Needle-felted Koala

Having made the needle felted wombat, I got stuck on Australian fauna for a while and created this cuddly character.  An easy two-colour model, he's lovely as a stress ball or just a furry friend.

You Will Need: grey felting wool, large hunk; white felting wool, smaller hunk.  Sorry I can't be more specific on gram weights, but my hand in the photo should give a good sense of scale.  One felting mat and felting needle; black embroidery or darning thread, large-eyed needle.

If like me you're working on your lap, a bit of rough fabric is a useful way to keep your clothes clean of fluff.

First make an ovoid body, not too highly felted just yet.

Second, create the head - roll half as much wool into another ovoid, and pinch the ends into the realistic koala shape seen here - with two lobed ears.  Heavily felt in between the ears to define their shape. 

Felt a fine wisp over the body and head, joining them together firmly at the neck join.

Add his white tummy :)

Roll a long wisp together to make a leg.  After an initial felting, rub legs and arms between your hands to round them out, before felting some more.

Heavily felt at one end to make feet.

Attach the legs pointing straight up...

...adding the knees when they're attached to the body.  Just fold the leg over and stick the pin straight through his kneecap.

Front legs are very similar...

...but for the added white wool on the inside.  Join them on sticking straight out ready for a hug :)

Add two tiny tufts of white wool, folded in half and felted on the fold, to his ears.

Embroider the nose in long stitches from top to bottom, pulled very lightly taut.  Add two French Knot stitches on top of each other for each eye (for this stitch, see these instructions.) Pass the thread through the back of his head and snip off to finish.  Voila!

If you like you can now give him a little bath, warm water and lots of soap rinsed and squeezed out of him with a towel, and then a little final felting of any rough edges.

Needle-felted Wombat

For my first more ambitious project making a 'real' animal, which was supposed to look like it did in real life, I chose a wombat.  They're called 'furry bricks' in their native Oz, because they are both solid and rectangular - a perfect Simple shape for an animal to be.  They're also endearing to my stepmother, so I knew the finished article would have a good home when he was done.

I purchased the wool from a company in Yorkshire called Wingham Wool (http://www.winghamwoolwork.co.uk/).  It smells of sheep - lanolin.  Mmmmm.  Wombat still smells of sheep.

You Will Need: Large wisps dark brown wool, two black beads for eyes, sewing needle and black cotton thread, felting needle and block.

Step 1: select your wool.

Step 2: roll and felt it into an oval shape.

Step 3: add a ball at one end for the head.  To get the stripes on the body going the right way, add a wisp from head-end to tail-end.

Step 4: Heavily felt the join between the body and the head on one side, to make a neck sloping down.

Step 5: make the feet/legs (wombats are so stumpy!) Felt the middle of a large wisp to the body, and roll the ends up into feet.

Step 6: Felt the feet until sturdy rather than wispy.  Use the edge of the block to get purchase.

Step 7: Turning to the head, add two tiny wisps for ears - make a rough folded-over triangle on the block, then shape further as you add them to the head.

 Step 8: Make 'eye sockets' by heavily felting and pinching the sides of the head to give the illusion of bone structure under the fluff.

Step 9: Wet your wombat in warm water and smoosh soap all over him to a) alleviate the sheepy smell and b) set the felting.  Rinse out the soap and squeeze out most of the water, being careful not to get him misshapen when you're done.

Step 10: Sew on little black beads for eyes and make a little down-arrow of nostrils in an oval of backstitch for his nose.

Cross-stitch update

As you can see, with little else to do I have been getting on with my cross-stitch.  The brown border does look a little overpowering, but hopefully I can fill out the tree itself a few more bits and pieces and make the main pattern more eye-catching later.

The little animals in the branches have been coming off well; I am particularly pleased with the squirrel.

I also wanted to share with the Internet the following amusing photo of some fried eggs, which I thought rather resembled Edvard Munch's The Scream.

 That's all; it has been quiet on the crafty front the last month while I've been filling in forms and so on in my spare time, but I'm looking forward to the Man's birthday cake this week which should be gracing these pages soon.  Not to mention I have just ordered some more wool from Kemps with which to make my first proper jumper - an aran cardigan to replace the well-worn and over-mothed ones which my mother made me years ago, whose sleeves are suffering.

Cross-stitch sampler update

This is a long-running project of mine, which is actually progressing faster in some ways than I thought it would.  Having stopped at about here after running out of thread, and getting on with other projects like this, I've come back to my cross-stitch like an old friend for doing on lonely evenings in front of the telly.

The top two rows of leaves and deer are now finished, so I know exactly how wide my piece is going to be.  Unfortunately, it looks like becoming just a little too wide  - if I have to stitch right up to the edge of my cross-stitch material, I might have to put the edge of the fabric across the centre of my embroidery hoop, which makes for awkward loose stitches and fraying problems.  Thankfully I have a little ordinary fabric put by with which to make a broad 'working border'. 

This border probably won't make it to the final cut as it were; I intend to hem the work off, but either with more elegant fabric than this or invisibly.  Then it can be hung on poles or framed as an attractive (hopefully) bit of Art.  This is just to give me that little extra legroom as it were to work at the very edge of my cross-stitch fabric.

I know where the corners of my pattern will go; I also know where the centre should be now, at least vertically.  This means that I can start placing the names of my relatives accurately in the border and really making this project into a proper family tree.  I'm starting with my mother's parents, as I know Granny likes a bit of tapestry work herself and is very proud of her projects. 

A Top Tip:
Cross-stitches can be done half at a time all in a long row, like this: ////////// and back again \\\\\\\\;
Or you can do them one at a time, like this: X X X X X to get the same result.
The difference between these two methods is that with the first, you end up in the pattern where you started, and with the second, you progress across the pattern stitch by stitch.  The second also means that you may start each X in a different corner each time, as you cannot re-enter where you just finished. 
If your pattern is complex, involving a lot of spaces and jumps across other colours, you may wish to combine these two techniques judiciously in order to 'jump' between adjacent 'blocks' of the same colour.  I have found the brown border responds particularly well to the XXXX treatment when trying to count to the beginning of the next repeat.

Belted tunic dress

This isn't something I can really claim as my own, it's a New Look dress pattern (below) but the bead detail is mine.

It's made of the electric blue silk which the Man brought me back gosh, how long ago? many months... and I hadn't finished it yet because I suspected that turning the belt inside out would be an arse.  I reckoned without the smoothness of silk though, and in the end the fiddly little tie-ends were the biggest doddle of the whole project.

Look how blue!

Cross-stitch sampler update

I managed to injure my leg while skiing at my mother's recently (all better now thank goodness) and was laid up for a couple of days.  This proved an excellent opportunity to get on with my sampler, which I had brought with me as a pastime for the long winter evenings.

The borders as you can see are taking shape.  I worked inwards from the corner to find the first leaf-point; now I will work right along the top of the tree until I know how wide the piece should be, and then go back and finish the blue border.  I think that my mother's parents' names will be enclosed at the top edge.

I am actually now further along than shown in the photo, with one stag-roundel finished and another begun; there will be four in total.  Stitch-counting in the red and brown border has been a problem, and one section got messed up a bit - but the long diagonals which you can see beginning at the bottom left of the piece provide a good place to restart and set things on the right path again.  This is the joy of working in independent sections - as long as the corner is OK, the tree and its surroundings can't affect each other.

I also hemmed the cross-stitch fabric crudely all the way round, to stop it from shedding fibres everywhere.  The trouble with bought squares of it is that the edges are never quite square to the weave, so there are short lengths which peel off the sides all the time.  Hem yours before you start is my advice now - just a simple fold over and running stitch all the way round.

Also at my mother's I found the goldfinch which I embroidered ages ago; I sent it as a birthday present the year I made it.  And at my father's this weekend I found the flower-press and pressed-flower pictures which I made of the remnants of my childhood garden.  I've added new, decently-lit pictures of these to the appropriate posts, so do go back and remind yourself of those Simple Things of yesteryear.  I do love my new digital camera!

Cross-stitch sampler: Inspiration and design

You Will Need: Inspiration, sharp pencil and ruler, graph paper (light grey is easier to 'read' than green), eraser, coloured pencils of many colours.

A friend who knows my love of Vikings and embroidery brought me a book of Icelandic tapestry motifs.  In combination with this background, I have a good, largely happy, large family.  Less and less unusually as trends continue, I have been blessed with a pair of amicably divorced blood parents and a pair of hugely amicable step-parents, balancing the books rather til my cup of responsible adult company runneth over.  For most of my young life I was able to visit all four of my grandparents, and only recently has this number decreased by one.  My younger brother is the apple of my eye, and a talented maker and doer of Simple things in his own right - notably odd DIY and fire-starting.

The first chapter of the book encourages you to make a sampler.  Traditionally often made to commemmorate a new marriage or a birth, I was inspired to design a rather monumental one in memory of my current family setup, which has served me so well.  I used further designs from later in the book to help me design the borders.

The central motif is Yggdrasil, the World Tree and everlasting Ash; it endures despite being nibbled by four deer, a goat and Ratatosk the squirrel.  Notice that the design of the leaves has four entry- and exit-points around the square, so that they can be rotated and joined onto each other and still look naturally growing without having to redesign every organic possibility.  The circular design allows the roundels to shelter the animals, who can nestle in without me having to design around them.

At Yggdrasil's roots are the Norns, who tend it; its roots draw water from three sources, which are echoed in the watery blue border; lurking underneath it is the dragon, who forms the outer ring of the design.

Hanging in its branches is Odin, undergoing his quest to gain ultimate knowledge; sheltering at its heart are Lif and Lifthrasir, Life and Striver-for-Live, the last human beings and the first human beings who will survive Ragnarok and repopulate the new world. Each of these scenes is designed independently, by first making a rough 'normal' sketch lightly in pencil and then 'pixellating' it manually until the desired effect is obtained.

The design is the Family Tree, and the names of the people most important to me will be embedded in the blue border using the alphabet design from the book.  I expect this piece will take me several years to complete, if I ever do, as the sheer number of stitches involved is immense and I am bound to make counting errors and have setbacks.  Nevertheless I intend to make a go of it alongside my other projects, coming back to it whenever I have nothing else going on, and leaving it out to reprimand me on my work-sofa whenever I come home.  I will have to start from one corner of my fabric rather than the centre (as recommended by the tapestry book) because I cannot know how big it will end up being, and want to join any more required fabric to an edge with a border for accuracy.

There is no reason for you to attempt such a ridiculously huge project of your own, but I do encourage you to design your own cross-stitch patterns on graph paper by pixellating sketches.  Fabric can be cheaply acquired in relatively large quantities from online supplier www.cross-stitch-centre.co.uk.  They are the Kemps Wool Shop of cross-stitch, or it looks that way to me.

Patchwork

I am the proud owner of a patchwork quilt-cover made by my mother.  Patchwork nowadays is a very old-fashioned hobby; it dates from the time when leftover fabric was a real resource to be saved, and when women needed things to do which were repetitive and occupied the creative parts of their brains to stop them from thinking things like 'perhaps I could leave the kitchen one day' and 'wouldn't it be nice to vote.'

Luckily for me English patchwork has never quite died, and now I can see the pattern of my early childhood laid out on my bed - from the silk and cotton shirts which Mum used to wear, to the stripy red and white of my primary school summer dresses, to the lining from Dad's old favourite coat.  I have also been left a hexagon template for making my own pieces, and seeing as I am now unemployed and lazing about the house with nothing to do, I have decided to create a patchwork housecoat - giving me something to do and a warm garment to laze about in.  I'll post the method or pattern for that when I get to that stage, but at the moment I'm still making hexagons, so I'll show you how to do that.

Making Hexagons
You Will Need:
Stiff paper or very thin card
Scissors for paper
Scissors for cloth (if you use the same scissors then they will become blunted and useless)
Bits of old dressmaking fabric, torn clothes, grown-out-of clothes (explore handing-me-down first)
Cotton thread in a bright colour
Plastic bag for scraps which inevitably result
Template

The last item is the most difficult to get hold of; every piece you make must have every side the same length to within about 2mm, so use a proper template such as can be printed off from here.  Using this template, cut out paper hexagons; you may be able to print the lines directly onto your paper.  I used my mother's metal hexagon as a stencil.

Cut out squares from your fabric pieces using your sewing scissors, so that there will be at least 1cm of seam allowance around your paper hexagons.  If you're cutting up a garment, cut swaths out from between the seams first, i.e. each side of a shirt as you would iron it, or opening out the legs of trousers; folding seams around the paper is awkward and makes for uneven hexes.  You could save or bin the resulting seamy scraps; if you saved them you'd be making a peg-rug, but I don't know how to do that and think that peg-rugs look like the seaweed mats which form in the oceans, so I binned them with joy.

Lay the paper hex on the wrong side of the cloth (the wrong side would be the 'inside' if you were wearing it) and fold  the fabric around the corners.  Using a single stitch at each corner, 'tack' the fabric to the paper as shown in these videos.  Leave an inch of thread tailing off the last stitch, cut the thread and begin another hex. Stack hexes by colour so that you know how many of each you have.

Once you've made all your hexagons you can decide how you want to sew them together.  Depending upon your commitment and level of extroversion, you can combine contrasting or complementary colours either in single hexes next to each other or as 'flowers' like the picture.  I went for the flower option, and I'll explain how to make those in my next post.

Embroidery 'sans frontieres'

It's easy to get scared by the idea of doing embroidery; needles are both fiddly and pointy, mistakes are easy to make and difficult to attend to, and it isn't often done these days so guidance from elder relatives can be sparing.  However - after an obsessive cross-stitch phase in my childhood, I became determined to take up my needle again, and so I offer this pictorial evidence of what you can achieve without a pattern from a kit.

Learning to sew in itself is a bit tricky for me to show you just on a blog, but there are lots of books and old people around who could teach you the basics.  For masterpieces such as above, You Will Need:  Scissors, fine white cloth of any kind, coloured embroidery thread (try John Lewis), needle, small embroidery hoop (ditto), computer and printer, pencil and strong black pen.

Decide on your image.  I wanted a goldfinch because birds make good stand-alone subjects and come in interesting colours.  A great tit was abandoned after the embroidery hoop pulled the pattern out of shape.  Print out your images in black and white or colour and trace them with the black pen onto a separate sheet.  If you can't see the image through the paper do your best to sketch from example with your pencil, then go around the outlines with the pen.  Cut out the pen drawing.

Place the drawing behind the cloth and fit the cloth into the embroidery hoop so that you can see the pattern through the cloth.  If you can't, hold it up to a window or light to remember your way.  Make sure that the hoop is aligned properly and the cloth pulled tight.  Begin sewing with fine black thread, using backstitch, along all the outlines.  

When you've finished the outlines of your image, you don't need the paper pattern any more.  Take the work out of the embroidery hoop and carefully cut or pull away the paper from the back of the work (if it won't come easily, no worries - it won't show later).  Most of the edges will have been nicely perforated by your sewing earlier.  When the paper is mostly or all gone, put the work back into the hoop and fill in the blocks of colour using long and short stitch.  

This way you can make any image you like, or even, if you're a better draughtsman than a sewer, design your own.  For a first try choose a small, simple subject which doesn't have too much fiddly detail.  There are three key things to remember about doing needlework of any kind:

1) Never use a thread longer than your own arm.  When pulling from a bobbin or skein, hold the body of the thread in one hand near your chest, pull out the length you need with your other hand, and stop when your arm is fully extended.  Cutting the thread with your teeth means that the end is already wetted to push easily through the needle, and you don't have to let go to get your scissors.  When you have this long thread, pull about half of it through the needle so that you're only working with a short length at a time.

2) While you're sewing, occasionally let the thread lie on the surface of the work so you can see it curling up.  Then twiddle the needle in the opposite direction until the thread lies flat.  This reduces the chance of tangles happening when you pull through the material.

3) If you do get a tangle, don't panic!  Either snip it out, which is cowardly but effective, and remember to tuck the cut ends under new stitches so that they don't unravel - OR - very slowly tug on each loop and you may find that the culprit is one small loop which simply undoes when the thread is gently pulled taut.  Then dangle your needle to untwist the thread and start again.