rosiepink

Land Art Felt Challenge

Lyn

Felted Campfire Creatures Diorama

I've been lucky enough to see Adrian Gray at work on Lyme Regis beach in Dorset - his stone balancing has to be seen to be believed. Adrian photographs his finished stone art at various times of day and night to achieve beautiful images and I was inspired to make a diorama of his work shown in the photos below:

'Campfire Creatures' by Adrian Gray

The Felting and Fiber Studio challenge for this quarter is to make something inspired by a Land Artist and I wanted to make something 3D because I think it's fitting to the challenge.

I felted fourteen 'stones' using merino wool and I worked them in a slapdash fashion so that they would appear rocky instead of smooth - I didn't need them all but I wanted to have a choice as I built the scene.  To join two 'stones' to make a creature, I inserted a sewing needle so that half of it was in each piece, like a joining pin.  Then I stuck each creature, in a standing position, to a small square of card so that I could move them around until I was happy with the compostion.

note: the 'stones' are really just large beads that I made like this but I used a lot more wool!

Dioramas traditionally have painted backdrops, and as my skills with a paintbrush are a little lacking, my husband stepped in to produce the night-time sea and sky.  He became interested in the project so we both went for a bracing walk on our local shore to get some gritty sand to finish the scene and then there was a teensy wrangle as we put it around the creatures because we both wanted to pat the beach into a pleasing shape.

Then we started the tricky business of getting the photo right.  We shone a spotlight so that it lit the creatures from the side, as a campfire would, and we got the warm glow by holding orange and yellow cellophane in front of the light but allowing a little white light to escape onto the painted moonlight.

The challenges are fun and encourage creativity so, if you haven't already done so, please join in!

Make textured textile art by stitching into nuno felt

Lyn

Last Sandcastle of Summer

The inspiration for 'Last Sandcastle of Summer' came from a recent day-trip to Sandbanks in Dorset.

We've enjoyed weeks of glorious weather and I love wriggling my toes in the warm sand and watching the sun sparkle on the sea, but the weather's broken now and I'm not looking forward to the cold of winter.

When I got home I looked through my old photos and found some of my grand-daughter playing in the sand.

I wanted to capture the last of the summer in a picture so I started to lay out merino fibres to make the background beach, sea and sky. I didn't want to add details such as boats or other people so to add interest I placed three strips of fabric across the wool fibres.  

The pieces of fabric were cut from loose-woven scarves that I'd found in charity shops. The blue/white scarf shown on the right has been my favourite for making skies and I only have a couple of inches left - I'm desperately trying to find another!

This is the resulting piece of nuno felt, after drying, finished size approx 36cm square - I didn't worry about the edges because I knew it would be trimmed and placed behind a white mount before framing.

 

I made a paper template of the shape of the child then tacked it, with large hand stitches, in place on the nuno felt. I also pinned a piece of lightweight interfacing onto the back of the felt - it helps with stitching and with moving the felt around on the sewing machine table. With the feed-dogs down on the sewing machine and a darning foot fitted, I used black thread to make a quick outline of the child. 

I removed the template then I cut scraps of organza into small rough triangles and attached them to the nuno felt using fine fusible web. The shadow was formed with dark grey organza and the skin areas were covered with a few pieces of very pale grey.  The hat and clothes have layers of organza - bright on the bottom and darker on the top - in autumnal colours to signal the end of summer.  

Tip: unless you like cleaning the sole plate of your iron, use plenty of baking paper under and over the felt during ironing!  Also, the felt needs to cool down before moving it as the fusible web will be stronger after a rest.

Then it was back to the stitching.  It's all very quick and 'rough' - except for the face because the profile needs to be sharp - and the eye was stitched by hand.

To add textural and colour interest, I gently abraded the top layer of organza, on the hat and dress, with the tip of a craft knife.  

The lovely 'quilty' texture is achieved by the machine stitching on the nuno felt.

The finished picture has been mounted with white board and the size of felt that is on show within the mount is 31cm x 22cm.

If you have any stitching on felt pictures that you'd like to share, please leave a link in the comments - we'd love to see them!