Which Cane is Which? Prototype and Concept Testing!

Which Cane is Which? Prototype and Concept Testing!

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It’s been another couple of busy weeks in Ottawa and Oakville, but in between fighting with errant grapevines, trying to start to prep my garden for fall, long drives to southern Ontario and eldercare, I did get a bit of felting done.

While in Oakville I noticed that my Mother in law and I both have the same quad cane. (it’s a cool type of cane when you have any balance issues.) They are identical, except for the height they are set at. I need a way to make my cane more, well, mine.

 

1) Quad canes

If my mother-in-law does go to a seniors building she will also need something to distinguish hers from other similar canes. I could do this by adding a piece of tape with our names on our respective canes but that seems rather unimaginative!  I should do better. I think I should do a Morning glory for her and I will see if I can figure out how to have a dragon on mine. (Glenn says I need more Ice Flame wings like the last cute little dragon I did). This one will have to be much longer, or would that be taller? I didn’t bring down any appropriate flower colours so I think I better start with mine.

I had brought with me an IKEA bag of white core wool to card into usable fluffiness with one of my sets of hand carders. I had sampled the core wool with combs but found the carders gave greater loft as you would expect in a woollen (carder) vs worsted (combs) fibre preparation. I tried very hard not to leave little fluffs of wool all over the basement carpet or anywhere else in the house! That will give me fibre to try out my ideas.

I borrowed a pen and a piece of paper and started to work on a design. I looked at my cane and my super helpful walker.  Both are stylishly black, so they go with anything as a fashion accessory. Unfortunately, they are also identical with every other black quad cane and walker of the same make.  I looked at the curvature of the cane near the handle, then started sketching.

2) walker and helpful grippe-thing.

 3 )Sketch of ideas for cane identification dragon.

Ok, this looks interesting. I have core wool with me, why did I not pack wire? I have to go to Walmart to get a few things so let us see if I can find another package of floral wire (20 and 25 ga coated steel).  After a lot of looking, I had success! This 20ga wire comes in pieces 18 inches / 45.7 cm long.

I looked over my original designs now that I had the wire. I think the easiest way to get a dragon to stay on the cane would be to have the neck, body, tail, or appendages hold on to it. So, I should consider a longer neck and long tows would help too. How about adding a bifurcated tail that should be twice as grippe as a mere single tail!!

Like the sketching, I started to play with the wire I wanted to see if I could get the dragon a size I could wrap around or cling to the cane.

 4) Extending neck?

5) Adding body and back legs

 I folded the first piece for the upper skull, neck and forearms. I folded and used the second piece interlaced with the shoulders/upper arms to create the spine and back legs.

 6) Adding the tail

 I used a third piece folded and attached to the hips /back legs. This one I twisted about two-thirds of the length and left the rest to create the bifurcation.

7-8) Tail extensions and long tows

 I used the 25ga (the wire I have at home I am sure was 26ga) to create extra-long tows, lower jaw, and bifurcation extensions. This amused my mother-in-law who sat watching my twisting, flipping, bending and attaching bits of wire together.

9) Checking on the cane

10) last part to add

 I folded and used a final piece to create the leading edge of the wings. (4 pieces for the total dragon)

11)  I started to add the wool over the armature deciding to add stubby ears to his head before building up the upper and lower jaw.

At this point, I took a break and went for a walk around the block with the walker. It is good to get outside and take a break. It allows for an increase in circulation and time for inspiration to strike. I was hoping to find a horse Chestnut tree since the squirrel-planted ones in my pots had died and I would like to have one in my portable forest. (I have a bunch of trees I keep as pets in pots on my driveway…. It is not as strange as it sounds.)

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12-16) Views from Oakville

17) This is the leaf structure of my little tree that died. I would like to grow another.

18 ) is this a black walnut? It was dropping fruit and making a mess of the sidewalk!

Oakville is about 2 weeks different from us in weather since Ottawa is farther north. The trees in the south have just the hint of colour and the nut trees have not dumped their nuts yet. I did find 2 trees nearby but only one nut was on the ground. I will try to check next trip and hope for better pickings. I think I found black walnuts, which I will try to plant and see if I can expand my forest!

Upon my return, I continued to add wool to flesh out my dragon until it was ready to try on the cane for scale. AH Ha!! I think that works.  I need to add a bit more flesh to his bones and maybe a longer tail would help but the basic concept is a success.

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19-22) testing out the dragon on the cane

So, this is proof of concept, yes this will work. Analyzing the little guy suggests making the toes out of a stiffer gauge of wire than a 25/26ga steel. I will look through my sample appendages and see if I have something that would suit better. ( I do suggest making samples of the gauges you have access to, in single, double and if you don’t have too many options, then how the flexibility of one gauge is affected when wrapped in a different gauge. It’s a lot easier than discovering part way through a project “I wish those tows were stronger” and considering a tow-ectomy with the upgrade reattachment surgery to consider after the extraction. I will likely finish this little guy off and he may be a walker basket dragon if he’s not a cane dragon.

This morning I woke up early to drive back to Ottawa and miss as much of the Toronto area traffic as I could. (The alarm went off a bit earlier than I had anticipated and I started in full darkness but it was quiet.) While still on my in-law’s street I spotted 2 of the infamous Ninja-stealth skunks of Oakville! They do not have a white stripe down their back or sides. One had a white puff at the tip of his very puffy tail. I did not stop to try to get a picture of a black skunk crossing a dark street. Oh! You find out where the strip is if it lifts its tail, the white stripe is on the underside!

Pre-dawn occurred as I passed Darlington (I hope that was pre-dawn and not a nuclear problem!) dawn occurred at my first rest stop. Since I was now stopped I finally got to take a picture, there had been fabulous pinks earlier, now the colour was shifting to the yellows and blue sky.

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23-24) true sunrise at my first rest stop

A bit later in the morning, I drove past a field with a group of deer. Then spotted in two marsh areas near Kingston Ontario, groups of very big white swans! When did we get loose swans? Sorry, no pictures I was driving!  I had given up on radio and switched to an audiobook about werewolves and dragons.  Traffic was great at these ungodly hours and I cruised into the farmers market for a cookie purchase from Ann about 2 hours ahead of when I thought I was likely to get there (remember about the enthusiastic alarm clock sending me out over an hour before I had anticipated. Maybe I need to get a watch again.)

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 25-31) shots from the Farmer’s Market Ann sells at (and the chipmunk she was trying to take pictures of)

Ann still had the Cookies I was looking for so it is time to head home and write up the blog post of my prototyping a cane identifier. However, since I started with a quick nap in front of the computer maybe a lot of caffeinated Mountain Dew to wake me up long enough to finish this for your amusement is necessary. I am sorry I did not get you pictures of the ninja skunks and swans.

So in conclusion remember to pack your felting wire, make samples to see if a concept will work, assess the sample, make augmentations or adjustments then either finish the sample or create your fabulous extra impressive piece now that you know more about how it will all work from your investigation. Maybe skip the part with the skunks and the long drive.  but the scenery had lots of rocks and trees and even some water and wildlife! I would suggest keeping the part with Ann’s excellent cookies. Now I think I may have another little nap since the caffeine is starting to wear off. (Oh no, I left my spell checker in Oakville so I will try not to break your spelling by fixing mine)

Have lots of fun and keep felting!

 

PS, my cane dragon is now hanging out on my hat brim (it’s my driving hat so I’m not wearing it now!), I wonder if I can convince him to go back to the cane? or the basket of the walker?

Started but not Finished

Started but not Finished

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At the moment I seem to be really squeezed for time. I have managed to start 3 small things

First I wanted to do another vase cover. I used a bat that was made on a blending board. I pealed a thin layer and then filled in the holes. I like the autumn colours.

 

That is as far as that got.

Next, I wanted a little bigger landscape I could needle felt and stitch on, so cut a 5×7 inch piece of the soft thick prefelt to use.

 

 

I wrapped the wool around the piece so there won’t be grey edges.

And that’s as far as that one got. I have it rolled up with the vase cover so they can be rolled at the same time.

Then, oh my I still have a few min. I had some well-fulled wool fabric a friend gave to me. I think it used to be a coat. I cut out a small piece and brushed up one side with my wire dog brush to see if it will stick together well with wet felting.  Then added some fibre

The difference is hard to see. the left is the unbrushed side and the right is the brushed side.

I had intended to just add 2 colours and felt it to use for trying out stitching on the new water-soluble stabilizer I ordered. But before I realized it I had made another landscape. Oh well, that’s ok, I will have to try again to make some practice pieces.

That is as far as I got with that one. I will probably wet it and add it to the other roll and then do them all at once. Maybe next week I will have them felted. With this time of year being very busy for me, it makes it hard to get some felting in. I try to get some in every week so I can share with all our friends and followers.

Third Quarter Challenge – Rothko in the Round

Third Quarter Challenge – Rothko in the Round

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I’m just squeaking in under the deadline for the third quarter challenge. I had a hard time deciding what to create. Finally, I fell back on experimenting with layered color mixing. I have always thought that Mark Rothko’s paintings would work well as an inspiration for this technique. So I searched for a painting of his that was created in the 1950’s. I found number 10 painted in 1950 at MoMA’s website.

With my inspiration in mind, I was planning on making a flat piece of felt but then Ann posted about creating some lantern covers.   I decided I would give that a try and see how light would affect the color mixing as well.

I didn’t have any tall glass vases like Ann used but I did have an olive jar that was the same shape mostly. I could use that. I created a resist to include approximately 30% shrinkage and got out my stash of short fiber merino. I didn’t really have enough of the blue for the first layer but decided to go ahead and wing it.

The short fiber merino that I do have is in batts, so I wrapped the blue around in the vertical direction for the first layer.

Then I added more colors in layers wrapping the resist horizontally. These were all solid colors to start with and I wanted to see if the movement/migration of the fiber would create a more mottled look like you see in Rothko’s paintings.

I did add a bit of dark grey at the top for a deeper value. The photo on the left shows the piece after layout and wet down. The photo on the right shows the piece after felting before I removed the resist. You can definitely start to see the color migration. I cut out both ends of the resist and as you can see at the bottom of the right photo, the blue wasn’t covering the ends completely. But I decided to leave the ragged edges as the Rothko piece felt like the paint had ragged edges. Then I fulled the piece and pulled it over the glass jar to hold it’s shape while it dried.

Here’s the result. It looks very much like a landscape to me and the color mixing worked just as I wanted. You can see the top of the glass jar in the photo on the right. I would prefer a smooth vase and I will have to go and look for some at the local dollar stores. I did try a light inside but I made the felt too thick for that to have much effect at all. But I do like the possibilities of this technique, creating thinner layers next time. I hope to create some landscape lanterns with real glass vases. Thanks for the idea Ann and thanks for the challenge Lyn and Annie. It made me try something out of my usual box.

Do you take commissions?

Do you take commissions?

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This question sends a chilled shiver through my heart. 

 

My first felt picture commission was about 4 years ago for a friend who wanted a view of a mountain in France for her husband’s 60th birthday. They have a house there and love the views. I really didn’t know what to do. It was very different from the pictures I had made to date and not somewhere I know or have ever been. After some soul searching I agreed to do it. I think I let the flattery get the better of me. 

 

        

The request was to do something similar to this but ‘a bit snowier’.   

Things really did not go at all as I’d hoped. Firstly, the time I’d set aside to do it was taken up when my parents, who were staying with me, both became ill. Fortunately everyone recovered but I had to do lots of hospital visiting and home caring so wasn’t able to do any work on the commission. 

 

Then I realised as I was working on it that I really didn’t understand the mountain from the photographs I had. Which bits were shadows and which bits ravines? Normally I felt local birds and seascapes that I know and love.  I struggled. To cut a long story short I delivered the picture but so close to the deadline I don’t even have a final photo of it. This was it nearing completion ……

I really didn’t enjoy the process & I wasn’t that happy with the result. Fortunately my friend liked it & her husband loved it but I vowed never, ever again to take a commission…….I had learned my lesson…. hadn’t  I?, 

 

A little while later another friend who was travelling sent me a photo she’d taken of a pair of African penguins and asked if I could make a felt picture as a birthday gift for her partner. “OK”, I thought, “birds and a beach, I should be ok with this.” 

 

 

Learning from my first experience, I allowed loads of time. I made samples and did lots of planning. I looked at a lot of penguin pictures online as the penguin on the right was at an odd angle and I felt it needed a clearer head. I made lots of prefelt. It took a long time but I enjoyed it and was pleased with the result: I thought it was true to the photograph.  I was there when the gift was presented. There were happy tears; probably some of them were mine. 

 

 

Then came an email. My friend’s husband, who’d been so happy with the French mountain he’d been given: it’s now her birthday one year on and he’d like to commission a companion picture for her of the local valley view in France. “Noooo” I thought. “I vowed never, ever to do another commission after that one”.  I tried diplomatically to explain that I wasn’t sure I could do it justice but agreed to look at the photos and let him know. 

 

 

More soul searching and much wringing of hands. I really didn’t want to refuse, but I really didn’t want to go through the same thing again. On balance, I decided I probably could and should do it, so I said yes.  

 

 

 

I was happy with the outcome and my friend, and her husband, loved it. So, maybe commissions were ok. 

 

Next, someone locally saw a picture of a little egret I’d made for my mother’s 80th birthday and wanted something ‘similar’. 

 

 

My Mum’s picture was based on a bird she and I had enjoyed watching together at a Yorkshire nature reserve. I didn’t want to copy it. The commission would be based on another little egret I’d seen just up the coast from where we live. I quizzed the woman in great detail about what she liked about my Mum’s picture and what she wanted her picture to include. I described what I was going to do. But it made me realise how difficult it is to understand what someone else sees in a picture and whether I can understand it enough to translate into something I can make. Previously I at least had reference photos but there was no photo for this one. 

 

I decided to give this client the option of not buying the picture if she didn’t like the finished image. It was, after all, a picture I would readily have done anyway. It was the best way I could think of of getting round the struggle of making what I can and want to do and meeting someone else’s expectations. 

 

 

The client seemed very happy with it and did buy it though I’ve really no idea if it’s what she had in mind. 

 

 

 

 

 

 

 

Another local woman saw at an exhibition a more abstract sea picture I’d made.  She’d like something similar but smaller. Surely I could do that? 

 

 

Well, you would have thought so but I guess I took my eye off the ball. I’d been thinking a lot about how small waves break and although I used similar materials, it really didn’t come out very similar at all: the original being semi-abstract, the second being more realistic.  I’d allowed my own interests to take over and really hadn’t met the brief. I decided to show her the second picture anyway, explaining it wasn’t that similar to the first one, but I’d be happy have another go if she wanted. 

 

She thought the new picture was ok but preferred the original and decided just to buy that one instead. A fortunate outcome and I’ve since sold the waves one but it all felt a bit precarious. For me, commissions are tricky. I’m flattered by the request but not necessarily comfortable in the execution! 

 

I’ve asked three painters if they take commissions.  One absolutely does not on the grounds that she wants to pursue her own creativity and doesn’t want to be influenced by others’ ideas. She does give the potential client an early view of her new work but that’s as far as she will go.  Fair enough.

 

The second  said, “I do, but I don’t really like it. It’s so difficult to understand what’s in someone else’s head.”  I’m with her on that.

The third does take commissions but he charges more for the work, to reflect the fact that he’s working to their brief. He takes a deposit and, when pressed, said if someone decided they didn’t like the outcome he’d keep the deposit but not insist they buy the picture. Fortunately that has never happened. 

 

For me commissions raise a lot of issues. Does the client have to buy what they’ve commissioned? Would I want anyone to buy a picture they’re not happy with? How do I know what they are imagining? Do I enjoy making them? Does it matter? 

 

So, do I take commissions? Um, sort of. I’m still not sure. I’ve realised that when I watch my local sea birds and look at the sea, water and beaches there’s a lot going on. I look at where the birds are, how they stand and move, what they’re doing.  I try to capture the colour, light and movement of sea water and waves.  As I create the felt I have images, sounds, smells and feelings about the scene that I hope in some way influence the picture. I do work from photographs but I rarely copy them. So, if someone wants a particular view, location or bird that I know and can experience then probably, yes. Otherwise, I’d like to think I’d say no.  But then I don’t have a very good track record of saying no, do I?! 

 

What do you think? Would or do you take commissions? If so, how do or would you manage them?

It’s good to bend rules now and again (part 2)! (followed by exciting announcement!)

It’s good to bend rules now and again (part 2)! (followed by exciting announcement!)

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I mentioned back in August that, having made this brimmed hat, I returned to the DHG Italy website where I purchased the industrial felt last June.  Here is the link to the August blog: https://feltingandfiberstudio.com/?p=44988&preview=true

My original intention was to cover some canvas bases for exhibition pieces.  I had purchased two colours, black and blue and, as I only used the black on the canvas’s I had the blue to play with.  According to their website, the industrial wool is made up of 90% wool (Australian and South American) and 10% polyester.  DHG also mention that “This felt can be used as a traditional felt (cut, sewn, glued) but also by exploiting its thermoformability.” 

I decided to do a bit more research into the felt’s ‘thermoformability’ and my first port of call was the company’s website.  I was able to download a short simple set of instructions on how to add form to the felt using heat.

I thought it might be fun to work on a project that would take in this quarter’s challenge which is focusing on the 1950s.  It was time to put the thinking cap on and research hats of that era.  I consulted my vintage ‘oracle’ (my daughter Katie) and quickly decided on a half hat.  Katie mentioned that ladies wore these to accommodate stylish ‘front’ hairdos – the hair was curled to the front and back and that meant that these hats were placed on the back section of the head where the hair would have been flat.

She agreed to model the finished piece so I set about making a tin foil mould of her head.  At this point, she refused to be photographed wearing a tin foil hat (after all, this young woman has a reputation to maintain) so here it is on a lifeless model:

 

Next, I took her measurements.  I cut out a piece of felt 31cm (this was the measurement ear across the top of her head to the other  ear) by 25cm (depth to allow for folds in the felt). I placed pins when I wanted the folds to occur then I started folding the felt:

 

The DHG instructions recommended that, while the felt could be pinned when it was being shaped, ultimately all shaping should be tacked in place.  This tacking would remain in place until the piece had cooled down after it was ‘baked’ in the oven. All pins had to be removed as there was a distinct possibility that they would permanently mark the ‘baked’ felt.   So it was time to secure all the shapes – I used polyester thread for this purpose:

The next task involved securing it to the tin foil mould of Katie’s head.  More tacking.

Then, it was into the electric oven at 150 degrees centigrade (300F) for exactly 20 minutes.  The instructions stated that if it was left in any longer the wool would burn.  Also, temperature differed for lighter coloured felt which, it stated required a lower temperature of 130C.  It could also be ‘cooked’ in the microwave (5 minutes at 850W).  If I had used a microwave I could not have used the tin foil so I was happy to use the oven.

Once removed from the oven, the felt had to be left to cool fully so that the polymers in the polyester to set in position:

Once it was fully cooled down I removed all of the threads.  It was a bit time consuming as I had fixed them firmly into the felt but that was okay.  Here’s the result:

 

Next, it was time to cut out the lining.  In keeping with the vintage theme I found a piece of wild silk that my aunt had given me.  She was a fantastic lady and like the rest of her family, an artist to the core.  She was head of the Art faculty in one of our Third Level (university) colleges and a great collector of fabrics all of which she bequeathed to me when she died.  While the silk was not from the 50s it was pretty close to that era.  So I cut the fabric slightly smaller than my original measurements and hemmed it using my sewing machine.  Then I ironed in some pleats and hand-sewed the lining onto the inside of the hat.

As this is a half hat, I added a comb to the middle front of the hat and sewed elastic loops for bobby pins – one on each side:

It was then time to decorate the hat.  Given that Katie planned to do something special with the front section of her hair, I decided to decorate the back of the hat.  I used faux pearls which were mounted on thin strips of gold coloured wire and attached them with transparent nylon thread.

It was time for the photo shoot and my model did not let me down!  It was lovely to see her dress up – full hair, makeup and vintage style frock.  She has not had the opportunity over the past year and a half as we have been locked down for most of it.  Thank you Katie for going to so much trouble.

I am pleased with the result.  The instructions suggested using glue to help hold the shapes but I found that by taking time over the tacking and securing everything very well the folds stuck together during the baking process.  It is worth noting that DHG state that one can expect lighter colours to darken a bit during the baking process.

Does this inspire you to try their Industrial felt?  If so, what would you make?

Now, on a completely separate note, I am really excited to be able to share details of the launch of my Hanging Felted Spiral tutorial which will start up on October 29th.  Please access details through the following link: https://feltingandfiberstudio.com/classes/hanging-felted-spiral/

Spaces on this four week workshop will be limited so places will be allocated on a first come basis.  Here is a glimpse of what you will learn to make during the tutorial:

 

Summer Fiber Poker (Felt) 2021 Completed

Summer Fiber Poker (Felt) 2021 Completed

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Earlier this year I told you about the Fiber Poker Challenge at the Guild Ann, Bernadette and I belong to. There were challenge cards for weavers, Spinners and Felters. four cards were drawn for us, in our topic of choice, which we received for the June meeting.  our solution is due at the September meeting.

These are the cards I would be working with.

1) the felting poker cards I drew for 2021

As you may remember, I have been creating an army of Chickadees as a way for my brothers-in-law and their families to remember their parents’ home.  (The bird feeders in the back yard are visited by chickadee, nuthatch, blue jays, cardinals, morning doves, sparrows and the evil squirrels; black, grey and red. There are also chipmunks feasting at the feeders!) I have sent chickadees home with 4 out of the 5 brothers.

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2-6) four of the five brothers and their Mom’s Chickadee’s

All those tiny little feet may have been getting to me!

“Include Wire”

I sat down and pulled out the wire I had been using for the birds, 20ga and 26ga coated steel floral wire. I started twisting and playing making a pair of front legs… well that will need a bit more to go with it. With a few more bends with the tiny pliers another pair of legs appeared. Next a spine to attach the legs to and maybe a tail… yes definitely a tail.  Hum I think those back legs should be front legs? yes! Rotate the feet and that looks better!

I think I need wings!

7) wire included, Check! adding wings

I had wrapped the armature with the 26ga floral wire. Using it to create the toes and lower jaw. For the wings, I slipped the U shape in the middle of the wire, into the space at the shoulders between the two gauges of wire. I will build up the support by adding more 26ga wire wrapping. Then strengthen it further when I add the wool.

8)  The ribs on the wings are 26ga and the main structure of the wing is in 20ga.

9) adding the wool will stabilize the wings and “ears-like things”

I decided to add ear-like appendages to finish the armature.  Now I am ready to add the wool. I am using Sarafina Dark Grey Core wool and for the first time trying her Tacky Wrap on the tips of the toes. You can see I am working with very thin strips of the core roving, the pieces are about 6 inches long. This core wool has a vary tiny crimp and worked well. I did find it much slipperier than the fleece I had used for the Chickadees legs and feet. When i washed that fiber i had left in a bit of lanolin which gave it a bit more clingyness. So the addition of the Tacky Wrap helped a lot! This is the first time I have used it, I liked it and will likely find it useful again.

10) most of the armature is covered and is balanced to stand.

So I have wire covered from the cards. (OK I have wire, covered literary!)

I am ready to consider the other card’s instruction, “Use your favorite colour!” Let me think, that would be Blue, but I like black too. But I do like blue better. Blue-green is OK and blue-purple is almost as good. A lovely indigo, prussion or ice blue……

Let me go check my stash of blues. How can I have a stash of blue and not have the blue I am thinking of?  Change of plan! I checked our local fibre source Wabi Sabi in Ottawa and yes they had Corriedale in shades I was looking for and they didn’t close till 4 pm! I made a list and rushed (it didn’t look like a rush but it was for me!) out to the car.  Hmm.  traffic on the highway? Oh yes, it’s Sunday afternoon! I hope they’re not all heading to pick up blue fibre! No? Great! I even found a parking spot. Had a bit of trouble with the walker and the front door. I will figure doors with steps out eventually.

In Corriedale, I selected a number of cool blues, blue-greens and a cool yellow that I didn’t have. I found a bit of Silk and Merino that was in the colour-way I was wanting, too. (I don’t usually use much Merino since it tends to absorb light and I find Corriedale comparatively much more reflective and give my sculpture a bit more life.

11) why did I not have the colour of blue I wanted?

I considered the body. It is core wool but I like the mottled colouring and while the grey is leaning heavily towards the brown I quite like it. It makes me think of rocks in Iqaluit (the capital of Nunavut on Baffin Island in northern Canada). OK, next let’s cover the ribs for the wings. Something icy and cool in blue. That done, I had the little guy do some contortions so I could trace his basic wing shape. This gave me a template, which helped me in laying out thin layers of fibre to make the thin wing membrane.

12) wing tracing to make a template for layout

I laid out the wool then gave it a gentle rub, as if I was wet felting, (but stayed dry) then a few T-36 pokes. Next, I switched to the fake clover tool with the fine needles. I focused on the leading edge of the wing leaving the wisps alone along the trailing edge.

13) wing underway

I carefully pealed and flipped it a couple of times. This stretched the length of the wing a bit so I used a single needle to work across the front of the wing to shorten it. (The direction you poke is the direction the wool will move.) You can see I was trying to keep the wing extremely thin but still strong enough to hold together.

14) wing still quite transparent

15-16) A bit more dragon yoga posing and I was able to position the wing for membrane attachment.

I put the ribs on the underside which will show if the wing is elevated. I attached along the front edge then lay in wisps of blue to help attach the ribs.

Then on to the second wing. I was laying in wisps of the silk and Merino, a darker blue, a little of the light blue and the greenish-blue. While on the shopping run, I had looked at some Tencel but it seemed too shiny compared to the Corriedale.

17) the second wing

With both wings on, they seem a bit big for his little body.

18) downsizing the wings just a bit

I thinned the first wing by gently tugging on the tips downsizing the wing to a more appropriate size. You can see the amount of fibre I have removed in the top corner.

19) Ah that’s lighter it should be easier to fly now

20)  Wings are looking good,

21) I think we need a tail puff to help with turning while flying. Aerodynamics are integral to dragon flight, they are not like a bumblebees who obviously fly by Magic alone. The puff will be a fan shaped rudder when I am done.

22)  Attaching the tail puff.

23) a bit of ankle decoration.

The next card says “use Beads or Sequins“, how about some eyes? It’s important to see where you’re flying!!

24) “I can’t see if I am cute. I need Eyes!”

I think you will like the other ones better. I will sew them on so I can “use thread or fine yarn” as my final card.

So let’s take a peek at “use blue, use wire, include beads and thread”. A quick photo shoot for a little ice dragon.

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25-27) a quick photo shoot in front of the computer.

28) Now let’s take a look at the scale of my ice dragon.

While I was out doing early voting (Dad always said if you don’t vote you can’t complain later), the little dragon was off investigating the office plant.

29) “I need dramatic lighting!! I’m ready for my close-up!!”

I had a lot of fun with this years fibre poker challenge, even if i did not actually do any of the 3 options i had originally planed to do. I may go back and try another version or wait and see what I pull next year.

Have fun and keep felting!

 

 

 

 

Some Lantern Covers

Some Lantern Covers

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A while ago on Facebook someone posted they had made felt covers for lanterns. they had ordered a workshop in a box with everything in it but I like to figure things out myself. They didn’t look too hard to do. I think someone here might have done something similar here too but I don’t remember properly.

I started out thinking I wanted a clear plastic cylinder to use as the base. I couldn’t find anything, except, of course, I could find them with other things inside them. But then I went to the dollar store and found a tall glass vase for only $4. Available trumps ideal every time.

I started out working out the size.

then I made a resist to those numbers and one that was taller.

 

For the tall one, I was going for a landscape feel, grass, sand, water, sky. The layout is very thin so later the light will show well.

 

The second one was my granddaughter, Autumn’s choices of colour and sparkle.

 

The felting was easy and fast as there wasn’t much wool involved.

Here is Autumn’s cover

And with a string of battery-operated LED lights inside.

This is mine. The darker blue of the deeper ocean looks very green now. I think the scrunching of the water area adds some interest for when it doesn’t have the lights on.

 

And with the lights inside

Although they both look interesting with the lit up even in the daytime.

 

There are lots of interesting things you could do by adding a hidden design that only shows up when lit. You could create a scene on the outside and hide things inside that change the scene when lit. I wonder if you could write a message that would show up when lit. that would be a challenge.  I would like to try a thicker cover and see how it works with the lights. I may work this into a short workshop. A fun afternoon or evening making lantern covers.

Annual Art Retreat

Annual Art Retreat

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In my last post, I showed you how I was creating some mark making tools for our annual art retreat. We had the retreat and had so much fun creating abstract artworks. I apologize for the poor quality of the photos as the light is very bad at the lodge where we stay and I was in a bit of a hurry.

The process involved each of us starting with the same size piece of painter’s canvas and then ‘changing’ the canvas with a variety of media and techniques. Some of the steps were timed and some not. It took us nearly a full day to ‘complete’ our pieces. Some of us are still working on them, some may tear them up to use in a different way and other’s may keep the end result as is.

Here are some of the supplies that we used and you can see the piece of folded canvas at the front of the table.

We did construct a few more mark making tools, mine are on the left, Paula’s in the middle and Louise’s gelli printed feather brush is on the right.

I thought it would be interesting to see the pieces as they progressed so I will show each person’s piece separately.

This is Deb’s piece from start to finish.

Here is Louise’s piece. I think she is still working on it.

Here is Paula’s piece. You can see the light shining through the picnic table in these photos. We usually forget that the picnic tables have spaces in between and this always causes issues with such things as printing or marking over the surface. I think Paula is planning on cutting/tearing this into smaller pieces to use in some manner.

And here’s Sally’s. You can’t see this in the last photo but she has added hand stitching and beading. She was not sure if she is finished with it or not.

And lastly, this one is mine. I think I am finished with it and actually happy with the result. Usually, I don’t tend to like my attempts at abstraction. I didn’t add much color so maybe that’s why I like this one better.

We had a great time and I am always amazed at the different styles that come from each person. We know each other well enough that it would be easy to recognize who’s piece is whose.

Going Dotty

Going Dotty

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A few weeks ago I was indulgently scrolling through Pinterest, as you do, and came across a ceramic vase with a pretty, colourful pattern around its rim.

This inspired an experiment to see if I could achieve a similar efffect in felt…..

I made a collection of cords in different colours, cut them to rougly the same length and sandwiched them between 4 layers of wool tops.

These were felted to the prefelt stage before cutting into strips and laying out on 2 more layers of wool:

Then covered with 2 more layers of wool before felting to the firm prefelt stage.

I wanted to shape it into a bowl, so draped it over a hat block and rubbed it vigorously to make the sides shrink onto the shape of the block,

The colours from the cut ropes were already migrating through even after a few minutes of rubbing.

After lots more rubbing and a trim it was holding it’s shape well.

I had always intended to shave the finished bowl bring out the colours in the spots but found shaving hasn’t made that much difference to the colour intensity of the spots:

Before shaving
After shaving

I am really pleased with the colourful effect from this experiment and will persist with the shaving.

Gelli Printing

Gelli Printing

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I’ve recently discovered another creative distraction…..the Gelli Plate and I’m finding myself wishing there were more hours in the day! I remember a friend purchasing one of these several years ago when they first came out and saying how great they were. Back then I couldn’t see what the fuss was and I suppose I was busy doing other things and so didn’t bother trying it out.

Fast forward to last month and Carole, one of the Waltham Textile ladies, brought her Gelli Plate (and what looked like half her garden!) to our monthly meeting. She spent the day printing with acrylic paint and foliage onto paper and fabric and got some very interesting, and some very beautiful results. I didn’t think to take photos of what she was doing that day but needless to say she inspired the rest of us to get straight online and order our plates. They are widely available but I found the best price at Buddly Crafts near Spalding.

Because acrylic paint dries far quicker than printing ink it’s advisable to add an extender to keep the paint workable. I didn’t have any Matt medium to hand so tried adding a little aloe vera to my paint and found that works really well for a fraction of the price!

Unfortunately Carole couldn’t make our meeting last week but Anita, Jacky and myself turned up to christen our gelli plates.

Anita is prolific and soon had her table covered in work!
Jacky made several botanical prints…..
…..before going on to experiment with lace, making backgrounds to stitch into later.

My first attempts at foliage weren’t really me but were quickly followed by an abstract piece which I did like. For this I printed a background onto fabric using the gelli plate and then stamped it with torn textured wallpaper. The torn paper was then stitched down and more texture and colour was added with free motion stitch to create the look of rusting metal with peeling paint…..in my head at least!

I soon settled back into my usual colour palette!
This turned out to be my favourite, using black acrylic on cream cotton velvet
Adding a mount to your print makes a huge difference to how they look!

So far we’ve created very simple prints by inking up (painting up?) our plate using a brayer and then laying on leaves, etc. The first pull produces a “negative” area where the objects on the plate have been used as a resist to the paint. When you then remove the leaves you are left with a beautiful, delicate pattern which can either be printed in the resulting space or onto a different piece of fabric/paper.

This really is the tip of the iceberg because there are so many possibilities once you start printing, including the “one pull” technique. This involves layering up several colours and on each layer using a different material to push into the paint. This is all allowed to dry thoroughly before a final coat of paint is added which lifts off all the previous layers in one pull to (hopefully) produce a fabulous print with lots of depth……I will be trying this out and reporting back but for now you can see it done here. Another interesting video is this one from American mixed media artist Kathy Leader who achieves beautiful painterly effects with her gelli plate

It’s funny how things happen…..Caroles timing, in introducing me to the Gelli Plate, couldn’t have been better. The reason being that two weeks ago I rented a space in the new Art Gallery which has just opened in Alford. Out of the twenty-odd artists stocking the gallery I was surprised to discover that I am one of only two textile artists in there, the other being my friend Evelyn who creates exquisite hand embroidered pieces on silk fabric.

I’ve left the majority of my felted pieces in the Craft Shop, next door but one, and have wall art and some larger 3D pieces on display in the gallery. Thanks to Caroles inspiration I was able to call in last weekend with sufficient work, in the form of unframed gelli prints, to also stock a browser. I just hope the visitors like them enough to purchase, otherwise our walls at home are going to be covered!

This is just some of the work currently in Alford Arts.

You might remember the hexagon samples I made for one of the challenges. I removed the glass from a pair of oval frames, sanded and painted them white and adapted the hexagons to fit.
The other textile artist is Evelyn Jennings who creates stunning embroideries like this one of three people relaxing in the sun

I’m guessing a lot of you reading this will already be familiar with the gelli plate but for those who haven’t yet tried it, be warned…..it’s another of those wonderful distractions that make you wish there were more hours in your day!