Inspired by Esterhazy cake :) as example www.ruszwurm.hu/html/a_sk_eszterhazi_torta.html merino, silk chiffon fabric, 50/50 merino/silk yarn Back side
Felt Wall Coverings by Anne Kyyrö Quinn Anne Kyyrö Quinn is a London-based designer and producer of three-dimensional wall coverings made from felt. The studio works with architects and interior de…
We are delighted to present a workshop with the renowned German feltmaker Dagmar Binder. Dagmar has given workshops and exhibited widely throughout Europe and North and South America. As well as th…
Some of my flour paste resist dyed cloth I think I got this recipe, originally from Jane Dunnewold . I'd been wanting to try it fo...
I travelled to Minneapolis for the Surface Design Association conference which takes place every two years. (I was a SDA conference virgin but can see why people go year after year!) After years of being hosted in Kansas City, it is now changing its location every two years travelling the country looking for another home. Minneapolis was a great start as I had no idea what a textile centre it was!!! There were over 33 textile exhibitions on in the city while we were there, and even though our first day was a choice of 4 different bus tours (how many can you cram in?) we didn't see near as many as we would have like to. I started at the Minnesota Center for Book Arts and the show by Jiyoung Chung entitled Whisper-Romance using the traditional Korean method of paper-making called "Joomchi". I LOVED IT!! Since I started my artistic life in paper before moving onto fabric, and always wanted to incorporate the paper and text into my work, I loved what she was doing with this ancient art form. Joomchi is a unique Korean traditional way of making textured handmade paper by using water and Hanji (Korean mulberry papers). Record says that the Koreans started making Joomchi in Chosun Dynasty, 1392 - 1910. Joomchi creates strong, textural and painterly surfaces by layering and agitating. Its usages are diverse and it can be incorporated into surface design, collage, 2D and 3D, and functional objects such as lamps, space dividers, purses, garments. Here is some of her work: And loving the exhibit so much, I was thrilled to attend a demonstration by Jiyoung Chung to see how she makes the paper. People who signed up for her actual class commented on cramping forearms and carpal tunnel syndrome, as the technique is very labour intensive and a very physical activity. Sure made me appreciate what she does even more!
Felt Wall Coverings by Anne Kyyrö Quinn Anne Kyyrö Quinn is a London-based designer and producer of three-dimensional wall coverings made from felt. The studio works with architects and interior de…
Japanese felt artist Atsuko Sasaki is an art teacher and by night a genius felter. Atsuko makes fascinating creations with felt with a level of perfection
The Member’s Show at Say Si Gallery is a gem. It is a non-juried show of over 130 pieces from all over the world and provides a terrific snapshot of what is happening right now in surface design. Felt, embroidery, dyeing techniques, slashing, burning, quilting, weaving, knitting, crochet, and even Elmer’s Glue were all well […]
These instructions show the basic layout and techniques for making flat felt panels. This is the format, or canvas we will be creating throughout the course to explore the full range of surface design elements. Materials: 0.5 ounce (15 grams) wool fibres, (roving and/or batting) 2 pieces of bubblewrap about 18 inches (45cm) squarewarm water
Nomadic Felts by Stephanie Bunn. Publisher British Museum Press 2010. Pages 144.
I used leaf stamps and Jacquard Lumiere paint on the heavier lutradur. I let it dry, then I cut them out and blasted them with the heat gun set on HIGH. I straightened them out while they were still hot (yes, I have burnt fingertips to prove it.) I'm not crazy about these. I will probably get out the paints and add a layer of color. These are the lighter weight of lutradur. I discovered that they look much nicer with the heat gun set at the lower setting and some extra patience. The "leaf" on the upper right was done on high, with the other two on low. It took a bit longer, but the result is more what I was hoping for -- a kind of lacy result. Again, I used the lower heat setting; but a much nicer result, I think. A little more heat and a little more patience would benefit this one. And because it's Halloween, I just had to use the spider web stamp. I used the high setting on the heat gun and it's almost dissolved. But still spooky, if you're into that...
My art group met at the first of June and we played with Tyvek. We were inspired by Karen L’s recent post here. We cut up Tyvek envelopes, painted and heated them with a variety of heat tool…
Brush, sculpt, tear and bend are not usually actions you associate with walls — but interactive surface coverings that will change all that are on their way…
Kunst waar je stil van wordt
5 must have Surface Pattern Design Tools for your surface pattern design business; surface pattern repeat; textile design
Explore wet felting techniques that result in less stress on the body and produce beautiful surface designs.
This is a wet felted rug with archaic motif from Turkmenistan. It was a long process, about 1 weeks work. First I started on bubble wrap with design (wet pencil roving), then I filled with coloured…
Dit prachtige kinderbehang Bomen en Bosdieren van Lilipinso brengt veel sfeer in de babykamer of. Lees verder
Earlier in the year, I did a project article for the UK Embroidery Guild's Stitch magazine entitled, Letting the Yarn Speak. It was about stitching with variegated yarns and changing the stitch when the colour changed - literally letting the yarn dictate the stitches. I've done a few samples, inspired by an experiment I did that ended up in the Prairies show with Focus on Fibre Arts last spring. With the end of my grant deadline fast approaching, I suddenly BURST with the desire to do just one more embroidery... I'm so happy I did! It's 8 inches / 20cm square. It consists of seed stitches, and three knots: blue French Knots and Colonial knots, and yellow Sorbello Knots. It's a good size (ignore the oversized pen there, it's throwing off the perspective!). It's really quite full of texture too! I just want to JUMP RIGHT IN! ; ) I had a fun time photographing it's lusciousness! : ) Stitching it took a long, long long many days. Using these yarns was no nice though. Each stitch was like a swoosh of blended paint. I had originally stitched the top third of it with single French Knots of yellow, and decided it was horrid. I cut them all out. I changed to these big Sorbello Knots which look much less boring. plus... yellow rhymed with sorbello. lol It doesn't have a name yes, and won't be framed for a couple weeks. But... ta-da! : ) I don't know if these images do it justice. I am really proud of it, and proud of myself for not tossing it half way through. In hand stitching, the 'ugly phase' seems to drag on a bit. I perservered! Next project, I plan to set a timer each time I sit to work to see how long these things really take. : ) I'm really proud of this new body of work. I have a couple pieces at HandMade House and last week I got the most wonderful reactions. It's exciting to be there when it happens! This one might just end up in Handmade House unless it gets snapped up beforehand. My new work is moving pretty fast so if you ever see something you like, just say so. Otherwise, I'll let you know when the next show & sale is. There's one in September just outside of Saskatoon. Enjoy the summer! xo
We were introduced to Lesley Richmond's work when we were researching our recent article about nature-inspired artists. Originally from Cornwall in England,
Flour resist with dye
A golden career spanning almost half a century has been the achievement of celebrated textile artist Sue Rangeley. Intricately machine stitched lace,
I have been taking Lorna Crane’s Perfectly Imperfect online course through Fiber Arts Take Two. Lorna is a powerful Australian artist and a generous and gifted teacher. We started the class by making our own brushes and exploring our landscape. She is an abstract artist who references the land. I am
Quelle semaine merveilleuse pleine de créativité! Du 16 au 20 avril j'ai accompagné 7 femmes superbes dans des techniques de feutrage des reliefs et des objets, tout en encourageant à suivre et exprimer la propre créativité de chacune. Une semaine...
Charlotte Lancelot est designer. Elle a créé en 2006 le tapis "embroidery" en feutre troué, brodé de motifs au point de croix.
My art group met at the first of June and we played with Tyvek. We were inspired by Karen L’s recent post here. We cut up Tyvek envelopes, painted and heated them with a variety of heat tool…
