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a green felted/tapestry of the word Exchange
A Few More Oddments

A Few More Oddments

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I’m afraid that the series of heatwaves we’ve been (and still are) experiencing have had much the same effect on me as the Covid Lock Downs. I have pretty much lost my mojo again though not quite in the same way.  Every time the weather cools down a bit I have managed to think about and sometimes even start a project, only for it to be abandoned as soon as the next heatwave starts.  I now cannot see my work table for various piles of project “stuff” in various stages of progress.

Also I haven’t managed to do much about preparing for this post, so I’ve once again picked some topics from my list of things to write about which are in fact mainly “historic”.

Many moons ago back, in the 70s, when macramé was first in vogue and long before I became interested in spinning let alone before I found felting, I was obsessed with string and knots.

Amongst the patterns I came across was one for a lampshade. Do any of you remember the Marshall Cavendish series of monthly craft magazines “Golden Hands” covering several different crafts, which could be collected into 4 (I think – possibly 6) annual volumes?   I loved them and made lots of things from their patterns.

I did think that I found the macramé pattern I had followed for the lampshade in one of the Golden Hands Magazines, but Mr Google has been unable to find it, so it may have been in some other magazine – possibly “Women”, “Women’s Own” or “Women’s Realm” (that was in the days before they started emulating “Hello Magazine” and the like🤢).

As it was so long ago that I made the lampshade I can only show you what it looks like now.  It was made from dishcloth cotton and made directly on a lampshade frame.  I lined the shade with red satin type fabric and gave it to my mother for one of her birthdays.

During my “macramé period” I started to make small free standing sculptures using just clove hitches, rather than mixing knots like flat or square knots.  Then my niece became pregnant with her first child so I thought I’d have a go at making a macramé rattle for the baby.  As it would need to be washable, I chose to use nylon curtain/blind cord and one of the indoor balls (the plastic lightweight sort with lots of holes in) with a couple of brass bells inside for the inner body.  I did not have a pattern to follow (by then I preferred to make my own designs rather than copy someone else’s).

By changing the direction of some of the clove hitches I was able to give the rattle a face.  Here is the only picture I have of the rattle, which my husband took for me before I sent it off to my niece.

 

a black and white image of a baby's white macrame rattle showing the "face" worked into it. There is also a small bunch of daffodils and a cube box of tissues with some pulled out to frame the rattle
Unacknowledged macramé rattle

My niece had another child a few years later, but I’m afraid that, as I have had no confirmation of receipt of the rattle (even now, although I know it was received) let alone any thanks, I stopped sending even cards to her!

Around the same time as I made these pieces, I made a crochet cotton macramé Dorothy bag, using a stuffed oval ball shaped thingy as the base to work on.  I added pearl beads and lined the bag with pink fabric and used it as a sample for a wedding accessory (back in the days when a couple of friends and I were making crocheted wedding “favours” and sold quite a lot of them – that must have been getting on for 50 years ago), but I wasn’t asked to make another one and I didn’t sell the original.  I still have it somewhere.

a white macrame drawstring dorothy bag with pink satin inner bag on a dark red background
Dorothy Bag – big enough for a bride’s handkerchief

Back in 2012 I was doing bits of tapestry weaving and to be honest I was getting bored with it – it was taking too long and I wanted to get on to something more interesting.  I had decided to weave the word “Exchange” but I can’t remember why now.  It may be because I liked the monogram EX that I was using.  The “e” was in black and the “x” was in bright red.  The background was to be a strong green.  The rest of the word was to be in black, but in outline only.  I managed to complete the monogram before I decided to do something different, which was to felt the rest.  I felted green merino fibres over both sides of the cotton warps with the work still on the loom.  This made the “fabric” quite tough so that it kept its shape.  I then needle felted the “change” in lower case.  I did actually exhibit it at The Exchange when we had one of our several exhibitions in their Café/Gallery.  The bear with the felted tapestry in the featured image was made by a friend, who makes bears for adults, and bought for my birthday by my husband.

a green felted/tapestry of the word Exchange
My felted tapestry woven Exchange

I did think that I might get some people commenting on the coincidence with The Exchange’s name but no-one seemed to notice, or couldn’t be bothered!

Back in early 2022  I told you about a couple of door stops which I had made, one of which was named Yoda by my husband.

https://feltingandfiberstudio.com/2022/04/18/we-need-a-new-door-stop/

During the making of Yoda I made what I now know to have been a construction error.  Because I was concerned that if he had been picked up by his head it might come off, I placed a strong loop made from the hem of a towel behind his head to be used as a handle.  This resulted in him becoming very tatty around the head.  Every time he was picked up by the handle it rubbed the back of his head and his ears and the fibres began to come away.  In addition his head was beginning to get droopy, as you can see from the way he is peering around the bathroom door.

felted doorstop cat peering around a door
Peeping Yoda looking the worse for wear

Thus he needed what my late brother in law used to call a “Warranty Job” (he used to make all sorts of parts for traction and railway engines for others as well as himself and now and then someone would ask him if he could effect some repairs).

As is my wont it was some time before I finally got round to doing Yoda’s warranty job.

I hadn’t been happy with the shape of his head, it was a bit flat at the back.  For this reason as well as his tatty appearance I removed his head as well as the handle.  I moved the handle to the middle of his back so that it would balance him when he was picked up and it didn’t rub against any part of his head or body.

Next I moved on to his head.  I didn’t have any more fibres of the right colour to match his body so had to blend some to match.  Then I started to cut away the rubbed fibres from his head and add more of the new.  I rounded out the back of his head a bit more and thickened up his ears.  I still had some of the correct pinky-grey fibres which I had used for his face so I tidied up his face too.

I decided to add yellow slightly opened eyes just to show that he was really awake.  This is him now.

felted doorstop smiling with slit eyes sitting beside the door
Finished Warranty Job – Yoda back at his post

That’s the lot for this post, hopefully by the time my next one is due I will have got my mojo back again and have something new to show you.  In the mean time here’s a real smiley cat.  I do wonder what’s going through his mind – any ideas?

head and torso of dark grey and white cat with closed eyes and smiley mouth
This is my Boy (originally named Radius by his previous owners). He really is a smiley cat.
Two Coats Colder

Two Coats Colder

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Back in April 2002, before I became infected by felt and  was still interested in woven tapestry, I plucked up courage and attended a Tapestry Weaving Course run by professional tapestry weaver Bobbie Cox.  If you live in or near Rochester in Kent you may have seen some of her work as there are four of her tapestries adorning the Lady Chapel in Rochester Cathedral.  My report of the workshop was published in the March 2003 edition of The Journal for Weavers Spinners & Dyers.  I have reproduced it here.  I’m afraid that there weren’t any photographs for me to show you as I didn’t own a camera at that time.  I have tried to produce the sketches that I made and you will see why I say that I can’t draw, except with a felting needle!

inside a cathedral showing stained glass windows with tapestries below and a tapestry on the front of an alter with 2 candles on it
Lady Chapel, Rochester Cathedral – Bobbie Cox Tapestries

“Peter Tavy, Two Coats Colder than Tavistock”

“And I wish I had known before I went!  Still this only related to the weather and was in contrast to the warmth of the welcome from the inhabitants of Peter Tavy when I joined 16 others on an ‘overflow’ course on Design & Tapestry Weaving given by Bobbie Cox at Peter Tavy Village Hall (formerly the school) in the second week in April 2002 (the original course had had such a long waiting list that Bobbie had arranged an additional one).

“Our first task was to explore the village taking in textures, colours and atmosphere, making notes, taking wax rubbings and collecting samples.

“On returning to the hall we discussed what we had found and then Bobbie told us that our theme for the course would be ‘windows’.  She showed us slides of photographs she had taken from the inside looking out, outside looking in, of misted window glass, and raindrops, of reflections and shadows.  She reminded us that windows are the eyes of a building and can be looking at us whilst we are looking at them.  (I’ll never regard a window in the same way again!)  Then she sent us out around the village again to ‘collect’ windows.  The villagers were (with one unpleasant exception) very tolerant of the students gazing at their properties in a very odd way, even the overwintering inhabitants of the sole remaining farm’s cowshed.

“The students were of mixed ability, from complete beginners (three of us – one of whom was our ‘token man’ Peter) to the quite advanced.  Bobbie showed us three ways of warping our frames, how to decide on the set of the warp and how to spread the warps appropriately.  She gave us advice and encouragement and showed us some of her many sample pieces to illustrate her points and her tips.

“After a picnic lunch beside the River Tavy, it was back to work – perfecting our designs with paint and pencil.  (I stayed up till 11.30 getting mine done.)

“Next day Bobbie set up an Indigo vat – in the back of her car!  (Well it was very cold out and much warmer inside the car which was standing in the sun, indigo vats need to be kept warm.)

“We all took turns to dip various yarns and fibres, re-dipping and over dyeing some coloured yarns for various periods during that day and also leaving some in the vat over-night.  In between times we started the actual weaving of our tapestries, all the time receiving tips and advice from Bobbie.

“She advised us to watch out for shrinkage or ‘waisting’ – the tapestry pulling in at the sides as the weaving progresses.  It is unlikely that this will be the result of poor selvedges, but more likely to be because the use of several different yarns in one pic, or ending one or more kelim slits in a single pic.  Bobbie’s suggestion was that we should insert a number of ‘guy ropes’ by sewing one end of a spare piece of warp thread near the edge of the tapestry (but not too close to it) and tying the ends to the sides of the frame.  If this is done on both sides of the tapestry, the tension will help to prevent the waisting. (I wondered what the purists would think of this, but if it’s good enough for Bobbie Cox it’s good enough for me.)

“Day 3; and after removing the yarns which had rested in the dye vat over-night, some of us tried some more in what was thought just to be the exhaust of the indigo.  In fact there was still quite a bit of life there and we dipped several skeins each.

“As the sun was still shining, we decided that we would lay out on the playground the yarns which had been dried over-night so that Bobbie and those students with cameras could photograph them.  It was then that we received some exuberant visitors.  They were some of the inhabitants of the cowshed on their way through the village to alternative accommodation.  They were moving at high speed in all directions, frantically followed by the farmer.  Bobbie saw off the ones which had decided to see what the activity was at the Village Hall.  I understand that they were eventually rounded up and led of to their new abode, having left liberal donations for the rose garden in the streets.

“Before lunch, delivered to the Village Hall by Jill, the Peter Tavy Sandwich Lady, some of the students accompanied Bobbie on a walk up to Dartmoor.  Some of us, not having sufficient warm clothing, decided to stay and work on.

“During the day Bobbie showed us some more slides of windows and also some of her own work.  However the highlight of the day was a visit to Bobbie’s own studio.  She was not working on anything at the moment, being very much involved in the administration of her touring exhibition ‘Woven Water’.  She did have two of the larger pieces from this Exhibition, ‘Spring’ and ‘Autumn’, which she  hung along with some other pieces for us to see, including a recently completed commission – a large tapestry inspired by the beach at Blakeney Point in Norfolk entitled ‘Tidelines, a Woven Memory of Blakeney’.  Also on display were picture boards showing the inspiration and development of that design and some of the Woven Water tapestries as well as some smaller samples and bundles of wefts tied and dyed.  Bobbie explained the mechanics of her large high warp loom and how she works on it.

“The next day – our last – was Sunday.  Now we were all working hard trying to get as much weaving done as possible before our visitors arrived.  At Bobbie’s suggestion we had all asked our bed and breakfast hosts to morning coffee and to see what we had been doing during our stay.  This is apparently a feature of Bobbie’s courses and many villagers visit regularly.  The noise level rose dramatically as the visitors wandered around and chatted.

“Bobbie did manage to fit in a few more tips for us though:

“1        Don’t be in too much of a hurry to cut the work off the loom, live with it for a while in case you subsequently decide that you want to add to it or make some changes.  It won’t be possible after it’s off the loom.

“2        Ends of yarns are usually left hanging at the back of the work, unless it is to be viewed from both sides.  Don’t cut them too close to the weaving or they will start to work through to the right side.

“3        Darn in yarn ends which are near the selvedge or kelim slits.

“4        When you darn in, slide the needle up or down the warp thread, not across the warps – it might show.

“5        Consider the mechanics you will use to hang the finished tapestry (although this should have been thought out at the design stage).  You may need to weave further pics in the heading, for instance if you will be incorporating a metal (preferably stainless) rod or a wooden slat.

“6        Weighting the bottom of the weaving will help it to hang better.

“7        Steam press the work on the reverse side – using a cloth and pressing lightly.

“At three o’clock we started to pack up and then display our work and our design drawings so that they could all be looked at and photographed.  It was amazing what diverse designs had been achieved.  We had all learned something, particularly we three beginners.  Bobbie  had encouraged us to try our own ideas and allowed us to make our own mistakes, lessons being better learned by trial and error than by example.

“By the time that we finished at about four, we were all very tired by very happy.  One usually finds on a course like this that there is one person who spoils things for the others, but it had been noted that our group was particularly lucky in that we were not “blessed” with the student who wanted to grab all the tutor’s time, or the one who wanted to be the centre of everyone’s attention (boring or noisy or both), or the hypochondriac.  We all had a great time – thank you Bobbie.

“PS If you attend another of Bobbie’s courses in Peter Tavy, better diet before you go – the food in the local pubs is marvellous – so’s the beer!”

partly completed tapestry of the four paned window on a wooden frame loom
Window Tapestry – still on the loom I’m afraid and I don’t think it ever progressed any further.

A couple of weeks later I attended another tapestry workshop run by another professional but I’ll save my report of that one for another day.