Felt n24

2020
THE AUSTRALIAN MAGAZINE FOR FELTING AND MORE Issue 24

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ALL CREATURES
GREAT AND SMALL
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INSIDE
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Great projects and articles.

Inspirational artist profiles. Wet felting, needle felting & more!
ACT
Crafty Frog
Kambah, ACT 2902
Ph. 02 6296 6240
info@craftyfrog.com.au
www.craftyfrog.com.au
NEW SOUTH WALES
Aunt Jenny
Ph. 02 6100 3052
www.auntjenny.com.au
By Lynette
Berry, NSW 2535
Drum Carder Ph. 04 3946 8698
Effortless fibre bylynette@bigpond.com.au
www.bylynette.com.au
preparation.
Glenora Weaving & Wool
20cm width. Gerringong, NSW 2534
Choose 72 or Ph. 02 4234 0422
Fine 120 point cloth. christine@glenoraweaving.com.au
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Petlins Spinning & Weaving
Rhodes, NSW 2138
Ph. 02 9736 1501
orders@petlins.com
www.petlins.com
Spinners Haven
www.ashford.co.nz Armidale, NSW 2350
Ph. 02 6772 8795
spinnershaven@nsw.chariot.net.au
Blending Board Small Hand Carders Tijuana Alpacas Wool Shop

Razorback, NSW 2571
For felters and spinners. Lightweight hand carders with Ph. 04 1820 3257
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30 x 30cm. Choose superfine 108 point or Virginia Farm Wool Works
Fine 108 point cloth. fine 72 point. Castle Hill, NSW 2154
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QUEENSLAND
Green Living Australia
Ashford Silk Merino Underwood, QLD 4119
Ph. 07 3808 2576
20% Silk 80% Merino. Soft, silky and luxurious. Perfect for felting and spinning. Create fine, lacy and lightweight www.greenlivingaustralia.com.au
yarn for knitting or unique semi-worsted yarns for weaving. SOUTH AUSTRALIA
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TASMANIA
The Wool Shop
105 106 098 112 113 Moonah, TAS 7009
Ph. 03 6278 1800
Fax 03 6278 1808
woolsuppliers@bigpond.com
VICTORIA
109 101 107 104 110 Wondoflex Yarn Craft Centre
Malvern, VIC 3144
Ph. 03 9822 6231
enquiries@wondoflex.com.au
www.wondoflex.com.au
Woolsy Trading Post
114 102 103 100 111 Geelong West, Geelong, VIC 3218
Ph. 03 5222 1571
www.woolsytradingpost.com.au
WESTERN AUSTRALIA
Bilby Yarns
Willagee, WA 6156
099 116 115 117 108 Ph. 08 9331 8818
bilbyarn@tpg.com.au
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®
Contents
ISSUE 24 DECEMBER 2020
ON T H E COVER
Javan Rhino, Gladys Paulus
Model: Toby Newlan Photographer: Mark Brookes
Bumps, Nastya Shuliak
ART I CLES P ROJECTS 34

3 Artist Profile 15 FELT-tangled Turtle
Mollie Williams Peta Korb
7 In Focus 30 Valais Blacknose Sitting Pad

Nastya Shuliak Sabin Imhasly
11 Artist Profile 39 Western Rosella Parrot

Peta Korb Sue Smorthwaite
20 Faces of Extinction 51 Coral Bloom

Gladys Paulus Martien van Zuilen
26 Twinfelt
Susan and Sabin Imhasly IN FO R MATIO N
2 Editor’s Notes
34 In Focus
50 Book Reviews
Karen Thurman
55 Classifieds
55 Advertisers index
38 A Flock of Birds
56 Subscriptions
Sue Smorthwaite
44 Rugs Inspired by
38
Central Asian Motifs
Flóra Carlile-Kovács
48 Critters
48
Juliana Knight
Felt is an independent Australian publication

ArtWear Publications P/L has taken reasonable steps to ensure that the copyright of each article or project resides
with the contributing author. We secure from each author a warranty stating such, or that the author has obtained all
necessary rights, licences and permissions such that publication will not infringe on any third party’s copyright. ArtWear
Publications P/L relies on these warranties when asserting that the copyright is owned by the authors. Instructions for
the published projects have been checked for accuracy and are published in good faith. We cannot guarantee successful
results and offer no warranty either expressed or implied. All companies and brands mentioned are included for
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ArtWear Publications P/L takes no responsibility for the accuracy of the content of any advertisements, advertorials or
paid promotions. Any claims and statements are not those of the publisher.
www.artwearpublications.com.au Issue No 24 Felt 1

www.artwearpublications.com.au or find us on Facebook
editor’s notes
Issue 24 DECEMBER 2020 When the time came to put together this issue of Felt, I wanted foremost
to acknowledge the importance of community and connectedness,
Publisher especially at a time when the world at large feels to be tilting. The
ArtWear Publications Pty Ltd
COVID-19 pandemic has created challenges for people across the world
Editor Martien van Zuilen and while we might experience the effects in different ways, many of
Art Director Kylie Albanese us have had to adapt to new routines. This issue’s theme, ‘All Creatures
Great and Small’, reflects the importance of our connections and the
Photography
interdependent nature of all living beings.
The author of each project or article is the
‘how to’ photographer and often the ‘finished Well known for her incredible felted masks and mask making workshops, Gladys Paulus
article’ photographer, unless otherwise noted. writes poignantly about her Faces of Extinction international arts project and online exhibition.
She and several of the project participants illuminate how YOU too can participate and help
Contributors
Molly Williams, Nastya Shuliak, Peta Korb,
raise awareness about the world’s endangered animals. I certainly aim to make a life-sized
Gladys Paulus, Susan and Sabin Imhasly mask over the coming months, and I hope many others will too.
(Twinfelt), Karen Thurman, Sue Smorthwaite, Molly Williams (UK) shares her journey into making figurative felt sculptures. In a similar
Flóra Carlile-Kovács, Juliana Knight, vein, Russian felt artist Nastya Shuliak reflects upon the development of her arts practice
Martien van Zuilen and distinctive style. Swiss-born, New Zealand based sisters Sabin and Susan Imhasly were
Graphic designer Cilla Poa-Heighway tutors at last year’s Southern Hemisphere Feltmakers Convergence and I am delighted to
include their profile. Speaking of inspiring work, I only recently ‘discovered’ the work of
Proof reader Annette Hondros
Karen Thurman (USA) and I am rapt to be able to include her work and words in this issue.
Admin assistant Dawn Bordin Closer to home, Juliana Knight shares her highly original ‘critter’ art in which her handmade
Advertising sales and marketing felt plays a central role.
Lynda Worthington 03 9888 1853 The projects in this issue are inspired by things great and small. Peta Korb’s FELT-tangled
thegirls@artwearpublications.com.au turtle was influenced by the art of Zentangle. Peta also contributed an insightful artist profile.
Published in Australia Sue Smorthwaite shares her method for creating a wet-felted Western Rosella parrot; her
Printed in China by C & C Offset Printing Co., Ltd other bird creations indicate that the project is adaptable to making other feathered species.
Australian distribution by Gordon & Gotch There is also a colourful reef-inspired coral bloom project which can be made in whichever
Agents order online or call customer service on
1300 650 666
size you like – give it a go!
Other animal inspired features include Sabin Imhasly’s sitting pad using wool of the
New Zealand distribution by CRAFTCO Limited
Tel:+64 (0)3 963 0649 Valais Blacknose, a relatively rare breed of sheep, while Flóra Carlile-Kovács shares the
USA and Canada distribution
impetus and process of felting two beautiful large rugs inspired by Central Asian patterns
by DISTICOR Magazine Distribution Services and (animal) symbols.
Tel: +905 619 6565
As a direct result of the Covid-19 pandemic, we’ve learned to ‘Zoom’ instead of catching
UK distribution by Manor House up for coffee, the range of on-line classes soared and the internet worked overtime to help
Tel +44 (0) 1672 514 288
us to stay in touch, keep learning, connect, support, and share. During these unprecedented
World Wide Digital Distribution by GGA
www.pocketmags.com.au
times I am most grateful for our community of makers and feel fortunate to contribute and
be a part of it in some way. My heart-felt thanks go to the team that has brought this issue to
Please address comments, letters, and inquiries to
thegirls@artwearpublications.com.au
fruition, and to all contributors – thank you for sharing your ideas, your inspiration, and your
or write to FELT Magazine, PO Box 469, works of art, great and small.
Ashburton, VIC 3147. Ph: +61 3 9888 1853.
Last but not least, some important news just in from the Canberra Region Feltmakers:
All contents © FELT Magazine 2020. The purchaser of “The Southern Hemisphere Felters Convergence which was to be run in Canberra in 2021
this magazine may make a single copy of any pattern
contained within for personal use only. Please do not
has been postponed because of uncertainty about what COVID-related restrictions will be
give copies to your friends. Contact us to talk about in place at that time. Canberra Region Feltmakers are still planning the Convergence but
reproductions, including intended sale of items made
from patterns within this magazine. If you have any without a fixed date at this stage. The new date will be provided with plenty of notice to
questions about obtaining permissions or about this allow time to organise travel plans and finances. See canfelt.org.au to subscribe to our
policy, please contact us at the address above.
Convergence email list to get updates as the plans develop.”
FELT ® is a registered trademark of ArtWear
Publications P/L, Ashwood, VIC. ISSN 1836-8735. Stay safe. Be well. And happy felting!
Yours in Fibre
Martien
Martien van Zuilen

Editor
2 Felt Issue No 24 felteditor@artwearpublications.com.au www.artwearpublications.com.au
IN FOCUS
Molly Williams
Contemplative Figures, dimensions variable, wool fibres, wire. A compilation of sculptures for my online workshops
My love of textiles and stitching began United Kingdom. My first profession a distance learning course, I mostly
when I was a small child, encouraged by was nursing, and this took me to the worked by myself so my exploration of
my mother who was an accomplished USA, Hong Kong, Australia, and Saudi different materials, including clay and
tailor. Since those early days I always Arabia. Now I am a full-time textile wool fibres, was largely self-taught and
have a textile project or garment on artist. I am often asked how and why experimental. I remember making a
the go as well as an on-going research I make figurative sculptures, and this huge 3D felted skin. A friend stitched
project on the history of any textiles. is best answered by describing my me into this skin and took a series of
Ottoman textiles and designs fascinate artistic journey. photographs of me in the skin (photos 1).
me, as it tells of the culture and peoples My textile art practice kicked off I then Photoshopped the images into a
who created them. in 2004 when I enrolled in a Bachelor collage that became the pattern for a
I live in a rural Sussex village in the of Arts in Embroidered Textiles. It was digitally woven fabric (photos 2 and 3).
1. Molly Williams in
hand-felted skin, 2007.
Photographer: Jacqi Adkins
2. Figurative collage for

Jacquard fabric design, 2007
3. Jacquard woven fabric

sample, 2008
2 3

This fabric, and a life-sized felt covered
human figure, formed the basis of my
graduation show and was a reflection
on the historically suppressed power
of womankind (photo 4). The figure
has been a feature in my garden for 10
years and is slowly eroding into her
habitat, no doubt home to many little
creatures (photo 5).
After finishing my degree, I
trained to teach Textiles Design and
Technology and subsequently taught
at a local school for 5 years. I also
joined a contemporary Textile Art
group called Prism Textiles and have
exhibited with the group every year
since 2008. My artwork has developed
in response to the various exhibition
themes, including working with a
range of other textiles.
I made my very first figurative
sculptures in 2011. The theme for that
year’s Prism exhibition was up close::in
detail. I had in mind movement and
dance and wanted to capture a moment
of movement, in detail. I discovered
that I could mould and sculpt with wool
fibres in a manner similar to clay, using
a process based on wet felting. I love
4 getting my hands onto a sculpture as it
is forming, to add fibres with soap and
4. Installation, Graduation Show, 2008 water and plenty of energy which can
often be seen in my work.
I made more contemplative figures
in 2012, to reflect how thoughts and
emotions often manifest in our body
language. These figures are large and
more substantial than the dancers I
had made earlier (photo 6).
The 2016 Prism exhibition theme,
Fractured, led me to consider the
fractured lives caused by war and
forced migration. I made a series of
figurative lino cuts to create a devore
design for a wearable art piece and I
have since used the lino cut design to
print onto felt bowls (photo 7).
A horse sculpture, Kerrin, (also in
the exhibition) presents a contrast
between wire and felt. It highlights
that a fractured object can be more
interesting to the eye than one that is
5
whole. If some fractured pieces are
removed, we might wonder at what the
5. Garden Figure 2009-2020 whole would look like exactly.
4 Felt Issue No 24 www.artwearpublications.com.au
The process used in creating Kerrin
is one that I am developing further,
to explore the potential in creating all
kinds of animal figures in mid motion,
and full of energy (photo 8).
In 2018, I was commissioned to
make four life sized felted dancers for
a home in Colorado, USA. Enlarging a
60cm (24inch) figure to one that stands
2 metres (79inch) tall was a big project
and exciting challenge, including 6
getting the figure to stand up. With the
use of a steamer and sander I managed
to complete The Four Mollies. (photo
9) Two 'failed' attempts worked very
6. I am content and I am not alone,
well suspended from a wall bracket. 7
2012.
Titled Exploring the Senses, this work Dimensions variable,
was subsequently shown in the 2018 wool fibres, wire
Prism Textiles exhibition Transient.
(photo 10).
7. Lino printed bowl,
For the same exhibition, I created
2019.
a large wall hanging consisting of 48 20cm x H17 x W20 x D20 cm,
small figures linked together with merino wool fibres lino cuts,
fishing line (photo 11). I experimented printer ink, hand embroidery
with multiple figurative shapes and
proportion to convey the transience of
8. Kerrin,
life and movement through the medium 2016.
of contemporary dance and felt. H41 x W41 x D30 cm,
During my Textile degree studies wool fibres, wire,
8
I experimented with ceramics, wood mount
combining clay with fabrics, and firing
pots in a Raku pit kiln in the garden.
9. The Four Mollies,
For the 2019 Prism theme Fragility, I 2018.
combined clay with fabric, over a wire H195 cm, wool fibres, silk fabrics,
armature, in the same way I would wire, machine embroidery.
mould a felted figure (photo 12). I made Photographer:
Alison Epstein
the Raku kiln from a big steel drum
- it was so much fun! The clay dancer
figures emerged intact and beautifully
coloured by the organic materials I had
wrapped them in. The fabric’s fibres are
still apparent in memory despite being
burnt away in the kiln. Since making 9
these works, I have been moulding the
figures in concrete, a material that is
strong and amazingly easy to sculpt.
This year my work has taken me
in a different direction: to write and
teach online felt sculpture courses
(photos 13 and 14). Working, as I have
always done, in a studio and exhibiting
alongside contemporary artists, I hadn’t
realised that there is a whole world of
felt makers until I was invited to teach
at Felters Fling 2019, in Vermont, USA.
10. Exploring the Senses,
2018.
H165 x W165 x D30
cm, wool fibres, wire.
2 figurative wet felted
sculptures suspended
with nylon line. Fleeting,
ephemeral, instantly
passing – to stop the
camera and capture a
fleeting moment in time;
in a life, in a dance’
13. Contemporary Dancers - Elegant Queen and Bobble

Top, 2020. H65 x W15 x D15 cm, wool fibres, wire, wood
mount
11. Residual Memories (detail),

2019. H60 x W15 x D15 cm,
Raku fire clay and wire.
12. Life Dance, 2018.

H200 x W100 x D25 cm,
wool fibres, fibre, nylon line
11
12
What an eye opener! So now I have the

pleasure of meeting many wonderful 14. Bobble Top (detail), 2020
felt makers whose work leaves me in
awe. I have learned so much from my
students, and while I make sculptures
out of wool fibres, I hesitate to say that
I am an experienced felter! Molly Williams is a professional contemporary
What next? I recently took Fiona textile artist based in the UK. She holds a BA
Duthie’s excellent online course to Hons (Embroidered Textiles) and is a member
combine silk paper with wool fibres of The Society of Designer Craftsmen, and
and would like to use this technique Prism Textiles. She exhibits regularly in
to create 3D structures printed with London and at local venues.
lino cuts. My felted horse figure has www.mollywilliams.co.uk
room for experimentation and I have Instagram: @ textilematters
discovered Eco printing through the Facebook: Molly Williams
work of Irit Dulman. There’s always a All images by Mollie Williams unless noted
next project! otherwise
IN FOCUS
Nastya Shuliak
Felting has been my main occupation

for the last ten years. Prior to that I
worked as an artist in a theatre and
taught at an art school where I once
studied.
For the past eight years I have lived
in Moscow Russia. I used to live in
Sovetsk (Tilsit), an old and beautiful
small town in the Kaliningrad region,
and prior to that in the Lithuanian
city by the sea - Klaipeda. I remember
the many cafes, a park full of strange
Lithuanian sculptures and the
world’s most delicious curd cheese
with caraway seeds!
Like many of life’s important
things, my start to creating with
Bumps, 2020, wool, beads, wire, 6-10cm
wool was a case of happenstance. I
was given a bag of wool in different
colours as a New Year’s present and Two key aspects convinced me to they pretend to be art. They are
made a bear and a hare, commonplace continue creating with wool. Firstly, small lumps of joy, akin to carefree
characters made by almost every the amazing pliability and plasticity fleeting smiles. I avoid over-
novice needle-felting artisan in of wool holds great artistic potential. designing my work, preferring
Russia, and maybe elsewhere in the And then there were the sparks I instead to use understated designs
world? saw in the eyes of my customers. displaying simple lines and colours.
The first creatures I designed I observed a childlike delight in Having said that, at times the work
and made were intended to be toys adults holding my creations in their inevitably develops into something
for children but based on feedback hands and, to this day, this simple more specialised and sometimes
from customers I soon realised that fact moves me - it is simultaneously the characters I create can get
people did not see my work as toys, surprising and joyful to me. complicated. But overall, I aim for a
and adults (rather than children) My creations do not aspire to minimalist approach and style; I feel
were my main audience. be in gallery showrooms, nor do this strengthens the work I make.
Mostly I needle felt but sometimes I
use wet felting techniques to speed up
the process. For example, a character I
call "a bunch of grass" was created by
wet felting the top section and needle
felting the bottom part. I do love and
understand needle felting much more.
It seems to me that there is a more
sculptural quality to it, and I find that
in the process of making there is more
logic and control.
I base my choice of the type of wool
I use mostly on the feel of the fibres, and
in the last five years I have purchased
wool from producers whose products
I am familiar with, from New Zealand,
Italy, Germany, and Finland.
The ideas I want to embody in my
creations are not necessarily tangible,
and often the viewer does not quite
understand what it is they see. Instead
of a well-developed character, I present
a mood. Perhaps that is the reason my
work elicits a personal response from
viewers, a touchstone or link to an
experience or memory, a style, sense or
feeling.
The structure of my work and
business has changed markedly over
the past ten years. At the very beginning
of my creative journey, I participated
in fairs but mostly I took orders for
many, many years. This period gave me
Bump, 2019, wool, beads, wire, 7cm
professional stability, I honed my skills
and started believing in myself and
my skills. Increasingly people wanted
to place orders for my artwork, and it
became clear that it was impossible to
cope with the workload this created.
Over time, I have come to a very
convenient format of work - I do what
I want. There are still a lot of people
wanting to commission a piece of my
work. And sometimes it is difficult to
refuse but I know that, for me, there is
no other way.
As for my work routine, sometimes
I work several days in a row while at
other times I do not take up my felting
needles for a week. My hours are
flexible. I almost never have rush jobs
and deadlines. Rather, I accumulate ten
or fifteen new works and then offer
them for sale, all at the same time and
at a time of my choosing. I especially
like to make the works in each ‘sales-
collection’ unified in some way, for
Bumps, 2020, wool, beads, wire, 6-10cm
example by a certain use of a colour.
I recently created a page on Etsy and am pleased with how convenient
it is. When I plan to sell a collection, I advertise the sale on my Instagram
page. For me and many of my subscribers, the sale has become an
exciting event as there are always more buyers than works for sale. The
sale is therefore amazingly fast, exciting, and fun. Sometimes I arrange an
auction of my work through my Instagram page, but I only do this when I
know I do not have a sale coming up.
I call my business Stowaways Toys, a name I camw up with about ten
years ago. The original name in Russian was Зайцы (Hares) or stowaways.
The hare was my favorite children's toy. When I was 3 or 4 years old, my
parents gave me a plush rabbit. He was bigger than me. Of course, I loved
him very much and he was firmly imprinted in my subconscious and
became a calming image. Later, when I started my Instagram page, the
Russian part of the name disappeared, and it became Stowaways Toys. I
continue to create many different hare characters.
Wood, 2020, wool,

beads, 15cm
Berry, 2019, wool,

beads, 10cm
Bear, 2019, wool,

Wolf, 2019, wool,
beads, 6cm
beads, thread, 8cm
Cones, Bunches of Grass and Wood, 2020,
wool, beads, dimensions variable
Wolf, 2020, wool, beads, dimensions variable
Above and Below, Bumps, 2020, wool, beads, wire, 6-10cm
As much as I like creating, I love teaching. Many weekends I meet

new groups of students in my studio and time and time again we
felt weird, unique, and funny creations. I am sure that in addition to
gaining new skills, the students benefit from the experience.
In a sense this is the therapeutic part of my job. I hope that thanks
to these little woollen things, we show one another our best sides,
not anger and fatigue.
My teaching job has several goals; besides the obvious ones, it
is important for me to promote the craft of handmade felt and the
profession - the artisan. I want as many people as possible to know
firsthand what handwork is, how complex and multifaceted it can
be, how rich its history is and the creative potential that it holds.
@stowaways_toys
Etsy: StowawaysToys
Artist in Profile
PETA KORB
Looking back, I can’t remember a time when

textiles were not part of my life. I started sewing
at a young age and came to realise that “doing
normal” was not my thing so it was no surprise
that I eventually found myself working as a
theatrical costume designer creating the weird
and wonderful for stage. Over time, my theatrical
credits grew to include world premier stage
productions, ballets, operas, musicals and the
Moscow Circus. Along the way I also enjoyed time
as a puppet maker, script writer, artistic director
and lecturer in costume design.
Bilby, Uniquely Australian Collection,
2017. 250 x 95 x 130 mm, wool sculpture with wire armature
Country
In late 2016, I chanced upon YouTube felting tutorials
by Sara Renzulli (Sarafina Fiber Art) and Marie Spaulding
(Living Felt). Having previously created puppets and
textile sculptures using wire armatures, the possibilities of
Chicks
this new medium were irresistible. I was amazed by the
versatility of felt making and working with wool, and a
new obsession was born.
As the “country chick” behind Country Chicks Creations,
my work is often inspired by the places I was raised or
Creations
have travelled since. Growing up in small, regional towns
in Western Australia, I came to appreciate the natural and
contrasting beauty of regions in the far north and far south
as well as the diverse wildlife. I draw on my experiences
and combine my longstanding love for the natural beauty
of Australia with my passion for felting.
Banded Hare-Wallaby, Dance of the Dead 2018.
200 x 70 x 100 mm, wool sculpture with wire armature
My early work included needle felted bilbies and I was

delighted to receive awards for them at the Perth Royal Regnbue, 2020. 550 x 450 x 500 mm,
Show and the Sydney Royal Easter Show. Soon a whole hand dyed merino wool, tussah silk, ramie
fibres, combination wet and needle felted
family of bilbies was born out of my creative curiosity:
with wire armature. Inspired by Sara Renzulli
how big and small could I make them? Fascination
growing, I moved on to wet felting then began combining
both techniques to create works. Realising I could
integrate my felting skills with those accumulated from
other crafts and also draw on my time in theatre was a
defining moment in my work. As a result, many of my
pieces feature stitch work, weaving, printing, dyeing,
wire work and traditional rughooking techniques.
Too eclectic in my early arts practice to develop a
definitive “style”, I created felted pieces in collections,
each inspired by the unique and diverse Western
Australian landscapes, flora or fauna. The first was
the Uniquely Australian collection, comprising several
animals and birds.
This was followed by collections inspired by the Coral
Bay region, the Kimberley and the Wildflowers of the Mid-
west, and I continue to add to each of these collections as
inspiration strikes.
More recently, my travels and experiences beyond
Australia have begun to feature in some of my felting
creations, and there will always be at least one vacuum-
sealed bag of wool fibre and felting tools in my suitcase.
You just never know when you will be inspired to felt!
Desert Delight, Wildflowers Collection, 2020.
100 x 100 x 100 mm, merino wool.
Inspired by the Sturt’s Desert Pea
(Swainsona Formosa)
Polar North, Arctic Collection, 2019. 220 x 200 x 100 mm,

merino wool, ramie fibres, sumi-e ink, and margilan silk
Kimberley Dreaming, Kimberley Collection, 2017. 80 x 120 x 100 mm,

merino wool, knitted wire, hand torched and shaped copper mesh
Sea Scape, Coral Coast Collection, 2020. Ningaloo, Re-Imagined Challenge, 2018. 170 x 260 x 230 mm,
45 x 160 x 150 mm, merino wool, textile ink, silk chiffon. merino wool, ramie silk, bamboo and angelina fibres, silk chiffon,
Featured with FELT Tanged Turtle, 2020. 20 x 55 x 55 mm, needle felted wire mesh, amethyst chips, waxed linen, wool yarn
Eastern Barred Bandicoot, Dance of the Dead,
2018. 130 x 100 x 210 mm, wool sculpture with wire armature
My travels to the Arctic Circle in Norway birthed the seeds It was a challenge to create animals as lifelike as possible
for my Arctic collection while time spent in Canada inspired while keeping within Scarlet’s size specifications.
the Rockies collection. It was the fall season in Canada that Through creating pieces from the fantastical to the
inspired my autumn leaf bowl, and a free tutorial on how I functional, I have developed a great love for all wool
made this is available through my website. varieties. Merino is a favourite for wet felting, particularly
For me, each project comes with new challenges and wearables, but I can’t resist the natural colours and
sometimes a unique opportunity to highlight the plight of textures of various breeds to give me the perfect palette
our endangered Australian wildlife. I was excited to create for creating animal pelts. My natural curiosity drives me to
a banded hare-wallaby, lesser bilby and an eastern barred experiment with blending different fibres and I generally
bandicoot for Melbourne based animator and illustrator use at least six to eight natural colours for each animal.
Scarlet Sykes Hesterman. The three felted animals were The versatility of wool as a medium and the seemingly
used in her animated short film Dance of the Dead, which endless ways artists create unique pieces by combining
was subsequently selected for the 2019 Melbourne techniques continues to amaze me. Each new felt maker
International Animation Festival. I “discover” and the opportunity to attend a workshop
brings not only exposure to new techniques and styles
but also lasting friendships. Fortunate enough to travel to
attend workshops, I have been inspired by many renowned
felt artists including Katia Mokeyeva and Kristy Kun who
both have unique styles. The challenge is always to find
ways to incorporate techniques learnt from others into my
own one-of-a-kind creations.
I am currently working on a life size Carnaby’s Black
Cockatoo, exploring techniques to create a full feathered
open wing. Never one to have only one project on the go,
I am also exploring traditional pattern making techniques
and their adaptation to felt wearables in pursuit of more
fitted felt garments.
I believe that you are only limited by the breadth of
your imagination and availability of time. I don’t know that
there will ever be enough time to pursue all of my ideas,
but I relish the challenge of trying!
Lesser Bilby, Dance of the Dead, If you would like to follow my creative journey, you can find
2018. 210 x 100 x 120 mm, wool
sculpture with wire armature
me on Facebook and Instagram @CountryChicksCreations
or my website www.CountryChicksCreations.com
P
PETA R
KORB O
J
Country
Chicks E
Creations C
T
FELT - Tangled
Turtle
MATERIALS (photo 1)
• Core wool; 20g (0.7oz) is plenty for this project.
I used commercially prepared core wool suited
for needle felting but any coarse wool with some
substance will needle felt together quickly.
• Coloured wool in a few colours of your choice
I love the challenge of creating critters as realistically as including one darker colour for background work.
possible but also the freedom of letting my imagination I used fine merino for all the detail work
run wild. Drawn to the elemental strokes of Zentangle
art, I was keen to explore this in felt and the Zentangle- TOOLS AND EQUIPMENT
inspired turtle was born. I hope this project will inspire • Felting Needles 38-Star and 40-Spiral (sometimes
known as twist)
you to explore and create your own elemental strokes, let
• Felting mat
your imagination soar, and most importantly allow you to
• Scissors – small, sharp and preferably curved
enjoy the process of creating. • 2 thin wooden skewers or similar
• Tape measure or ruler
Body • Marker or pen
Mark a line 7cm (2.7inch) from the point of your skewer. • Paper, pencil and eraser (optional)
Place a piece of core wool approximately 30cm (10inch)
long and 5cm (2inch) wide on your mat. Position the Tip: Remember it’s the barbs (notches) on the felting
needles that do all the work, look to see where they
skewer across it about halfway along the length. Pick up
are positioned on your needle. Needles come in
the long ends of the wool and tie an over under ‘tie knot’,
gauges, the higher the number the finer the needle.
pull up the ends gently for a firm wrap on the skewer
(photo 3). Flip the piece over so your ‘tie knot’ is on the Begin by creating all the shapes for the turtle using
bottom. Use the ends of the wool to repeat the tying step the core wool and the 38-Star needle. The finished
with the second knot abutting the first. turtle measures 10 x 7cm (4 x 2.7inch). Reference
Flip again and repeat until all the core wool is knotted on dimensions are included in photo 2.
the skewer (it will get thinner as you get closer to the point
of the skewer). Move all the knotted core wool so it sits
within the marked area, squishing it up or adding more if
needed. Gently needle together, coming in from a side angle
to secure the knots together. Don’t be too fussy at this stage
as more core wool will be wrapped on top for shaping.
Tip: Turn your work around or reposition as needed to be

able to work comfortably.
Wrap another piece of core wool (approximately 30cm

(10inch) long x 5cm (2inch) wide) over the needled wool
and build up the shape. Start at the marked end of the
skewer and hold the end of the wool to help you get started
and wrap on an angle towards the point, overlapping the 1
previous wrap by about a quarter so there are no gaps.
2
Tip: As you wrap the wool, slightly draft it out to get

an even layer and a snug fit. This reduces the needling
required (photo 4).
When you reach the skewer point, angle the other way,
and wrap the wool back to the mark line. Draft the core
wool more when wrapping what will be the underside of
the turtle, so it will naturally end up more flat and the top
more curved (you can fix this later with your needles if it
doesn’t come out this way with wrapping). Aim to achieve
the shaping shown in photo 4.
Remove the wool from the skewer, and needle as
required to refine the shape, adding more wool if necessary.
The objective is to have firm pieces ready for decorating 3
and for the base of the body to sit flat with a curved top, but
not so felted that you have difficultly adding the pattern
work on top.
Head
Mark a line 2cm (0.8inch) from the point of your skewer.
Place a piece of core wool (approximately 20cm (7.8inch)
long x 2cm (0.8inch) wide) on the mark line (this end is
what will attach to the body), wrap the first bit of core
wool around the skewer and back onto itself, and hold it
in place securely (photo 5). Now wrap the core wool down
the skewer on an angle towards the point, overlapping
the previous wrap by about a quarter so it is even with no
gaps. When at the point, angle back and wrap back up to 4
the mark line.
Tips: Place your thumb and finger firmly at the mark line
to stop the core wool migrating down the skewer, as this
makes the head too big. Wrap the core wool firmly to create
a tight wrap on the skewer (loose wrapping means more
needling to create the shape). Drafting out the core wool
a little towards the point helps create the shape with less
needling.
Continue this process of up and down the skewer, with

an extra wrap near the mark to fatten this part of the head.
The number of wraps will depend on how thick your core
wool was to begin with. Check the head against the body for
5 proportion, remembering that the head will get a little smaller
with needling.
Use your needle to sculpt the head into shape. Be careful to
not needle the end that will attach to the body (although a few
gentle prods with the needle to stop the wool from unravelling
may be needed). Needle at an angle around all the other areas,
gently shaping the head until firm
Front Flippers
Fold a piece of core wool measuring 15cm (6inch) x 2cm
(0.8inch) in half. The fringed end will be the pointy end of
the flipper. Needle into the shape required, turning over the
flipper regularly to stop it sticking to the mat. Needle the wool
at an angle to avoid driving fibre into the mat. Add more core
wool to the shape where needed (photo 6).
6
Tip: When making more than one of any shape, pull the
wool at the same time to ensure the same amount for each
shape. It also helps to work them simultaneously, repeating
each step on each shape rather than completing one flipper
then trying to duplicate it.
Back Flippers
Fold a thin piece of core wool measuring 12cm (4.7inch) x
2cm (0.8inch) in half and keep folding it in half until you have
a small pillow shape. Needle to firm up and develop the shape
you want, turning the work often and needling at the same
angle as the front flippers (photo 7). Both the front and back
flippers are slightly rounded at the top edge. If shaping like
this, make sure you create left and right flippers.
7
Note: Double check your proportions and firmness by
arranging the pieces as for final assembly. If something is a
bit too big, needle it to the right size, or add more core wool
if it is too small.
Decorative Design
You can either dive straight into decorating with your coloured
wool or choose to first outline your felted shapes on paper
and draw in your preferred design in pencil. See my pattern
in photo 8.
Using the 40-spiral needle for all decorative work, start on
the body and move down the middle back, working evenly out
to each side as you go. Symmetry is not essential but ideally
8 the design will look balanced. Use only a small amount of
wool at a time; sometimes just the tiniest wisp is needed.
Line Elements: Take a very thin amount of wool, a
bit longer than you think you need. Lay one end in position
on your felt shape and tack it in place with some gentle
needling; make sure to not push it down too hard or it will
disappear into the core wool.
Once the end is secured, twist the strand of wool a few
times so it looks smoother and is easier to manage, then
gently guide your wool down into position with the needle
and tack in place. Continue until you have completed the
outline of your shape, adding more wool if needed. If you
have excess wool, gently pull it off (without pulling off the
9 entire strand) or snip it and needle in the end to slightly
overlap the start point. Now needle along the design line
you have created and secure the wool in place.
Colouring In: If using long staple length fibres,
either hand pull to break or cut into shorter lengths. Place
the fibre on the areas you want to colour in, using tiny
amounts at a time and then needling the wool securely
in place, working again at an angle. Add as much fibre as
needed to fill your shape. (photo 9)
Dot Elements: Take a wisp of fibre and secure one
end in place. Using your felting needle, twirl the fibre and
needle it into position. Repeat this action until you have
created the size dot you need, then snip off any excess fibre.
Outlining: (Optional) When a section of your design
has been completed, use a darker colour wool and the
10 same method as creating line elements to attach the wool
into the base shape to outline all shapes. No actual space
has been left for this addition, so use thin lengths of wool
and carefully manoeuvre them between elements of the
design and needle into place. In the finished piece it is not
a highly visible element, but one that subtly adds depth
and distinction to the design (photo 10).
Tip: Occasionally check that fibres aren’t sticking up from

your project as they might catch and pull out your design,
so either snip them off or needle into place.
Underside and Assembly

Using the colouring in method add the colour(s) of your
choice to the underside of the body, front and back flippers
11 and the entire head (photo 11).
To join the head and all flippers to the body, position the
pieces in place then gently ruffle some fibres from the area of
the body where each piece will be attached. Carefully needle
the pieces to the body, changing your needle position and
rotating the whole piece so you are needling from different
angles to achieve secure connections. When all pieces are
attached check and fix any design elements that may have
been disturbed and/or fill any gaps.
Working with fibre is rarely a precise exercise and a degree
of randomness and unexpected happenings can be the things
that draw us to this medium. The measurements given are
therefore estimates for a completed project like this. To go
bigger or smaller, simply adjust the mark line measurements
12 and the amount of core wool used. Your colour choices and
individual design will result in a turtle that is uniquely yours.
FACES OF
EXTINCTION
UK - based artist Gladys Paulus
launched a new art project earlier
this year. Here she describes the
aims of the project and explains
how you can get involved.
Faces of Extinction is an
international community art
project and on-line exhibition
that aims to draw attention to
the impact of human activity on
eco systems and habitats, and the
increased rate of species loss.
I invite you to become involved
by making a mask of an animal
species (or plant, or organism)
threatened with extinction, and to
submit a photo of yourself wearing
the mask and bearing a fact sign.
Taking part is an opportunity
to start a conversation, with
yourself, and those around you.
Artist: Gladys Paulus (UK) Rhino horn is almost chemically identical to hair or fingernail, yet
Medium: Hand felted sheep's wool, cotton cheese cloth, painted wood gram-for-gram it is now the most valuable commodity on the planet,
Model: Toby Newlan | Photographer: Mark Brookes worth more than gold or cocaine. With so few animals remaining,
their species is teetering on the edge of existence. Currently there are
To launch Faces of Extinction, I chose to make a Javan rhino. One of the only 60 Javan rhinos left, surviving in the island’s last true wilderness:
rarest animals on earth, it can now only be found in one tiny corner of Ujung Kulon. The model in the mask is Toby Nowlan, wildlife expert
West Java, Indonesia - the island of my paternal ancestors. There are so and assistant producer on wildlife documentaries such as the BBC's
few images of the Javan rhino that less is known about it than all other Planet Earth II and Netflix's Dancing with the Birds. At the start of
rhino species. Poaching for use of their horns in Chinese medicine has 2020, Toby managed to track and capture rare film footage of this
driven all rhino species to the edge of existence. illusive animal during a month-long expedition
There is something powerful about This is a long-term project and felt a 3-dimensional, hollow mask. Feel
putting on a mask and becoming a there is no submission deadline. free to throw the rule book out of the
different being, even if just for a short The photos will be uploaded as window; cut and stitch a mask from
while. I often witness the magic of participants complete their mask a sheet of felt, work together with a
this in my workshops where students and submit images. I know only too friend, use a combination of textiles,
spend 5 intense days creating a mask well that mask making can be very or a different medium entirely! This
and at the end, when they try it on, time consuming, so by not having project is open to creative folk working
something in them changes. Their a deadline I hope that anyone who in all mediums, you do not have to be a
body language, the way they walk, wants to take part, can. However, that professional artist and you can portray
move, and stand. Often their voices is not an invitation to keep putting it and interpret the animal or organism's
change too. Sometimes these moments off! To grow this project and to gain uniqueness in any way you see fit. The
are funny and light-hearted, but it can exposure, it is important that there is only restrictions are that the animal
also be an unexpectedly moving and a steady flow of submissions. needs to be recognisable (though not
poignant experience. So if you are reading this and necessarily realistic) and the mask
I decided I wanted to bring more something in you feels called to take needs to completely cover your head.
intentionality and purpose to the part, then I highly advise you visit the Whatever your medium, be it
process of mask-making and to put the International Union for Conservation felt, textiles, paper mache, ceramics,
resulting imagery to better use. I know of Nature (IUCN)'s Red List of metal, pen or paint on paper; please
many people share my concern, horror, Endangered Species, select an animal join in!
and grief at the alarming increase in you want to represent, and start Faces of Extinction occupies a
habitat loss and species’ extinction planning your mask - even if you know dedicated Instagram and Facebook
rates because of human action, and the you are not able to start making your page. To present visual unity, and
enormous environmental challenges mask straight away. You can search the to maximise the impact of this art
we are facing. With this project I am website https://www.iucnredlist.org/ campaign, participants are asked to
offering a creative platform to anyone by region, by habitat, by threat, etc. submit images to set specifications
who feels moved to express this I had planned a series of special and follow the guidelines as closely
concern, and to provide a means to Faces of Extinction master classes in as possible. The style of photographs
collectively raise our voices in a silent 2020, however, due to Covid-19 these used is based on police mug shots,
shout. By posing as half animal, half were cancelled. But you can still take highlighting the notion that these
human, we acknowledge that we too, part in this project even if you haven't animals are being sentenced, and by
are a part of the natural world and that attended one of my mask-making default, we are too. Time will tell how
what we do to the natural world, we workshops. Don’t feel intimidated by our actions now will be judged by our
do to ourselves. the idea of trying to figure out how to children's children.
Artist & model: Roberta Rolf (Canada)

Medium: hand felted sheep's wool
Photographer: Roberta Rolf
My choice of a Saiga was the result of seeing a documentary some

years ago. I remember thinking how unusual the nose was on this
small antelope.
Saigas are a type of antelope found in Central Asia, where they roam
the plains in huge herds. The saiga I chose to make in felt is from
Mongolia; furrier types of saigas can be found in Kazakhstan.
Saigas have a unique nose structure which is thought to warm up

inhaled frigid air in winter and filter out dust during the summer
months. This unusual feature also appears to be its downfall. In
unusually warm and wet weather conditions, the fungus that normally
resides in the animal's nostrils can erupt into a deadly bacterium,
killing the animal through blood poisoning. It is thought that global
warming is responsible the increased death rate over the last number
of years, up to 60 in 2015. The saiga is also sought after for its horns,
and the destruction of the animal’s natural habitat puts its survival
under further threat.
Artist & model: Louise van Heerdt
(The Netherlands)
Medium: wool
Photographer: Pyotr van Moock
After viewing the long list of threatened

species on the IUCN Red list, my animal
of choice was the Hose's civet, found on
the island of Borneo which is politically
divided among Malaysia, Brunei and
Indonesia. Having Indo-European parents,
this part of the world has my heart and
I have visited what I consider to be my
motherland many times. I love Borneo’s
diversity of nature, the vastness, the land
and sea, impressive wildlife, and majestic
mountains. Due to overpopulation it is
all under threat and the last sighting of
a Hose's civet was over five years ago.
According to the IUCN, no measures
have been put in place to prevent it from
becoming extinct.
Artist & model: Christobel Macdonald (Canada)

Medium: felted sheep fleece, rafia, cowry shells
Photographer: Michael Denny
I fell in love with lions as a child, reading C.S. Lewis's Narnia series and
watching The Wizard of Oz. These graceful, powerful beasts are synonymous
with courage, heart, strength, and even divinity. One word that should
never describe these regal beasts is vulnerable, but they are. It is humans
who are ‘King of the jungle’. We are king of every jungle, grassland, plain,
ice flow, mountain, ocean, and forest. The species we choose to protect are
the ones most likely to survive. And so, my heart roars for us to protect the
mighty lion.
Artist: Paola Idrontino (Spain)
Medium: Clay, wool, pearls and precious
beads
Model: Ian Vogel
Photographer: Paola Idrontino
I am an Italian costume designer, textile and

visual artist currently based in Barcelona
Spain. Stirred by a passion for storytelling,
nature, wearable art and creatures from the
deep sea, my work over the past three years
has focused on raising awareness about
coral bleaching caused by climate change.
When I first experienced diving, I became

enchanted with the beauty of nature
beneath the waves and with this project I
wish to bring some of that beauty into view.
Coral reefs are an essential ecosystem in
the world’s oceans, providing spawning and
feeding grounds for fish while protecting
coastal areas from floods and storms.
Billions of people depend on coral reefs for
food and income from fishing.
However, roughly half of the world’s coral

reefs have disappeared in the last 30
years. Climate change, pollution, ocean
acidification, and destructive fishing
practises endanger this essential ecosystem.
The progression of global warming and a
subsequent rise in sea temperatures has led
to coral bleaching.
With my coral mask I present the story of

our oceans in ways that hopefully engage a
global audience, to create awareness about
the need for action and leave a healthy
planet for future generations.

Artists & models: Olivia Ferrand and Cindy Larrat (France)
Medium: Old linen sheets sewn on a wire structure, textile
paint, beads
Photography: Olivia Ferrand and Cindy Larrat
The beautiful face of death.

Coral has long held a fascination for its beauty but also its
ambiguity: although coral is an animal species, it was first
classified as a mineral and then as a plant. Complex and
strange in nature, coral forms an intricate system of symbiosis
with other life forms, achieving a delicate equilibrium,
building the foundation of entire ecosystems which, sadly, us
humans have failed to protect.
During our research on coral we watched a video on coral

fluorescence; the absorption of light in one colour and the
emission in another. Some corals produce a kind of ‘screen’
as protection from the heat, and this colour phenomenon is
both beautiful and moving, as if before dying the corals tried
to attract our attention with incredibly bright and vivid colors.
In designing our mask, we tried to summon this beauty. Under

Covid-19 lockdown we wondered what the world would look
like when we would eventually emerge. We started the
process together but due to the lockdown situation in France
at the time, Olivia Ferrand finished it by herself.
For more information and guidelines on how to take part,

Artist: Anne Cochrane (Australia)
Medium: hand felted sheep's wool visit the project's Facebook page Faces of Extinction, or
Model: Dr. Tony Friend follow us on Instagram @facesofextinction
Photograph: Anne Cochrane
If you are not on social media but want to take part, email
For most of his adult life, Tony has worked to save the numbat from
Gladys on info@gladyspaulus.co.uk with the subject header
extinction. Starting in the 1980s and continuing to this day, his
dedication to the species and his hard work over almost 40 years 'Faces of Extinction - how to take part guidelines'. Please
means they are more secure in the wild. note that Gladys is unable to give individual advice by email
Tony is my partner and I made this numbat mask for him or phone on how to make your mask.
Martien van Zuilen
Treasures in Felt & Fibre Art
www.martienvanzuilen.com
Hand-dyed Superfine Merino Wool,

Novelty Fibres & Sumptuous Silk Fabrics
dyed in Perth, Australia & sold worldwide
now also available through
www.etsy.com/shop/ColourantDyeworks
This great source book is available from www.artwearpublications.com.au

Sabi n and Susan Imhasly
Sabin Imhasly, wearing KrEAture. 2016, Susan Imhasly, wearing Stormy Sea,
Kea is the mountain parrot of New Zealand a cape felted with merino wool, silk fibres, hand dyed
Sabin and Susan Imhasly are twin sisters who share a and, because we do not like surprises, we carry out all kinds
passion for felting. Together they run their company of tests beforehand.”
called Twinfelt. Having grown up in the mountain area of Sabin studied Earth Sciences and Susan is a Physical
Valais in Switzerland, Sabin and Susan decided to relocate Education teacher and personal trainer, but since their move
halfway around the world some 7 years ago and now call to New Zealand they have been fully focused on felting. Due
the North Island of New Zealand home. In 2007, and whilst to their husbands’ work commitments they do not live in
still living in Switzerland, the sisters were ‘bitten by the the same location and, as a result, Twinfelt has two studios.
felting bug’. They always loved drawing and painting, and Susan lives and works in a rural area just outside the
first encountered the art of felt making during a one-day coastal village of Oakura, situated between Mount Taranaki
workshop. “We were instantly fascinated with the material. and the sea where she surfs and plays beach volleyball
Working with wool and felt, it felt that almost everything (when she is not busy felting!). “Although we both hold the
is possible in a creative sense, and there remains so much adage of simplicity high, our styles are very different”, says
to discover”. Because the two love to learn things from the Susan. In her work she mostly uses black and white Merino
ground up, they decided to undertake a three-year felting wool, sourced mainly from New Zealand’s South Island. “My
course in Ballenberg, Switzerland. Ballenberg is an open- work is minimalistic, simple and abstract. Designed to make
air museum that displays centuries old buildings from all viewers feel calm while still leaving room for individual
over Switzerland. It is also a location where many crafts are interpretation.”
taught by various specialised teachers. It proved a beautiful “Life is energy”, she remarks, “it is emotion. Moving on
place to learn the skill of felting. a scale from positive to negative. To symbolise the positive
“We are both inspired by nature, and a design style and the negative, I use just white and black wool. These
based on minimalism and clear lines. When we transform two differently shaded fibres intertwine through heat and
a source of inspiration into a felted object, we always plan friction, resulting in different shades of grey. The emotions
everything beforehand. We visualise the finished product are between the two ends.”
Personalities, 2019 (Susan). Felted Cushion Cover, 2019 (Sabin).
Black and white NZ Merino wool and Austrian Bergschaf wool. Valais Blacknose wool (sourced in NZ)
Gathering, 2019 (Susan). NZ merino wool, driftwood from Oakura beach, 70cm length
Susan started the black and white phase, as Sabin

calls it, about three years ago and this is still her focus
when creating felted artworks. However, when producing
interior design accessories, garments, or her popular
felted flower-balls, she loves to bring in colours.
Susan’s latest artwork, “Personalities”, consists of five
sculptures and it is one of her most favourite pieces. “The
sculptures were wet felted using black and white New
Zealand Merino wool and some Austrian Bergschaf wool.
The works symbolise different genders and ages, and
through the choice of lines, shades, structures, shapes, and
material I expressed particularities of their personality. I
had a specific person in mind in the creating process”.
Sabin’s studio is situated in a rural area, among bush
covered hills north of Wellington. Besides felting, she
spends her time on her little farm where she keeps
different sheep breeds and Mohair goats who supply her
with wool.
“Since breeding my own sheep, I like to work with raw
wool right off the sheep. I find those long, lustrous curls
just fascinating, and I want to felt them in such a way that
it preserves their beauty by felting the curls as they are. I
enjoy seeing the wool grow on the sheep and breeding
my own sheep gives me the opportunity to decide when
the wool is long enough and the sheep ready for shearing.
I often shear the sheep myself. Felting is an ancient craft Mermaid, 2017 (Sabin). Hand dyed Chubut wool and silk
Ganymed, 2018 (Sabin).
Inspired by the goats on our farm
Crossroads, 2019 (Susan). NZ merino wool,

Austrian Bergschaf wool, 60cm diameter
Balance 2018 (Susan).

NZ Merino wool, Horizon, 2017 (Susan). Black and white merino wool,
22 x 22 cm each Austrian Bergschaf wool, 45cm diameter
In Between, 2016 (Susan). NZ merino wool, A Peacock’s Beauty, 2016 (Sabin).
Austrian Bergschaf wool, 60cm diameter Hand dyed Chubut wool and silk
and going through the whole process of “growing my “To share your ideas, thoughts and passions with
own wool”, looking after the animal, shearing, and then somebody who feels and thinks almost alike is a very
processing the wool gives the archaic side of felting a new enriching life experience. Even though we don’t live in the
dimension for me.” same place, we have coffee together every day and talk
Sabin also likes to use very fine Merino wool and silk about our work via Facetime.”
fabric for her garment creations. The sisters appreciate having each other as a
“On the one hand I like to felt items that have a supportive critic and they often inspire and learn from one
functional use, like slippers. But I also have the desire to another. Both are fascinated with the many possibilities
create items that come from my imaginations and have of felt and the miracle of wet felting; particularly how
no ‘use’, like wall hangings or wearable art.” For these such light, loose fibres can turn into something as solid
works Sabin dyes the silk and wool to get the shades of as felt by using only water, soap and friction.
colours she wants. Since they love the scope of possibilities of what can
“Usually I prefer to felt garments all in one piece, be done in felt, Sabin and Susan like to produce a wide
since I am not good at sewing. But for the “Mermaid” range of items instead of specialising in a certain area.
dress, for example, I felted panels representing different They produce felt art as well as craft items, which they
varieties of New Zealand seaweed and stitched these sell in their Twinfelt shop.
together. I incorporated sequins and glitter to reference Sabin and Susan also run nationwide workshops and
the ambience of light sparkling on the sea’s surface. The have a website which includes a gallery and online shop:
idea for the dress started with a book about New Zealand www.twinfelt.com.
seaweed. Being from a landlocked country I had no idea Their Instagram page shows current creations and
about the huge variety of seaweeds that exist.” new work: @twinfelt, while their Facebook page lists
Being twins, the sisters are very close, moreover they upcoming workshops and/or art trails:
share similar interests. www.facebook.com/twinfelt.
Valais Blacknose
P
R
O SABIN
Wool Sitting Pad

J IMHASLY
E
C
T
MATERIALS (photo 1) Valais Blacknose sheep (VBN) originate from the mountainous area of
• Valais Blacknose fleece, at least second
the Upper Valais, Switzerland. Due to the animal’s cuteness factor and
shearing (lambswool is not suitable for this
friendly character the VBN breed is becoming increasingly popular
project). Ideally the fleece is slightly ‘cross
fibred’ at the base, meaning that the fibres at
worldwide. A large sheep, both VBN rams and ewes have impressive
the shorn end are slightly matted or ‘sticking’ spiral shaped horns. They mostly have a shiny white fleece, with black
together rather than easily separated into wool around the nose, eyes, ears, knees, feet, and hocks. Black fleeced
individual locks. Other suitable wool for this VBN sheep are quite rare.
project would be a similar long wool breed The wool has a high lustre, and the curly locks a spiralling shape.
with fleece that tends to get cross fibred at The fibre is coarse (except for the lambswool) - and felts extremely well.
the base, e.g. Gotland VBN sheep must be shorn twice a year, as their wool grows so quickly.
• 40-60g of carded Merino wool (or similar) This makes the wool ideal for felted longwool “sheepskins”.
• warm water
• bar of ordinary soap Preparation
• plastic gloves (if you prefer not to get soapy/
Use a thick marker to draw a 45cm (17.7inch) diameter circle on a piece
dirty hands)
of paper or plastic sheet.
• bubble wrap, minimum size 60x120cm
(24x48inch); smaller pieces can be taped
Arrange the Valais Blacknose wool on the circle, tips pointing
together upwards and the shorn ends down. Try to keep bunches of wool locks
• towel together. You may need to open the shorn side a bit. The aim is to
• a small towel for drying hands/mopping up arrange the wool evenly and level on the circle with all the wool tips
spillage facing up and the shorn side down; the latter will be connected to the
• bucket Merino wool base, so it is important that all parts of the shorn side are
• water sprinkler (e.g. a bottle with small holes level (photos 1 and 2). Divide the carded Merino wool into two equal
in the lid works well) parts; each part will be for one layer.
• netting, min. size 80x70cm (31.5x27.5inch)
• and time! About 2 hours Lay out the wool base
Pull the circle from underneath the VBN fleece and place it under the
bubble wrap (bubbles facing up)
1 Lay out the Merino wool in two perpendicular layers; this will ensure
even shrinkage (photo 3). The first layer is placed in circles, starting
from the edge (photo 4). Use the shingling (overlapping) method to lay
out the wool until the entire circle area is covered and the wool for the
first layer used up (photo 5).
Tip: Hold the roving in your left hand and pull out some wool by pinching it
between your right palm and fingers (or vice versa if you are lefthanded).
The further back you hold your left hand, the easier it is to pull out the
wool fibres and the more wool you will pull out.
2 5
Lay out the second layer evenly, in radial direction (photo 6).
Cover the wool with netting and sprinkle water on top.
Add soap by rubbing it gently over the top of the net fabric
(photo 7). Use enough water to evenly wet the wool, press
down the fibres and gently squeeze out the air. Do not rub
the wool at this stage.
Once the wool is wetted out, remove the netting.
Add the Valais curls

You will notice that the Valais (or similar breed) fibre
locks have a natural curl or directional wave; the aim is
to make this aspect a feature of the work. Start by laying
curls along the outer rim of the Merino base, placing the
shorn end of the Valais locks on the Merino wool so that
the curls face outwards beyond the edge of the Merino
base (photos 8 and 9).
Working inwards, lay more of the Valais wool upright on
the Merino, i.e. shorn side down, curl tips facing up (photo
10). When you have fully covered the base and are happy
with the arrangement, press the Valais wool down a little by
putting your fingers in between the curls. The aim is to have
the shorn end of the Valais locks adhering to the wet Merino
but keep the curly locks standing up (photo 11).
Cover the entire pad with bubble wrap (bubble facing
4
down, to the wool) and turn over the sandwiched pad,
taking care to not dislodge the wool tips. The Valais wool is
now underneath the Merino base (photo 12).
Felting process
Cover the work with netting, add more warm water and soap,
and start rubbing the Merino wool using circular movements
(photo 13). Start on the outer edge and work inwards.
Felting occurs when soap and water open the scales on the
wool fibres and the friction created by rubbing then causes
the fibres to move and the scales to become entangled. As a
result, the wool fibres contract and the ensuing felt shrinks in
a process that is irreversible.
6 9
10
8 11
Tip: Lift the netting off the work Carefully disentangle any of the curl tips Continue the process of rubbing
from time to time, to avoid the wool that got stuck inside the base and make on the underneath side, disentangling
fibres adhering and felting to the sure that all face up and hang freely. the locks, massaging the pad, while
netting. You don’t want it sticking to constantly adding warm water and soap
the sitting pad Important: Work gently to arrange (photos 15 and 16).
the Valais locks as they will not, as The sitting pad will be felting and washed
Continue rubbing – the work should be yet, have connected firmly to the at the same time. As this is quite a messy
soapy enough so that your hands slide Merino base. and wet process, it is best done outside
smoothly over the wool without the on a sunny day; the warmth of the sun
fibres sticking up. Place your fingers into the wool will speed up the felting too!
When you feel the coarser Valais locks and move them as if you are Once the curls are quite well attached
wool fibres starting to poke through massaging someone’s head, while to the Merino base, you can gently
the Merino wool, turn over the pad so moving the entire pad over the bubble pummel and ‘throw’ the pad by lifting it
the curly side faces up. wrap (photo 14). up and dropping it on your worktable.
12
15
13
16
14 17
Check the shape of the pad from time The felting process itself will take and restores the natural pH value of
to time and, if necessary, stretch it to approximately 30-45 minutes, the wool).
regain its circular shape. depending on your speed of felting. Roll the pad in a clean dry towel
Continue rubbing the work on the to remove the excess water. Shake the
Merino side so the base becomes nice Wash, rinse and dry pad and disentangle any Valais tips
and flat (photo 17), massaging the If the Valais wool is not yet completely that are sticking to the base. Stretch
locks from the top side and ‘throwing’ white, wash the pad in the sink using the pad into its circular shape and dry
the work, until the Valais locks are lukewarm water and some shampoo; it flat.
well attached to the base (the locks treat the locks as if you wash hair! If
shouldn’t come away from the base necessary, repeat the shampooing PS: You can ‘refresh’ a sitting pad
when you pull them). You will notice until the wool is white, then rinse the by repeating the last step: soak it in
that the rougher Valais wool will have pad very well. As a last step, place the water, wash if necessary, roll it dry,
come through the Merino wool on the work in water and add a dash of white shake it out and the locks will look
back of the pad. vinegar (this will neutralise the soap like new!
IN FOCUS Karen Thurman
I am inspired by both the

simplicity and complexity of
nature. I borrow organic shapes,
colours, textures, and design
from my environment – both
natural and human-made. Creating
with wool is a natural extension of the
natural world; the medium lends itself
to the pieces I create. I appreciate the
fact that wool comes from an animal
that can live a safe and peaceful life
while producing an amazing fibre that
has been used for centuries to fabricate
shelter and warmth. Felt often has a
mind of its own, so the end result
can be precarious and surprising.
This I love.
Using wool that has been cleaned
and either dyed or undyed, I form my
piece and apply my design by way
of needle felting. Once this is done, I
sculpt it into its final form using a wet-
felt technique with water, soap, and
agitation. My art is my clearest way to
communicate – in the hope of adding
a bit of lightness and whimsy to this
troubling, somber world. It is my way of Spider, 2020, 12 x 7 x 7 inches,
wool, needle felted and wet felted, wire
infusing joy and calm into the chaos.
Curls, 2019, 56 x 56 x 36 inches,
wool, needle felted and wet felted, wire, string
Giraffe, 2019, 20 x 4 x 4 inches,

Shrimp, 2019, 7 x 7 x 3 inches,

Rooster, 2019, 14 x 10 x 4 inches,

Double Garden, 2020, 13 x 9 x 7 inches, Whistle, 2019, 19 x 10 x 3 inches,

wool, needle felted and wet felted wool, needle felted and wet felted

Squid, 2019, 12 x 10 x 5 inches,
wool, needle felted and wet felted
Group Shot, 2019, various, wool, needle felted and wet felted
Urchin, 2019, 7
x 7 x 4 inches,
wool, needle
felted and
wet felted
Lotus, 2019, 12
x 6 x 5 inches,
wool, needle
felted and
wet felted Dots and Curls, 2020, 10 x 10 x 5 inches,
wool needle felted and wet felted
photo by Sam Slater
Molecules, 2019, 56 x 56 x 56 inches,

wool, needle felted and wet felted, wire, I have always loved working with
string. Shown at Hunterdon Art Museum, fibre. I have been a knitter most of
Explorations in Felt, Clinton, NJ (USA) my life and I learned to felt in college.
Returning to felting about twelve years
ago, I experimented with making
scarves, table runners, and pillows.
Working primarily two- dimensionally
for the first seven years allowed me to
focus on exploring colour and pattern,
and better understand and predict how
felt behaves during the magical process
of transforming fibre into felt.
Eventually, I was drawn to creating
three-dimensional sculptures, and that
is now my passion and primary focus.
Felt has seemingly endless potential,
and I have so much still to learn.
Group Shot, 2020,
various, wool, needle
felted and wet felted, wire
photo by Harold Oxley
Karen Thurman studied textile design on

both coasts of the USA before settling back
in her native Oregon on the north-west
coast. Drawing inspiration from old movies,
early morning coffee, and her love of nature,
Karen’s unique style plays on the inherent
qualities of the natural materials she uses.
www.karenthurmandesign.com
Instagram: k_felt
Photography by Dan Kvitka, unless
otherwise noted
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A F lock of Birds
Sue Smorthwaite
When my husband and I moved to seen how friendly and inquisitive felted birds as they proved popular
our semi-rural block in Yallingup, these birds are. Soon after, my to visitors wanting to purchase
Western Australia, there were no friends were asking for them too. something unique as a memento of
shrubs or trees and, therefore, no Next, I made felted magpies based their visit to the region. Slowly, but
birds on the pastureland. Years later on the family group that hang out surely, my collection of felted birds
and after much planting, trial and around the bird baths and then I has grown, matching the variety of
error - foliage ravaged by storms started to make the parrots that birds in our garden. My felted flock
or eaten by kangaroos - our garden insist on tasting our olives, oranges has found its way to Europe, Asia
is now a haven for a multitude of and mulberries, one nibble at a and the Americas. Meanwhile, a
native southwestern birds. time. close-knit family of ten wrens call
I made my first Splendid Fairy The Studio Gallery in Yallingup our property home, calling in to be
Wren as a gift for my Mum in the (where I show my other felted hand fed at breakfast, lunch and
UK. She had been to visit us and had artworks) were keen to take my supper time.
P
R
SUE
O
SMORTHWAITE
J
E
C
T
Western Rosella Parrot

MATERIALS • sewing needle and threads
For the bird: • buttons for the eyes
• resist material (I use foam underlay)
• wool fibres; either prefelts or tops in For the feet:
chosen colours • wire (eg.18-gauge floral stem wire)
• water, soap, and usual felting equipment: • thin-nosed pliers
bubble wrap, towels, wooden dowel • small piece of stiff plastic
• scissors and marker pen • wool roving (black or other colour)
• stuffing (I use recycled cushion stuffing) • fabric glue (optional)
This project is suitable for all levels and roll the fine wool fibre around
of felting experience and can be the roving.
adapted in many ways; using one Dry roll a few times in one
basic shape a variety of birds can direction (away from your body).
be created - imagination is the only Add a little soapy water but keep
thing required! one end of the cord dry as this will
make it easier to attach the cord to
Note: the birds incorporate small the main body. 1
buttons, wire, and stuffing material; Continue to roll in one direction
they are not designed to be toys for for a few more rolls, then gently
small children. roll the cord back and forth until
quite firm. Add soap and water if
Draw and cut out your bird shape necessary but remember to keep
from your resist material (photo 1). one end of the cord dry!
For this project I used a template Repeat this sequence for the
measuring 21cm (8.3inch) wide and other cords (I made three) and then
25cm (10inch) high. set them aside.
Make the tail cords First layer of wool

Place a piece of bubble wrap on As the bird body will be filled with
your worktable (bubbles facing up). stuffing later, it is sufficient to use 2
Using wool roving, determine how two thin layers of wool with the tail
long and wide you want the tail cords being added between the two
cords to be, and add 2cm (0.8inch) layers.
to that length - this will be used to Place the resist on the bubble
join the cords to the body. Twist wrap (bubbles up), lay out the first
a length of roving between your layer of wool on the resist, working
hands to get an idea of the diameter from left to right (or vice versa)
of the cord. and overlap the edges of your
Lay out a fine layer of wool fibres resist about 2cm (0.8inch). Use
to the length of the cord but in a a bird image or your own design
perpendicular direction, then place to determine colour placement 3
the length of roving on top (photo 2) (photos 3 and 4).
Wet out the wool, place another Attend to colour placement, patch
piece of bubble wrap on top and any thin spots with a little more
gently press to remove any air wool and ensure the fibres are
bubbles. Refrain from rubbing at folded snug against the edge of
this stage. the resist.
Remove the top bubble wrap and Cover the wet and soapy wool
if necessary, fill any thin spots with with bubble wrap and rub for several
a small amount of wool, replace the minutes in various directions and
bubble wrap and press down to wet on both sides of the resist.
the new fibres.
Turn over your work and fold over the Tip: If the tail cords have come
extruding wool fibres snug against loose, either secure them with 4
the edge of the resist; this helps to some stitching or use a safety pin
avoid unwanted ridges forming later to attach them. The pin, and any
(photo 5). stitching, can be removed once the
Lay out the wool on the second cords are fully felted.
side of the resist but keep within the
parameter of the template, do not For the rolling stage, I use a
extend over the edges as too much wooden dowel as it offers more
bulk at the resist edges may cause control than a pool noodle and is
ridges in your felt. not as bulky. Place the dowel at one
Wet out, cover with bubble wrap, end of the bubble wrap and roll up.
and gently press out any air. Check Do 10 gentle rolls, remove the top
for any thin spots and add more wool bubble wrap and check that the
if needed. You now have one layer of fibres have not moved out of place.
wool on both sides of the resist. Turn your work 45 degrees, 5
Place bubble wrap on top and cover with bubble wrap, roll up, and
gently rub the work in different do another 10 gentle rolls. Repeat
directions for several minutes. twice until you come full circle,
The aim is to open the scales on turning, rolling, and checking the
the fibres without felting the wool. work, adding more water or soap
Remove the top bubble wrap and, if necessary. If the wool starts to
if needed, use a towel to gently firm up, very gently stretch it back
remove any excess water. into shape. Flip over your work
and repeat the sequence with the
Attaching the tail cords second side of the resist facing up.
Starting with one cord, fan out the
dry end and, if necessary, cut out Important: Regularly check that no
extra bulk at the centre of the cord ridges form on the edge of the resist
(photo 6). and gently resize/shape the bird
Position the centre of the cord each time you rotate it (photo 9). 6
against the edge of the resist (where
the tail will be) and ensure that the After the initial sequence of
dry ends of the cord are placed on the rolling on both sides of the resist,
bird body on both sides of the resist the wool will have started to felt
(photo 7). and become firmer. Keep it wet and
Repeat this process with the soapy and covered in bubble wrap.
remaining cords. Using soapy water, Start applying a little more pressure
wet down, cover with bubble wrap as you continue the rolling process
and gently rub the area where the in all directions and on both sides
cords are attached to the body until the resist starts to buckle
(photo 8). inside the felt (photo 10).
Use sharp scissors to cut a small
Second layer and felting hole in the bottom of the bird where
Lay out the second layer of wool on the feet will go. Rub the cut edges
both sides of the resist with fibres with soapy fingers to ‘heal’ the cut; 7
placed perpendicular to the first layer. then remove the resist (photo 11).
Continue felting until the bird is
firm and has shrunk to the desired
size using your preferred felting
method. Rinse the felt in cold water,
removing all the soap. Use a towel
to dry, then insert the stuffing until
the bird is quite firm. Set aside to
dry (photo 12).
Tip: I use a chopstick to help shape

the beak, smooth out any ridges and
12 to compact the stuffing.
If you do not have a ready-made

piece of felt that matches the colour
8 of the bird’s belly, make a small
piece two layers thick. This can
be cut to fit the hole and stitched
into place once the feet have been
inserted into the body.
The feet
There are plenty of good videos on
YouTube that demonstrate how to
make wire bird feet and you might
already have your own method.
Here is how I do it:
Take a length of wire at least
9 13
46cm (18inch) in length (a longer
length and thicker wire might be
needed if you are making a larger
bird) and bend it in half using
pliers (photo 13). This will form the
middle toe.
Cut a strip of strong plastic
sheeting approximately 2cm (0.8
inch) wide to assist in getting the
toes the same size.
Place the plastic between the
bended wire and form the 2nd and
3rd toe on either side of the middle
toe by bending the wire around the
plastic (photo 14).
10 14 Slide the toes off the plastic.
Take one end of the wire and, using
the plastic template again, bend
the wire around it to form the 4th
(back) toe. Bend the other end of the
wire upwards to form the leg (photo
15). Use your pliers to tightly pinch
the wires at the base of the toes and
then twist the two ends to form the
leg (photo 16).
Repeat for the second leg. Take a

11 15 thin strip of wool roving to wrap
round the wire feet.
16 17 18
Start with each toe, then move wool between your fingers for about will dry clear and the feet remain
up the leg (photo 17). If you want a minute, then soak the feet in water flexible.
thicker legs, add more layers of (no soap) and gently roll/rub between
wool but keep each layer thin as it your fingers to slightly felt them, then Once fully dry, push the feet into the
is easier to wrap and creates a more use a towel to pat them dry. bird’s body through the hole created
even look. Do not wet the wool at when cutting out the resist. The wire
this point. The next stage is optional. Rub needs to be about halfway up into the
fabric glue into the wool roving body for stability, and you may need
Note: There are various ways to on each foot, making sure that the to remove or add more stuffing. Make
cover the feet, including floristry wool is well coated before placing sure your bird can stand before cutting
tape and yarns. I used to wrap the feet on a piece of plastic to dry out a small piece of felt and stitching
knitting wool, but nowadays use (photo 18). Rotate the feet every this in place to cover the small hole.
mainly wool roving. 20 minutes to encourage the glue Sew button eyes onto your bird...
to dry evenly. The feet will look and you are done. Enjoy creating your
Gently dry roll/rub the wrapped white while the glue is wet but own flock of birds!

Snowy Creek Engineering
Needle Felting Tools
Easy, fast, safe needle changes
Multi needle: holds 1 - 6
needles in any configuration
Single needle: precision
centred tip
The tools
professionals use
Ph: 0428 356 239 www.snowycreek.com.au
We are a not-for-profit organization of approximately 160 members

who range from beginning to advanced feltmakers. We meet
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in the world of felt.
Our organisation is concerned with sharing, promoting and
supporting the feltmaking community.
Please visit our website for more information
www.victorianfeltmakersinc.wildapricot.org
Contact: vicfeltpresident@gmail.com
Assorted arts and

cra items for your
textile and fibre art
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lyndasbookscraftsandtreasures
smileykylies@bigpond.com
Felted Rugs
Inspired by
Central
Asian
Motifs
Flóra Carlile-Kovács
Rug #1
It rarely snows in my hometown of rug more colourful. And rather than two large watering cans filled with
Seattle (USA), and it is even more rare predetermining a finished size, I let the soapy water. Next step was the rolling
that the snow lasts over ten days. But various design elements determine the process. Rolling up was not a problem
in February 2019, my travel plans, and measurements and outcome. but when I tried to lift the large wet roll
my workshops were cancelled because I made several large prefelts, onto the tables, I realised I could barely
of the “snowmageddon”. It was the starting with one that showed ‘warm move it on my own. Fortunately, my
perfect time for me to launch into a colour’ transitions to match the husband was able to lend a hand (and
large project. shapes of my chosen patterns. Two his muscles!).
I have made large-scale felt pieces further prefelts incorporated rainbow Compared to the time I spent
before, and in my felting workshops I colours for my ‘rocky road’ pattern, a designing and laying out the wool,
teach students how to effectively use white prefelt was made for the snowy the rolling of the felt was surprisingly
handmade prefelts in their designs. I mountains, and another prefelt for the quick, about three hours with two
decided to combine these two elements frame pattern of the rug. It took me an people. Being so heavy from the water
and make a large, felted rug inspired by entire week to make these five large meant that the roll had a substantial
those made by Central-Asian nomadic prefelts and prepare all the design weight which aided the felting process.
people. components ready for assemblage. Once the various elements of the rug
To start the process, I researched To lay out the various designs I had were connected in one large felt, it also
traditional Kirghiz patterns and put together my two felting tables side became easier to handle and I could roll
symbols and sketched ideas for my by side (8 x 8 feet, or 240 x 240cm in it on my own. Finishing the edges of the
new rug. I have long been fascinated total), however, I was surprised that rug took a few more hours. Then came
by strong, seemingly timeless Central it was not long enough to lay out the the last rolling phase, “for beauty” as
Asian patterns and designs which entire rug! So, I cleared the floor and, nomadic feltmakers are known to say,
represent and reflect traditional beliefs like nomadic people have done for followed by rinsing the rug and letting
and cultural values. These patterns are generations, I worked at ground level. it dry for several days.
often based on shapes found in nature, To keep the design secure, I worked A whole year went by and then, in
including zoomorphic and plant forms. upside down (placing the designs face early 2020, the Covid-19 pandemic
One of the most common patterns down on the felting mat). I arranged the struck. Again, all my teaching trips and
is the so-called ram's horn and its patterns, added woolen yarn for contour the Hungarian Felt Tours that I organise
variations. and details, and then filled in the empty every year were cancelled. I found
For my rug, I adapted a number of spaces with loose wool fibres. This part myself with plenty of time, but little
design elements relevant and central of the process took another whole week. inspiration to do my usual work. And I
to my life: the value of a strong family I did not expect working on the concrete had a big bag of prefelt leftovers from
connection, the tree of life, a ‘rocky road’ floor for six to eight hours each day to making my large rug. I decided to make
(also known as the road of life), snow- be pleasant but, I actually found that another rug.
capped mountains, and protective working in the flow of the moment, I The original plan was to use the
eagles. I also created my own patterns did not experience any kind of pain or prefelt ‘negatives’ from the first rug.
based on traditional design principles. discomfort. Time simply flew. In other words, the prefelt cutouts
Although I love the subtle colour When making felt, I typically use my I had left over mirrored those used
combinations often seen in traditional ball-brauser to wet the wool, but this in the first rug, akin to having a
nomads’ rugs, I decided to make my rug was so large that I resorted to using positive-negative design.
White prefelt and snowy
mountains pattern
Warm colours prefelt
Prefelt for border design
Laying out the pattern
Patterns used to cut the

warm colours prefelt
Rainbow prefelt
Flipping the pattern upside down

Filling in the gaps and finishing edges
Rug #1 before final shrinkage
Rug #2, laying out
Adding the final layers of wool
Rolling Rug #2, assembling the pattern upside down

Rolling
Rug #2, finishing layout
Rug #2, wetting the felt
Rug #2
I had the entire centre section but realised that I would creating with fibre. She is fascinated by both the tradition
have to make more prefelts for the mountain design and the of felt making and its modern applications and felt, as
frame. So instead of an exact mirror copy of the first rug, I an expressive medium, is conducive to an instinctive and
chose to adapt; I left out the ‘cool’ colours and the ‘rocky spontaneous creative process. Flóra likens felt making
road’ pattern. I also decided not to outline the patterns to painting and sculpture combined; the combination of
with yarns. With these few changes I now have two quite colours, and the virtually endless applications of wool hold
different looking rugs! immense appeal and possibilities. She likes textures, forms,
The wool I used for making the two rugs was New Zealand and effects in her work which, in part, are obtained through
Merino (27 micron), Bergshaf (29 micron) and Mongolian the introduction of 'foreign' materials: other textiles,
wool (34 micron). The size of the first rug prior to felting organic materials, wire and metallic thread, beads, stones,
was 305 x 178 cm (120 x 70inch), the finished size is 218 and more.
x 130 cm (86 x 51 inch), and the rug weighs 3.3 kilogram Flóra has been a full-time feltmaker and instructor
(7.3lbs). Rug number two was 212 x 330cm (84 x 128inch) since 2005, focusing on wearable art, and interior textiles,
at the layout stage, and the finished rug measures 152 x accessories, and workshops that she teaches at all levels of
235cm (60 x 92inch). It weighs 3.6 kilogram (7.145lbs). experience. Since 2016 she also leads her immensely popular
annual Felt Tours to Hungary
Flóra Carlile-Kovács was born and raised in Hungary and www.felttours.com www.florafelts.com
now lives and works in Seattle, Washington State, USA. www.facebook.com/Floranemez
Her interest in textiles led her to complete formal studies www.instagram.com/Florafelts
in ethnography and museology, but her true passion lies in flora@florafelts.com
Critters
Juliana Knight
(Specialising in HACCP systems),
Occupational Health and Safety, and
Photo by Robert Knight
First Aid Instruction followed. My
teaching career spanned a 25-year
Insectus Globus and Globus Bright Spark, 2020 period before I retired in 2009.
Wet Felted. Wool roving, wire, florist tape, globes, resin wings I was introduced to felting in 2016
21 x 9 x 8cm and 14 x 6 x 11cm and, while it was not love at first attempt
or sight, I persevered and since that
time have experimented extensively
with both wet and needle felting. As a
mixed media artist, I quickly realised I
could combine wool with many other
fibres, textiles, embellishments, and
objects of interest. Having my own
sheep on the farm has enabled me to
experiment with wool straight from
the sheep’s back. Experimenting with
raw wool (18-20 micron) and mixing it
with viscose, silk threads, cottons and
ribbon creates interesting textures and
additions. I also enjoy working with
16.5-micron merino wool.
Having gained many creative skills
over a long period, my passion for
learning and creating continues to this
day. I enjoy participating in exhibitions,
shows and teaching others.
I work in a purpose-built studio which
is designed to accommodate small class
groups and am currently a member of
the Embroiderers Guild (ACT) and the
Canberra Region Feltmakers.
Globus Illuminous, Globus Bright Spark and Insectus Globus, 2020
My passion is to create unusual,
Wet felted, wool roving, wire, florist tape, globes, dimensions variable original, and often quirky items that are
fun and colourful.
I live on a small farm in Bywong, New from fabric scraps. When my husband The farm provides a constant source
South Wales, Australia, a setting which and I had children, the creative side of inspiration and there are many
provides endless motivation and of life popped up again in the form species of critters, including gorgeous
inspiration for my work as a mixed of cake decorating. Following formal lizards during the warmer months.
media artist. studies my confidence increased and Many critters are so inquisitive, quirky,
When I was seven, my parents I began to exhibit my cake decorating and colourful; they have a ‘personality’.
moved the family from England to creations in shows, winning many Observing them in their natural
Australia. My dad worked as a plasterer Grand Championships. I became a surrounds has inspired me to replicate
and, as a homemaker, my mother was professional cake decorator, was a their beauty and quirkiness in an
constantly knitting, designing, and judge at local and national shows, artistic form.
making clothes for the family. I did not demonstrated the art form around Each handmade critter is unique in
realise at the time that observing my Australia and taught Sugar Art at TAFE. design, colour, and shape. The process
parents constantly creating something This led me to obtain a Diploma of of making is both challenging and
would shape the rest of my life. Teaching Adult Education through both infinitely rewarding, and it requires a
As a young child I learned to stitch, The University of Canberra and the broad skill set: designing, engineering,
and I loved making dressed dolls. I Australian National University (School construction, moulding, felting,
built doll houses from old wooden of Art and Design) for elective subjects sculpting. Felting the body can involve
fruit boxes, tiny furniture from bits of in Ceramics. Study became a part of my using multiple resists, and a globe is
timber and cardboard, and bedding life and qualifications in Food Safety fastened in the finished body cavity.
Redback Spider Checks Out Globus Bright Spark, 2020
Wet felted spheres, needle felted red stripe. Wool, wire, beads, 15 x 3 x 10cm
Globus Precious, 2020 Wet felted Wool roving,

globe, threads, wire, beads, bells, handmade
holly leaves and berries, 19 x 11 x 7cm
Insectus Globus with Ladybug, 2020 Frazzled, 2020 Wet felted

Wet felted Wool roving, resin, globe, 21 x 9 x 8cm Wool roving and locks, wire, eyes, 23 x 6 x 16cm
For special effect, many of my critters

have tiny battery-operated LED string
lights placed inside the globe, and
other features such as eyes, antennae
and legs are added using beads, wire,
floristry tape, paper-clay, polymer clay
and resin. For my winged critters I
make individually tailored wings using
epoxy resin.
Making critters can be quite
addictive but, above all, each one of
them has been a lot of fun to create!
www.bywongartandcraft.com.au
Facebook: Bywong Art and Craft
Daffodil with Globus Bright Spark, 2020
Wet felted. Wool roving, light globe, cabochons, All images by Juliana Knight unless
florist wire and tape, paperclay, wire, silk thread, pink stamens otherwise noted
book reviews
Felted Animal Knits: 20 keep-forever

friends to knit, felt and love
Catherine Arnfield (Search Press)
ISBN: 9781782217510 \ RRP: $38.99
graphic design|branding
publication design|digital design
I am so used to seeing books which describe how to make
three-dimensional felted animals by needle felting fibres.
This book by Catherine Arnfield is different.
m 0420 577 450
e cillapoaheighway@bigpond.com
Arnfield has combined knitting, wet felting and needle w www.cphcreativestudio.com.au
felting to create three-dimensional life-like animals. The
techniques she describes could be applied to numerous items
and sculptures.
Having tried knitting, wet felting and needle felting as
can do
separate projects, Arnfield’s idea of combining the arts of
knitting and felting came from a desire to fashion something
that was more realistic in appearance. Arnfield realised she
BOOKS
could create larger projects than she might have through
needle felting alone. Furthermore, it took away the guess
work of building a form from scratch and the need to add
metal armatures for posing.
This book contains short introductions to the materials
and equipment required, followed by a large section detailing • Mail order
the techniques used across the twenty animals including:
basic knitting (she has kept the knitting component as simple
• Shop online
and straightforward as possible); hand sewing the pieces • Fast Shipping
together; how to wet felt the pieces; stuffing and construction;
needle felting and adding special details. Each technique has
clear photos and instructions. candobooks.com.au
In the projects section, Arnfield includes a variety of
animals, such as a koala, lion, cats, and mice. Each project has
an assigned level of difficulty and the layout has been well
thought through with each project specifying the materials
ee
Frcatalogue
needed (yarns, fibres, equipment), followed by the five
stages of creating (knitting, sewing, wet felting, stuffing and Contact us for
construction) and needle-felted additions. All is explained
clearly through text, photos and diagrams.
a free catalogue.
There is certainly something here for everyone to try,
from beginners (who will quickly advance their skills) to the 39 Clifford Street, Huntingdale VIC 3166
more experienced. Tel: 1300 308 261
—Lynda Worthington
Email: info@candobooks.com.au
P
R
MARTIEN
O
VAN ZUILEN
J
E
C
T
Cor al B l oom
MATERIALS
• Fine merino wool fibres (18-micron is ideal). I used
approximately 10 grams (0.3oz) of wool; leftover ‘scraps’ of
fibres are perfect
• Textural fibres for surface effects; I used hand-dyed silk lap
and wool nepps
• Sewing needle, scissors, pliers, strong thread
• Resist material: I used thin underlayment and clear plastic
Corals, with their complex shapes and often dazzling colours, • Felting equipment: grip mat; netting; plastic bag; rubbing tool,
are an amazing group of animals. Much of the oceans’ reefs wooden dowel, container for water and soap
are corals, which in turn support an abundant array of plants,
animals, and organisms. I have been captivated by coral since
a snorkelling trip to the amazing Great Barrier Reef National
Park in 1987 and recognise the need to protect and save this
exceptional ecosystem and its marine life.
This project is inspired by a coral polyp with basal plates
and tentacles. Depending on the resist size used, it makes a
unique brooch or a larger 3D sculpture. It is best suited for
those with some felting experience.
Prepare Resists and Layout

Cut two circular resists, each measuring 18cm (7inch) in
diameter. In the centre of each circle, cut out a smaller circle
measuring 7.5cm (3inch) in diameter (photo 1). Cut a piece of
clear plastic, slightly larger than the resists and in the centre
of the plastic cut out a smaller circle measuring 7.5cm (3inch)
in diameter.
Place a circular resist on your felting mat. Spread some
textural fibres on the resist (I used silk lap, photo 2), then
lay out a thin layer of wool over the entire resist, including
the centre space. Use the “shingling” (overlapping) method 1
and extend the wool 4cm (1.6inch) beyond the outer edge of
the resist. Lay out the second layer of wool perpendicular to
the first, extending beyond the edge of the resist. Add more
textural surface fibres; I chose hand-dyed wool nepps and silk
lap (photo 3).
Prefelt the Basal Plates

Place the netting over the wool and press lukewarm soapy
water into the wool using a plastic bag, removing the air, and
wetting the wool. Try not to use too much water and work
gently. Flip your work over so that the template is now face
up. Fold the protruding wool fibres inwards, making sure
that the fibres firmly abut the edge of the template. If there
is excess wool, cut away some triangles and spread the fibres
evenly (photo 4). Fill in the remaining area of the resist using 2 3
two layers of wool and add textural fibres.
4 7
8
5
6 9
With the netting in place, gently wet mat, add soapy water so the wool is If this proves tricky, snip a tiny hole
and rub the wool (using a plastic bag saturated and gently roll the strand in the base felt using sharp-pointed
or felting tool), until the fibres on both on the mat, until pre-felted. Repeat scissors and thread the cord through
sides of the resist start to interlock and with the other strands until you have the base. Leave a long loop and thread
a soft pre-felt is formed. an array of pre-felted cords (photo 8). the cord through the base again. The
Repeat with the second circle. Use a dry towel to squeeze out as much aim is to stitch as many cords as you
You now have two softly felted ‘discs’ water as possible. Do not cut the cords can fit in the centre circle space – the
which will form the basal plates of the at this stage. more the merrier (photo 10)!
coral bloom.
Cut a small handful of short fine Note: In issue 19 (June, 2018), I Tip: be generous in the length of the
fibres and place them in the middle of shared a super-quick method of tentacles; they are ‘only’ pre-felt at
one of the discs (photo 5). Place the making many lengths of cords, this stage and will shrink in length!
other disc on top and, using a strong which would also suit this project.
thread, firmly stitch the discs together If you want to hide the visible cord
through the centre section. Reinforce To attach the tentacles to the base, you stitches on the underside of the work
the stitching over the whole centre will need a large-eyed sharp-pointed (photo 11), stitch a small piece of prefelt
area, making sure to not stitch through needle, sharp-pointed scissors, and a or place fibres over the top, wet out and
the resist material (photo 6). pair of pliers. Thread the pointy end of gently rub until the added fibres are
a pre-felted cord through the eye of the anchored to the base.
Make the Tentacles needle and stitch it through the centre of
Carefully split several colours of wool the base plates (the area where there is Felting and Finishing
tops into strands of varying thicknesses no resist material). Use pliers to pull the Place the clear plastic (with the circular
(photo 7). Place a strand on your felting needle and cord through (photo 9). hole in the centre) between the two
10 13
11 14
12
base plates; this will stop them felting tentacles separately, including the tips
together (photo 12). to make them pointy. The wool fibres
Fully wet the work using lukewarm will start to contract (shrink); continue
soapy water, place a piece of grip mat rolling until the resists are buckling dash of vinegar to help ‘set’ the fibre
underneath and on top of your work considerably (photo 13). structure and restore the natural Ph
and with soapy hands rub the work in Remove the resists by carefully value of the wool. Squeeze out any
short vibrating movements for about 5 cutting the felt around the outer edges of excess water, roll your felt in a dry
minutes on each side and in between each resist and pull them away. The two towel, shape the coral base plates and
the two base plates. Apply friction base plates are instantly transformed the tentacles to your liking and then let
without moving the fibres too much into four layers and the textural fibres it air-dry.
and keep the work in shape. The aim is placed against the resist at the layout For variations, try using two (or
to create a firm prefelt all over; a felting stage become visible (photo 14). more) resists of slightly different size.
tool can come in handy too. Gently Use soapy water and a plastic Martien van Zuilen is a full-time
stretch each of the tentacle to stop them bag to rub the felt along the cut fibre artist tutor based in Perth,
felting to the base. edges; this helps ‘heal’ and firm up Western Australia. She is the editor
Keep the plastic sheet in place the edges. Continue felting, separate of FELT and the Convenor of Fibres
and roll up the work in your felting the rims every now and again, and West Inc., and operates her artisan
mat. Gently roll 20 to 30 times, unroll, firm up the tentacles. The base of the dyeing studio Colourant Dyeworks -
smooth out any wrinkles on both sides work will start to ruffle; this adds to www.etsy.com/au/shop/
and between the two resists, roll up the overall shape. ColourantDyeworks
your work and roll 20 to 30 times again. When the work is fully felted and www.martienvanzuilen.com,
Repeat this process and check for any shrunk, rinse out the soap and place it Instagram @martienvanzuilen,
unwanted wrinkles, and ridges. Rub the in water for 10 minutes with an added Facebook: martienvanzuilen
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2020

THE AUSTRALIAN MAGAZINE FOR FELTING AND MORE Issue 24

Great projects and articles.

Blending Board Small Hand Carders Tijuana Alpacas Wool Shop

ART I CLES P ROJECTS 34

7 In Focus 30 Valais Blacknose Sitting Pad

11 Artist Profile 39 Western Rosella Parrot

20 Faces of Extinction 51 Coral Bloom

Felt is an independent Australian publication

www.artwearpublications.com.au Issue No 24 Felt 1

Martien van Zuilen

2. Figurative collage for

3. Jacquard woven fabric

www.artwearpublications.com.au Issue No 24 Felt 3

13. Contemporary Dancers - Elegant Queen and Bobble

11. Residual Memories (detail),

12. Life Dance, 2018.

What an eye opener! So now I have the

Felting has been my main occupation

Wood, 2020, wool,

Berry, 2019, wool,

Bear, 2019, wool,

Wolf, 2020, wool, beads, dimensions variable

Above and Below, Bumps, 2020, wool, beads, wire, 6-10cm

As much as I like creating, I love teaching. Many weekends I meet

Looking back, I can’t remember a time when

My early work included needle felted bilbies and I was

Polar North, Arctic Collection, 2019. 220 x 200 x 100 mm,

Kimberley Dreaming, Kimberley Collection, 2017. 80 x 120 x 100 mm,

Tip: Turn your work around or reposition as needed to be

Wrap another piece of core wool (approximately 30cm

Tip: As you wrap the wool, slightly draft it out to get

Continue this process of up and down the skewer, with

Tip: Occasionally check that fibres aren’t sticking up from

Underside and Assembly

Artist & model: Roberta Rolf (Canada)

My choice of a Saiga was the result of seeing a documentary some

Saigas have a unique nose structure which is thought to warm up

After viewing the long list of threatened

Artist & model: Christobel Macdonald (Canada)

I am an Italian costume designer, textile and

When I first experienced diving, I became

However, roughly half of the world’s coral

With my coral mask I present the story of

www.artwearpublications.com.au Issue No 24 Felt 23

The beautiful face of death.

During our research on coral we watched a video on coral

In designing our mask, we tried to summon this beauty. Under

For more information and guidelines on how to take part,

Hand-dyed Superfine Merino Wool,

This great source book is available from www.artwearpublications.com.au

www.artwearpublications.com.au Issue No 24 Felt 25

Susan started the black and white phase, as Sabin

Crossroads, 2019 (Susan). NZ merino wool,

Balance 2018 (Susan).

Wool Sitting Pad

Add the Valais curls

I am inspired by both the

Giraffe, 2019, 20 x 4 x 4 inches,

Shrimp, 2019, 7 x 7 x 3 inches,

Rooster, 2019, 14 x 10 x 4 inches,

Double Garden, 2020, 13 x 9 x 7 inches, Whistle, 2019, 19 x 10 x 3 inches,

www.artwearpublications.com.au Issue No 24 Felt 35

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