African pod vessels, nuno felt, and more scarves


Apologies for the silence since Lambeth Open. We seemed to get fewer visitors this year, but I sold several scarves and we had some nice comments about our work.

At the last minute I made a companion piece to go with my pebble hanging. This used up some of the very first arashi shibori samples I made when I was new to indigo dyeing. I think I shall call the hangings Water I and Water II. :-)

waterII waterII2

I picked up an unusual African seed pod at a table top sale. The seller wasn’t able to tell me exactly which species of plant it came from, but the texture was irresistible, inspiring me to make a felt vessel.

african pod vessel

I also made one with larger openings, cutting away the felt above the resist, but I think I prefer the closed version.

african pod vessels

Carol, one of my sister Women of the Cloth, attended a workshop on nuno felting with Inge Bauer over the summer, and came back with some very impressive scarves, bags, cowls and fingerless gloves.

This inspired me to have another go at nuno myself, using a silk scarf that wasn’t suitable for overdyeing with shibori. I found it very satisfying, so I might make a few more for some of the Christmas sales I’m doing.

orange nuno cowl

Finally, of course, the indigo dyeing goes on – here’s another batch of shibori bits and pieces drying on the line. A couple of the scarves are already in my Etsy shop – more to come!

scarves oct14

Felt ruffle neckpieces


As previously mentioned, I’m not really a ruffle type, but there are ruffles and ruffles. :-)

When I attended a workshop with Maria Friese in France earlier this year, I got a bit obsessed with making flaps. I thought I would try a variation on this effect by sewing in resists at the prefelt stage and then cutting them out after fulling.

So I made a conventional rectangular scarf from four layers of fibre, then at the prefelt stage sewed in diagonally some plastic strips to act as a resist. In the centre, where the neck goes, I used a strip in the shape of a semi-circle. There was some gathering and bunching at this stage, but during fulling this disappeared.

After fulling I cut out the resists, fulled some more and removed the stitches.

felt neckpiece autumn felt neckpiece purple

They sit slightly differently, caused by sewing in the resists at slightly different angles.

I’m not sure whether to trim the edges to create a smoother line or to leave them as they are, so I’m going to show them at Lambeth Open this weekend and get some feedback. I’ll also be showing my nuno-felted wall hanging and  some felt cutwork scarves, as well as the ever-popular indigo shibori scarves.

lambeth open flyer 2014 small

Ombre indigo-dyed nuno felt


It’s been a busy couple of weeks – I’ve been trying to build up my stock of indigo-dyed scarves for Christmas, and also preparing for the big Makerhood event Making Uncovered, where I was showing people how to dye eggs with onion skins.

While I had the indigo vat out I did some ombre dyeing (dip dyeing) with unbleached cotton muslin, with the vague idea that I might felt with it. A couple of years ago I made a lot of indigo nuno-felted vessels, but this time I wanted to try something different.

So I made a simple flat panel or hanging, incorporating some flat beach pebbles. The bottom layers were made using white merino batting from World of Wool, which has just started stocking wool batts, though their merino is 23 micron compared with Norwegian Wool‘s 21 micron (short fibre merino).  It does make laying out so much quicker!

blue stones 1 blue stones 2 blue stones 4

Even ESP liked this, which is saying something given that a) he’s usually pretty sniffy about my felt and b) he always moans about having to lug home all the pebbles and shells I pick up on beaches when on holiday. Result! ;-)

Possible new Christmas products


OK – it’s still August, but I’ve been trying out some ideas for possible new products for Christmas.

The indigo scarves are always best sellers, and hopefully I may have some eco printed or rust scarves available this year too. But it would be good to be able to offer more felt products at reasonable prices.

I sold a fair number of felt iPad/Kindle pouches last year, though probably not as many as I would have liked, given how popular this technology is. ;-) Mostly I add interest by adding fabric (nuno felt) or prefelt cut-outs, like these Matisse-inspired pouches.

matisse ipad pouches

So I thought about adding more 3D effects.

3D ipad case

However, this takes considerably longer so I would have to charge more, which may not be feasible in the current market.

Verdict: Possible, but maybe when the economy is a bit stronger.

Scarves are always popular at Christmas, so what about some felt ones to increase my product range?

ruffle scarf sample

I tried a sample ruffle, but wasn’t happy with it. The colours of the sample don’t work together very well, but even if they did, I just don’t think I’m a ruffle person.

Verdict: No go.

Finally, I tried a scarf based on paper garlands I used to make as a child. You fold a sheet of paper in half lengthways, then cut into it from alternative sides before opening it out.

paper garland

I adapted the idea slightly and came up with this cutwork scarf.

cutwork scarf cutwork scarves

This was much more to my taste. :-) And by using different colours in each layer, you get a lovely sandwich effect when you cut through.

cutwork scarf cross section

Just have to make sure it’s fulled really well to avoid having to seal lots of edges! :-)

Verdict: I’m going to make a few of these and see how they go.

Let me know what you think – I’d be interested in your views!

Alien pod update


Last week I wrote about my first unsuccessful attempt to make some nested felt vessels, aka the alien pod project. :-)

Well, I had a second unsuccessful attempt at the weekend. I altered the shape of the resist to make the area where the two halves joined narrower, and after cutting the felt to remove the resist I turned over the thinner layers of felt and stitched them to try to create a firmer lip. But in doing so I inadvertently made the bottom of the resist slightly wider. The result is that the alien looked as if it was in a bathtub rather than a spaceship! :-)

alien pod1

I decided from this that my fantasy of having a completely smooth join was unlikely to happen, as once you cut the pod in half, each half will shrink slightly differently and they will never join up “seamlessly” anyway.

So this week I tried using separate resists for the top and the bottom, making the bottom slightly narrower so that the top can slide over it easily.

The alien now sits in a much more tailored pod.

alien pod3alien pod2

Just have to decide now how many layers to make!

Making Colour at the National Gallery


This exhibition opened in June, but I’ve only just got round to seeing it. Although it focuses on painting rather than textiles, it’s definitely worth a visit.

It begins with a brief introduction to the concepts of primary colours and the colour wheel, and how painters over the years exploited the combinations of complementary colours (those which are opposite each other on the colour wheel, such as purple and yellow, or green and red) to create striking visual impressions.

colour wheel

This is followed by sections on each of the main colours – blue, green, yellow, red and purple, plus gold and silver.

The earliest pigments were mostly from ground-up minerals. Lapis lazuli, or natural ultramarine, used for blue, was at one time more expensive than gold, so became popular for painting the robes of the Virgin Mary, as a sign of devotion. Red vermilion (cinnabar) was a mercury ore, green came from verdigris, while ochre produced yellow.

The Virgin in Prayer by Giovanni Battista Salvi

The Virgin in Prayer by Giovanni Battista Salvi

The Romans famously made Tyrian purple from shellfish, but their method doesn’t seem to have outlived them. However, other creatures used to produce dyes came to be used for paint pigments too, notably the “red lake” pigments such as cochineal, kermes and stick lac – all came from types of insects (madder and brazilwood were other sources).

Not all pigments were equally stable. Smalti, a form of cobalt used as a cheaper alternative to ultramarine, was not very stable, resulting in grey skies rather than blue in many old paintings.

Similarly, the red lakes derived from dyes tend to fade in light. Analysis by the National Gallery shows that the grey sheet on which Venus reclines in Velázquez’s famous painting was originally purple – but the red in the mixture of pigments he used has faded over the years.

The Toilet of Venus by Diego Velazquez

The Toilet of Venus by Diego Velazquez

The colour also depends on the medium used to mix the pigments. In Renaissance Italy they used green tempera, or egg yolk, as the base colour for flesh, with red and white highlights on top. However, the red and white have faded over time, resulting in some figures looking literally green around the gills. On the other hand, verdigris mixed with oil discolours to a dark brown or black, making landscape or trees look very dark rather than green.

The development of more stable synthetic pigments varies according to colour. Artificial vermilion was available as early as the 9th century (or possibly before), while yellow pigments were manufactured in Renaissance times from compounds of lead, tin and antimony, originally for use in making ceramics. Anthony van Dyck’s portrait of Lady Elizabeth Thimbelby shows her sister Dorothy resplendent in yellow silk.

Lady Elizabeth Thimbelby and her Sister by Anthony van Dyck

Lady Elizabeth Thimbelby and her Sister by Anthony van Dyck

But it wasn’t until the 19th century that synthetic versions of ultramarine, emerald green, verdigris and purple (mauveine) were produced (although Prussian blue was available in the 18th century). No longer did artists have to painstakingly grind up their own pigments – paints could be mass produced in consistent colours and sold in tubes.

Greater accessibility to a greater variety of colours led some painters to change their approach to painting. As Renoir said, “Without tubes of paint, there would have been no Impressionism”.

There’s also a short film looking at the way we perceive colour, including a fascinating demonstration of chromatic adaptation (there’s a similar example here).

Making Colour runs at the National Gallery until 7 September 2014. I highly recommend it – you’ll never look at a painting in the same way again!