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Wet felted landscape stitched on to brown fabric for matting.
Red Tree Landscape Completed

Red Tree Landscape Completed

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Wet felted wool landscape with a red leafed tree on a hill.

When I last posted about my red tree landscape, this is what it looked like. On to adding machine stitching. My goal was not to add “too much” stitching, just a few branches,  darker shadows and some highlights.

Wet felted landscape, tree branches added with machine stitching.

First up was adding a few more branches to the tree. I was happy with that, so on I went.

Wet felted landscape, dark brown added into shadows with machine stitching.

Since I had the dark brown thread already in the machine, I decided to add some into the bushes and greenery to make some branches and shadows. Here is where I started going wrong. I need to remember next time, not to make a “solid” line fully across the piece. I needed to leave more gaps in between the dark brown areas.

Wet felted landscape, more dark brown added with machine stitching.

Then I added even more brown stitching into the green bushes on the right. This was definitely overkill and I wasn’t really happy with the result. But I kept going.

Wet felted landscape, grey green added into foreground with machine stitching.

I decided to add some grey green into the foreground so I would have some line added but not as dark as the brown. Again, I should allow some spaces in between instead of one complete line. It’s not a straight line but it does need some breaks.

Wet felted landscape, light green added into foreground with machine stitching.

Next I decided to add light green into the foreground lighter bushes. I did a better job breaking these up a little bit instead of going all the way across the bush.

Wet felted landscape in closer view showing machine stitching.

Here’s a close up and you can see the areas that I was not happy with, the dark brown over the light green bush and some of the dark brown under the red bushes. So I started unpicking stitches. This was painful since I had stitched pretty densely in areas and back over some areas. This was the reason for less stitching, I did okay, but still could have done better with less stitching.

Wet felted landscape with machine stitching completed.

Here it is with the stitching and unstitching complete. I considered taking out some of the dark brown on the right side by the further green bushes but decided to just leave it. Hopefully, it just gives it a bit more distance. The lesson for this one was that even less than I think, is enough stitching!

Wet felted landscape stitched on to brown fabric for matting.

Here’s the piece after stitching it down to brown “matting” fabric. I still need to lace it over matt board but it’s pinned and ready to be laced. Then it will go in the pile of pieces that need to go to the framer.

I haven’t come up with a satisfactory name for this one yet. Do you have any ideas?

 

Close up of the felted picture of the Ruru
Guest Artist – Diane Coe

Guest Artist – Diane Coe

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This is a guest post from Diane Coe, one of our readers, who recently submitted a photo for our 3rd Quarter Challenge. Thanks for sharing Diane!

My name is Diane Coe and I live in Featherston, New Zealand. I started being creative at a young age. Drawing, painting, and learning to knit from my Granny. I used to make tiny felt mice and exhibit them at a local annual art show as a young teen. Later on in life, in the 80s, I discovered Leadlight and produced for markets and made windows for houses. Then I progressed to Mosaics which I enjoyed for a while. I discovered a local felting group in 2014, and have been hooked ever since. Mainly I use wet felting with some needlefelt.
Sign of The Last Call of the Ruru
I was inspired to create Te Karanga Whakamutunga Ote Ruru (The Last Call of the Ruru (Morepork) from Maori Folklore, in which the Ruru is regarded as a guardian. With much of our planet being endangered, I wanted to portray the Ruru guarding the NZ Bush as a last call, as time is running out unless there is a change and more protection.

I wet felted the background and then needle felted, adding wool roving and balls of wool recycling from Op shops. The Kiwi is a scrap of possum fur. I spread out all my colours and fibres and picked up pieces to needlefelt as I went along, choosing what would work best for what I wanted to portray in each piece of the picture.

Close up of the felted picture of the Ruru

This close up photo shows more details of the intricate work.

There is hidden in the picture a Powelliphanta (native NZ giant snail). The piece took months to complete and is framed in native Totora farm posts.

Wool painting by Diane Coe, The Last Call of the Ruru

This is the photo that I submitted of the piece for the Third Quarter Challenge. You can click on the photo to enlarge it.

Here I am in my studio, creating another landscape.

Friend of Diane Coe holding portrait of dog created by Diane Coe with dog sitting opposite.

I have created other pictures like the portrait of my friends dog.

Diane Coe with felted attire with hat.

I have also entered recently a national competition in NZ called WoolOn, in which you can enter anything wool. It will be on the Catwalk and judged later in August 2003. Felting is a beautiful artform and a wonderful natural product. There is always so much to learn and create with.

 

Thanks so much Diane for telling us about your felting journey. 

If you would like to submit a photo for one of our challenges, you can do so here. If you are interested in telling us more about yourself and your fiber art, we would love for you to write a guest post. Just fill out the Contact Us form to let us know of your interest. 

On the Swan

On the Swan

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Recently, a local woman asked me to create a river view in felt for her. I created several watercolor sketches she could choose from so that we agreed on what the landscape would look like and what to include. The client lives on the Swan River here in Montana and decided she wanted a view similar to what she has behind her home.

After hand carding and blending colors, I started on the layout. I used a commercial prefelt background and mostly short fiber merino batts. Somehow, I wasn’t thinking correctly on shrinkage as I went with the idea that it would shrink 30%. But I forgot that I don’t normally full my wool paintings very hard as they don’t really need intense fulling.

I continued working down the picture laying out the distant trees, the river with the trees and mountains reflections and then into the foreground grass and lupines. At the same time I was laying out the big piece, I also laid out a smaller sample. That way I could try different options with final details and stitching. This shows the birch trees from silk paper that I was trying to decide upon. Luckily, I had made the birch tree silk paper several months ago at one of our local group meetings.

Here’s the small sample that I made. I tried the left tree trunk in prefelt and then used free motion machine stitching for the dark areas. The right tree trunk used silk paper which was painted for the dark areas. I also tried out some FME for the branches and the lupines. I didn’t feel that the FME was what I wanted for this piece and opted for the silk paper birch trunks. I had also used some brown/tan wool for the distant shoreline which was way too much if included in the original wet felting process. I ended up cutting out a portion of this sample so that the brown wool was showing much less. I then stitched the two pieces of the sample back together to give the feel of what I wanted in the large piece. This sample really saved me from making some big mistakes!

Here is what I had after wet felting. I had to full this piece very hard as the request was for a certain size. I don’t normally worry about size on my wet felted landscapes and I ended up cutting the edges because I had not figured the shrinkage correctly.

Next I started adding in needle felt details. I added more definition to the distant tress, added a shoreline and added some lines in the water to simulate movement.

Then I stitched some grass in the foreground and stitched down the silk paper tree trunks.

I continued on with details. I added some paint to the tree trunks, I couched down branches and added leaf details with needle felting. I added hand stitching in front of the trunks and some leaf details for the lupine.

Here’s a close up so you can see a bit of the detail in the foreground.

Then I found I already had enough green fabric that worked to finish the piece. My client is getting it framed with barn wood, so this is how I delivered the piece. And the wonderful thing is that she loved it. I’m so happy it worked out the way that she wanted.