I have a new obsession

I have a new obsession

Let’s talk hobbies. My neurospicy brain enjoys rotating them – when I go back to a beloved interest after an extended absence, it’s as if I’m rediscovering its joys all anew. There’s dopamine to be had in this sort of novelty and I’m not one to shy away from it (just don’t overdo it if you’re like me).

The past couple of months however, I discovered a new hobby, and I’m not quit sure how to feel about it: sewing miniature clothing.

I like being able to whip up a pair of trousers in an hour, functional pockets included, and getting the satisfaction of a task completed. If I were to put my brain in an MRI scanner afterwards I’m sure it’d be lit up like a USA Christmas home in December.

There’s only so much fun to be had sewing mini clothes if there is no one to wear them, though – so naturally I’ve purchased a few dolls to dress, all of different body proportions to keep things interesting. I’m 45 and never had a particular interest in being an “adult fashion doll collector,” as they are known, and yet here we are. What is going on?

Anyway, meet the posse.

 

Four Barbies (three female, one male) and a vintage Cindy doll on a shelf
Ken is wearing trousers and t-shirt made by me, the sitting Barbie’s skirt is also mine as well as the pink blouse.

 

They’re currently residing in an unglamorous IKEA shelf cubicle but, of course, I have plans to make their accommodations nicer. Miniature sewing is morphing into tiny carpentry, help!

Oh, who am I kidding? It’s already happened. I built them a wardrobe with popsicle sticks and balsa wood rods to keep their clothes tidy and cute. I even bought shoebox templates to store their footwear. I’m in deep.

 

Handmade miniature wardrobe with tiny shoeboxes, clothes on hangers and a handbag with sunglasses
Handmade wardrobe, shoeboxes and the grey pleated slacks are also my doing. The bag is sadly commercial, my hand sewing skills aren’t that good yet.

 

There is definitely something *very* satisfying about tiny pockets…

 

Tiny doll trousers with my finger inside one of the pockets
“POCKETSES!” (I hope you’re a Lord of the Rings fan and get the reference…)

Barbie doll wearing the trousers I showed in the photo above

 

Like I said, it’s a weird thing for me to have acquired this new taste for dolls. What do you think, is it weird? Let me know your thoughts!

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 2

Last post, we reviewed some of the properties of felting needles. https://feltingandfiberstudio.com/2025/03/27/why-do-felting-needles-break-do-you-blame-your-tools-or-is-it-operator-error/

The Machines

So, what does industry do with these fascinating needles?

The Felting needles are used in part of a line of machines used to create various types of non-woven/felt material. Here are a few examples of what come out the other end of the machines: automotive textiles, filtration fabrics, to sheets of felt. The needle chosen for each type of felting machine, pre-felting, felting and structuring if needed, will give you various finished products. Which needle for which job is very hush hush with only generalizations (automotive, filters, landscape fabrics, acoustics…)are given.

Let’s take a look at a sample line of machines to make felt.

2 adjacent needle boards in a prefelting macheine8) Pre-needling machine set up in parallel boards.

There are a number of different machines in a line, and the configuration will depend on the nonwoven that is being produced. As in spinning, there are machines at the front of the line that bake the bale of fiber (possibly wool), which fluffs and separates it from its compacted state in the bale. As the fiber goes through the line, the fiber will be carded, drafted, and the crosslapper will lay the web into a uniform thickness in the number of layers as required for the final product. The web drafter will make sure the web is an even thickness.  Eventually, the web will meet the pre-felting, then felting machines with their board or boards of felting needles. There may also be another machine holding structuring needles depending, again, on what is wanted as the end product.  After that, it exits and is sent to the winder to create rolls of whatever was being made.

9.1 – 9.3) Some of the machines in a production line

Depending on the machine used (Pre-needling or Main needling), the needles boards may have a different orientation with 2 adjacent needle boards (2x 4,500 needles/m) or in the main felting machine that I was reading about, 2 sets of boards working towards each other.  There are other configurations, this was just one of the sample combination lines I was looking at. For the main boards, “single or parallel uppers” were listed as having “2,000 needles/m while the Single- and multi-board operation upstroke and downstroke, tandem operation had 3,000 needles/m, 5,000 needles/m or 8,000 needles/m”. Basically that means there are a lot of needles in a board of needles. I do remember I found the speed the machines were running somewhere, but I can’t find the info at the moment. I remember it seemed very fast!

In the needle boards/beds (I have heard both, but G-B uses boards) the needles are set in using the crank (that odd little bend at the top of the needle. It is always nice to know it has a purpous not just poking my finger if I turn the needle the wrong way.) The angle of the crank will position the needle as it meets the web.  There is a tool to help get the needle in the correct orientation. If you do not get the alignment correct to the moving web the implication was less efficiency and greater numbers of broken or bending needles.

crank check tool for setting needles in a needle board10) Crank positioning tool

It is also important to get the working depth of the needle set correctly in the machine.  Since wear analyses of the needles, have shown that the first barb performs around half of the total work carried out by the needle, and that in most cases only three to five barbs are actually interacting with the web.  As hand needle felters, we may also be primarily using the first barbs as we work, but we may have to borrow the industry’s equipment to find out.

In Industry, during a job, needles are not changed all at once, but usually 1/3 at a time. During the run of a job, the needles to be regularly cleaned of fiber dust, checked for any bent or broken needles, and sprayed with an anti-corrosive oil. (Regularly checking our needles would be good practice for hand felters, too.) How long needles remain in the needle board can be measured in machine operating hours, stroke rates or production quantity.

In the boards, the needles can catch and bend or break, they will also dull (tip or barb) over time. Dulling is not usually a problem hand felters need to worry about, unless you are working into a vary needle-dulling surface (which sounds like a silly idea) or are using a fiber with extreme abrasive qualities (I wonder what that would be? Has anyone tried to felt fiberglass? I have no idea why you might want to, but that might be strong enough to destroy barbs quicker than wool.  I would also not try asbestos fiber, it would destroy your lungs and probably give you cancer. I am getting distracted (it may be getting close to time for meds again, back on topic). Stick to wool and other fluffy fibers.  We will not stab our needles nearly as many times as a needle will impale fiber in the commercial machines.  Unfortunately, even if our needle tips are unlikely to dull significantly, we still will have needles bend or break.

Remember I mentioned cycling out needle, a third at a time, in a needle board during production?  I recently saw a complaint on YouTube about the purchase of a set of needles sold in three lengths. I am sure you have seen some resellers list their needles as “Small, Medium and large” with no specified gauge. Avoid these, you may get perfectly good needles, but in three lengths of the same gauge. Or worse, as this buyer described her cheap 3 length needles as “having blunt points and the barbs were worn and shallow”. This suggests she may have received needles pulled from a needle board. If a seller doesn’t know what gauge they are selling, be suspicious. They may be cheap, but they still may not be worth the price. If you receive worn-looking barbs on your needle, they are not moving fiber as efficiently as expected, then yes, you can blame your tools and the re-seller. Used industrial needles (pulled from a needle board) will also be weaker due to the hours of wear already on the needle and will be more likely to break, especially if we forget rule #2 (Never change vector, the direction the needle goes in is the direction the needle goes out).  So far, this seems to be a limited problem, but it’s good to be aware and cautious. Although the cheap price may be very tempting, stick to reputable resellers or manufacturers.

older 3 length needles by reseller no guage listed11) Sold by three lengths but no gauges.

In this older add, above, with needles sold by 3 lengths, it looks like the two on the right might be the same gauge and the short one may be finer, but the seller only lists lengths of overall needle. We can tell from the picture that the needles should have three 3 barbs per side. If you need to be extremely frugal, and sometimes these no-gauge needles are no cheaper than ones with information, ask the seller questions. If you don’t like the answer, don’t buy them. You could wind up with something you don’t want. (Sometimes, the deal is too good to be true.)

needles sold by lenth not by gauge. another exmple of needles sold by lenth not by gauge. 12.1 – 12.2) Here is an image of needles in three sizes being sold. Lots of measurements of lengths, but no mention of gauge.

Some sellers, who are not hand needle felters, just don’t realize what we need or want to know. If they get asked often enough they may start adding more information that is helpful to us. The Doer needles (non-industry site) now has much more helpful information on it. the improvement in information is likely due to a lot of pestering by hand needle felters, and more than just me.

I have bought lots of needles from Etsy resellers, Amazon, Aliexpress and at fiber festivals.  So far, I have not run into any that seem to have warn barbs or dulled tips. I tend to buy from sellers who know what they are reselling or directly from one of the manufacturers. Being curious, I have bought a few of the various needle felting kits, which include assorted needles (some un-gauged), a working surface and other tools. So far, all the needles have looked new and unused. Some of the needles do feel a bit less flexible (likely higher carbon content?), but they still work. You just have to be more enthusiastic about adhering to rule #2.

Next, we will look at how we use felting needles.

off topic update: Second trip out after surgery, this time to the renew my drivers license and health card(Glenn was driving). i seem to have forgotten my birthday this year. dose that mean i can stay the same age as last year?

Have fun and keep felting!

Two samples finished and some Canadian Weather

Two samples finished and some Canadian Weather

Before talking about felt, I just wanted to share with our friends who have mild winters. It is March here in Central Canada, and there is very little snow left. But as I said, it’s March, and March is a fickle month.  This is what I woke up to last Saturday.

15cm of snow on a table March 29 snowfall.

Followed by freezing rain overnight Sunday.

ski powl braking through freezing rain on top of snow. March 30, freezing rain on top of snow.

Do not be feeling sorry for me. This is fairly normal here. We expect it, but I am envious of you sitting out in your gardens enjoying the spring flowers.

Now some felt. I finished up the pink sample for the book-resist workshop. I finished the pages 2 different ways just to show them. I think it might look nice with a light inside.

         pink, round book resist with fat and flat fins. pink, round resist closed end.

I made a second sample using a football shape. It is smaller.

football shaped book resist

The resist was fiddley to get out because I didn’t want a hole in it. So, didn’t want to cut a hole in the end.

football shaped resist with gold fibre on it and hole cut to take resit out.

After removing the resist, I sewed up the hole.

whole sewn up after removing the resist. Stitching up the hole
stitching after finishing the felting and fulling. Stitching after fulling.

Here is how it looks finished. I am really pleased with it. The stitching was resistant to being pulled out, but I did get it out.

finished piece

I may have to make another one.   I may just have to stitch on this one. I have the wool ready for the next sample. I hope to have it done for you to see next time.

Paper Mache Bowls

Paper Mache Bowls

Quite a while ago, my local art group made paper mache clay and then created some bowls. They sat drying in my studio for a long time but then I finally decided to decorate them.  If you’re interested in making paper clay, there are numerous videos on YouTube explaining the process. Here’s one that shows how to make it with supplies that most people will have in their own kitchen. 

This video is not actually the one we followed since we used matte medium as the glue. You can use your own homemade paste, wheat paste (that you can buy and doesn’t need to be cooked) or some type of acrylic medium such as PVA or matte medium as the glue. We used egg cartons for the paper but you can use whatever paper you have on hand.

You can shape the clay over a plastic or silicone surface. I used plastic bowls for my mold and covered them with plastic wrap (thin kitchen plastic) before applying the clay. The clay takes quite a while to dry but you can speed the process up by putting them outside in warm weather under the sun. You need to make the paper mache thick enough so that it won’t break easily if you are making a bowl.

Two paper mache bowls in natural egg carton color.

 

Here are the two bowls after drying. The color comes from the grey egg cartons. These don’t have any extra color added. You can then paint or add painted paper to the bowls to decorate. I decided I didn’t want the shiny surface of acrylic paint so “what to do”? I had some natural inks we had made (again a long time ago). Amazingly, they were still good and not moldy. I had stored them in the refrigerator and we had added a small piece of clove which keeps the mold away.

Two paper mache bowls coated with a dark brown/black ink and brown ink.

Here are the bowls after I painted them with the ink. The bowl on the right is walnut ink. As the ink soaks into the paper, the bowl gets a little mushy until it dries again. I used a heat gun to dry it out so that I could go on to the next step. The bowl on the left is one layer of walnut ink and then one layer of walnut gall with ferous sulfate ink. I really liked the darkness that resulted and I’m thinking about using that bowl to display some 3D felt objects that I made for my Level 4 Stitch class. Hopefully, you will see those in the future when we have our exhibition.

I was left with deciding what paper to add to the outside of the brown bowl. I searched through my huge box of painted papers and right at the very bottom, I found an old “drop cloth” that was originally brown paper but had multiple colors of paint and prints and whatever got on to the paper as I painted other things. I liked that the paper when torn up, would not give any distinguishable patterns. Some people use torn single layers of napkin to decorate bowls but that looked way too commercial for me.

I made up some wheat paste, tore my drop cloth paper into strips and did more paper mache on the outside of the bowl. The process reminded me of my childhood making pinatas over balloons – messy hands but fun!

One paper mache bowl with outside covered with multicolored paper mache.

And here’s the result. I left the inside with just walnut ink.

Paper mache bowl turned upside down showing multicolored outside.

And here’s the bottom view so that you can see more of the paper that I added to the outside. The randomness of the colors and the printing on the brown paper really worked to get the look I wanted.

Electric Fringe Twister

Electric Fringe Twister

I have a confession to make… I seem to be falling behind on my fringe twisting duties.  It is a bit of a tedious job and requires sitting at the table and focusing on the task.  In the winter I find our kitchen quite cold, and so I have been putting off working on fringes.

Three woven pieces with untwisted fringe
Three pieces of weaving needing fringe twisting

Recently another weaver was talking about how much they loved their electric fringe twister.  I had a look on Amazon and ended up ordering a Lacis fringe twisting tool.  It was about $45 Canadian.

Electric fringe twister
Electric fringe twister out of the box

The tool uses two AA batteries.  There are two modes and you select them by pushing the button to the 1 or 2 position.  The 1 position rotates each black spindle and twists each cord separately. The 2 position rotates the entire head and twists all the strands together.  I found a short video showing these two actions online here.

Before I could get started, I needed to prepare the piece of weaving.  I selected one of the pieces of weaving and folded it in half, lining up both ends. I add a heavy book to the weaving to help keep the pieces aligned.  Next I use an open toothed comb (I think it is from the pet shop in the cat/dog tools) to untangle the warp strands.  Once the strands are combed out you can see that the length of warp left on each side is not the same.  I trim the warp threads so that both ends will have fringes of the same length.

Once the warp threads are trimmed, I move the book and reposition the weaving so there is only a single end of the weaving on the table. The book is re-positioned to weight things down and I am ready to try out the electric fringe twister.

Depressing the bottom of the black spindles opens a hook at the end and I am easily able to position a bundle of threads on the spindle. I repeat this for each of the four spindles. Then I move the button to position 1 and add twist to the strands.  Once there is enough twist, I remove two adjacent bundles from the fringe twister, tie a knot on the end, and then let them twist together. This is then repeated for the other two bundles attached to the fringe twister.  Yeah!  The first two pieces of twisted fringe are done.

Next I repeated this across the width of the weaving. When that was complete, I went back and gently trimmed the ends of each piece of fringe to tidy them up.  (Before trimming they look a bit ratty because the warp threads are different lengths.)  I rotated the weaving and repeated all these steps on the other end of the weaving.

It took me 30 minutes to complete the fringe twisting and trimming on the second end of the piece of weaving.  I do think the electric fringe twister is slightly faster than manual fringe twisting.  And it is easier on your hands as you are doing fewer repetitive movements.  So those are both very positive things.  (I did get faster and my last piece of weaving it was about 35 minutes to twist both edges and do the trimming.)

On the cons side of things… I found the fringe twister motor noise to be a bit annoying as it seems very loud. I also found that because the unit is round, that it rocks on the table.  This makes it more challenging to attach the warp bundles to the black spindles. More importantly, a few times when I hit the switch nothing happened.  I had to shake the unit to get the power to come on.  (I guess the batteries are loose, so the power connection is flaky.) It is very disappointing that a brand new unit does not function well.

After trying the electric fringe twister for the first time I give it an 8/10 rating overall.  The first night I twisted the fringe on one first piece of weaving and started work on a second piece before calling it a night.  On the next day I finished up the fringe on pieces two and three.  And I sewed a tag on the one piece that is shawl length.  The other two pieces are longer and should eventually get turned into a sewn garment of some kind.  Here they are all laid out together.  Next up for all of them is wet finishing.

Three pieces of weaving with twisted fringes
Three pieces of weaving with twisted fringe completed.

 

Future Tripping

Future Tripping

In July of 2025, the Advanced Studies in Experimental Stitch (L3) course that I’ve been participating in since Sept of 2022 will come to an end. We’ll have an exhibition of the work that 5 students in the course have done on July 19th and 20th at Gail Harker’s studio in LaConner, WA USA. https://gailcreativestudies.com/. Stop on by if you’re in the area.

I’m looking forward to finishing the course and having some free time to get back to some other projects that have been gathering dust. I have a clothesline strung across the length of my studio where I pin projects that I don’t want to forget about (or things that I don’t want to lose track of) and I enjoy looking at them when I walk by.

 

unfinished projects clipped to a clothesline

Here is a closer look at unfinished projects on the floor that I trip over on my way to the laundry room.

pile of unfinished projects lined up against a wall

Two projects on my clothesline that I really want to finish just need to be quilted.

One of them is a small scene of city buildings (16″ x 16″) that I made using a purchased stencil from Stencil Girl Products . https://www.stencilgirlproducts.com/

I colored the buildings using Inktense with Aloe Vera gel to keep the color from migrating into the next building.

small 16" x 16" quilt of city buildings colored with Inktense pencils

The other small quilt (16″ x 16″) was also made using a purchased stencil from Stencil Girl. This one started my interest into stitch drawing. I made this one because I thought the city needed to have people with it.

small 16" x 16" quilt of stitched figures

I must have made these two pieces in the dead of winter. I’m not sure how I got so focused on grey! Not much color going on with my people. Perhaps before I quilt this one, I will add some color to the people’s clothing. This one was fun to make though. All the people are hand stitched using one strand of DMC floss. They look like they are really enjoying their winter.

A direction I want to go into next is doing machine stitched figures. I bought a book by Rosie James called Stitch Draw. I like the simplicity of her work and all her loose threads. My plan is to use old family photos and stitch draw them.

Photo of a book called Stitch Draw by Rosie James

Hopefully later this year I can show you some progress on cleaning up my UFO pile. I look forward to revisiting it, but that will all have to wait until AFTER July.

Happy creating!
Tesi Vaara

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.