Felt n23

2020
THE AUSTRALIAN MAGAZINE FOR FELTING AND MORE Issue 23

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INSIDE
Great projects and articles.
Inspirational artist profiles. Wet felting, needle felting & more!
ACT
Crafty Frog
Kambah, ACT 2902
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info@craftyfrog.com.au
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New South Wales

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Spinners Haven
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Contents
ISSUE 23 JUNE 2020
ON T H E COVER
First You Must Burn Pam de Groot
Photographer: Janet Tavener
3
ART I CLES P RO J ECTS
Artist Profile 15 Colourful Cuffs
3
Elizabeth Armstrong Christianna Ferguson
7
7 Artist Profile 24 Bag :: Colour :: Flair
Molly Anderson Tanja Gawin
11 Artist in Focus 35 A Hat for Curls

Christianna Ferguson Liz Evans
20 Feltscapes: Cora Jongsma 44 Storage Box

Martien van Zuilen Jennie Curtis
28 Untethered but not adrift 51 Smocking Felt ::

Pam de Groot Rippling Textures
Martien van Zuilen
32 Rapt in Felt :: Colour
Dance INFORMAT IO N
Jennie Curtis
2 Editor’s Notes
48 Book Reviews
40 15th Southern
55 Classifieds
Hemisphere Felt
55 Advertisers index
Convergence
56 Subscriptions
Sandy Lamb
15
Felt is an independent Australian publication

35
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
editorial purposes, and all copyrights and trademarks are acknowledged.
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 23 Felt 1

www.artwearpublications.com.au or find us on Facebook
editor’s notes
Issue 23 JUNE 2020
Publisher You can cut all the flowers, but you cannot keep spring from coming.
ArtWear Publications Pty Ltd
Pablo Neruda
Editor Martien van Zuilen
Art Director Kylie Albanese As I write these notes, on March 21st, the global community is in
uncharted territory. The spread of COVID-19 is the biggest disruption
Photography
to our lives in generations and, in Australia, it comes on the back of
The author of each project or article is the
‘how to’ photographer and often the ‘finished months of devastating bushfires followed by storms and floods. There
article’ photographer, unless otherwise noted. has been much to process in a short period of time.
Just one of these events would have been devastating enough, and indeed will have long-
Contributors
Elizabeth Armstrong, Molly Anderson, term consequences. Put them together, one after the other, and it feels like a computer
Christianna Ferguson, Martien van Zuilen, with too many tabs open in the browser, all the time.
Tanja Gawin, Pam de Groot, Jennie Curtis, Liz During this unsettling period, the term ‘social distancing’ is omnipresent. Yet in some
Evans, Sandy Lamb
ways the distancing has never felt more social. People are reaching out, in person where
Graphic designer Cilla Poa-Heighway possible and especially through social media. Sharing thoughts, anxieties, insights, sound
Proof reader Marilyn Clark-Murphy
advice, a few too many unproven medical ‘claims’ and yes, some good humour too. As we
learn to navigate new terrain, I am deeply thankful for the support and linkages across our
Admin assistant Dawn Bordin global felting community.
Advertising sales and marketing Many in our felting community have seen paid work and other aspects of our creative
Lynda Worthington 03 9888 1853 life evaporate. Gatherings, workshops, festivals, art markets and exhibitions have been
thegirls@artwearpublications.com.au cancelled or postponed. Everyone is affected in some way. And if nothing else, we have
Published in Australia come to realise that we are all in this together.
Printed in China by C & C Offset Printing Co., Ltd
Felt inspired by Colour and Texture – the theme of this issue was set many months
Australian distribution by Gordon & Gotch ago. Yet it is relevant, perhaps now more than ever, that we continue to create with firm
Agents order online or call customer service on
1300 650 666 persuasion. To this end, I am delighted to have been able to include the wonderfully
New Zealand distribution: please contact ArtWear
inspiring work of artists near and far, among them Elizabeth Armstrong (Australia), Mollie
Publications P/L Anderson (USA) and Christianna Ferguson (Canada). Pam de Groot (Australia) writes in
Tel:+64 (0)3 963 0649
poignant fashion, about the impetus for her latest works exhibited last year. In a similar
USA and Canada distribution vein, I had the very good fortune to meet Dutch landscape researcher and artist Cora
by DISTICOR Magazine Distribution Services
Tel: +905 619 6565 Jongsma during her Artist-in-Residency in Western Australia late last year.
UK distribution by Manor House
As editor I am always on the lookout for enticing projects that fit the theme. Christianna
Tel +44 (0) 1672 514 288 Ferguson shares her method for creating Colourful Cuffs perfect for every climate, while
World Wide Digital Distribution by GGA Tanja Gawin lures us into her joyful realm of well-designed and colourful bags. Jennie Curtis
www.pocketmags.com.au shows how to create a strong storage box in her project suited for all levels of experience,
Please address comments, letters, and inquiries to while Liz Evans’ hat will make your head spin with curls. On the textural front, a simple
thegirls@artwearpublications.com.au ‘smocking’ technique is set to create waves and ripples to your felting heart’s content.
or write to FELT Magazine, PO Box 469,
Ashburton, VIC 3147. Ph: +61 3 9888 1853. Last, but certainly not least, we share news from the community; the Southern
Hemisphere Felt Convergence held in New Zealand in 2019 and the Rapt in Felt – Colour
All contents © FELT Magazine 2019. The purchaser of
this magazine may make a single copy of any pattern Dance event by the Canberra Region Feltmakers. Speaking of which, the Canberra Region
contained within for personal use only. Please do not Feltmakers are set to be the hosts the 2021 Southern Hemisphere Felt Convergence! The
give copies to your friends. Contact us to talk about
reproductions, including intended sale of items made dates are September 5 – 10. It is a terrific event to look forward to; make sure to lock it in!
from patterns within this magazine. If you have any I hope that you keep well and, importantly, that you keep creating – inspired and
questions about obtaining permissions or about this
policy, please contact us at the address above. bolstered by the things that connect us and the celebration of colour and texture in this
issue.
FELT ® is a registered trademark of ArtWear
Publications P/L, Ashwood, VIC. ISSN 1836-8735.
Yours in Felt
Martien
Martien van Zuilen

Editor
felteditor@artwearpublications.com.au
2 Felt Issue No 23 www.artwearpublications.com.au
Hello!
My name is Elizabeth Armstrong and
Artist Profile
I have been a feltmaker for 25 years. Elizabeth Armstrong
The time seems to have gone quickly.
Perhaps because, when I discovered
felt in my late twenties, I was so eager
to try every possible method I could.
I have always had a very deep love of felt. Sometimes this is

wool. As a little girl in primary school done by replicating the
I had a friend who also loved wool. painted colours exactly; at
We would sit on the floor in each other times I use the design
other’s homes and swap lengths of and change the shades to an
wool and left-over balls from family alternative selection. The use
knitters. We would wind the balls and of computer programs such
cherish them until the next swap day. as Photoshop is invaluable to
I kept funny oddments of yarn, in a me; to see alterations in colour,
Friends of the Sea
little brown upholstery bag, and we value and hue.
(detail), 2013
made great lengths of rope using a After all this time I still
knitting nancy. Heaven knows what absolutely love the excitement
happened to it all. of creating a fabric, by hand, from
As an adult I wanted to work with a ‘lump of fluff’, without gadgets
wool but in some way other than or electricity. My work includes
using yarn. In a library I discovered a garments, accessories, homewares
book on felting fleece. I cannot recall and large-scale installations; the single
the name of the book but, having read most challenging element is finding
it, I went to the Post Office in central enough time to do it all!
Melbourne, consulted the national Over the years I have noticed that my
phone books and wrote down the creative process is the same no matter
details of every woollen mill I could the size of the project. It includes
find. I phoned them all to request the excitement generated from
samples and colour cards. And so, my an idea and the contemplative
felting life began. period of laying out the wool
In the initial stages I just wanted fibres. I do not rush this part of
to have a go and I loved making felt the construction and often leave
so much that I never stopped. My the layout on my worktable for
first felt was thick, thin, lumpy and a day or two. When I re-engage
bumpy. There was so much to learn with the work, I realise that
and discover, both technically and there might be crucial changes
artistically, I foresaw that I would be that need to take place - mostly in
studying the art of felt making for terms of colour, but sometimes the
decades. shape as well.
Over the years my explorations My favourite item to create is
have resulted in a series of wet-felting always the piece I happen to be
techniques that represent what I wish working on at the time, so it changes
to say in wool. I use merino wool that with each work. I would say that my
I dye by hand. My preference is for style is quite youthful; I often feel as
fine wool (17 to 19 micron) because if I’m happily stuck in an illustrated
of its handle and relative felting children’s book.
speed. My two-dimensional felts are I also think I am the artist I am
finished artworks in themselves or today because of the long history of
serve as a fabric that can be altered felt. I love this long line of makers
and used to create something else. that I feel connected to and the range
The many patterns and designs I of excellent artists who have shown
draw in my sketchbooks provide a what the medium, hard work and
leap to creating the same ideas in dedication can do.
School Installation, 2014
Methodist Ladies College (Melbourne),
grade 4 students
As I have travelled overseas to teach

and have had a solo exhibition
in South Korea, I have learned to
appreciate new colour combinations
and methods of working. This too
has broadened my outlook on a world
where felt is pursued and indeed
cherished and I feel a quiet joy to be
part of such a community.
As an Artist in Residence in various
schools I have taught hundreds of
children to felt over the last 15 years.
Sometimes the school community
chooses the subject (which can be
challenging!) and at other times I
have the artistic freedom to propose
designs.
These residency projects have the
added benefit that they provide an
opportunity to create handmade felts
on a large scale; there simply is no
room at home for a 5-metre-long felt.
I do feel lucky to be able to do these
big projects.
I firmly believe that anyone can
achieve stunning work in felt by
simply sticking to it. Just sticking to it. Vase of Flowers, 2017, mixed media quilt, felt, paint, quilting
Bernard, Cyril and William
2016
Felt Faces, 2013
School Installation, 2019, Carey Baptist School Installation, 2018,

Grammar School, grade 6 students Christ Church Grammar School, Melbourne
Sea and Land, 2015
I have had countless ‘failures’ and I

expect that I still will. New ideas don’t
come out as you would like them to
the first time around and sometimes
the vision or idea of what you want to
make doesn’t translate to your hands
- especially if it is a completely new
project.
I find that creating samples books is
invaluable and it is this class, above all
others, that I have taught the longest.
Over time there have been
occasions where I might feel
repetitive in my work or a bit ‘stale’;
it is during these periods that I leave
the wool on the shelf for a week or so
and turn instead to my painting and
drawing. In recent years I have placed
extra emphasis on other mediums Details about the exhibition will be
as part of my weekly practice and posted through social media (see
my current focus is on incorporating below) - I hope to see you there!
those ideas into my felt art. Last but not least I say to every
For the first time in many years I student who passes through my
have decided to have a solo exhibition. studio: GO FORTH AND FELT!
Kaleidoscope – a selection of artworks
by Elizabeth Armstrong will take Web: www.frostfair.etsy.com
place at the Box Hill Community Arts Instagram: @studiofelter
Centre in Melbourne from September Facebook: Elizabeth-
22nd until October 4th. Armstrong-141454786030659/
Artist
Profile
Molly Anderson
Thistles, 2019,
detail unframed,
wool on masonite
I was born in Houston, Texas and in 1979 I graduated from Bethany College in
Lindsborg, Kansas, with a degree in Secondary and Elementary Art Education. My
husband, Steve and I eventually made our permanent occupation and residence;
the family farm and cattle business in Minden, Nebraska. This is where I have lived
for most of my life and where we raised two children, Caitlyn and Max.
Traditional and Contemporary the way we thought a quilt could be. that eliminating the corners of the
Quilted Textiles (1990 - 2015) Hand dyed fabrics, bold colourful squares would give me the blends
Throughout my life, my artistic patterns, watercolour and art quilts I was looking for. It worked and I
interests were supported and were exciting to quilters and textile made many quilted textiles using the
encouraged by family members and artists alike and contemporary hexagon-watercolor method.
those around me. My introduction quilted textiles extended beyond the Eventually, my work evolved
to quiltmaking was through my bounds of functional quiltmaking. into a more contemporary style
mother and grandmother. With my A technique called ‘watercolour with applique and broderie
grandmother’s insistence, I agreed. quilting’ caught my eye; one to two perse, generous glass beading
‘Grandma Luella’ taught me basic inch squares of fabric are fussy cut and embellishments of all kinds. I
quiltmaking skills that her mother and assembled to achieve a painterly continued to expand on ideas about
had taught her. The effects of her effect. My first attempts were not non-functional quilted textiles.
guidance has lasted for years. very successful and the corners of Secretly, I enjoyed a disqualification
To see textiles as an art medium the squares were not giving me the or scolding from quilt show judges!
was new and challenging for me. The blends desired for the painterly Embellishments, pattern and
repetitive nature of traditional quilt effect. I then tried the hexagon handwork became my signature.
blocks and patterns had, articstically shape by ‘Paper Pieces’ which I had Their contemporary look was a
speaking, been the routine but new used for a quilt in the Grandmothers nice juxtaposition to the traditional
ideas in quiltmaking were changing Flower Garden design. I hoped handwork in each piece.
2 3
1
5
Wool Felt on Edge Mosaic

(2015 - Present) 1 Orchids, 2019, 56 x 38cm,
At some point in time, I began to wool on masonite. Framed using
tire of creating contemporary quilted archival acid-free materials
textiles. For over twenty years I
created, lectured and exhibited 2 Three Orioles, 2018, 58 x 50cm,
wool on masonite
regionally and in many states with
work held in permanent and private
3 Coneflowers (detail), 2018, 45 x 45cm,
collections. Feeling artistically wool on masonite
uninspired and predictable, the
work was coming together too 4 Poppies (detail)
easily. I needed a challenge. Then,
I remembered some textiles I had 5 Poppies, 2019, 47 x 60cm, 4
seen at the Museum of Nebraska Art wool on masonite
(MONA) in Kearney, Nebraska many
years ago. It was the work of Jean The ‘wool felt on edge’ technique strips. I use masonite as my solid
Louise Berg Theissen, the mother is created just as it sounds. One surface but other options could work.
of Leonard Theissen, a renowned quarter inch (6mm) wide strips of Small sharp scissors, a rotary
Nebraska artist. Her textiles were wool fabric are glued on edge, one cutter and a cutting board are among
created in the early 1900s and were after another, to a solid surface. The my tools. Machines are available that
named ‘wool felt on edge mosaics’. I entire surface is covered. Initially cut one quarter inch strips quickly. I
thought of these textiles often and I I was probably a bit impatient and prefer to rotary cut mine by hand as
have not seen anything like it since. several failures ensued. Textiles the slight variation in width makes
With respect for her work in mind, I can be wonderfully unique and for wonderful textural effects.
envisioned a contemporary revival. unpredictable. Wool selections I like to select and cut the wool
As I was collecting various colors should include a variety of colour, ahead of time to make sure the
and types of wool, I was surprised at texture and weight. A design can be colour ‘families’ relate to each other. I
its availability. I began to feel much drawn directly on the masonite, and usually start a piece in the centre and
the way I felt when I first began to attach the wool strips I have found work my way out, carefully deciding
quilting. Trying this new technique that a thick water soluble glue called on the design as once the wool is
was intimidating and exciting at the ‘Tacky Glue’ works well. Using long glued down it is difficult to remove
same time. tweezers helps to position the wool (although it can be done!).
6 7
10
6 Bird on a Vase, 2018, 53 x 53cm,

wool on masonite.
7 Bird on a Vase (detail)
8 & 9 Rubber Tree Plant, 2019, 45 x 45cm,

unframed, wool on masonite
10 Purple Flowers, 2019, 56 x 46cm, wool on

masonite 8

Sometimes the composition
changes as I go; there is a degree of
unpredictability with this technique.
I find that it is good to stay open
minded and let the work take its own
path at times. Once the wool strips
are in place I paint a mixture of glue
& water along the outer edges before
painting them in a darker colour.
As with my contemporary quilted
textiles, all of my work is beautifully
framed using archival materials and
museum glass. The work sits atop a
complementary matte board with
the edge exposed. Frames are deep
so the textiles do not come in contact
with the glass.
Wool felt on edge is a striking and
unusual technique. The only pieces
I have seen are those of Jean Louise
Berg Theissen at MONA where seven
of her works are in their permanent
collection. My desire is a respectful
contemporary revival of her work. I
don’t know if wool felt on edge found
me or if I found wool felt on edge but
I am certainly glad we met.
11
11 Greens (detail), 2019. Unframed, wool on masonite. A surprising amount of detail can be
achieved in these designs
12 Magnolias, 2018, 53 x 63cm, wool on masonite
A gallery of my work can be found on

Instagram: @mollyquilt8 or google:
@mollyquilt8 Instagram. For other
sources you might also like to google:
Molly Anderson Nebraska Artist, Molly
Anderson Museum of Nebraska Art
(MONA), Jean Louise Berg Theissen,
Wool Felt on Edge, Standing Wool,
Standing Wool Rugs, Quillie Rugs.
12
All photos by Molly Anderson
Artist in focus
I live in Lakefield, a village in the
Kawartha Lakes region northeast
Christianna Ferguson
of Toronto, Ontario, Canada. I grew
up in Southern Ontario with lots
of family close by. I was the oldest
grandchild on both sides of my
family and spent many hours with
my grandparents.
I attribute my love of textiles and
stitch to my female role models, who
were all sewers and quilters. I have
some early memories of playing
under my grandmother’s quilt
frame. When I was six she helped me
to hand-stitch blocks together for my
first quilt.
My mother often made my
clothes and smocked baby outfits
to sell. She even made a smocked
baby dress for my cabbage patch
doll! This early exposure planted a
seed that would grow not only into a
love and appreciation for textiles but
also for making. Today, I still believe
that making something for someone
Becoming,
else is one of the most powerful 2018. 53 x 36cm,
expressions of love that one can give. merino wool,
In 2003 when I was in teacher’s sumi ink, silk
college I was introduced to felting chiffon, recycled
silk. Shown in
while doing a placement at a Waldorf
‘Hard Twist 13:
school. Canadian felt maker Andrea Thread’ group
Graham was a parent at the school exhibition,
and I attended her gnome-making Gladstone
workshop. I’d never encountered Hotel, Toronto
felting before. The process captivated
Becoming
me, I was completely intrigued. And I
(detail) shown
was fascinated by Andrea’s work. below
It wasn’t until 2012 that I
encountered felting again. My
husband and I were looking for a
family adventure and had decided
to move to Bunbury in Western
Australia for a year with our three
young children. My husband was
working and all three children were
in school full-time. For the first time
in years I had the gift of time. The
first week in our new home I picked
up a paper and saw the local felting
group was welcoming new members.
I showed up to a meeting and felt
immediately at home; soaking up
all that I could from the knowledge,
experience, and generosity of the
Bunbury Felters.
Blue Collage Scarf
2017. 190 x 30cm,
merino wool,
recycled silk
Collage Jacket, 2019.

64 x 51cm, merino wool,
recycled silk,
silk chiffon, sumi ink
After returning to Canada in 2013, I rented a small

studio space in the woods and began a regular studio
practice. In addition, I began teaching locally at the Collage Garden, 2019.
30 x 30cm, merino
Canadian Canoe Museum, and ran my own community
wool, recycled silk,
workshops. hand stitching with
Three years later, I decided to build a studio in the embroidery thread
village where I live. The studio is located on the bottom
level of the house and I rent out the top apartment on
Airbnb. This decision was an important turning point for
me. I was able to cover the cost of my studio and have a
place of my own where I could teach, open my space to
the public, and hold events. Plus, it was a short walk to
work every day.
Today my art practice is made up of three principal
components: production, teaching, and conceptual work.
The regular production work includes more ‘functional’
art: scarves, purses, cuffs, tea-cosies, and wearables.
These are for the few sales and festivals I participate
in as well as a couple of local gallery shops. Production
work gives me a great deal of satisfaction. It’s my
ambition to create one-of-a-kind pieces that are instantly
recognisable as mine.
I love colour and playing with surface design. Much
of my work incorporates multiple layers of silk pre-felts Purses, 2020. 28 x 20cm each, merino wool,
which I approach similarly to paper collage. recycled silk, silk chiffon, sumi ink
Top left
Flower, 2018. 25 x 25cm, merino wool,
recycled silk, silk chiffon, sumi ink
Top right
I Have No Words, 2019. 28 x 67cm, merino
wool prefelt, recycled silk, silk chiffon,
sumi ink
Middle
Cuffs, 2020. 20 x 6cm each, merino wool
prefect, merino wool, recycled silk, silk
chiffon, sumi ink, hand stitching with
embroidery thread
Below
Texture Play, 2019. 56 x 46cm each,
merino wool, recycled silk, silk chiffon,
sumi ink
I love that wonderful moment of connection when of my personality. I can only spend so much time on my
someone purchases something I made and I can see that own in the studio before I crave company. Being a good
they truly love it. teacher requires you to dissect and really understand
Teaching felt making has also become a vital part of your own process and be able to communicate that in an
my practice. It allows me to do what I love as a job and effective way to others. I also learn from participants in my
learn from it. Being around people in a community is workshops, either by trouble-shooting problems that may
important to me. Teaching satisfies the extroverted side arise or by observing choices they make in their own work.
St. Marilyn, 2018 (back view). 89 x 64 x 38cm, merino wool, recycled St. Marilyn (interior view)
silk, silk chiffon, sumi ink, river stones, hand stitching with embroidery
thread, silk ribbons. Shown in Felt:Feutre Canada group exhibition
‘Shrine’ 2018, Nova Scotia
Finally, there’s the conceptual work. I regularly It took me ages to accept, or even recognise, that I am
submit for group exhibitions and it’s here creativity is an artist! I do know that by committing to doing the
front and centre. With this work, I’m looking to create work over and over, experimenting, taking risks, and
a story. I love the multistep process of forming an idea, continually finding opportunities to learn, progress does
experimenting, planning, and finally creating a piece. happen. There’s satisfaction in looking at how far I’ve
At the moment, my goal is a solo exhibition. I think this come and excitement for all the ideas I’ve yet to realise.
would be a great challenge.
Inspiration for me comes from everywhere. I often
find myself looking at something and wondering ‘could I
make that out of felt?’ I’m fortunate to live in a beautiful
rural village, surrounded by nature. Here, life just seems
to move at a slower pace. There’s space for thoughts to
roll around. Fresh water lakes and rivers and forests are
in my backyard. I never take for granted how that fills
me up.
Community also provides great inspiration. Locally I
have friends who are also creating on a regular basis, we
bounce ideas off one-another and support each other on
our individual paths. The greater felting community has
also been important, be it online or through membership
of organisations like Felt::Feutre Canada. Felt::Feutre
has provided opportunities to meet other felt makers
across Canada and to exhibit work, build skills and To see more of Christianna’s work:
promote our craft in a part of the world that does not www.christiannaferguson.com,
have a long history with felt. http:/instagram.com/christiannaferg and
One of my great challenges as an artist has been http:/facebook.com/christiannaferguson
recognising and accepting that a creative life is a long
and oftentimes slow-moving journey. All photos by Rebekah Littlejohn
PROJECT
Christianna Ferguson
Colourful
Cuffs
Requirements
Materials
19-micron merino prefelt, medium weight ; Silk fabrics.
Lightweight fabrics are best: chiffon, georgette, tissue
or gauze. I also use recycled silk saris and fabrics
but suggest you test them first to ensure they are
appropriate for nuno felting; 19-micron merino wool.
Equipment
Rotary cutter and cutting mat or scissors, measuring
tape, towel, bubble wrap - approximate size 50 x 50cm
(20 x 20inch), pool noodle, a small piece of clear thin
plastic (enough to cover the cuff), tub of water and soap,
ball brauser or similar, embroidery needle, embroidery
floss in a variety of colours, small scissors.
The inspiration for my cuffs are defined and stay in shape as they entangle with the
wool base during the felting process.
stems from a desire to use Some days I make ‘just’ nuno pre-felts, so that I have
them on hand for incorporating them into all types
up scraps of material. of projects. I imagine it is not unlike a collage artist
collecting materials to cut and piece together to create a
Much of my handmade felt incorporates my nuno prefelts. piece of art.
As a result, I accumulate baskets of offcuts (photo 1). I Place bubble wrap on your table, bubbles up and lay
also love to stitch and enjoy having something to do with out two thin perpendicular layers using the fine merino
my hands at the end of the day or when I find myself wool. Size of the layout will depend on how large a piece
sitting at my children’s sport practice. of nuno prefelt you want to make (photo 2).
Cuffs are now one of my favourite things to make. I wear Cover the wool with silk fabric; this can be a single
them regularly and like to give them as gifts to friends. piece or a variety of smaller pieces. Wet out using warm
Each cuff feels like a little piece of abstract art, built up soapy water (photo 3), place a piece of clear thin plastic
with multiple layers of wool, silk and stitch. Originally, on top and gently push out any trapped air.
I finished the cuff by sewing on leather closures with a Roll the bubble wrap encased project (including the thin
snap. More recently, on good advice, I have incorporated plastic) around a pool noodle and then roll it into a towel
a fastener out of felt which I feel adds something special. to create a tight bundle. Secure the towel with nylon ties
or similar.
Make nuno prefelts Roll 50 times, then unroll the bundle, roll up from
Nuno prefelts are prefelts whereby fine wool fibres and the opposite direction and roll another 50 times. Repeat
open-weave fabrics have been partially felted together. this sequence four times, checking the nuno prefelt each
These prefelts can be cut into shapes and placed on a time you unroll to make sure nothing has moved out of
wool fibre base (including a wool-only prefelt). The place and, after a while, that the silk is starting to fuse
advantage of creating the nuno prefelt is that the shapes with the wool.
Gently rub the nuno prefelt against the surface of
the bubble wrap (photo 4). The prefelt is done when
you can see that the wool fibres have migrated through
the fabric and the two elements are attached. Carefully
rinse the prefelt and let it dry (photo 5).
Important: Be careful not to shrink the nuno prefelts.

It is important that there is a degree of looseness
in the wool fibres so they can still be attached to an
unfelted base layer.
Prepare the base

You can make your own prefelt for the base of the cuff, 1
but I have taken to using commercial prefelt; this reduces
the work involved and it creates a level of consistency
when I am making multiple pieces.
Determining the size of the base can be a little tricky,
so allow for some experimentation to get the perfect fit.
I allow for shrinkage to be approximately 25% in the
cuff ’s length. The two layers of prefelt with the layer of
nuno prefelt on top creates a substantial thickness, and
shrinkage will be less than a project that has a thinner
layout.
The measurements included here are what I use for
a medium cuff, which measures 19 cm in length and
6.5 cm in width finished. Please note that these are
guidelines only and depend on the materials used and
how firmly the piece is fulled.
Place a towel on your workspace and a piece of
bubble wrap on top (bubbles facing up). Have your
small tub of soapy water and ball brauser handy.
Cut two rectangles of merino wool prefelt each
measuring 24 x 8cm (9.5 x 3.1inch). Place one of the
prefelts on the bubble wrap and set the other aside.
Now cut two small rectangles measuring 5 x 4.5cm
(2 x 1.8inch); these will be used to create the three-
dimensional fastener elements for your cuff. Finally,
cut two small rectangles 7.5 x 2.5cm (3 x 1inch) which 2
will create the loops to fasten your cuff. Photo 6 shows
prefelts for four cuffs of slightly different sizes.
Make the fastener elements

The first step is to make a small felt ball. Lay out two layers
of wool perpendicular to each other, approximately 10 x
10cm (4 x 4inch). Fold in the edges and roll the dry wool
in your hands to create a loose ball. Then wet it and roll
the ball in your soapy hands until it shrinks down in size
to approximately 2cm (0.8inch) in diameter.
Use scissors to cut the ball in half. Take one 5 x
4.5cm (2 x 1.8inch) prefelt rectangle, wrap one of the
long edges around the half ball. The cut side of the ball
should be facing out.
With soapy fingers gently felt the edges of the rectangle
together around the half ball, creating a short cord at the
ball’s rounded side. Keep the end of the cord fibres dry 3
so you can attach them to the base of the cuff (photo 7).
Use the other half ball and prefelt rectangle and repeat
the process of creating a bauble.
To attach these elements to one end of the prefelt
cuff base, loosen the fibres on the dry end of the cord,
position them on the base prefelt and sprinkle some
water on top to hold them into position (photo 8).
To create the two loops, use the remaining two small
pieces of prefelt measuring 7.5 x 2.5cm (3 x 1inch) each.
Add a small amount of water to each centre, roll each
prefelt gently with two fingers to create a 3cm (1.2inch)
cord while leaving both ends dry. Loosen the dry fibres
and attach them to the prefelt base as shown in photo 9,
creating two loops.
Make sure the baubles and loops line up on either
end of the felt base. Wet everything down and place the
second prefelt base on top.
Surface Design
This is the fun part! Place pieces of the nuno prefelt
on your cuff base. You can slightly overlap the pieces
(photo 10). Don’t be afraid to play; mix colours, patterns
and solids and create some areas of contrast. When the
4 layout is complete wet the entire work and cover it with
a piece of thin, clear plastic. Place a small amount of
soap and water on top of the plastic and gently rub the
surface of the cuff (photo 11).
Note: It is important not to rush the rubbing stage! I

allow approximately 15 minutes, giving the different
layers time to slowly entangle and to stay in place.
Roll the cuff up in the bubble wrap and around your

pool noodle, then roll 20-30 times in each direction and
repeat this sequence another 3 times. Each time you
unroll, check to see that your design hasn’t shifted. If
it has, gently guide things back into place and continue
rolling.
When all the layers are firmly attached, you can
begin to shrink and strengthen the cuff by rolling it on
5 itself from all directions (photo 12).
Important: Make sure to attend to the baubles and

loops; use soapy fingers and rub the elements to firm
them up and make them strong (photo 13).
Finishing Touches
Your cuff is complete when it has shrunk to the desired
size. Check the fastening elements to make sure they are
strongly felted and that the baubles fit into the loops,
paying attention to working both these elements until
the fit is perfect.
Rinse the cuff and spin out excess water. Do the
final shaping and iron the cuff (iron on wool setting).
This gives it a nice, smooth finished look. Hand stitch
6 with embroidery floss to add final embellishments
(photo 14).
11 12 13
7
14
These cuffs are fun to

make; full of colour and
9
texture. Enjoy!
10

FELTSCAPES
Cora Jongsma -
Making Landscape with Felt
Text: Martien van Zuilen
FELTSCAPE: a depiction of the landscape that is

constructed out of several layers of wool which
have been made into felt, using water and soap.
The stratification is created in the interchange
between the making process, research into the
landscape's history and visual experience. In
doing so, a parallel is created between the making
process of the feltscape and the making process of
the landscape itself. (Cora Jongsma, Matterscape –
Taskscape – Feltscape)
Setting the scene

Cora Jongsma (The Netherlands, 1968) is a landscape
researcher and visual artist. She makes large feltscapes,
artworks that depict the surface of a landscape and its
creation as a whole: culture, historical characteristics,
natural reliefs and modifications made by farmers and
Feltscape – Nick’s Food Forest.
owners. Cora studied Monumental Design at the Dutch art
Photographer: Cora Jongsma
academy ArtEZ, and Landscape History at the University of
Groningen (2017). She lives in Assen in The Netherlands.
Halfway around the world, the Margaret River region ‘[But] I wanted to work with different colours and textures
in the south-west of Western Australia is renowned in the felt and then someone said – well you can make your
for its wild beaches, surf breaks and vineyards, attracting own!’.
an estimated 500,000 visitors annually. It is the country Several years later, still making felt and working as a
of the Wardandi cultural group of the Nyoongar people. qualified art teacher in Rotterdam, Cora decided to move to
Following British settlement in the mid-1800s, large- a more rural area in the north of The Netherlands. She also
scale timber logging commenced to create economic returned to study: ‘I wanted to feel more of a connection
opportunities. In the 1920s the district saw an increase in with the landscape, and I enrolled in a master’s degree
arable land holdings and farm-related cultivation. (Landscape History) where I could immerse myself, expand
my horizons, and focus on my thoughts about landscape. I
The Farm Margaret River is an 80-hectare property wanted to find a way to make the experience of landscape
near the township of Margaret River. Farmed over four immersive, a sense of connectedness to landscape’.
generations, the current owners have a strong commitment It was during a study- tour to the Salisbury Plain in the
to the arts and community and a deep regard for the land. UK in 2015 that Cora first linked her two main fields of
Several artist studios on the property provide a creative interest: landscape history and the making of felt. ‘Each
and immersive environment for exhibitions, open studios student was tasked to research and prepare a presentation
and visiting artists. about the landscape. It had to have depth and be of value.
In 2019 Cora Jongsma was the first international Artist- I concentrated on the micro-relief or surface of the ritual
in-Residence at The Farm Margaret River and we met and landscape of Stonehenge (situated on the Salisbury Plain).
spoke towards the end of her 5-week residency. I was looking to work in a manner that was comfortable
for me, a way of researching but also experiencing the
Felt Meets Landscape landscape, to share my story’.
Cora ‘rolled into felt’ some twenty-five years ago, during ‘I researched the history of the landscape, and then I
her time at the art academy. She used commercial felt, mapped that by making what I later came to call a feltscape.
a fabric that didn’t fray and didn’t require hemming, to A large piece of felt which was like a cartographic chart of
create large machine-embroidered works. the landscape surface.
Historical Map, South-
West of Western Australia
showing tracks of early
explorers, including
Bannister and Dale, 1830-
1831. Source: State Records
Office of Western Australia
It became a focal point to talk about the landscape; the

other students could look at it and I could point out, on
the felt, “this is this and there”. We then walked the terrain
to experience the landscape itself. It was during that trip
that I realised that, when I want to really understand
something, I research it by way of making’.
Since 2015 Cora has undertaken numerous artist-in-
residencies, mostly in Scandinavia, to develop her felt-
based landscape research.
Central to her research is time; time to dwell in the
landscape itself, to get a connection with the people that
live in that environment, to learn about their daily lives.
Her approach centers on the links between art, history
and the creation of the landscape; the interconnectedness
of seemingly separate elements such as natural features,
wildlife and modifications made by farmers. As Cora
explained, the cultivated landscape is often understood
as if it is a natural environment: ’Our experience and
interaction with the landscape is determined by the soil’s
upper layer, its micro-relief. Not the broader aspects but
the type of soil, its location and especially how a farmer
Aerial view of Nick’s property. Images courtesy of Nick cultivates the landscape and applies their ‘signature’ to
that landscape. A farmer doesn’t just work on the land.
By way of their engagement with the land they make and
influence the landscape’.
Time @ The Farm

Coming from the northern hemisphere and being on
unknown territory, Cora spent time researching the
geological history of the Margaret River region, gathering
historical and geographical information on the cultivation
practices of British colonists, and the fire stick farming
Tim mowing. Photographer: Cora Jongsma skills of Aboriginals in pre-colonial Australia. She spoke
with locals to understand why people might farm here.
‘I realised how connected people here feel to their
surroundings, how they engage with the landscape and
how farmers play a role in what happens to that landscape.
Each had their own story and connections to the land’.
Tim and Nick are both farmers, albeit it in very different
ways. Tim leases an area of land at The Farm which was
once owned by his grandparents and then his uncle. His
historical connection to the area is strong.. Nick on the
other hand is a relatively new farmer with different ideas.
The Farm Margaret River with GPS pattern indicating Tim’s mowing His vision was to create an organic food forest consisting
pattern. Image by Cora Jongsma of sections of various fruit trees on one parcel of land.
Wool Fibres
The finished Feltscape of Tim’s land and mowing pattern
Cora working on Tim’s Feltscape
Nick’s Feltscape (detail), showing the ridged soil lines.
Landversation – Nick’s Feltscape. Photographer: Cora Jongsma

Conscious of the geological relief and water-locked soil of
the location, Nick elevated the soil in ridges to protect the
roots of the trees against stagnant water.
During her residency at The Farm Cora created two new,
large feltscapes. One depicts a section of Tim’s paddock and
the other is an aerial map of Nick’s food forest. Both works
reveal the tracks and traces of the farmers’ respective
farming methods and interactions with the land.
Cora gathered research data for the feltscapes using a
drone camera and GPS equipment. For example, Tim was
given a GPS to record his movements as he mowed the
land. Cora also interviewed both men to gain insights
about their working lives and interactions with the land.
She feels strongly that, through her research and felt
art, she is in some ways making the landscape itself. ‘That
Landversation – Tim’s Feltscape. Photographer: Helen Taylor means that I am entangled, engrossed in the experience.
QR code
Cora Jongsma at
The Farm Margaret
River (short film), by
Christopher Young
[But] it is not my design; I’m not making it up. The recognised the markers of his land in my work, the
design can be found in the landscape, it is the story of the landscape and its features; he could relate the sequence by
farmer who worked this landscape’.’ And looking at Tim’s which he mows the surface of the land, why he moved in
feltscape, this became very clear. It is not just a rectangular certain ways. The work is abstract in nature for everyone
block of land, and the mowing pattern recorded via GPS is but the farmer and me. He could ‘read’ the work. That
not straightforward. There are features in the landscape is a special conversation or, better put, a landversation.
that affect the way the land is mowed; odd corners and A conversation about the land, so that people gain an
‘obstacles’ such as rocks, trees and holes to avoid. understanding about what is important to the person
To create the actual feltworks, Cora used a combination working the land.
of different fibres: dyed merino wool tops, fine metallic For example, farmers often mow the land from the
fibres and natural coloured coarse Drenthe Heath Sheep outside in, but on Tim’s land there is a section containing
wool which she brought from her home-region in The residual stones; it functions as a protected area for small
Netherlands. The choice of colour in the works was not wildlife. Quails hide in the grass. Tim knows the birds are
paramount; often it can have a symbolic value rather than there, he knows the area needs to be mowed, and he knows
a realistic function. Of most interest is the way the different that if he injures one of them the hawk that is sitting in a
fibres react with one another and the effects that can be tree on the edge of the forest immediately reacts to grab
created. the injured bird. It is not only about when to mow the
For Cora, the transformation of the material during grass or about production. The feltscape serves as a point
the felting process and the parallels between the feel of of entry by which farmers’ stories are shared about their
the fibres and the structure of the work, matches what engagement with the landscape. And in return, through
landscape can be: ‘As soon as you make a map of the my archival research the farmer can discover new things
landscape it becomes part of you. And that experience about their surroundings. It is a way to create connections
and feeling is incredibly special. You can only experience among people, to gain insights and more respect for
that by the doing of it, by being a maker. I can touch it, the each other, and to create a lasting connection between
inviting gestures of the landscape, the feeling that it can landscape and art’.
evoke. Landscape is tactile, as is wool. I feel an affinity
with the act of painting. You know that the first layer of Photographer: Christopher Young (unless otherwise
paint is not always the layer that is exposed. And that is the noted). To see the short film by Christopher, about Cora’s
same when working in felt. It is multi-layered. I also like to residency at The Farm Margaret River, load the QR Code.
draw a parallel between making interventions during the
process of feltmaking and the farmer making interventions For more information about Cora Jongsma and her work,
through cultivating and maintaining the landscape’. visit her website https://feltscape.blog
Landversations The Farm Margaret River:

Once finished, the feltscapes take on an additional www.thefarmmargaretriver.com.au
dimension by way of conversations with the farmers about
their relationship with the land. Christopher Young, photographer: zebra-factory.com
‘We had a gathering with a few local people and Tim and Cora’s residency at The Farm Margaret River was in part
his partner were present. And it was a special moment. Tim funded by Artsource, the peak membership body for visual
had not seen the feltscape I had created yet he absolutely artists in Western Australia www.artsource.net.au
MATERIALS & EQUIPMENT:
A For the bag: 120g (4.2oz) of wool roving in your

preferred colours (micron count 21 and above; I used
23 micron). I used 100g (3.5oz) purple and 20g (0.7oz)
BAG OF green roving. You’ll also need fibres for embellishment

and textural effects (sari silk scraps, short fibre pulled
silk, silk sliver, throwsters’ silk, silk hankies, pencil
COLOUR roving or something like Noro Rainbow Roll, and small

pieces of prefelt) see photo 2.
For the strap: I make my own straps from leather belts
& FLAIR that I buy relatively cheaply at a local market. If you

want to use this option you will need: 1 leather belt of
your preferred length and colour, 2 eyelets diameter
12mm (0.5inch) and eyelet setting tools, a mallet,
strong scissors to cut the belt, 2 spring O-rings both
approximately 2cm (0.8inch) in diameter.
Felting equipment: 2 pieces of clear/transparent

bubble wrap each measuring around 130 x 100 cm
(39 x 51inch), one additional small piece of bubble
wrap, foam underlay for the resists, thin polyester
fabric (optional) 70 x 80cm (27 x 31inch); pool noodle
or dowel, container to hold about 2 litres (0.5 gallon)
of water, your preferred felting solution*; ball brauser
(or similar); rubbing tool; 1 old towel.
* I use half a teaspoon of natural dish liquid to two

cups of warm water and have a bar of wetted olive oil
Tanja Gawin soap on hand for additional soap application.

For this project, I used the open
resist method and added 10cm
(4inch) to the height of the resist. The
reason will become clear later.
Note:
2 6 1. When constructing the resist
avoid any sharp corners, as these
tend to push through the fibres
during the felting process and
create holes in the felt.
2. On your resist, mark the top
of your bag measurement with a
permanent marker (see the right
hand drawing in photo 2). This
3 7 provides a guideline for how far
to lay out your wool.
Cut the pocket resist to size 30 x

20cm (11.8 x 7.8inch). Round off the
bottom corners to avoid sharp angles.
Lay out the wool:

Place the resist under a piece of
8 clear bubble wrap (bubbles facing
4
up) so you can still see the resist.
Divide your wool in two equal
parts; each part will cover roughly
one side of the resist. Use the first
part to lay out two generous layers.
One layer is placed along the width
of the bag; starting along the dotted
line at the top and extending 3-4cm
(1.2-1.6inch) beyond the edges of
5 9
the bag resist (photo 3). The second
layer is laid out at right angles to the
I have been making bags, in various own learnings and Fiona’s skill and first.
incarnations, for almost as long expertise.
as I have been making felt. I love This bag is a satchel with a flap, Important: do not lay any wool
how they provide a blank canvas it has felted-on loops (a technique on the 10cm (4inch) additional
for imaginative surface design and I learnt from Fiona) to attach the resist area above the dotted
colour play. And bags are immensely strap and an internal pocket that line.
practical; when felted properly they will accommodate small essentials.
are almost indestructible. I decided on a colour scheme and Wet out the wool gently, press to
I have experimented with added complementary components remove any air.
different wools, the number of layers, in the surface design stage. Place the internal pocket resist
shape, size, flap or no flap, internal in the centre of the wet wool, about
and external pockets and strap Make the resists 3cm (1.2inch) from the top edge
attachments – the possibilities are Draw and cut from the foam underlay (photo 4). Lay out the wool for
endless. Each new generation of bags the main resist, according to the the pocket again using two even,
has provided a new learning curve. specifications in photo 1. I allowed perpendicular layers of wool. Make
Last year, even though by then I for a 40% shrinkage rate, which sure to extend the wool beyond the
thought I knew it all, I enrolled in produces a strong and durable felt edge of the pocket resist by 3cm
Fiona Duthie’s online bag workshop that won’t pill. If you want a bag in (1.2inch), but only on the sides and
and, lo and behold, there was still a different shape or size, multiply all bottom of the pocket (photo 5). Wet
more to learn. Fiona’s attention to measurements of your finished bag out the fibres and carefully fold back
even the minutest detail is inspiring by 1.6 to create the resist pattern and the top edge of the pocket fibres to
– my project here is informed by my allow for shrinkage. create an even edge.
Create the flap
Carefully fold back the fibres at the top of the bag to (0.8inch) from the top. Cover the fluffy ends of the loops
create a seamless and secure attachment for the flap with some short wool fibres placed in multiple directions,
(photo 6). Place a ruler or tape measure along the length slightly overlapping the bag edge (photo 13). Place a small
of your bag layout – this provides a guide for the flap piece of bubble wrap on top of the new fibres and gently
measurement and position. rub across its surface until the short fibres are starting
Lay out the first layer of wool for the flap in the same to connect and adhere the loop attachments to the bag.
direction as your main layout: flush with the top of the Repeat on the other edge, then use a big piece of bubble
bag and with an indent of 5cm (2inch) on both sides. wrap to flip over your work and attach the other ends
Carefully fold back the fibres at the top to create an even of the two loops to the other side of the bag (photo 14).
edge. Lay out the second layer of wool at right angles to
the first and wet out (photo 7). Optional: reinforce the Note: Instead of using felted loops you can use metal
edges of the flap with a thin strand of wool fibres. eyelets (attached when the bag is fully felted) or,
Place your main resist in position and carefully fold depending on your choice of strap, you can stitch a
the protruding fibres tightly over the edge of the resist. strap to the sides of your bag. In which case a leather
Lay out the wool on the second side of the resist, again in hole puncher can come in handy to create stitch holes
two layers. Slightly overlap the wool that has been folded in a leather belt or strap.
over, and no further (photo 8).
Wet out, place your second piece of bubble wrap over
the top (bubbles down) and with open hands gently rub.
You can also use a dowel to gently roll and distribute the
felting solution until no air bubbles remain (photo 9).
Add embellishments
Now comes the fun part! I love to add accents of colour
and texture by using silk scraps, short fibre pulled silk,
throwster silk, silk slivers, silk hankies, small pre-felt
pieces and pencil roving (photo 10). Have a play! Feel the
magic! Experiment! Go wild!
Note: Keep in mind that the position of the flap in the
finished bag may affect where you place your surface
design.
With embellishments in place, position a piece of thin 10
polyester fabric on top (and wet if needed). Gently rub
the fabric for a few minutes using a felting tool; this action
helps to create a bond between the embellishments and
the base fibres. You can also use your second piece
of bubble wrap (bubbles facing down), squirt some
felting solution on it and gently rub with open hands.
Check whether the embellishments have bonded before
carefully turning over your work to repeat the process on
the other side.
The loops
11
Lay out two layers of wool into two squares measuring
8cm (3.1inch) each. Sprinkle a thin line of your felting
solution across the bottom edge, fold it over, gently tap
down the wet wool and then fold it over again (photo 11).
Then carefully roll the wool upwards to form a short cord.
Place three fingers in the centre of the cord and gently
roll, in the same direction. Make sure not to touch either
end; avoid felting them until the fibres underneath your
fingers feel like they are firming up. Then roll back and
forth and fully felt the centre area. If the end fibres have
felted slightly, use a small scratching tool to open them up
again (photo 12). 12
Place one end of the loops on the bag, about 2cm
Felting & finishing
Felt the work in your preferred manner, removing the
resist/s only when you have a firm enough felt.
Continue fulling by rubbing, massaging and rolling the
felt on itself until you have achieved 40% shrinkage
(photo 15). Stretch the flap to your preferred shape and
13 firm up the edges if necessary.
Rinse the bag, adding a dash of vinegar to the final
rinse. Squeeze out excess water; roll the felt in a dry
towel to remove as much moisture as possible. If needed,
roll the felt in another dry towel, secure with string or
similar and put it through a spin cycle. Iron the felt on
medium setting to ‘set’ the final shape.
Straps
Photo 16 shows the tools I use to make the belt strap. To
cut the belt, buckle it up on the smallest setting and then
14
cut about 5cm (2inch) below where the tip (non-buckle
end) of the belt is positioned. That way the buckle will
show on the side of the bag rather than be positioned on
the shoulder area, and it leaves room to place the eyelet
(photo 17). Set the metal eyelets at each end and attach
the strap to the felted loops using the spring O-rings.
And voila! You have created a unique and functional
item of felted art!
15
16
17

R E D
H E
E T
N T
U She’s a Prickly Customer 2019. 80 x 250cm (variable)
Merino wool, wire, polymer clay. Wet felting, scultpure.
but no
Photographer main image: & detail Janet Tavener
t adrif
t
d e G root
Pam
In late 2018 I joined untethered fibre artists inc., a artists carried the theme Found Narrative which also
collective of women fibre artists based in New South was the title of the show. The show’s curator Jacqueline
Wales (NSW) and the Australian Capital Territory (ACT), Schultze selected a work from each artist’s body of work
Australia. The group was formed in 2014 with the aim of of the previous years and challenged us to respond to
exhibiting art using fibre, textile materials and processes, our ‘old’ work in the context of the exhibition theme; to
as well as cultivating and promoting the members’ explore our materials anew and express our personal
respective fibre art practices. While initially large in ‘narrative’ by way of creating new works of art.
numbers there are currently twenty members, most of us The piece that Jacqueline chose from my earlier work
professional artists. was Fully Charged, a large corded felt work I had made in
Being a member of untethered brings with it the response to the world of nano technology and specifically
expectation that you will create two new works a year for the nano cords in battery innovations. While not feeling
inclusion in the group’s annual exhibitions, and attend inspired to revisit this concept, the construction process
bi-monthly meetings where members actively engage and potential of felted cords continues to interest me.
in a professional and supportive critique process about This being my first year with untethered, I have found
their work. Each year a new theme provides both the the commitment a challenge for a couple reasons. It has
concept for the upcoming exhibitions and ‘a connectivity’ tested my ability to share and articulately explain my
between the artists and their different fibre mediums, process and development of concepts. Also the need for
which encompass ‘the use of stitch, fibre, fabric, print, progress to be reported and shared at critique meetings
found objects and surface design, in visually dynamic has not fitted with the way I would normally work.
exhibitions’ (source: www.untetheredfibreartists.com). My ‘last minute’ timetable, which I have always used for
The fifth (and my first) exhibition of untethered fibre previous exhibitions, just doesn’t work in this setting.
Left
She’s a Prickly
Customer
(detail).
Photographer:
Pam de Groot
Right
Fully Charged
2017. 360cm
long, 60cm wide
and tapering.
Corriedale and
merino wool.
Wet felting,
sculpture.
Photographer:
Pam de Groot
Not that my work is ever quick or simple, but I tend to

underestimate the time and energy needed to complete
new work. Hence what ensues are the intense weeks of
work and all-nighters as I get closer to exhibition deadlines!
However, the relative ‘discipline’ has come at
a fortuitous time in a professional sense as I am
increasingly creating work for exhibitions. Deciding
early on the concept I wanted to explore allowed more
time for in-depth sampling to take place (and avoid the
chance that things might go awry later). Having said
that, a lot of my art-making process often happens in my The whole piece ends in a rose also made separately and
mind; I plan methods to execute works over and over in fitted on at the end.
my head so, thankfully, most things turn out as expected Whenever I needed a break from making the very long
or close to it. felted wire, I created many small thorns from polymer
She’s a Prickly Customer includes felted cords made clay which I then painted in a realistic fashion. I also
in a continuous length of 54 metres (59 yards). First, made the individual barbs for the wire. Both the barbs
I hand carded coloured fibres to achieve the intended and thorns were added to the work last. I like the way
effect of the cord resembling rusted wire. The wool was that the barbs change to thorns. A poetic transition.
then felted around galvanised metal wire. This required
some ingenuity to make a continuous length, as the wire Artist Statement:
would want to do its own thing and then; what to do The roll of barbed wire is like a thread. A continuous
with the wire once it was covered and hanging off the line. It is a symbol of strength and protection. The wire
end of the table! By using numerous weights and clamps represents a hard, sharp form yet is made from wool,
I was able to work in sections until I had felted the total soft and malleable. The contrast correlates to the way
length needed. we represent ourselves in difficult times. Circle the
The work begins as a roll of barbed wire which meant wagons, hunker down. Protect yourself till you are
that the felted wire had to be doubled and then twisted ready to move on. There is no rose without thorns.
together.
Armed with a vice and a son who was standing on the In First You Must Burn I used hand felted cord again to
vice at one end, I took the wire loop down the length of symbolise a continuing ‘narrative’.
the backyard, folded the wire back on itself and started I wanted to portray notions of hope and strength after
to twist. I used a doffer (a tool for carding wool which difficult times and chose the nest form to represent the
looks a bit like a screwdriver) and twisted away for what need for nurturing and the Phoenix (signified by the
seemed like forever. It was night-time, the wind was burnt feathers) representing trial by fire and renewal.
blowing a gale, it was freezing, but stoically we kept on Having attended a random weave basketry workshop
until we had achieved the required amount of twist. with Jillian Culey at Craft NSW earlier in 2019 I knew that
Next, I added the part where the barbed wire I wanted to use that method to make my nest (I cannot
transitions to a rose stem. Each leaf section was separately stress enough how learning a new craft can enhance
made and felted on at this point. what you create!).
First You Must Burn
2019. 80 x 80 x 40cm (changeable)
Merino wool, wire, cotton thread
Wet felting, machine embroidery
Photographer main image: Janet Tavener
First You Must Burn (detail)

Photographer: Pam de Groot
First You Must Burn (detail)

Photographer: Pam de Groot
To create the work, I decided to use a more classic Change is hard but cathartic. A kind of destruction
random weave and first made the structure of the nest from which you can build new beginnings.
using felt-covered wire. I then wove the felted individual Quote: ‘When the nest becomes too small a bird
cords through this structure, to add minimal ‘stick like’ is ready to spread its wings and fly’ ― Matshona
pieces to retain the idea of the nest. I created the feathers Dhliwayo
by combining felt with machine embroidery. I decided
to burn some of the feathers; I love the visual effect and Found Narrative was first shown at Wallarobba Arts
intend to explore this potential in time to come. Centre, Sydney in late 2019 and will travel to Tuggeranong
The whole work weighs 4.5 kilograms (9.9lbs) in total, Arts Centre in April/May 2020, and Muswellbrook
98 percent of that being felted wool. That’s a lot of wool. Regional Arts Centre from 6th September - 25th October
2020. For more information about untethered fibre artists
Artist Statement: inc visit: www.untetheredfibreartists.com
In creating a new path in one’s life you must rebuild
the foundations, create a new form, find flow, structure Pam de Groot is a fibre and textile artist and teacher based
and strength. I have chosen the nest form to represent in the Blue Mountains region in eastern Australia. She
this. A nest is built layer by layer, row by row up and teaches online, nationally and internationally.
over, intertwined for strength and form. It conjures www.pamdegroot.com and https://www.facebook.com/
ideas of protection, nurturing, renewal and rebirth. pamdegroot.fibreandtextileart
Extra fine merino & wool fibre
Margilan silk & cotton scrim
Silky viscose plant fibre
Preyarn & pencil roving
Water sprinklers
Interesting bits
eGift card
Unicorn Fibres
unicornfibres.com.au

Rapt in Felt: Colour Dance
September 2019 at Textile Works, Canberra
Faced with the challenge of running a fashion parade in a

former school building which lacked a room large enough
to fit the usual audience, Canberra Region Feltmakers
opted to creatively reinvent their initial plans for their
2019 Rapt in Felt event.
Rather than staging one big fashion parade, the
audience was split into smaller groups and guided through
the building by circus performers from Warehouse Circus,
one of Australia’s finest youth circus organisations, to
view a series of mini parades. This format meant that the
audience was treated to a series of themed mini parades
and entertainment akin to courses in a progressive dinner.
Born of necessity, it was a format that was extremely
well received and it encouraged the Canberra Region
Feltmakers to experiment with new ways to present their
wearable felt.
In keeping with the event’s Colour Dance theme, the
Runway Parade saw models in brightly coloured felt
garments dance underneath spectacular felt decorations.
This was tremendous fun and the felt garments truly came
alive with all the movement.
The Hat and Jewellery Show was a more intimate
segment where, accompanied by live harp music, models
glided slowly past the audience, displaying outrageous Left to right: Kimberley Landscape Wrap by Lynne Wade,
hats along with necklaces and brooches. It was a Pink Reversible Tabard and Beanie by Jo Mahon, Blue Steps
wonderful way to showcase small wearable items so often Coat by Jesusa Lockwood, Runway Parade
lost in a regular fashion parade.

In the Street Felt segment, the presence of Pixie’s
Popup Café, especially created for the event, set the stage
for a street scenario full of buskers and people wearing
felt, with Pixie and her friend offering their special
commentary. As well as garments, there were bags, a felt
noughts and crosses game and even a felted chicken on a Pink Felt Beads Necklace
skateboard! by Lorraine Walter and
Firebird Wrap by Carol
For a few hours, the Canberra Region Feltmakers and
Bairnsfather, Hat and
their many friends took possession of the building, adding Jewellery Show
decorations made from recycled felt and other materials
and with the circus performers adding much colour and
humour. The group’s annual Rapt in Felt Bazaar was a
popular last stop for visitors to browse, buy a range of
hand-felted items made by members and try on some
bold hats for a photo in the Photo Booth.
Canberra Region Feltmakers runs a busy program of
workshops, felt fun days, exhibitions and demonstrations Diamond Henderson
for members and others wanting to learn more about playing harp and wearing
felt making. The group is also hosting the next Southern headpiece made by herself
Hemisphere Felters Convergence in Canberra in 2021.

Lock in the dates: September 5-10. Stay tuned for details!
www.crfelters.org.au
Text by Jennie Curtis. Photography by Lyndal Curtis
Floral Fez by Liz Evans
and Sunray Necklace
Red Tunic &
by Christine White, Hat
Sari Silk Nuno
and Jewellery Show
Wrap by
Sharyn Dyer,
Runway Parade
Light as A Feather Wrap

and Tabard with Machine
Embroidery by Lynne
Sanders, Runway Parade
Orange and
Purple Cord
Hat, by Liz
Evans, Hat and
Jewellery Show
Grey and
Mauve Dress
by Jackie
Hartley, Navy
Fascinator by
Robyn Toohey,
Purple and
Black Scarf by
Sharyn Dyer,
Street Felt
Grey and Mauve Dress

(detail) by Jackie Hartley,

Garments in the Bazaar
Carol Bairnsfather wearing

hat made by herself Henrietta Chicken
on Wheels by Juliana
Knight, Street Felt
Black Beanie by Jo Mahon,

Nippon Sunrise Wrap by Lynne
Sanders, Gold Hat with Roses
by Jennie Curtis, Street Felt

A
Hat
PROJECT
Liz Evans
For
Curls
Th i s p r oject is so m e th in g o f a t r i p Requirements
d o wn memor y l an e. I t is an up d a t e d , 75 grams (2.5oz) each of purple and red wool

tops (micron count around 20); 20 grams
st re amlined versio n o f a h at I m a d e (0.75oz) each of yellow, orange and red wool
i n the ear ly 1 9 9 0 s . S in c e th o s e ‘ h e a d y ’ tops; Optional decorative elements such as
scraps of yarn, silk fibre and fabric; Water bottle
f elt ing days I h ave l earn t to m a ke and soap or detergent; Grip mat; Terylene or
net fabric; Thick plastic for resist; Two towels;
mu c h quicker , e as ie r an d f irmer c or d s Supermarket plastic bag; Misting bottle ; Berry
t h a t can be ‘ s e t’ an d w il l h o l d t h e i r pins and 15 safety pins, 4 or 5 cms (about
2 inches) ; Steam iron; Dome hat block (to
cu rl without w ire o r s tif f en in g. I t i s measure for your correct block size, take the
tape measure over the bump on the back of your
a gr eat p r oj e c t for ad d in g surface head, around your head just above your ears
d esign and tex ture. S uited f o r t h os e to the centre of your forehead. Then add 2 cm
(0.8inch) for ease).
wi t h some felt in g ex p e rie n c e .
Note: At layer four, change to the red fleece for the
remaining three layers. When you get to the last red
layer you can add some decorative elements of choice;
yarns, fabrics, silk etc, to the chimney area and in a
narrow band around the bottom.
Check that all the fibres are wet through and the edges are
nicely snugged up against the resist and you are ready to roll.
Work from end to end in batches of about 50 gentle rolls
then check the layout. If the wool around the edges has
spread out a bit, snug it back up against the edge of the resist.
Gently tug any areas back into shape if necessary. Only roll
from end to end as this gives the resist room to move out
of the open bottom as the fibre begins to shrink and it will
prevent the resist from crinkling.
Keep rolling until the fibres begin to felt and hold together
enough for you to handle. Carefully remove the resist by
peeling up the felt from the bottom. When you get to the top,
roll up the chimney section of the resist sideways so it can
slide out through the narrow neck (photo 7).
Rearrange and spread your hat so the fold that was on the
edge of the resist is now in a different position and continue
1 rolling, still in short batches of about 50 rolls. It is a good idea
to keep rolling in the terylene at this stage as it is very easy to
lose concentration and felt your hat to the grip mat!
After each batch move the felt so the fold is in a different
Layout and Felting position and make sure you are not felting in any tucks or
This hat is made using the resist pattern and measurements creases. Keep turning and rolling from all four directions and
shown (photo 1). I used three thin layers of purple wool inside out. As the hat becomes more felted you can increase
and three thin layers of red wool. This gives your hat a red the number of rolls in each batch and discard the terylene.
‘lining’ and a red undertone to the purple on the outside. Continue until your hat is well felted, you have achieved
Lay down an old towel, then your grip mat, terylene fabric approximately 30% shrinkage and the hat will fit snuggly
and resist. over your hat block. Rinse the soap out in warm, clean water.
Starting with the purple wool lay out the first layer, using
the shingling (overlapping method) from the top to the Blocking
bottom of the resist. Position the wool so it comes just to the For blocking you will need a hat block, a dry towel, plastic
edge of the resist along the sides but leave a margin of about bag and steam iron.
2cm (1inch) both at the top and bottom (photo 2). Blocking is much easier if your felt is damp and warm
Lay out the second (perpendicular) layer, extending off before you begin as this relaxes the fibres and makes them
both sides of the resist by about 5cm (2inch) and as before, much easier to manipulate. This can be done by wetting the
leave the margin at the top and bottom. Wet down with felt and heating it in a microwave (NOT the one you cook
warm, soapy water in the area of the wool that is within dinner in). Give it a minute on high, rearrange the felt and
the resist, leaving the fibres that extend beyond the edges give it another minute. Alternatively, you could dunk it in
dry (photo 3). Don’t overdo the water, it needs to be just very hot water. Once it is hot, quickly move it into the towel
wet enough to hold the fibres together. Cover the layout and wrap it up securely to remove excess water and keep the
with another piece of terylene fabric and with a firm grasp heat in.
of your terylene sandwich, take a deep breath and flip the Unwrap the hat and pull it firmly over the block, arranging
layout over. it so the long peak at the top of the chimney is about midway
You are now back to layer one, so continue laying out between the centre front and the side so it will sit at a jaunty
vertically as before to the edge of the resist at the sides and angle.
leaving the margin top and bottom (photo 4). Smooth the top of the crown by rubbing with the plastic
Before layout of the second layer, fold over (turn in) the bag and tugging down the felt if necessary. Keep the felt warm
extending fibres and fill in only the space between the by giving it a good squirt of steam as often as necessary.
turned in fibres (photo 5). Wet down again and, if necessary, When you are happy with the crown it is time to start
use your fingers to snug the fibres up against the edge of the tucking. The easiest way to get started is to place one hand
resist (photo 6). flat on the crown and the other hand on the side of the block
Repeat this sequence twice more so you have a total of and push the felt up to create a pucker. Grab hold of this and
six layers. make a generous tuck about 2cm (0.8inch) deep.
Shallow tucks tend to sag out of shape and just don’t look as
nice as deeper, more generous ones.
Work your tuck up around the crown and taper it out into
the neck of the chimney. Now work down, tucking around
the hat in a spiral fashion; you should circumnavigate your
hat about four times. Use a squirt of steam any time you
need to reheat the felt and smooth any rough areas with the
plastic bag.
2 When you get to the bottom, taper the tuck off the edge.
Fold up the edge of the felt so you have a narrow red trim
around the bottom of your hat. The finished crown depth
should be about 10 to 12cm (4 to 5inch) – see photo 8.
Fold over the chimney so the red side is on the outside.
Manipulate and shape until you are happy with the result
and set aside to dry thoroughly.
Cords
You will need at least twelve to fifteen cords, each
approximately 50cm (20inch) long. Because the wool is laid
in two directions it is reasonably quick to make a good firm
3
cord.
Working directly onto a piece of grip mat lay out a single
row of wool fibres 50cm (20inch) wide with the wispiest
end of the fleece facing away from you.
Begin with the yellow fleece for about one third of the
width then feather out about another 5cm (2inch) of fleece.
Now add the orange section feathering it out over the yellow
to blend the colours. Feather out the other end of the orange
and overlap it with the red; Photo 9 shows the sequence of
colours.
Add a second, perpendicular layer leaving about 2cm
(0.8inch) of the wispy edge of the first layer uncovered.
4 Overlap and blend the colours as before.
Wet the two layers and, starting at the bottom long edge,
roll up the fibres in a loose roll. Don’t try to make it tight as
the fibres need room to shrink.
Use your hands to gently roll the cord backwards and
forwards across the mat and it will soon shrink down and
become more compact.
Once you have several cords to this stage you can lay
them across the mat a few centimetres apart, roll up the mat
and work as for a flat piece of felt. Only roll your cords in the
same crosswise direction to keep them smooth.
6 7

If you can find a plastic or rubber mat with firm horizonal
ridges (such as stair tread), this is excellent for rolling your
cords on to finish and harden.
Adding the Curls

Gather all the cords together at the red end and trim
away the pointy ends so the bundle has a flat end. Using a
matching sewing thread sew all your cords together, wrap
around several times with the thread and secure. Put the
bundle through the neck of the chimney and stitch onto the
hat from the inside.
Wet the cords by dunking them into warm water (just
the cords not the hat!) or you could spritz them using
a misting bottle. Steam or spritz each cord as you go and
starting at the hat end, curl it around your finger and pin it
in place with a safety pin. Arrange the curls as you please on
the hat, pin into place, give the whole thing a final blast of
steam and leave to dry (photo 10).
When thoroughly dry, remove all the pins to release your
curls and you’re done!
Based in Canberra, Australia, Liz Evans has been a felt

maker and textile artist for over 30 years. Her speciality
for many years was handmade felt millinery, both
as fashion items and as wearable sculpture. More
recently she has moved into more abstract forms and
wall pieces. Liz is the author of 3 excellent PDF books
on felt making: Layers for Feltmakers, 126 Tips
for Feltmakers and Pots and Pods for Feltmakers –
10 adventures in the third dimension. All are available
online from textilesanyone.com.au
New & vintage textile supplies
Creative workshops
248 Highfield Rd (rear)
Camberwell
www.opendrawer.com.au
03 9889 7227
Snowy Creek Engineering

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We are a not-for-profit organization of approximately 160 members
who range from beginning to advanced feltmakers. We meet
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Contact us at Our organisation is concerned with sharing, promoting and
supporting the feltmaking community.
thegirls@artwearpublications.com.au
or phone us on +61 3 9888 1853 Please visit our website for more information
www.victorianfeltmakersinc.wildapricot.org
to discuss your requirements. Contact: vicfeltpresident@gmail.com

Felting FreNZy, the 15th Southern
Hemisphere Felting Convergence, was
held in Queenstown New Zealand in
September 2019.
The atmosphere surrounding
the Convergence venue engaged
participants from the moment they
arrived. Convener Gillian Shaw had
covered her car in felted samples
and parked it near the front door of
the venue, attracting much interest,
including from passers-by. The Under the
Cabbage Tree,
impressive native bird welcome sign,
by Jillian Gunn
beautifully crafted by Jill Gunn, was
centrally placed in the expansive
lobby and a bunting made of colourful
pennants led the eye up the stairs.
The first day's activity, a $5
challenge, proved to be an excellent
‘icebreaker’. Each participant was
given a bag containing scraps of felting
materials. These were felted into
bookmarks, book covers, flowers, bags,
pictures and even a doll's dress which
were then sold for $5 each. A total of
$500 was raised, which will form part
of the all-important seed money for the
next Convergence in 2021.
A special 15th birthday
Convergence dinner was held on the
first night. The beautiful birthday cake
was cut by Beryl Denton, a founding
member of the first Convergence which
took place in 1990 in Taupo, New Mermaid Dress by Sabin Imhasly.
Zealand. Guest speaker at the dinner The underwater look created with sequins
was Russell Emmerson of Forest and seaweed ruffles
Range, a high-country sheep station

at the foot of the Lindis Pass. Russell The main tutor was Rae Woolnough
had also kindly donated samples of the from Sydney Australia, whose Shibori
finest 13.7-micron merino wool tops style felt art was featured in Felt
for the participants’ welcome bags. (issue 16, 2016). Rae freely shared her
The programme welcomed extensive knowledge with Convergence
three paid tutors, plus a wide range participants, beginning each session
of volunteer tutors/participants. with a PowerPoint presentation of her
All classes were included in the beautiful Shibori work. Participants
convergence cost, which continued a then made their own sample pieces, Susan Galea modelling her
wonderful Convergence tradition. wrapping and tying felted balls, buttons, flame-coloured felt jacket
Fashion parade As in all other workshops, participants
entry were able to quickly get started on
by Nina Palm making their own creations and trying
out new techniques.
Sabin's second workshop was
quite different, focusing on surface
structure. She circulated a wide range
of sample pieces and, rather than
telling participants how each piece was
made, she encouraged us to think and
speculate how each sample could have
been created. Sabin then explained
the techniques she used and this was
followed by a hands-on session in
which we tried out various surface
structure options.
Sabin and Susan were notable
in that they used a variety of wools,
sourced worldwide. They stressed the
importance of selecting the right wool-
This image and above left type according to what we might want
Chicken Family Goes to Convergence to make. They also exhibited their
by Ruth Corbett
artwork in both the exhibition and the
fashion show, where they used a variety
of techniques to create beautifully
draped garments.
The volunteer tutors added
another much-valued layer of variety
and expertise. Jill Gunn shared her
expertise and wide experience in
her needle felting demonstration.
Tracy White, a regular trader, gave
an informative session on silk in all
its guises. Jane Craske showed how
to make a felt with a 'sheepskin' look.
Jessie Hannen, an alpaca breeder
from Manapouri, demonstrated the
different felting method she uses with
alpaca fibres. Judith Reid and Vivienne
Young entertained with stories of
making lifelike felted sandwiches
and liquorice all sorts with children.
Kay McLeod (‘Running a successful
and beads, as well as making so-called Originally from Switzerland, they now felting day’), Rosalie Copeland (‘Using
‘lava cracks’. Rae was very enthusiastic reside in the North Island of New Paverpol’), and Patricia Took-Stevens
and most generous with her supplies Zealand. Susan offered two workshops: (‘Small books’) also ran successful
and tips, including a very efficient way flower making ('flower on a rock') session which unfortunately I did not
to make felt balls. and small rounded vessels. Each of attend. It simply was not possible to do
Rae also ran an optional workshop her workshops was delivered with everything!
making large flowers with multi-layered clear guidelines every step of the way, The organising committee of Gillian
petals, much like a beautiful dahlia. Pre inventive techniques, different models Shaw, Carole Hyndman, Ruth Corbett,
felted circles in decreasing sizes were of each item and the different ways it Beverly Muir, Jillian Gunn, Maureen
layered with resists, then cut into petals could be displayed. McKenzie and Shona Schofield, with
and shaped by further felting and fulling. Sabin Imhasly also taught two assistance from the Southern Fun
Convergence also welcomed felt workshops; the first topic being Felters, did an excellent job: juggling
artists and sisters Sabin and Susan felted jewellery. She demonstrated the myriad duties of an event like this,
Imhasly, who work under the label techniques for creating a base, then exceeding expectations and making it
Twinfelt. adding embellishments. all feel very special.
Turmeric,
nuno-felted jacket
by Schona Scofield &
Vintage Journal
by Rosie Beverley
Above
Fashion parade entry by
Sue Scobbie
Left
Wedding Coat made and
modelled by Judith Reid.
Handmade felt adorned with
antique lace and handmade
pearls posy of pearl flowers
Felted Liquorice Allsorts in Felted Bowl by Felted Kereru by Jillian Gunn

Judith Reid, Vivienne Young and Heather Hand
The 'sheep' name tags were a favourite A highlight for many participants ceiling windows overlooking Lake
among participants. The traders and was a trip on the historic steamship Wakatipu and the nearby Remarkables,
the exhibition were wonderful, adding TSS Earnslaw, traveling across Lake a stunning mountain range clearly
colour and excellence to the workshops. Wakatipu to Walter Peak Station where visible from bedrooms, several
The participants enjoyed the chance to we viewed a working sheep station teaching spaces and the dining room.
mix and mingle, admire and learn, be as well as enjoying a lavish feast. On The weather kept changing, with
inspired and inspiring. the last night of Convergence, we had fresh snow on the mountains in the
Organisers welcomed 96 our traditional fashion show with mornings. The shifting clouds and the
participants, plus a scattering of participants modelling the garments. colours of our panoramic view were an
partners and family members who There was a lot of applause and inspiration to all.
spent their days enjoying Queenstown laughter.
and joined us in the evenings. And how Dazzling as all this activity and STOP PRESS: The dates for the
lovely that 40 of the participants were colour and texture was, sometimes NEXT Convergence in Canberra are
from Australia! A challenge for us to fly the Queenstown landscape just stole September 5-10, 2021. Lock it in!
the Kiwi flag at the next Convergence, the show. The Convergence venue Text by Sandy Lamb
in Canberra in 2021. (Rydges hotel) provided floor-to- Images by Keith Moretta
graphic design|branding
publication design|digital design
m 0420 577 450

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Storage
Box Jen n i e C ur ti s
MATERIALS & EQUIPMENT:
Materials: 80g (2.8 oz) wool top approximately

22 micron; square of light weight silk or cotton
fabric 66 x 66cm (26 x 26inch) in contrasting
colour to wool; two buttons; sewing thread.
For a world dominated by plastic, here is a simple storage

container that can be both beautiful and sustainable. I
worked on this project while the forests and houses along
the east coast of Australia burned in catastrophic fires, once
more reminding me that we need to reinvent how we live. 1
Colour combinations and surface textures for this storage
box project are endless once you understand the basic
construction technique. In the instructions for this basic
storage box, fabric is incorporated to provide a contrasting
colour and texture to the outside of the box.
Part of the technical challenge of this project is to produce
a piece of flat, sturdy felt that is square. The fabric acts as
a guide for this, helping you to see if the felt is shrinking
unevenly. The fabric can be any lightweight silk or cotton
fabric suitable for incorporating into felt.
When choosing fibre for this project, wool top made from
fleece with a thicker fibre diameter (22micron or more) will
provide more body and stiffness for the sides of the box than
a low micron fibre (under 20 micron). Shrinking the felt to
half to two thirds of the original layout size will also help the 2
box to hold its shape well.
3 7
4 8
Creating a fabric template

Fold the square of fabric into quarters so that the four corners
of the square are laid one on top of the other. Line up the four
layers to be as square as possible. Measure 11cm (4.3inch)
(1/6th total length of side) along both edges from the cut
corner and mark. Use a plate or other circle template as a
guide to cut the corners into curves up to the 11cm (4.3inch)
marks (photo 1).
Trim the cut edge of the fabric to tidy up any jagged
edges. Unfold the fabric and lay it flat and square on a piece
of bubble wrap on your table. The fabric will be your guide to
the size and shape of the felt layout.
5 Lay out the wool

Divide the wool top into four equal lengths. Use the first
length to lay out the first layer of wool, working across the
fabric. To do this, pull out thin tufts of wool top and place
them so that each tuft slightly overlaps the previous tuft and
runs in the same direction (photo 2). Continue until there is
an even layer of wool over the entire fabric. Keep the edges of
the wool aligned with the edges of the fabric.
Use the second length of wool top to lay out a second layer
of wool on top of the first layer and running at right angles to
the first layer (photo 3).
After the second layer of wool is complete, place a thin,
continuous strip of wool over the edge of the wool layout to
reinforce the top edge of the box (photo 4). This is done by
drawing out a thin layer of wool from the wool top while using
6 your hand to position it along the edge of the wool layout. Use
the remaining wool top to lay out the third and fourth layers.
9 12
10 13
11 14
The project shown has the green wool for the inside of Roll up the wet wool layout and bubble wrap into a
the box and the outside will be the crimson crinkle chiffon. big sausage shape (photo 6) and roll this gently on the
The box could also be assembled with the fabric on the table with your hands. Placing the wet towel or chamois
inside. on the table or around the bubble wrap sausage can
reduce problems with the bubble wrap slipping on the
Wet down and start felting table.
Cover the finished layout with a piece of netting. Mix a After about 40 rolls, unroll the bubble wrap and
small amount of dishwashing detergent or soap with cold gently straighten the wool layout, removing any wrinkles
water and sprinkle over the wool. Press the water into the before rolling again from the opposite direction. Continue
wool with a crumpled plastic bag. Continue adding water rolling and then unrolling, straightening and squaring up
until the wool is completely wet and flat, with no raised the work and then rolling from another direction until
fluffy areas (photo 5). Use a towel or chamois to blot the the fabric is beginning to stick to the wool, ie. the fibres
excess water from your work before removing the netting. are starting to migrate through the fabric.
Trim the pre-felt
Once the fabric is starting to attach to the wool to form Spin dry the felt in the washing machine or roll it in a dry towel
a soft pre-felt, carefully turn the work over so that the to remove excess moisture. Use a steam iron, on the wool
fabric side is on top. Use your hands to gently adjust the setting, to flatten the felt. While ironing, use your hands to pull
shape of your work to square up the sides. Use scissors to and straighten the edges and square up the piece. Lay the felt
trim any excess wool away from the outside edge of the flat on a table and leave it to dry.
fabric, leaving a 5mm (0.2inch) border of wool showing
outside the edge of the fabric (photo 7). Construct the box
Measure the piece of felt then use sewing pins to mark the
Finish felting corners of nine equal sized squares on the felt as shown
Continue rolling and unrolling to check your work. Rotate (photo 9). Using the pins as a guide, cut four slots with sharp
your work each time after unrolling, smoothing wrinkles and scissors or a rotating blade (photo 10). Then use a steam
straightening edges so that the wool felts evenly and square. If iron to create sharp creases in the felt, using the slots and
you like to use grip mat or some other rolling mat to speed up pins as a guide (photo 11).
the felting process, the felt can be transferred to the mat of your Fold the box into shape (photos 12 and 13). Use sewing
choice after trimming. thread to stitch as needed to secure the structure of the box.
Rolling should continue until the felt has shrunk to half to Sew a button in place on each end of the box to fasten the
two thirds of the original size. The aim is to produce a well- flaps and to add a touch of decoration (photo 14).
felted piece that is square (photo 8). Use a tape measure to
check the dimensions and if the piece is bigger in one direction, Jennie Curtis is based in Bywong NSW near Canberra where
roll along the longer side to shrink it in that direction. she runs Roogulli Farm, a small farm with Babydoll sheep and
Once the felt is firm and well felted, rinse with clean water alpacas. She is a former editor of Felt magazine and known for
and a dash of vinegar. her wildly experimental felt. See more at www.roogulli.com.
book reviews
First Time Felting: The Absolute Beginner’s sequences to achieve

distinct effects. The
Guide Ruth Lane
instructions are
(Quarto Publishing Group USA Inc.) kept simple and the
ISBN: 9781631598036 / RRP: $27.99 steps are illustrated
using full colour and
(ED: This book is a reworked and expanded version of clear photographs.
Lane’s 2012 book ‘The Complete Photo Guide to Felting’) Creating basic three-
dimensional figures
uth Lane is a self-taught fibre artist who loves to create is explored, including
R one-of-a-kind fibre art pieces and play with a wide variety
of materials, including wool, silk, fabrics, yarns, and threads.
working with wire
armatures, adding small
A long-time member of the Felting Forum, an online shapes to a felted base
forum of some 2,500 feltmakers worldwide, Lane blogs and how to connect
about felting and other fibre arts at permutationsinfiber. various segments.
wordpress.com. Also introduced are the basics of wet felting and nuno
In this book, Ruth Lane begins with the basic felting (also called laminate felting due to wool being
information needed to get started in needle felting: what layered onto a loosely woven fabric prior to felting): what
equipment and supplies you will need; how to work with supplies you will need and the rudimentary methods
felting needles (by hand, not machine); information on involved, again with straightforward instructions and
different wool varieties (including their characteristics showing good photos of the steps.
and possible uses in felting); and the various kinds of
embellishments you could consider using. For someone with no knowledge of how to go about
Most of this book encompasses needle-felting felting, this is a great book to get you started.
techniques - learning the basic techniques so that
you can then combine and apply them in different —Lynda Worthington

Felt Forward – New Technologies in
Feltmaking
Catherine O’Leary
Catpat Productions 2020
Softcover, colour photographs throughout, 124 pages
ISBN 978-0-646-80853-6 / RRP $35
Available from Catherine O’Leary
www.catherineoleary.com.au or cfelt61@gmail.com
his exciting new book by well-known Australian fibre

T artist Catherine O’Leary provides a rich insight into the
many and diverse applications of using needlefelt. The book
outlines many new possibilities for creating innovative
nuno-felted garments, accessories such as hats and bags,
boots and slippers, sculptural works, jewellery and wall
art, all made by using needlefelt instead of the more
traditional wool fibres.
Sometimes referred to as pre-felt or needlepunch; This book is an inspiring insight into Catherine’s felt-
needlefelt consists of woollen fibre made (mostly by centric creative life and the things therein that are
machine) into batts, ready for felting. The use of needlefelt important to her. I think it is ideally suited for those with
has gained much traction in the last decade, and to my some felting experience and beyond, and experienced
knowledge this is the first book that exclusively covers felters are bound to find much to captivate them.
this material in such detail. - Martien van Zuilen
The book is set out in ten chapters, starting with
the obligatory if somewhat brief introduction before an
extensive chapter on garments. It includes nuno-felted
garments, surface design ideas and making yardage. The
four garment projects include unique features such as a
concertina method (inspired by UK artist Julian Roberts)
to create a felted dress and cape.
can do
BOOKS
The chapters Hats and Bags, Boots and Slippers,
Jewellery, and Flowers are refreshing in the sense that
‘old’ favourites (beads, chains, cords, loops, handles and
more) are re-presented by using needlefelt alone.
Besides garments and fashion design, much of
O’Leary’s exhibition work has been in 3D art, and the
• Mail order
chapters on Sculpture and Wearable Art showcase • Shop online
this. Again, the images shine while the text outlines the
essence of how the works can be created. • Fast Shipping
A short chapter on wall art (including stitch), followed
by a section on felting tips for the ‘not so young’ and a
concise gallery of works by invited artist complete the
candobooks.com.au
book’s rich content.
This is O’Leary’s second book and it is self-
published; a big undertaking but the advantage is the
author’s relative freedom to decide on the content and
ee
Frcatalogue
presentation. There are no step-by-step images, as are
found in so many project-style books currently on the Contact us for
market. Instead, O’Leary offers clear drawings and, for a free catalogue.
the eight projects in the book, dot-point instructions.
The high-quality colour photos of the works are enticing
to say the least. Seeing her daughters and other family 39 Clifford Street, Huntingdale VIC 3166
members as the models for her garments and accessories
Tel: 1300 308 261
Email: info@candobooks.com.au
adds a wonderful touch.
book reviews
Artisan Felting: Wearable Art Jenny Hill

(Schiffer Publishing Ltd)
ISBN: 9780764358524 / RRP: $62.99
This book, by fashion designer and felt maker Jenny

Hill, focuses on wearable art and clothing designs. It is
aimed to help readers create lightweight, one-of-a-kind,
hand-felted clothing and accessories using nuno-felting
techniques.
Hill first outlines the required studio setup, a
comprehensive felting glossary and specific nuno-felting Needle Felting: 20 Cute Projects to Felt
tools and requirements. She explains her methods for from Wool Emma Herian
laying out wool, shrinkage rates and making the various
(Guild of Master Craftsman Publications Ltd.)
patterns and templates. Along the way readers are
provided with Hill’s methods for nuno felting, and she ISBN: 97817845152 / RRP: $27.99
addresses many of the questions she says felters have
asked her over the years.
The book contains seven tutorial-guided projects;
marbled scarf with fringe, 3-D textured poncho, felt fur
H erian has divided her book into four sections –
commencing with Getting Started which is followed
by three sections containing projects labelled Beginners,
vest, hand-dyed airy tunic with belt, embroidered bolero Intermediate and Advanced.
jacket, tailored blazer or jacket with dyed gradient I found that the tools, materials and techniques for
and a luxurious gown with sequins and ruching. Each felting are not covered in-depth in the Getting Started
project is explained in detail with clear instructions, section –instead you learn by doing the projects. If
close-up photography of the steps, and fashion photos you are a beginner, the incremental technical nature
of the finished piece. I found the projects to be quite of the projects enables you to learn new methods and
inspirational, created with thought and intention. techniques as you progress through the book. And once
Hill describes in some depth the planning of a you have grasped those techniques they can of course be
collection of garments, her inspiration behind the pieces, utilised and applied to your own original designs.
and the photo shoots. The use of colour, texture, drape, Each of the projects is well explained, with detailed
fit, and the flow of the pieces are also discussed. written instructions and accompanying photos. There
This book will suit both the novice and experienced are also additional and useful hints and tips along the
felt maker. There is much to be learned and to be inspired way. All this serves ease of understanding, encouraging
by. readers to have a go and finish the projects.
—Lynda Worthington —Rachel White

TECHNIQUE
Martien van Zuilen
Smocking Felt :: Rippling Textures

Materials
Stitch & gather pre-felt
With the pre-felt flat on the table and your wool yarn and
• Pre-felt. To create a finely rippled effect, use a
needle at the ready, apply lines of running stitches to the
relatively thin pre-felt. For this sample I used
pre-felt (photo 1). Include some shorter rows of stitches
a lightweight, hand-dyed commercial pre-
(rather than stitching the full width) and leave the ends of
felt (19-micron), measuring 90 x 40cm (35 x the yarn hanging out; don’t apply any knots and don’t cut
16inch) the ends at this stage (photo 2). Also, there is no need to
• Wool fibres; I used 10g (0.3oz) hand-dyed make the lines too straight or the stitches even in length;
merino wool tops (18-micron); Woollen yarn; it makes for a more random effect to be a little ‘free’.
wool works best as it is not as slippery as a silk Hold the ends of a line of yarn and start gathering/
or cotton yarn smocking the pre-felt. You can choose to smock evenly or
• Sewing needle and scissors; Felting equipment: create a more natural, random effect by bunching up the
grip mat netting pre-felt more in some areas than in others. Allow for the
• A plastic bag; wooden dowel, a small container to width of the pre-felt to be almost halved; after smocking
hold water and soap my pre-felt it measured 47 x 40cm (18 x 16inch) – see
photos 3 and 4.
Smocking is an embroidery technique used to gather Layout & felting

fabric, mainly so that it can stretch. When the principle Choose which side of your pre-felt will become the rippled
of smocking is applied to handmade felt it creates side and place it face down on the grip mat. Lay out 2 fine
wonderfully rippled and textured effects. The relatively layers of wool fibres on top of the pre-felt, with the second
simple technique combines wool fibres, pre-felt and yarn, layer perpendicular to the first (photo 5). Don’t worry if the
and is very effective. It is applicable to a wide variety wool fibres extend a little beyond the edges of the pre-felt
of felted items such as wall-hangings, bags, sculptural at this stage, don’t try to ‘neaten the edge’ and don’t cut the
work, hats and vessels. Of interest is that the technique excess fibres away.
produces ripples and folds on one side of your felt while Place the netting over the wool and press lukewarm
keeping the reverse smooth. It is also highly effective soapy water into the wool using a plastic bag, removing the
for creating smaller sections of corrugated textures in a air and wetting the wool. Try not to use too much water and
larger work. work gently. You are now ready to start the felting process.
1 3 5
2 4 6
Roll your work in the grip mat and remaining flat in the bottom half. new pre-felt.
using one wooden dowel as the core, Once you have lifted the folds roll
rolling up from the short edge so the up the work in the grip mat again and This is the time to cut off the floating
rippled folds are positioned in line do another 50 rolls before unrolling ends of yarn, should you wish to do so
with the dowel. and lifting the folds again. Ensure your (photo 10).
Do 50 rolls with very little pressure, work is wet (but not dripping) and
unroll the work and flip over (photo soapy enough. Variations on a theme
6). Your netting is now underneath The smocked felt is now up to the
the felt and the ripples are face up, Note: especially in the beginning pre-felt stage and more shrinkage
although at this stage they will be it is important to carefully raise is needed to achieve a firm and fully
looking rather flat! (photo 7). up the ripples each time you felted work, whatever that may be!
This is the stage where you start to unroll. This is so the folds of pre- Here are some options:
form the ripples. Carefully lift the folds, felt don’t felt onto the base. You can continue felting and make
without pulling the pre-felt away from a flat rippled felt. Once a strong bond
the wool fibres underneath (photo Continue rolling in sets of 50 rolls, is created between the wool fibres and
8). You can choose to lift every fold or changing direction each time and the commercial prefelt, you can choose
select areas where you leave some of stop when you have reached the to remove some of the visible stitches
them flat. It’s totally up to you! Photo stage where the commercial pre- or leave them be for an additional
9 shows the folds lifted in the top half felt and wool fibres have formed a surface design effect.
7 8
To create the Bark Bag shown

at the start of this article, wrap the
smocked pre-felt around a resist,
slightly overlapping the short edges
(photo 11). Wet the overlapping
edges and, with a plastic bag, gently
rub the felt until the two layers
of pre-felt have started to bond.
Remove the resist when the felt is
firmer, roll the work in the mat as
if you are making a flat felt. Check
the shape of your work frequently,
make sure that the two layers do felt
together and keep lifting and setting
the ripples. Roll up the felt on its
own, without the mat. This will really
9 11 ‘set’ the felt, but also increases the
speed of any shrinkage. Once the felt
is finished, rinsed and dry, close the
bottom of the bag using a double row
of machine stitching (photo 12), and
attach a felted cord and closure.
To create a partially smocked
and rippled vessel, prepare a strip of
stitched and smocked pre-felt long
enough to fit the circumference of
a vessel resist. Lay out wool fibres
around the resist in the way you do
when making a vessel and position
the strip of smocked pre-felt on
the outside. Wet out, and carefully
felt the vessel, checking the ripples
and folds as you go. The rippled
effect will be visible on the outside
of the finished vessel while the
inside remains smooth. I find it very
10 effective to also leave in some of the
stitching (photo 13).
13
Martien van Zuilen is a felt artisan living in Perth, Western

Australia. She is the convenor of Fibres West Inc., the Editor
of FELT, and maintains an active teaching schedule and
dyeing studio. See more W: martienvanzuilen.com, I: @
martienvanzuilen, F:martienvanzuilen 12
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stretch fabric. You will find knitting, crochet, felting, spinning, weaving, travel, and
so much more in this magazine. Having begun in Adelaide, Yarn is
still an Australian magazine, created here in Australia, and read
Vintage Made is published in June and December each year. worldwide.
Published in March, June, September and December each year.

www.artwearpublications.com.au or call (03) 9888 1853

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Felt n23

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2020

THE AUSTRALIAN MAGAZINE FOR FELTING AND MORE Issue 23

New South Wales

Petlins Spinning & Weaving

Ashford Silk Merino Queensland

11 Artist in Focus 35 A Hat for Curls

20 Feltscapes: Cora Jongsma 44 Storage Box

28 Untethered but not adrift 51 Smocking Felt ::

Felt is an independent Australian publication

www.artwearpublications.com.au Issue No 23 Felt 1

Issue 23 JUNE 2020

Martien van Zuilen

I have always had a very deep love of felt. Sometimes this is

As I have travelled overseas to teach

Felt Faces, 2013

School Installation, 2019, Carey Baptist School Installation, 2018,

I have had countless ‘failures’ and I

Wool Felt on Edge Mosaic

6 Bird on a Vase, 2018, 53 x 53cm,

7 Bird on a Vase (detail)

8 & 9 Rubber Tree Plant, 2019, 45 x 45cm,

10 Purple Flowers, 2019, 56 x 46cm, wool on

www.artwearpublications.com.au Issue No 23 Felt 9

12 Magnolias, 2018, 53 x 63cm, wool on masonite

A gallery of my work can be found on

Collage Jacket, 2019.

After returning to Canada in 2013, I rented a small

Important: Be careful not to shrink the nuno prefelts.

Prepare the base

Make the fastener elements

Note: It is important not to rush the rubbing stage! I

Roll the cuff up in the bubble wrap and around your

Important: Make sure to attend to the baubles and

These cuffs are fun to

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

FELTSCAPE: a depiction of the landscape that is

Setting the scene

It became a focal point to talk about the landscape; the

Time @ The Farm

The finished Feltscape of Tim’s land and mowing pattern

Cora working on Tim’s Feltscape

Nick’s Feltscape (detail), showing the ridged soil lines.

Landversation – Nick’s Feltscape. Photographer: Cora Jongsma

Landversations The Farm Margaret River:

A For the bag: 120g (4.2oz) of wool roving in your

BAG OF green roving. You’ll also need fibres for embellishment

COLOUR roving or something like Noro Rainbow Roll, and small

For the strap: I make my own straps from leather belts

& FLAIR that I buy relatively cheaply at a local market. If you

Felting equipment: 2 pieces of clear/transparent

* I use half a teaspoon of natural dish liquid to two

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

Cut the pocket resist to size 30 x

Lay out the wool:

www.artwearpublications.com.au Issue No 23 Felt 27

Not that my work is ever quick or simple, but I tend to

First You Must Burn (detail)

First You Must Burn (detail)

www.artwearpublications.com.au Issue No 23 Felt 31

Faced with the challenge of running a fashion parade in a

lost in a regular fashion parade.

Hemisphere Felters Convergence in Canberra in 2021.

Light as A Feather Wrap

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