Sarafina Fiber Art

Sarafina Fiber Art

Thursday, December 1, 2016

2D or Not 2D Needle felting Challenge with Lleona Chew


In the Spring of 2016, Sarafina hosted a needle felting challenge for our Facebook group members called 2D or Not 2D.  We asked participants to needle felt a 3D and 2D project.  Entries were judged on creativity, use of fiber, relation of the 2D and 3D pieces to each other, as well as written description and photographs. Lleona Chew was the Challenge winner and the following details her felted creations:

Completed 2D


Lleona's Finished 3D Sculpture





When I first saw the 2d competition posted on the Sarafina fan page, I thought to myself, “No thank you, I'll stick to making my 3D critters!” The idea of filling all of that empty space on a wool canvas was just too intimidating. A serendipitous trip to the Art House ended up changing my mind. Nestled in with the rainbow of wool roving was a luscious, just begging-to-be-felted Ocean Landscape Batt. I picked it up and ran my fingers over the perfectly blended shades of blues and white, and knew that I had to find some way to use it.  I wandered the treasure trove of wool in the Art House, holding the batt up to the various shades on display, until a gorgeous red brown Copper Core Wool brought back a memory of holding young sea turtles at a rescue in the Caribbean. I was caught in the beauty of the wool, and ready to go!

Once home, the sight of that blank prefelt almost scared me away again. This time my mess of a work table provided an extra boost of inspiration. A gift from the fiber fairy of colorful locks sat next to my new purchases, and I noticed how much the green shades looked like waving plants-the perfect snack for the sea turtle taking shape in my mind. From there, it was surprisingly easy to bring the image to life. The Ocean Batt did all of the heavy lifting for the background; if I wanted to lighten or darken an area I just pulled from a different area of the batt and watched the magic happen. The green locks seemed to find their own spot on the canvas, twisting and bending on the ocean floor in organic patterns with every poke. Even the turtle itself seemed eager to be felted. I lined up the various shades of brown core wool from the Sarafina Browns Core Sampler, along with the Copper Core Wool, and picked at will to create the shell and skin tones. I used some of the wisps left over from the green locks of the sea bed to add some mossy accents to the shell. A bit of gold for the eye, and my first completed needle felted painting was staring back at me. I was thrilled!






For the 3D portion of the challenge I was in more familiar territory. Having all of the shades of brown from the sample pack truly made blending the shell easy. The 2d picture made a great reference for the sculpture, and I moved across the shell happily pulling bits of browns and greens to add dimension and depth. The geometrical lines of the shell were fairly straight forward but the limbs were a bit more challenging.I didn't want too rigid of a pattern but was having problems getting the wool lines to look random enough. I finally resorted to sketching on the wool with a bit of chalk and then adding wool on top-problem solved! From there it was just a matter of patiently adding the many lines and highlights that really add a touch of realism.


















This was a fantastic challenge that really pushed me to experiment with new ways of using wool in my art. I found the 2D process to be easier than I had imagined, largely thanks to having the right fibers and textures on hand to really make the project come alive. The biggest challenge was in figuring out the direction of the light and the angles of the body. I think in the 2D picture I exaggerated the head too much because I wanted it to seem like he was swimming towards the viewer. I also had trouble creating depth in the water behind the turtle, although having the Ocean Batt helped out a lot. The biggest challenge of the3D process is that it takes so much longer; I stopped counting after about 15 hours. Photographing 3D work is more complicated as well, from getting the light to fall equally across the piece in my tiny setup to finding natural poses. I enjoyed both dimensions, and I am really glad to have participated in the challenge. Thanks Sara for pushing us to explore new areas in such a fun way!

You can see more of Lleona's work on Etsy at Aniclay Art and coming soon, Aniclayart.com.

Thank you, Lleona, and all who participated in the 2D or Not 2D Challenge.  We had an amazing array of submissions, every one of them heart felt and a joy to receive. 

Tuesday, July 26, 2016

Teaching Workshops Series 3: The People

Teaching workshops is one of the most thrilling, and potentially stressful things that I do.  I can end the the day on a high feeling as if I have shared a spiritual creative experience with a room of people or I can finish the day in the gutter, drained and liquid, wanting to wash away.

In addition to business person, teacher, student of the craft, and host, you may also have to put on another hat, that of understanding people.  When we step into an environment of learning, especially as adults,  we may become uncomfortable, because, without some discomfort, we can not grow.  It is a necessary evil.  But that discomfort manifests itself in different people in a variety of ways.  Some people actually roll around in it ready for a challenge!  Some shrink, some lash out, some quietly digest, and some fight it.

Before I proceed with my amateur psycho analysis, please know that I am not complaining or bashing,  I love what I do as well as the people who spend their time and hard earned money to join me in creativity.  I am also a student and often in unfamiliar territory learning new things, so I know the other side of this coin very well.  Learning and creating are two of the best pursuits for anyone and we must never stop no matter our age.  We can learn about ourselves as students or our students as an instructor.  My goal is only to share what I have learned about handling the various learning personalities.

We all looked at the same still life; I love seeing how different people interpret the same thing.

It's Important to Adopt a Learning Spirit

At the beginning of almost every workshop, unless my group is full of people who have been with me before, I talk about having a "learning spirit" and "enjoying the process."  No matter my teaching skills, a participant is not going to sit down and make a project the first time, as well as they will the fifth, or even second time.  There is no substitute for practice.  There are so many inspirational quotes that I pull from my guru hat on this subject!

Without stretching, we can not reach farther.

It's not about the destination, enjoy the journey.

Failures are not the opposite of success but the reason for success.

Without discomfort we can not grow.

But no matter my well delivered inspirational intentions, participants are going to be frustrated.   In general, we place a heavy expectation of success on ourselves.  Adults especially do not deal well with being incapable.   So, as the instructor, it is our job to remind participants why they are there to learn, have fun, and enjoy the process.  It's also our job to help them feel that they are capable and give them every chance for success.

I loved this group!  While I was drawing on the dry erase board, I turned around to a bunch or red noses.

Understanding Different Attitudes and Personalities 

Each participant brings with them their personality as well as their spirit of the day.  I am generally a positive person; that's my personality.  But some days I feel that I can tackle the world and some days I would like to not get dressed, and honestly, curl up in the arms of my Mother.  Some days are action days and some days are thinking days.  That is my spirit of the day.

Learning something new, experiencing that discomfort, can bring out a part of us that might otherwise lay low beneath our everyday presentation.  The following are some typical Learner Personalities that I have come to recognize.

A person might be attentive, alert, focused, and independent, like a tiger. This is an easy and welcome type because he/she does not drain the instructor.  Don't forget to acknowledge this participant - just because they are independent does not mean they don't love praise and encouragement.

There are some people who cant seem to get out of his/her own way.  There is a negative internal dialogue that can't be helped.  Sometimes the internal dialogue becomes external in the form of heavy sighs or outright exclamations of failure.   But underneath the negativity is a person who just really wants to succeed and is uncomfortable with the idea that he/she might not.
    You will try to help because he/she is calling for it.  However, be aware of your ability to help.  If after, 2 or 3 suggestions, the dark thoughts do not subside,  you have to move on, because otherwise your energy, which should be spread to all in the workshop, will get sapped by one person.  Interestingly, this type, despite their apparent struggle, usually ends up with good stuff!  I do my best to help them see that they should enjoy the process along the way and to keep their negativity from polluting the room.

Some people are fearless.  They will do their own thing are generally happy with results.  They are not afraid to try something new, not afraid to be different, not afraid to fail.  They understand the learning spirit.  (Just an interesting point to me, these types, that I have met along the way, are very strait forward in appearance and personality.  Not pierced, leather wearing, outrageous attention seekers.)  They are a joy in the workshop.  They usually encourage other participants.
Some participants make light of themselves and maybe helps lift the spirit of the workshop with comic relief.  This type usually has a good attitude but make sure the jokes are not covering up distress or problems that can easily be helped and avoided.

Lleona attacks creatively.  She put a heart in her gorilla -- not a step in my instructions!  I love seeing her work because I know she has pushed herself and taken a chance.


Another type feels incapable and wants to be seen as well as helped.  They are not necessarily negative, but just need a lot of reassurance.  As with a negative person, be careful not to let a needy person monopolize your time or get the class off track.

Of course we all have parts of these tendencies and there are also many more personalities out there.   Most people are not entirely one of these extremes.  The point is to keep in mind what kind of student you are, or if you are an instructor, how personality and attitude can effect your workshop.

Communicate with Humor and Understanding

Whether you are an instructor or participant, we are sharing space and time with other people, and usually people we don't know well.  To add to the difficulties of learning, participants and/or instructor might be nervous!  Mix all of this up with attitudes, personalities, the position of Venus, the weather, and possibly travel, and it's a downright juggling act of your Grandmother's fine china on sticks on a ball.  I am not being dramatic - some days it really feels that way.   Everyone has to get along to have fun.

My personality leans towards humor as a way to relate, disarm, and relax.  I get tired and cranky, especially towards the end of a class.  When I sense that I have snipped at someone, I call myself on it and make fun of myself.  (Of course it's best to avoid being snippy in the first place.)  Likewise, when I have a difficult student, I try to find the common ground and the real problem.  He/ she is there, spending their precious time with me to learn, so I need to return that investment and do my best to diffuse the negative bomb.  Whether you are teaching or learning, remember that you are all in it together and sharing something wonderful.

Remember That You Can Learn Too

Being humble and open, especially when you are there to teach (I like to think of it as sharing), is an important aspect to remember.  In the past, I have caught myself being resistant to a suggestion.  What purpose can that serve?  Why would that be my inclination in the first place?  So I remind myself to learn from the day and the participants.  In the end, I get a lot of a workshop day,  some days, as much a participant.


Every workshop has it's own life.  Every one is a chance to create something special; the actual project, the atmosphere, the experience, and perhaps new friendships.   I hope you enjoy teaching and/or attending a workshop soon. 






Teaching Workshops Series 2: The Process



Everyone has their supplies, their thinking caps on, is on the same step, and their smiles in tact! A good start.

Preparation for your workshop is covered in "Teaching Workshops 1: The Nuts and Bolts."
Understanding the personalities that you will meet  is covered in "teaching Workshops Series 3: The People"

Workshop Components

There are several components in a Workshop; the space, the project, preparation, the supplies, the instructor, the participants.

I am lucky enough to now have a shop and workshop space.  We have plenty of room for up to 18 people, although we rarely do a class that size.  Before I had my shop, I traveled to a local yarn shop with the supplies I needed.  Sometimes, I have taught in a home, mine or others.    No matter your location, you will need adequate table space and chairs, a rest room, perhaps a kitchen or snack area, and possibly some other amenities like a deep sink or additional table.

Setting up is a big key in helping one to feel prepared for the people and the project.  No matter the class, make sure the tables are clean and set with the tools each person will need.  You may need to have a side table with additional materials depending on your project.  It feels best when this is done before people arrive.  If students arrive early, you can ask them to help!  : )

I go into detail about the instructor end of preparing your project in "Teaching Workshop Series 1: Nuts and Bolts."

TIP:  Try to avoid answering questions about the class before class had started.  It will drain your energy.  You can say something like, "That is an excellent question.  I will address it when everyone is here so all can hear the answer." You will most likely need to be working where everyone can see you and able to easily reach everyone when they need help.

The project should suit the time allowed, level, and number participants.

Once everyone has arrived, hopefully on time and ready to roll, you can begin! 

Getting Started

When everyone has arrived, I introduce myself and thank them for coming.  I also might explain the space and where everything is located in the space.  This sounds obvious, but it is an important step in getting everyone's attention and starting the class.  I will also explain without details how the class will progress and the tools that they have available to them.

Sometimes I have a multi-day workshop.  When several people are going to be spending the day together, it's nice to get to know one another. ( I also like to find out what each participant would like to learn and what their experience might be.)  My friend, Lee, uses a game: Each person says their name and describes themselves with an adjective that starts with the first letter or their name.  I might be Sara - Silly Sara.  Each person in turn has to repeat the names of the people before them and then their own.  Sometimes the nicknames would stick!  Just a fun way to break the ice and begin to know one another.

Explain the Materials

Understanding the materials, whether it is wool, paint, ceramics, leather, etc, participants might have better success if they understand the properties of their materials.  For example, in a painting class I explain how oils paints are thinned, how to hold, use, and clean a brush, and how to adjust the easel.  In a needle felting class, I explain how to pull roving, draft, hold the needles, stab into the felting surface, etc.  In a Nuno Felting Class, our instructor explains fiber properties and why some fibers felt and others do not.  General overviews of good practices and familiarity with the tools and materials.

Have a Variety of Way to Demonstrate

People learn in different ways so it is important to have more than one method of conveying an idea.  Demonstration is key of course.  Whether you are working step by step or demonstrating and then letting the participants have at it.

IMPORTANT:  Make sure everyone can see you.

Examples of a step through demonstration or actual finished projects can help people see where they are headed and what the end goal could be.  Be sure that these examples are indicative of the actual project and not some more elaborate or larger piece that will leave them mislead.

Showing all the pieces of the rabbit's head before they are attached

All the pieces come together.  Hopefully!

Following on the heals of demonstration, I might use and analogy.  Your bag of analogies will grow the more you teach.  You never know what analogy might click with what person so lay them on thick and plentiful!

I often have a dry erase board.  Sometimes a large illustration sinks in better than the previous methods.

Reference material is also important and often absolutely necessary.  Photographs of an animal, diagrams of a skeleton, inspirational images for colors or textures, can all help a person envision what they want to make.

Sometimes, no matter if all of these steps have been taken, someone will need me right next to them, one on one, for a certain step.  Perhaps he/she learns better with that kind of proximity and connection.  The instructor needs to find the line between helping that way but not being drained or stolen from the rest of the class.

Learn How to Keep the Class on Track 

The Instructor's job can be very difficult in terms of keeping the class on track.  I can become quite stern when I need everyone's attention.  Nothing exhausts me faster than answering the same question over again, especially right after I have gone to great lengths to explain, demonstrate, illustrate and analogize.   Participants become engrossed in their project, which is a good thing, but sometimes the instructor will need to get everyone's attention.  Do not speak until the tools are put down and eyes are on you.  There is no way a person can work and listen at the same time.

Another difficulty in keeping the class on track, is adjusting the pace to the variety of work speeds.  Some people will be fast and some will be slow.  Neither is a judgement of bad or good, it is just a difference.  The fast people might have to wait for others.  Usually they are okay with that, but I am always keeping an eye that they are not getting too frustrated. If the environment allows it, I might suggest they start a second project, or see if there is some detail they can refine as they wait.

The slow people need to be given time.  However, you can not let the entire workshop fall short because of the pace of one person.   Sometimes people are slow because they are over working.  That is an easy one to remedy.  I just ask them nicely to stop.  Sometimes people are slow for physical reasons; they may need a little more hands on help and I am happy to do that.  If they are slow due to lack of skills, I see that as my problem.  I always try to keep the skill level of the class on par; this sometimes mean telling someone that they are not ready for the workshop.  In the case that someone slipped through, I step in and help to assure that the rest of the class is not waiting.

Sometimes I give a time frame.  I say, "Okay, you have 5 more minutes to work on this step."  Doing this helps people gauge how long they should be spending on something and adjust their own timing.  

Be Aware of Too Many Options

Cater the number of options to the level of the participants.  In a beginner class, I will have everyone work with the same materials and work step by step.  They are generally there to learn something new, so adding a big bunch of choices for them can be overwhelming.

If a workshop if made for or full of intermediate or advances participants, then you can open up the bag of tricks a bit and let them explore their own avenues.

The biggest challenge of running a workshop is not letting it run you.

Another Artist's Input by Lee Charlton


I have been teaching my whole adult life.  First, in raising our three amazing children, second, during my 20 years as a paramedic and now, in my third career, as a fiber artist.  I can say that no matter what the subject matter, my goals has always to bring confidence to each person to pursue what interests them and to demonstrate critical thinking skills so they can succeed.  Yes, there are special skill sets one must learn about the subject matter at hand but without confidence and critical thinking skills, the student will not be successful.
The hard part of teaching is how to inspire confidence in the wide variety of personalities that walk in the door for class.  On my end I try to always be prepared, organized, confident in my outlook, and welcome each person whether it be as they walk in or after we are all seated and ready to start. 
Playing an icebreaker game (I usually play a name game) can put people at ease and create a feeling of community and mutual support for the duration of the class (and hopefully beyond).  Folks like to know what to expect so I also spend just a few moments in the beginning outlining the class and what we hope to accomplish.
The hardest part about teaching is accomplishing your goals while tailoring the material to several personality types and learning styles, letting the slower people have enough time to explore each task but not so much time that the fast ones in the class get bored.     
Calling people by name once in a while to check in on how they are doing, holding their piece (I am talking needle felting here) and taking a critical look see, complimenting and making a few suggestions always seems to make people happy.  Letting "neighbors" help "neighbors" also helps those that need an extra hand up in being successful.
I love the community that teaching a class creates and seeing people work together, compliment each other and be supportive pleases me.  We are all unique and have value and if I accomplish anything during a class it would be, if even only for the 4 hours were in class together, that everyone feels supported, worthy and valued.
.

Teaching Workshops Series 1: The Nuts and Bolts

A workshop is an intense session of a small group of people to further their skills focused on a particular craft or activity.  It's not just a time to learn, but also a time to escape your world and enter a new one.  We can forget about our responsibilities and focus on one thing.  It's a time to gather with other like minded people.  Also, when we stretch ourselves mentally or physically by learning something new it keeps us young.  Yes, workshops are age defying.
 
 Lovely faces, clean table, and all the tools, all ready to go.  What are they all looking at me for?  Oh right, I am teaching.

Sharing a creative process in a workshop can be very rewarding for both instructor and participants.  It can also be a train wreck for one or all involved.  Over five years and countless workshops, I have fortunately experienced more of the former but sadly, both.  This series of blog posts about workshops is intended to share some of what I have learned, help instructors prepare, help participants understand what is involved, and hopefully entertain along the way.

You are reading "Teaching Workshops Series 1:  The Nuts and Bolts"

The success of a workshop can hinge on many contingents:  the complexity of the project, the time allowed, the number of people, the preparedness of the instructor, the attitudes of the participants, and, I swear, the alignment of the Planet Venus.

You can swing your chances of ending on a high note by being prepared, limiting your class numbers, having plenty of time, and understanding a few fundamentals about people (See "Teaching Workshop Series 3: The People.")

No matter your medium, whether you are teaching at home, in a rented space, online, or through a local shop, the following information may help you plan and execute, hopefully without a hitch.

Advertising and Collecting Payment

Hare Workshop

Aside from some private and group painting classes years ago, I began teaching needle felting workshops through a local yarn shop (shout out to Vulcan's Rest!), long before Sarafina existed.  The shop had the pool of participants, handled the sign up, money collection, and provided the space. If this is your situation, you are in luck!  You can show up as the teacher, set up, teach, and receive your check in the mail.

If you are teaching on your own, you will need a system.  How are you going to reach your market,  collect money, keep track of who is coming, handle cancellations, illness,  contact participants when needed?

Here is an example of our sign up sheet.  You may also want to record the class size minimum and maximum.



Very first workshop at Sarafina Art House was 5 days long!  July 2014.  We ended up calling it boot camp.  We were ambitious. 
 

Preparing the Project

This little fox oil took me an hour, but in the workshop it took us four.
When I teach a project, whether it be a workshop or online tutorial, I spend a lot of time preparing.  It is a matter of making the project several times.  First, I am taking a guess at the process, whether it be paint colors, armature length, materials needed, or whatever your craft might involve.  Then, once I have an idea of what I need to do, I make the project several times, taking and revising notes the whole way.

My understanding of the project is not only about how to make it myself, but how to convey each step to the class participants in a clear and step by step manner.  I have become good at this with needle felting.  I am now also teaching painting and realized that I need to hone my ability to convey the process.  What happens when I paint alone can emerge without thought or understanding - being able to explain it to a a group of people so that they might achieve a similar result is another story.

An important aspect of this preparation is gaining an understanding for the time needed.  In general, it takes me twice as long to teach a needle felting class as it does for me to make a project, fairly consistently no matter the size or complexity.  I am still figuring painting out, but I paint quickly.  I need to allow 3 times of class time to my work time for painting.   

I recently taught a painting class.  I adeptly and quickly "prepared," painting a fox in less than and hour.  It was a thrill and a success.  When I was teaching the four hour class, however, I realized that I had no words to explain the middle of the process.  I had a room full of people with very different paintings, waiting to be lead to the end of their masterpiece, and all I could say was, "You just make paint puddles to pull from and start building contrast."  That, clearly, is not a sufficient explanation!  I have since refined my painting teaching ability, but it just goes show that just like learning a new craft, teaching takes practice.

Once you have system and a plan for your project, it's time to organize your space.  Please check out the next blog in the series to see how a workshop unfolds.  Teaching Workshops Series 2: The Process
Three Day Advanced Gorilla Workshop



Tuesday, April 5, 2016

Needle Felting Tutorials: DVDs vs. Digital Downloads

Dvds are great and we all know how they work. Pop them into your machine and press that sideways triangle (who decided that was "play" anyway?) to get going. We are happy to make dvds for our customers and hope that you watch them again and again as you create. As we move into an ever-increasingly digital age we have also found the need to offer digital files. There are many benefits to a digital option for Sarafina tutorials.


While a dvd is a nice option, there are a few down sides to the dvd choice.You have to pay more for a dvd than a digital download, and pay for the shipping to get it to you. You have to wait for it to arrive. Every now and then a dvd does not work. It skips, it freezes, it gets scratched or gummed up by a sticker, and refuses to play. On occasion our burning machine pops out a bum dvd and we do not know it, until you contact us to let us know your dvd is defective. Of course we are happy to ship a new one free of charge, but again you have to wait for it.

Digital downloads are cheaper and you have instant access to the material. No shipping fees, no waiting for Mr. Postman. SarafinaFiberArt.com does not have the ability to host and deliver digital media files. After a lot of research into several different options, we found Gumroad. Gumroad is a website that allows us to upload digital files and offer them for purchase.  It is kind a strange name, but give it a chance and hopefully you will see why we decided to stick with it.  Once you have made a purchase of a tutorial, you will receive an email from Gumroad confirming your purchase. You will then have the option to view the product directly from that email.

You can also log in to your Gumroad account once you have set the email and password.  When you log in to your Gumroad account you will have access to your library. The library contains any digital purchases you have made.
Once you go to Gumroad you will see your purchases. When you click on any item in the library, you will have a few options.
The first is to View the product. You can also save it to Dropbox, or choose to resend the receipt of the purchase to your email. If you choose to view the product, you are given the following options:
Open the product in the Gumroad App, Download all of the files, Watch them streaming, or Download individual files. Gumroad gives you many different options, and overall the site is user friendly once you navigate around for a little while.  Like I tell my mom, if you aren't sure...just click something!  Your computer or device isn't going to explode.  I promise.


Streaming your purchases is a simple option, which you can access by choosing “Watch” when viewing a product in your library. You need internet access for this option.  *We suggest being on a wifi network rather than using your phone's data plan.  It can drain some serious data with these monster files! You will have control over playing and pausing your digital file, similar to YouTube. This is a great option for a Felting Eweniversity purchase. These files are only available via a dvd purchase or a download. They are large files, so storing on a mobile device might be difficult. Having access to the Felting Eweniversity via streaming internet is an exciting possibility, and we are thrilled that Gumroad added this option. You can also view streaming through the free Gumroad app, available for Android and Apple devices.


It is our understanding that you are able to download the files more than once. We have tested this and it works on a windows based computer. Phones and tablets, either Apple or Android, are all different. Some allow for downloading of many files types and saving onto the device. Some do not allow that. You need to keep in mind that these video files are not small files. They are offered in an mp4 file format, which is suggested and is the most compatible file type. Many devices will not have the storage space to save all of the video files. This is where the Gumroad App becomes very useful.


The Gumroad app is available on android and apple devices. Once you get the app and log in to your account, you will have access to your library. This app is simple and user friendly. You can use the app to view your purchase streaming or to save the file to your device. Again, your ability to do this will depend on the storage and device limitations. There are so few options that you kind of can't go wrong.
We hope this blog post explains Gumroad and the digital download possibilities available to you.  I have a hankering for some Bubble Yum now.  

It's time to close out with a word from Milo:
Why did the bubble GUM cross the ROAD?   

 Artwork a Chloe Original.  Thanks, Chloe!

Written by Kyla DeStefano

Wednesday, November 18, 2015

We Need a Tree Skirt

Setting up shop for a show or event is one of my favorite things to do, especially around Christmas.   Bringing out trees, lights, shiny anything, and ornaments erases away the cold and dark and rushes in the warm and cozy.

This year as we prepared for our open house, I realized that we had no tree skirt so I added it to my shopping list.  The base of the tree needs to be cozy too.  Suddenly I realized that I could make one before I would have time to go shopping; handmade is better anyway, and I am impatient, so to work I went!

I started with one full sheet of Dark Prefelt, since I was working with a dark top layer.  I folded it onto 1/4s and cut the edge rounded so that when opened it became a circle (more or less with me since I am an impatient non-perfectionist.)

I used our big carder to create a few large batts in the midnighty color I was going for.  At first it was too purple/witchy so I re-carded.carded with more gray and aqua.   I used almost two 4oz batts but in hindsight, it was a bit too much wool.  (4-6 oz total would probably be plenty to create two thin layers.   Fiber Art Batts, Landscape Batts, Pelts, and any Top Coat or Merino will work well.).  I was going for two layers of wool on top of the Prefelt.  I find batts easier on these large pieces because you can stretch out and arrange larger amounts at a time than pulling from thinner roving.

This is the Witchy Before.  I tried to arrange the batts somewhat crisscrossed and fanned around the edges.


I treated the edges with some locks that we had that were somewhat felted together.  I laid them over the prefelt a bit and under the edge of the top batts a bit so that they would wet felt into place.  Some other edge options would be carefully arranged long locks, cut into the desired shape after felting and trim with stitching or trim, natural felted edge, needle felted fluffed lock "furry" edge, etc.


The hardest part of this project was finding a big enough wet felting set up.  I used two pieces of our blue Pool Cover from our Wet Felting Kit with a supporting piece of Gortex underneath.  Anything that can get wet and help support the Pool Cover when you roll it up will work.  I had some large pieces of netting that my friend saved from a house she was cleaning out to use for the top (Yay to pack rats!).  I also used one full length pool noodle; you could find a broom handle, pvc pipe, or any long skinny household item. 


First I wet the whole thing down outside and gently made soapy circles with my hands to begin setting the wool.  You can feel it become less squishy under your hands after 5 minutes or so.

Then I rolled up the layers around the pool noodle and tied it off.  I then decided to work on a table.  I rolled 100 times from all four directions for a total of 400.

Next I rinsed hot and cold.  Back and forth several times, smooshing and banging it along the way, until all of the soap was out.


After the piece dried I began needle felting.  First I used a layer of White Top Coat to establish the basic shapes of my design.  Then I used Snow White Batt to cover the white and create the snowflakes (which by the way were a test of my commitment to the whole thing.)  I used about 2 oz of white and less than 1 oz of Snow White for this design.  I had to needle felt the lock edges in a few places.

Laying in the white shapes

At any point after felting and drying you can cut the slit and tree hole.  Fold into 1/4s again and cut of the center tip.  Start small, you can always cut more if it's not large enough.  Then decide where you want to slit to be - perhaps find a less perfect part of the skirt so it will be towards the back.


When all of the needle felting was done,  I ironed the entire skirt on high heat with steam to flatten and soften it.  Our tree was cozy and pretty outfitted with this Winter Night Tree Skirt.


Anything goes!  Any color, texture, design, even shape!  Needle felt, quilt, embroider, bead, trim, embellish your project anyway that you can.

I have ideas for a second and also stockings!

Wednesday, November 11, 2015

Why Buy Handmade: Because We Were Meant To



Purchasing a handmade item or piece of art is an intimate experience connecting people to people and people to Earth.  Long ago, the needs of people were met by what the Earth provided.  I need a bed – gather leaves.  I need food - gather nuts and berries.  I need medicine – gather herbs.   Then people traded and sold items that they made and perhaps in which they had a specialization. I need my wheat ground – go and trade with the Millers. I need my horse shod  – go and see the Smiths.  Spanning time and cultures, humans also saw beauty in the world and replicated it in adornment and creations that existed for the sole purpose of being admired, not to be used at all - art. Whether born out of necessity or just for the beauty, handmade is our history.  

In the modern world we have become distanced from our purchases.  Materials are far removed from their source, in distance and in processing, and the buyer is far removed from the creator.  Technology and engineering have streamlined creation to make millions of the same thing.  Don't get me wrong, I prefer a mattress to leaves and I would be up shit creek without Imodium, but I want explain why I seek out a world created by hands.

I am not interested in drawing a line between craft and art so I will just be referring to the entire spectrum as “handmade” or “creation.”   A handmade item has been inspired.  Inspiration can come from need, color, a feeling, a moment, a technique, nature, a memory, a medium, a discovery, and the list goes on and on for eternity. 

The creator uses his/her skill and chosen medium to take the inspiration and create an object. He or she is thinking about why that particular color, texture, or material will work just right, and making thousands of tiny decisions that shape the creation into something that only that one person could make and could probably only make one time – never again the same.

The buyer/admirer is attracted to the handmade item.  The buyer sees in the item something that speaks to him/her.  It says, “I am your favorite color (texture, shape, subject, etc)  and you are intrigued by the decisions that were made to create me. You see in me a reflection of yourself!” 

Therefore, the buyer is connecting not only to the item but also to the creator.  They have now shared the experience of the creation.  The buyer can further connect by giving the creation as a gift.  Now the recipient of the handmade item can admire the creation, love the giver, and connect with the creator.  I mean really, how much more connecting can you get?  Well, there is more….

... all involved, creator, buyer/admirer, and recipient are experiencing a connection to the Earth’s beauty, inspiration, and materials.   We have no handmade without materials.  We have no inspiration without experiencing our world.  We have no beauty without the sight of our Earth.

My shop is currently full of creations born from the Earth's gifts; wood, fiber, clay, leather, stones, metal, gourds, and more.  Shaped by creators and ready to be admired, possibly purchased, possibly given, but definitely appreciated.

It's hard to pick a favorite  (No it's not, I have started a small pile.), but one is a live edge dark walnut serving board harvested locally and made with care by a long-time friend. It is so simple, a single piece of wood.  But it celebrates the beauty that occurs without fuss.  A reflection of me?  Not me exactly, but what I love most in this world. 


Shop handmade this year.  Shop local.  Shop small business.  Create your world.