to The Workshop Coordinator a list of new teachers. The Coordinator will send out a spreadsheet of questions to fill in for each workshop that the teachers are offering for the time frame she has requested. That looks a bit scary but the questions are not too hard. Like, what time do you want to start your workshop, when do you want it to end? After teachers spend a bit of time answering all these odd seeming questions and sending it back, the workshop team will create the schedule.

  • Fill in the spreadsheet sent to teachers, it will have questions about the workshop and your teaching availability, and what level of students you want to teach.
  • You will also be asked for a couple of high resolution (good number of megapixels) photos for your workshop. What you are making is ideal. Miaka has elected to show an example of shedding for both cats and barking cats, as well as a shot of her wanting to felt but not having thumbs.
  • Availability: Let the coordinator know when in the next workshop time period you will be available. Eg: evening workshops, but not Friday, weekends good, not in March or September. Have holiday plans for April 1 to 4th so not available.

Workshop description (this information is used to publicize the workshop, on the web, at demos, or at guild meetings) Here is an example of what Miaka’s workshop might look.

 

Title: Self-Felting: for those who are lacking opposable thumbs

Instructor: Miaka Scott-Martin
Level: Beginner (B)

Prerequisite: no felting experience necessary, must have own fur, ability to purr is an asset.
Cost: (to be determined by Workshop team, by the number of hours the class runs)

Class size: 10, determined by the maximum number of fabric covered chairs and good direct sunlight. Students who are too big to lounge on a chair are required to bring a blanket or pillow that they will fit on.
Venue: Studio

 

small black and white cat hiding partly under a white comferter while looking at two needle felted sheep4) Don’t let the lack of opposable thumbs get you down and keep you from enjoying the wonders of 2-D felting

Description: 

Have you always wanted to felt, but lack opposable thumbs? This is the workshop for you! We will be creating a self-made 2-D felt. Taught in the guild studio, we will spend the day covering the topics of growing your own fiber, how felt happens, strategies for shedding, and where to shed for best felting outcome. We will make a small sample in class, then produce your masterwork at home. The teacher will provide notes and be available to answer questions if you have trouble during your homework.

Start your self-felting fun today!!!

Example of group self-felting project, in progress, tragically destroyed by a passing vacuum

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5.1) Barking Cat and 5.2) the Center of the Universe,  collaborative felting project in progress

 

Students should bring: On the day of the workshop, bring your own un-brushed fur (to produce the best effect, avoid the brush for a few days to a week before the workshop)

Materials fee: $3 includes all the materials required for the workshop. To be paid to the teacher.

___________________________________

I hope you have enjoyed reading about Miaka’s proposed self-felting workshop, even if you are not self-producing your own fiber to self-felt. There may be a fur-bearing instructor near you, who is willing to provide a similar workshop that you could investigate.

As to her technique, the purring defiantly helps the felting, but I’m not convinced you have to listen to progressive new opera for the best results. This is a slow, careful build up of fiber, and requires time to get just the cohesive layering you are going for. It requires long periods of napping and body readjusting to perfect the felting process. This technique is not advised for those with fur allergies or those who lack fur. <Grin>

Miaka lived to just short of her 20th birthday. Luckily she got her Giant fish cat cave, which I told you about before, early and got to enjoy it for a short time. She continued her self-felting projects, experimenting with various work surfaces, into her very senior years. I am sure if she had run this workshop, it would have been successful, (I would have helped her with notes and photos).

large wet and needle felted fish held up as it were a fishing toffy fish. it is shades of grey finn wool with bits of blue grey silk fiber.6.1) The Giant Cat cave fish, to give you an idea of the size of it

small black and white cat (Miaka)curled up between the fins of her gient fish cat cave. she is blind by this point and had truble finding the mouth enterence.6.2) Miaka, curled up beside her Cat Cave fish. Tiny cat giant fish!

 

If you have the opportunity to share your knowledge with others who are interested in any of the fiber arts, please do. That could be formally as a teacher or informally at a social or chatting at a fiber fair. Sharing knowledge keeps the techniques from being lost or forgotten. Often when teaching, you will have a student try something that is brilliant and you will also learn from them.

Hopefully this hasn’t been too strange a post, I will endeavor to make more sense in my next one.

Have fun and keep felting!

 

 

 

Working on new workshop samples

Working on new workshop samples

When teaching my vessels workshop a few weeks ago, I was showing the class pictures and talking about some more advanced vessels. They expressed an interest in all of them but especially in the book resist vessels. It got me thinking and now I am planning to give an intermediate vessel workshop later in the year, or maybe the new year, depending on scheduling.

At this point, my plan is to make 3 samples. That will help me write down the order and figure out how to teach it. I need to work out the materials list and timing, as well as how to teach it. Making them will also help me think of where things might go wrong.

I know there will have to be a prerequisite of having made at least one item, and preferably 2 or more items over a resist.

I plan on 3 different vessels. The first is a simple 6-sided circle pot.

 

The second one is more oval shaped vessel, I cut down the paper template from the circle so they will be about the same height when done.

And the last has an “odd” shape, again I used the half circle from the circle to draw the new shape to keep them about the same size.

As with most best laid plans, I discovered all I had for tape was narrow painters tape. So I will have to head to the store for some wide, strong tape that will hopefully stay stuck through the wet process of making a vessel.  In the meantime, I think I will start writing the instruction so I can jot down additions as I go.  I am not sure how long it will take to do all that. If I want to teach it in the fall through my guild, I will need to get the proposal in when the call for workshops goes out in the spring.

 

Playing with Alcohol Ink

Playing with Alcohol Ink

My local art group got together last week and did some experimentation with alcohol ink. If you haven’t tried alcohol ink before, it is a bit different than standard ink. Alcohol inks are more fluid and are dye based. Alcohol inks dry faster and are reworkable by adding more alcohol after drying. Alcohol inks can be used on non-permeable surfaces such as plastic, resin, glass or ceramic.

Three artists sitting at table with alcohol inks, ready to play!

Here we are just getting started.

Packing tape on freezer paper colored with alcohol inks.

I had decided to use the alcohol ink on packing tape which ends up partially transparent and can be added to other artwork making layers. I started with the tape on freezer paper but then realized the tape wasn’t coming off the paper as I expected. I switched to parchment paper halfway through and that worked better. The photo is of the tape on freezer paper before I pulled it off. I am planning on using these on some of my book pages on the book that I recently started

 

Artist's hands placing washers on Kraftex and applying alcohol inks.

Here is Sally trying out alcohol ink on Kraftex (a man made fabric type material). The inks didn’t really work all that well on fabric or Kraftex as it was a very porous surface. You can definitely color the fabric but it really ends up with a very blobby look.

Variety of samples of alcohol ink on Kraftex and photo paper.

 

Here are more of Sally’s creations. The ones at the right and bottom are on photo paper. The photo paper works much better as it is non-porous. The chemicals in the photo paper also react with the ink and can cause some unusual and unexpected results.

Paula was trying applying plastic wrap and bubble wrap to the ink after it’s applied to photo paper. It takes much longer to dry with the plastic wrap and really needs more air or it doesn’t dry properly.

Next up, Paula tried adding sticks and salt to the photo paper first and then adding the inks afterwards. The salt has not been removed yet as these were still a bit wet.

Alcohol ink on photo paper printed with stamp.

I only got one photo of Louise’s pieces. Here she used a base of photo paper and then the bottom half is alcohol ink with some strings of plastic left to dry. Then the stamped motifs were added afterwards.

There are many ways that you can use the alcohol ink but it works best on shiny surfaces such as yupo paper, photo paper or tape. We had fun with our experiments. I will show you my tape on book pages once I get that far.

 

 

 

Felt and Stitch Spring Bowl, Art Yarn, Spring Felt Beads and a Birthday Gift

Felt and Stitch Spring Bowl, Art Yarn, Spring Felt Beads and a Birthday Gift

Lyn – rosiepink

I’m still using my holly bowl as a fruit bowl on my sideboard, but with spring colours appearing in the garden and the days getting brighter it looks a bit out of place.

So I set to and made a new bowl for the spring.  I laid out a three layer circle of sky-blue merino wool fibres, 50cm diameter (20”), then a fourth colourful layer topped with a few random sprinkles of silk fibres.  The silk fibres dried darker than I thought they would but never mind, on with the stitching!

layout of loose merino wool fibres, felted fibres, free motion stitching

After a lot of stitching (and a bit of unpicking and swear-jar filling) here it is.

handmade felt and free motion stitched bowl in spring colours

Annie has made a second Winter Trees Table Centre. It was a friend’s 80th birthday and she had said how much she liked the original, so it was a nice idea to make one for her as a present, and she was thrilled with it! As an added bonus Annie has photographed the process to make a new tutorial which will be available as soon as she can glue her bum to the chair for long enough to finish it!

Wet felted table centre depicting Winter Trees

Wet Felted table centre depicting Winter Trees

She also decided a spring project would be nice to do and had enjoyed making the autumn beads last year, so decided to try some beads in spring colours. This is a work in progress and most likely will be made into a decorative home item, perhaps in a vase again, not sure yet!

Hand felted wool beads decorated with embroidery stitches

Lastly, you may remember this ball of fluff and fibres and odds n ends…. where Annie pulled apart a picture that was not working and had screwed it up into a ball for later consideration.

Tangled ball of wool fibres

On the spur of the moment last week she decided to grab it as it was and try to spin from the blob of bits! She says she probably should have made a batt but nonetheless some interesting yarn happened, and it will be great in wet felting or possibly in weaving. Probably not so much good for knitting! It is deliberately under spun, over spun, and messy. She finds the spinning wheel she has very frustrating since it is a traditional old Ashford and is probably designed for making fine even yarns – it only has a small orifice so not very conducive to chunky bits! and also has lots of hooks on the flyer that catch on all the sticky out bits and it gets in a tangle. A more suitable spinning wheel is definitely on the very long “Want” list! She wraps it on mount board, rather than making a skein or a ball so that she can pick out colours that she likes and cut a short length for felting, it is quite a challenge since it springs about (this one is not plied and has a lot of tension!) but is tamed with cuts on the side of the card that the ends of the yarn can be secured in to.

Art yarn

art yarn

Do the spring colours that are popping up inspire you to make something new?

Auditioning Fabrics

Auditioning Fabrics

I’m always buying second hand fabric to use in felt-making. Mostly scarves but occasionally garments or just pieces of fabric, almost always from charity shops. Much of the time, I have a good idea of how the fabric will felt. But sometimes I really don’t know, either because it’s unusual in some way or because I’m not sure what it’s made of.

This week I tried out (or ‘auditioned’) four such fabrics, so here’s what I found.

Firstly, this soft rather loose-weave fabric I found in the British Red Cross shop in Canterbury.

The ‘prickle test’: I touched it lightly to my neck and it prickled so I concluded it contained at least some wool. I have an annoyingly sensitive skin that can’t wear even the softest wool so this prickle is a good sign. It’s a big scarf and I really like the pattern so I bought it, even though it was a bit more than I’d normally pay. I could imagine using it in a tree picture like this one I talked out in a previous blog.

I cut off a very miserly small strip then decided to make it even smaller – a 5 x 5 cm square (2 x 2 inches) – I just wanted to see if it felted without wasting any. I had a tiny amount of miscellaneous white carded batt loitering on the side of my felting table so I used that to felt it.

As you see, it felted really well so I set up a bigger strip to make some cards. 

Then I decided not to get ahead of myself so put that on one side to pick up later and got on to fabric number two.

This flowery mesh fabric was from a scarf I bought a while ago. I think I bought it in Faversham Hospices of Hope.

I’ve used fabric similar to this to make barnacles on felt shells before, though it had a smaller woven pattern. I’ve no idea what either fabric is made from.

Barnacles added to a felted oyster shell using a similar fabric

This time I decided to make a slightly larger sample I could use to make cards, assuming it felted OK. Sometimes I just throw caution to the wind!

I laid it on a piece of the merino & silk prefelt I use for my printed felt cards and felted it.

It felted nicely. The mesh didn’t bed into the wool as much as I’d expected, so it’s more textured between the flowers, which was interesting.  I will cut this into four strips and print something on the plain half to make cards like the ones I’ve shown in the next section.

I decided I liked the idea of a larger sample for cards rather than the tiny sample I can’t use. 

So, here is fabric three.

I bought this a couple of weeks ago in Yorkshire Cancer Research in Ilkley. It feels like it might be a very sheer silk but there’s no label and I’m not sure. Hand rolled hems are often an indication of silk but this has machined hems.  I love the pattern and it didn’t cost too much so I decided to take a chance.

Irritatingly, I cut the silk a bit too small for the prefelt rectangle offcut I was using so I popped a second small strip on the end hoping it would make that end useable.

It felted really easily and well, so I’m pretty sure it is indeed a sheer silk.  I can see lots of uses for this as it has such a ‘coastal’ pattern. Also, I think the join worked OK.

It’s similar to another scarf I’ve used recently for pictures and cards, so I’m very happy.  One of the drawbacks of using second hand scarves is that you can’t go and buy more of the same if you decide you really like it.

And finally, a large, fairly open weave, 100% wool scarf I bought in a Pilgrim’s Hospice shop in Whitstable. No need for the prickle test (though it would undoubtedly have passed) as it still has its label.

I dithered over this one even though it wasn’t expensive. I just wasn’t sure I’d use that much brown. It’s also quite bulky and I’m short of storage space. However, I decided I could use the brown for beach pebbles on pictures and the animal print sections won me over. I love a bit of animal print.

Actually, I really like the result, more than I expected for some reason. I find that wool fabric felts really evenly – not surprisingly, I suppose. The fabric shrinks with the prefelt rather than rouching like silk does. I will use this sample piece for cards but I’m not sure what I’ll use the rest of the scarf for.  It definitely reminds me of an animal’s fur but I’m not sure quite what animal. 

Well, all four fabrics passed the auditions with flying colours. They all felted well. I can immediately see how I’ll use the first (wool mix?) one and the sheer silk.  I’ll mentally ‘file’ the other two for use at some point in the future.

I love looking out for second-hand fabrics. You never know what you’ll find and what you might be able to do with them. A delicious pre-loved scarf always feels to me like some kind of exciting unearthed treasure.