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Feltique, by Nikola Davidson and Brookelynn Morris - Excerpt
Feltique, by Nikola Davidson and Brookelynn Morris - Excerpt
feltique
TJ190-11-2008 IMUS 7/CRA0134 Feltique W:8.5”XH:10.875” 175L EX 128 M/A Magenta (V)
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Cyan Magenta Yellow Black
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Cyan Magenta Yellow Black
feltique
Techniques and Projec ts for Wet Felting, Needle Felting,
Fulling, and Work ing with Commercial Felt
TJ190-11-2008 IMUS 7/CRA0134 Feltique W:8.5”XH:10.875” 175L EX 128 M/A Magenta (V)
NIKOLA DAV I D S O N AND B R O O K E LY N N MORRIS
New York
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The author and publisher would like to thank the Craft Yarn Council of America for providing the yarn weight standards and
accompanying icons used in this book. For more information, please visit www.YarnStandards.com.
Published in the United States by Potter Craft, an imprint of the Crown Publishing Group,
a division of Random House, Inc., New York.
www.crownpublishing.com
www.pottercraft.com
Davidson, Nikola.
Feltique : Techniques and Projects for Wet Felting, Needle Felting, Fulling, and Working with Commercial Felt / Nikola
Davidson and Brookelynn Morris.—1st ed.
p. c.m.
Includes index.
ISBN 978-0-307-40699-6
1. Felting. I. Morris, Brookelynn. II. Title.
TT849.5.D35 2009
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746'.0463—dc22 2008037096
Printed in China
10 9 8 7 6 5 4 3 2 1
First Edition
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To purchase a copy of
Feltique
visit one of these online retailers:
Amazon
Barnes & Noble
Borders
IndieBound
Powell’s Books
Random House
www.PotterCraft.com
Cyan Magenta Yellow Black
co nt ent s
Introduction 6
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Resources 150
Contributors 152
Index 159
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i n t ro d uc t i o n 7
TJ190-11-2008 IMUS 7/CRA0134 Feltique W:8.5”XH:10.875” 175L EX 128 M/A Magenta (V)
socks off. When I saw what artists were creating with felt, I knew that a new
an increase in pH. Once
generation of felters had truly arrived.
open, they can easily be
tangled and matted. As the
This book features the most innovative, fun artists in the world of felt sharing scales “close” they lock in
their best projects. The chapters are organized according to technique. Chapter place into felt.
One describes ways to use commercial felt, which is bought in sheets and is easy
to cut and sew. Chapter Two explains wet felting—a sudsy, wet, and physical
task. Chapter Three is dedicated to needle felting, a process in which a barbed
needle tangles fibers together. Chapter Four is about fulled felt, which is the fabric made when knit items
are shrunk into a solid, dense material. Finally, Chapter Five mixes the previously discussed methods and
includes projects that use combinations of these techniques. An introduction in each chapter explains
how the fiber can be turned into fabric or shapes. A variety of housewares, accessories, wearables, and
warm fuzzies are featured. Review the basic skills at the beginning of each chapter, then jump into the
exciting how-to’s for each project. The timelessness of each project will have you creating felt art that will
endure. I hope Feltique will help you find felt as inspiring and endlessly entertaining as I have.
—Nikola Davidson
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C H A P T E R O N E
c o m m e rc ial felt
Commercial felt is an indispensable fabric for all Felt-making companies are currently exploring the
crafters. Available in all colors and many different use of new materials, such as recycled plastic
textures, it’s most often seen in craft shops as bottles. Additionally, although felt used to be
81⁄2" x 11" (21.5cm x 28cm) sheets, but it can also be manufactured by using wet felting processes, now
purchased on bolts at fabric stores. Commercial felt it is matted together almost exclusively by using
has a reputation as a schoolchild’s material, and yet felting needles in large machines or by using a
it can be used to create surprisingly sophisticated chemical process.
projects.
Use very sharp scissors to begin a successful project
All felt is nonwoven fabric. What sets one felt apart using commercial felt. Most wool felt is thin—only
from the next is the source of the fiber used to ⁄16" (1.6mm) thick, in fact, all the felt used in these
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make it. Commercial felt can be 100 percent syn- projects are this thickness. But some wool felt is
thetic, 100 percent wool, or any mixture of the two ⁄8" (3mm) thick or thicker. No matter the thickness
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kinds of fiber. Most of the projects in this book use or the fiber content of the felt you are cutting,
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100 percent wool felt. It is more costly, but its sharp scissors will aid your accuracy and reduce
quality is unmatched by synthetic fibers. distortion of the edges. Cut slowly and evenly to
avoid leaving burrs on the edge. When using
patterns to cut pieces from your fabric, pin the
patterns on directly onto the fabric or use a pencil
to trace their outlines on the fabric. Other tools that
are helpful for cutting felt include die cutters to cut
shapes and rotary cutters for making long cuts.
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c o m m e rc i a l fe l t
Commercial felt can be sewn by hand or by
machine. Embellishing felt can be as simple as THE TERMS THAT DEFINE WOOLS
that felt is a soft fabric that can distort as you sew Micron: The unit of measure of the diameter of
it. To avoid buckling, creep, or shifting of the wool. There are 25,400 microns in 1" (2.5cm).
fabric, use an even tension when sewing and be
Tog: The outer coat on a dual-coated wool.
mindful of needle placement when hand-sewing.
The same principles apply when sewing felt with Thiel: The undercoat on a dual-coated wool.
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a machine.
Blanket Stitch
Whip Stitch
Herringbone Stitch
Running Stitch
Back Stitch
Satin Stitch Feather Stitch
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The narwhal, the great white shark, the giant squid, the diver in pursuit
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undersea playset 11
c o m m e rc i a l fe l t
SKILL LEVEL: ADVANCED
MATERIALS
1
⁄16 " (1.5mm) wool felt sheets in the
following colors: sky blue, ivory, burgundy,
white, black, gray, pink, sage green, dark
gray, and ice blue
Scissors
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8, or 9
Fiberfill
Toothpicks
Straight pins
Chopsticks
Scotch® tape
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pieces together using a whipstitch, Use black floss to sew on the bead
starting where the fish’s mouth would Horn eyes.
be and sewing around to the top of the
head. Make sure that the French knots 1. Use pliers or a wire cutter to scuff up 6. Use scissors that have a very sharp
are on the outside of the fish. Don’t sew the ends of a piece of 31⁄2" (9cm) 20- point to make a 1⁄4 " (6mm) incision
the fish completely shut just yet—leave gauge craft wire so that it is less likely on the body pieces, as shown on the
a small opening so you can add stuffing. to slide out of the horn. Lay the wire on pattern. Insert a fin into each incision so
top of the ivory triangle so that one end that about 1⁄4 " (6mm) of the fin pushes
3. Stuff the fish with a pinch of fiberfill. of the wire is about 1⁄8" (3mm) from the through to the inside of the body. Refer
Use a toothpick to push it inside. point at the top. Some of the wire will to the illustration for guidance. Secure
extend beyond the bottom of the horn. the fins to the body with blue floss and
4. Sew the fish shut with a whipstitch.
a whipstitch.
Distribute the stuffing with your fingers. 2. Use tan floss and a whipstitch to
secure the wire in place, looping the 7. Sew the top gusset to one of the
body pieces with blue floss and a
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whipstitch. Start by sewing point A 2 burgundy combined head and arm 5. Use black floss to sew the black
on the top gusset to point A on the pieces eyeballs onto the white eyes. Then
body (as marked on the template) and 2 burgundy arm pieces use white floss to sew the eyes onto
continue sewing down the side of the 2 burgundy mantles the squid’s head (see template for
body. Repeat with the other body piece. 2 white eyes placement).
Sew the bottom gusset to one of the 2 black eyeballs
body pieces, matching point B on the 6. Position the pair of feeding tentacles
body piece with point B on the bottom 1. Use burgundy floss and a whipstitch on one of the squid’s arm pieces so
gusset. to sew the fins together, leaving a 1⁄2" that the tentacles extend above the flat 13
(13mm) opening for stuffing. Use a edge by about 1⁄2" (13mm). Backstitch it
c o m m e rc i a l fe l t
8. Position the horn on one side of the toothpick to push the stuffing in, and into place with burgundy floss.
narwhal’s head, overlapping the wide then finish the seam.
end of the horn by about 1⁄4 " (6mm) at 7. Sew the flat edge of the arm pieces
point C. Whipstitch the horn in place. 2. Use wire cutters to cut 20-gauge together with burgundy floss and
Join both sides of the head, beginning craft wire into eight 41⁄4 " (11cm) and a whipstitch, securing the feeding
at point A and stitching down to point B. two 61⁄4 " (16cm) pieces. The short tentacles to the other side as you work
Secure the horn to the other side of the pieces of wire will go in the arms and your way past it.
head as you work your way past it. the long pieces will go in the feeding
tentacles. Use the wire cutters to fold 8. Close up the sides of the head,
9. Attach the tail. Finish sewing the each end of each piece of wire so that sewing down to point A to hide the
remaining seam, beginning at the head it overlaps itself by 1⁄8–1⁄4 " (3–6mm). area where the arm and head pieces
and working back toward the tail. Leave Pinch the folds closed. The folds will connect. Leave the top of the head
a 1–2" (2.5–5cm) opening for stuffing. keep the wires from sliding loose inside open. Stuff the head with fiberfill.
the finished piece. Use burgundy floss
10. Stuff the narwhal, beginning with 9. Match point B on the fin and the
and a whipstitch to secure a wire to
the head. Make sure that you stuff mantle, and stitch the fin and the mantle
each arm and tentacle, looping the
tightly around the horn to provide together with burgundy floss and a
thread over and under the wire. Make
support. Sew the opening closed with a backstitch. Use a toothpick to push a
your stitches shallow, so that your
whipstitch. Finish by backstitching with little stuffing between the mantle and
needle does not pierce the entire
red floss over the seams just below the the fin. Finish sewing the long sides of
thickness of the felt and your stitches
horn to give your narwhal a mouth. the mantle together so that you end up
are not visible on the front of the arms.
with a cone-shaped piece.
3. Attach the arms to the combined
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GIANT SQUID 10. Stuff the mantle half full of fiberfill,
head and arm pieces so the wire is on
then place it on top of the head. Sew
Felt: the inside.
it in place using burgundy floss and a
burgundy whipstitch, adding or removing fiberfill
Beginning at point A, sew the arms
white as needed.
together with burgundy floss and a
black
whipstitch, stuffing each one with a
Floss: little fiberfill as you work. Because the GREAT WHITE SHARK
burgundy (DMC 3685) arms are so narrow, stuffing a couple of
black (DMC 310) inches at a time is easier than stuffing Felt:
white (DMC blanc) after the arms are completely sewn gray
together is. white
Cut from patterns: pink
2 burgundy fins 4. Make the 2 feeding tentacles in the black
4 burgundy feeding tentacles same manner as you did the arms. Sew
the tentacles together at their tops.
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3. Use gray floss and a whipstitch to to delicately attach the teeth. Keep your your white stitches will be visible inside
sew the dorsal fin to one of the body stitches as small and even as possible the shark’s mouth.
pieces at point A. inside the mouth, since the white thread
9. Position the white underbelly under
will be visible against the pink felt and
4. Align the body pieces and sew them the Shark’s mouth, aligning the curves
will look like of an inner ring of teeth.
together along the top, starting at and pinning the pieces together. Use
Cover the pink edge of the mouth so
the head and working back to the tail white floss to backstitch the pieces
the shark has little or no visible gums
fin. Stitch the tail fins together, use a together. Remember, your stitches will
showing. Repeat the process with the
toothpick to stuff them with fiberfill, and be visible inside the shark’s mouth.
second set of teeth.
then set this piece aside.
10. Put the top of the body on the
8. Continue building the mouth by laying
5. Using fine scissors that have a very bottom of the body, aligning the pieces
the overbite side of the toothy mouth
sharp point, make the shark’s teeth by that form the top of the head and
piece on top of the white face piece.
cutting tiny triangles along one side pinning them in place. Position the
Align the curve of the toothy piece with
of each of the white teeth pieces. Be pectoral fins on the body about halfway
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between the mouth and the dorsal fin. DIVER 2 sage green diving suits
Pin the pectoral fins in place, with the 1 dark gray knife handle
white sides facing down, and use white Felt: 1 light gray knife blade
floss to backstitch them to the bottom black 2 long black belt/harness strips
of the body. dark gray 6 dark gray weights
ice blue 1 short black bottom harness strip
11. Use black floss to attach the eyes. sage green
light gray 1. Use black floss and a whipstitch to
12. Sew the body together, using a sew 2 of the glove pieces together 15
whipstitch and gray floss. Start at the Floss: to make a glove, leaving the arm end
back and work your way to the mouth black (DMC 310) open so you can stuff the glove. Use
c o m m e rc i a l fe l t
and back around. Begin stuffing the dark gray (DMC 413) a toothpick to help push the fiberfill in
head once you’ve sewn past the second blue (DMC 597) tight. Repeat this process with the other
pectoral fin. copper (DMC Antique Effects E898) glove pieces.
gray/green (DMC 3022)
13. Pin the anal fin between the tip of 2. Use black floss and a whipstitch to
the underbelly and the tail. Use gray Cut from patterns: sew 2 of the boot pieces together to
floss and a backstitch to sew the anal fin 4 black gloves make a boot, leaving the leg end open.
to one side of the body. Finish stuffing 4 black boots Use a toothpick to stuff the boot with
the Shark, and close the remaining hole 6 dark gray helmet pieces fiberfill. Repeat this process with the
with a whipstitch. 4 ice blue helmet windows remaining boot pieces.
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fe l t i q u e
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3. With dark gray floss, whipstitch 2 of dark gray floss. Repeat this process 11. Sew the knife handle and blade
the helmet pieces together along their with the last helmet piece and the other together with dark gray floss. Wrap one
straighter sides to form a curved disk. diving suit piece. of the belt/harness pieces around the
Repeat with 2 more helmet pieces. diver’s waist. If the strip overlaps itself
8. Using all 6 strands of the copper by more than 1⁄8–1⁄4 " (3–6mm), trim off
4. Lay one disk on top of the other, then floss, make 6 French knots (to look the excess. Sew the square weights and
use a whipstitch and dark gray floss to like bolts) along the curve of each of the knife onto the belt with dark gray
sew them together around the edges. the helmet pieces that are sewn to the floss. Using black floss, sew the belt
Leave a 1⁄2" (13mm) opening, stuff the diving suit pieces. onto the diver by stitching the ends of 17
helmet with fiberfill, and then sew up the belt together.
9. Lay the diving suit pieces on top of
c o m m e rc i a l fe l t
the opening to form a complete sphere.
one another, with the decorated sides 12. Cut one of the long belt/harness
5. Pin each of the 4 ice blue windows facing out. With gray/green floss and a strips in half lengthwise, so that you
on the helmet, equal distance from one whipstitch, sew the diving suit together, have two long, thin pieces. Attach one
another. Position 2 of the windows so starting at top of one of the shoulders of the strips to the diver’s belt at the far
that they cover the points where the 4 and working down the arm. When you left side of the body, pull it diagonally
semicircles intersect on the helmet. Sew reach the wrist, slide a glove in place, across the front of the body, over the
the windows on using a whipstitch and making sure the thumb is toward the right shoulder, and diagonally across
blue floss. body. As you sew up the arm, use a the back. The ends of the strip should
toothpick to stuff in fiberfill. Repeat this meet on the diver’s left side. Stitch the
6. Using 4 strands of dark gray floss, process with the other limbs, placing the strip in place with black floss. Repeat
add screens to the helmet by sewing 3 boots on the ankles and the other glove this process with the remaining strip, but
horizontal lines and 3 vertical lines over on the other wrist. Continue sewing begin on the right side, so that the two
each of the blue windows. until you reach the top of the second strips cross on the diver’s chest.
shoulder. Stuff the torso of the diver
7. Pin one of the remaining helmet
with fiberfill. 13. Use black floss to sew the short
pieces onto one of the sage green
harness strip to the middle front of the
diving suit pieces, aligning the straighter 10. Position the diver’s helmet on the diver’s belt. Pull the strip between his
side of the semicircle with the line suit, then sew it on with dark gray floss. legs and attach it in middle back of
across the neck and shoulders of the Sew any holes left on the shoulders. the belt.
body. Sew it on using a whipstitch and
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a c kn o w l e d gments
Thanks to Urban Craft Uprising for the inspiration, Meredith for creating the spark, Rosy
for taking a chance, Moxie for getting the ball rolling, Brookelynn for coming through in the
clutch, and Andy, B.B., and Ritzy for their unwavering support.
—Nikola Davidson
158
fe l t i q u e
I must give due accolades to many important people, first and foremost to the contributors,
whose art made this book the fantastic compilation of projects that it is. Second, to Nikola
Davidson, my fantabulous co-author, and to Moxie, Nikola’s original co-author, who kindly
invited me to take her place. Third, to my husband, Nat. His photography and illustrations
are stunning and create the atmospheric quality that fills these pages.
Much gratitude to my editor Jen Graham at Potter Craft, and also Rosy Ngo, Erica Smith,
Chi Ling Moy, and Nancy Sabato. Jen, your due diligence was obviously crucial to me. The
beautiful locations featured in our photos gave generously of their space and time, including
Far West Tea Bar, Willowood Market Cafe, and the Underwood Bar and Bistro, all in Graton,
California. I want to thank Mark Growden, Sarah Rubin, the Nolans, and Goli Mohammadi,
and the models: Leah, Lisa, Emma, Hannah, Princess, Tremaine, Harper, Jenny, Leila-Anne,
Fina, Sarah, Dyanne, Ruby, Roxanne, Cadence, Jordan, Devon, Galen, and Chai Dog.
Thanks to the makeup and hair designer, Danger Peach, aka Rachel J. Leiberman. So much
thanks to “Knitting”: Christiana, Coleen, Kathy, and Sarah. I graciously thank my technical
editor Keith Hammond and his supportive wife, Suzanne Olyarnik. And lastly, our entire
families: Thanks to my dad and his wife Joanne, Nat’s parents DeAne and Alex, and our
brothers, for all your love.
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—Brookelynn Morris
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i n d ex
A Contributors, 152–157 G
Appalachian carry-all, 120–123 Crimp, 9 Garter stitch, 146
Artful vessels, 59–61 Crocheting techniques
casting on, 148 H 159
B binding off, 149 Hats
i n d ex
Baby’s rattle, 44–45 single crochet, 149 earflap hat, 109–111
Basic knitting techniques slip stitch, 149 pillbox hat, 140–141
binding off, 148 Crochet-to-felt flowers, 94–95 woolen cap, 118–119
cable cast-on, 144 Cupcake chomper, 76–77 Herringbone stitch, 9
garter stitch, 146 Curly dog, 78–80
I-cord, 147 I
kitchener stitch, 146–147 D I-cord, 147
knit stitch, 142 Davidson, Nikola, 7
provisional cast-on, 145 Dot scarflette, 62–63 K
purl stitch, 143 Kitchener stitch, 146–147
stockinette stitch, 146 E Knit stitch, 142
Bauble earrings, 88–89 Earflap hat, 109–111 Knitting needle case, 132–134
Binding off techniques Earrings Knit-to-felt-bowls, 106–108
crocheting, 149 bauble earrings, 88–89
knitting, 148 mod earrings, 71 L
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Blanket stitch, 9 Embellished envelopes, 20–21 Layered flower headband, 126–129
Bracelets Layered square pillow cover, 83–85
little button, big bracelet, 74–75 F Little button, big bracelet, 74–75
spiral bead bracelet, 46–48 Feather stitch, 9
Braided wool rug, 112–113 Felt thirsty coasters, 138–139 M
Fingerless gloves, 101 Mary janes, 49–51
C Finger puppet safari, 81–82 Micron, 9
Cable cast-on, 144 Floppy flying disc, 104–105 Mixing methods, 124–125
Casting on techniques Fortune cookies, 98–100 Mod earrings, 71
crocheting, 149 Fulled felt, 92–93 Modern cape, 102–103
knitting, 144–145 basic techniques for, 92–93
Commercial felt, 8–9 materials for, 92
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160 materials for, 64–65 Soft suds soap, 54–55 diver, 15–18, 19
Neva handbag, 31–33 Spider and web, 86–87 fish, 12, 19
fe l t i q u e
Nuno scarf, 56–58 Spiral bead bracelet, 46–48 giant squid, 13, 18
Stacked bead necklace, 25–27 great white shark, 13–14, 19
P Staple, 9 narwhal, 12–13, 19
Pillbox hat, 140–141 Stitches
Playsets back stitch, 9 W
traffic jam playset, 42–43 blanket stitch, 9 Wet felting, 36–41
undersea playset, 10–19 feather stitch, 9 basic techniques for, 38–41
Provisional cast-on, 145 herringbone stitch, 9 glossary of fibers, 39
Purl stitch, 143 satin stitch, 9 materials for, 36–37
whip stitch, 9 Whip stitch, 9
R Stockinette stitch, 146 Wild flower pin, 52–53
Racing stripes dog coat, 28–30 Strawberry pot, 68–69 Woolen cap, 118–119
Recycled cashmere blanket, 96–97 Wools, terms for defining of, 9
Resources, 150–151 T
Reverse appliqué sweater, 90–91 Table runner and place mats, Y
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To purchase a copy of
Feltique
visit one of these online retailers:
Amazon
Barnes & Noble
Borders
IndieBound
Powell’s Books
Random House
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