On The Shelf

It's always nice to get a belated birthday present, especially when it is something to make. This needle felting kit has waited a while to make the journey north, but it didn't stay in the box long once it had arrived. 

I was curious about the name - who was Henry Coles and why did he have a rat? A bit of research led me to this rather gruesome page from the National Archives, but for the faint-hearted, the story is that Henry Cole found the remains of several rats among documents while working in official archives. These were presented as evidence to a Select Committee in 1836, to show the poor state that documents were being allowed to fall into. According to the National Archives website, the skeletons of two of the rats are kept in a box among their collection. I felt rather sorry for the rats. The old documents can't have made a very pleasant diet, nor very interesting reading matter, really.

The kit was produced by The Makerss,  and was a real pleasure to use. All the equipment was included, along with very easy step-by-step instructions and photos of every stage. The wool was very soft and easy to felt, and there was a generous amount of it. The company also has good eco credentials - the wool is organic and all the packaging was plastic free. They also included wool felting mats, which I found much better than the foam ones I had. 

The Rat with his well-rounded bottom.

The kit included a bit of parchment for the rat to hold and some gold wire to make a monocle, but I decided my rat would be a less scholarly type, and so he has a cheerful red scarf instead. I also used black beads instead of the eyes provided, because I liked them a bit smaller.  

A browse through The Makerss website reveals a whole range of beautiful kits, with some very charming characters. I certainly wouldn't be disappointed if I received another untimely birthday present from there. 

 

The Rat has joined a group of random characters who have gathered on the bookcase.
Hopefully he won't be tempted to nibble any of the books.

Another addition to the shelf this week is a new Useful Pot. This one was made from a stitch sampler that had filled up and was just lying around being in the way. The sampler was sewn on a dark blue backing covered with scraps of different textured cloth, including velvet, chiffon and silk. Rather than fall back into the safe habits of embroidery floss, I made an effort to use different textured threads. I kept it to hand, and added a bit whenever I wanted to try something out, or, really, whenever the fancy took me. Because it was small, it was ideal to take on a train journey. 

To make it into a pot, I sewed on a backing, and then cut a cardboard circle for the base (using trial and error rather than maths for the size). I covered the circle with matching fabric by sewing round the edge of a large circle and then gathering it up tight. The gathered edge was hidden with a circle of felt inside the pot. Then I sewed the sampler edge to the base using whip stitches in strong cotton over the raw edge, continuing up the side to join the two ends of the sampler.

For the pot to be functional, I didn't want the top edge to be raw, so I unearthed a scrap of bias binding. I used embroidery stitches to attach the outside edge, so that it blended into the rest of the pot, and then turned over the inside edge to cover the backs of the stitches.  

So far, it doesn't have anything in it, but handy pots and bowls tend to attract random objects, so I'm sure this one will soon be earning its keep. 

 

Granny Squares and Kantha Kat

My Kantha Kat

Number three in my resolution to try out new techniques is a kantha cat.  I found some very crumpled muslin in the bottom of the box, and after a quick iron, cut two squares for the front and back. I sandwiched a scrap of old sheet in between to give it a bit of body. Because it is just a sample, I drew a quick freehand design onto the muslin, keeping the shapes simple and big enough for some rows of stitching inside. I outlined this in red backstitch, and then used embroidery floss for the running stitches inside the shape. I quickly regretted using the yellow thread, as it doesn't show up well (will I ever learn this?) I added eyes and probably should have given him a nose as well. The poor thing has 'experiment' written all over him. 

For the running stitch in the background I used the cotton from the old loom bodkin, which is strong and very smooth for stitching. I echoed the shape of the cat to begin with, but then went all over the place, contributing to the demented lines and the lumpy shape of the finished mat. Being muslin, it was easy to turn over the edge and neaten with an edge stitch. So rather a mixed result. It has a pleasing texture and I could see making lovely cheerful designs using this technique, but probably not something that I would make into a finished piece. 

 

Good old granny squares

Last year's attempt at a wrap around crocheted skirt was added to the official failure list after a few wearings, because it was so bulky to move about in (although it was very warm). It has been painstakingly unravelled, a slow business because it was composed of stripes that changed colour every row or two. With a sizeable collection of different coloured miniballs, the obvious thing to do was to make granny squares. I had forgotten how to do them, but a bit of googling had me on track and production began. The granny squares turned out lighter in weight than the double/treble stitches in the original skirt pattern, and I did contemplate making them into a different version of the skirt.  I started sewing them into a rectangle, and part way through, it got put down on the wooden box of fabric in the sitting room. It seemed to settle down nicely, and so it will probably remain there as a cover, - at least for the time being. 

Finished Fairy Tales

The finished Fairy Tale Quilt, a bit blurry and distorted because it is a windy day out there. I found that I can't get a good representation of the green background unless I photograph it outside.

The Fairy Tale Quilt is finally finished! 

I kept the last steps simple, just adding a piece of plain white sheeting to the back. This covered the mess of thread endings and wild stitching. Then I trimmed the edges, with a great deal of effort to get it mostly square, and covered them with my favourite spotty bias binding (from Boyes). The quilt measures about 70cm square, mainly because this is the size of my square table and that made it easy to lay everything out for working on. 

I probably shouldn't call it a quilt, which is usually defined as three layers stitched through to hold them together. There are three layers, as I had a middle sheet behind the green fabric to stabilise the applique stitching ( a bit. The surface is hardly smooth!). However, I haven't done any quilting on it and the only thing holding the layers together is the stitching on the bias binding. My reasons for not quilting it are firstly, the green background is already busy and the applique is detailed enough; and secondly, some of the applique is quite delicate and I didn't want to handle it any more than necessary. The straw and stick houses of the pigs are made of a loosely woven wool fabric, and are already beginning to become fluffy. I don't want the pigs to be without houses even before the wolf gets there!

All in all, I am very pleased with the way it has turned out. I've wanted to make something on this theme for a long time. However, there's plenty of fairy tales out there that I haven't included, so I'm not giving it up as a source of inspiration yet. 

In the meantime, there are always plenty more projects to get on with!

 

Final Fairy Tales

 

This week, I've added the final details to the Fairy Tale Quilt. The fox has finally got the white patch on the end of his tale, and he's off to catch the gingerbread man and do all the other tricks that foxes are famous for. This fox doesn't look that crafty, but maybe it's all part of the act. 

Meanwhile, Rapunzel has turned up in her tower, with her long braid hanging out of the window. It's a good way to dry your long hair on a sunny day, unless a witch (or a prince) decides to clamber up it.

Rapunzel is one of my favourite fairy tales. I often wonder what she would do all day in her tower. She would surely have some sewing on the go, a stack of books to read and hopefully a paintbox, so she could capture the magnificent views from her high window. She must be busy with something, because she hasn't noticed there's a dragon just below, going about his business with a small smile.

Meanwhile, down on the river, the Wild Swans are gliding along, surprisingly serene having been changed from princes into swans by a wicked stepmother. Luckily they have a sister who will turn them back. There are seven of these swans on the quilt, but a quick look in my fairy tale books informs me that there should be eleven. Let's hope the other four have flown off somewhere - otherwise this might be the reason for the dragon's smile.

It would be easy to carry on adding elements to the quilt forever, but I think it looks full enough and is ready for finishing off. I have decided not to quilt it after all. Some of the pieces are quite delicate, and the beads and sequins would make using a hoop impractical. I've added a backing of plain sheeting to hide the tangle of stitching on the back, and will put a border round the edge. Then it's just a matter of finding a place to hang it, in a house already stuffed with quilts!

My resolution to sample new techniques has continued with corded quilting. There are instructions in Linda Seward's book, but I could find very few modern examples that I liked. It seems like a technique that, at the moment, is not very popular. There are some intricate historical examples on the V&A website, which are mostly done on plain fabric. I took that as an inspiration, and drew some interlocking wavy lines. I sewed parallel lines in bright colours, being careful to leave one channel clear where they crossed. Then I threaded chunky wool through with a darning needle. I was surprised how easy it was, and the results are quite pleasing. This little patch was meant to be a trial run, but, as often happens, it turned out quite well, despite being on a ragged scrap of cloth. I may add some seed stitching in the flat areas, to emphasise the cording even more. 

Folded Star

It's a Brand New Year, and that means Resolutions! 

My first patchwork star, with added cross-stitch

I have been leafing through my collection of patchwork, quilting, embroidery and sewing books, and realised that are many techniques in there that I have never tried. 2025 is the year to put this right. I have set myself the task of making a set of samples using techniques I have never tried, with the critical rule that I have to read and follow the instructions instead of charging off in my own way. 

So on 1st January, I prised Linda Seward's Complete Book of Patchwork, Quilting and Embroidery, off the shelf and got to work on folded patchwork stars. 

The first four sets of folded triangles.

Carefully following the instructions, I used 2" by 3½" rectangles as the base, and folded over a ¼ inch seam along one long edge. These were then folded down the centre line, opened up again and the edges folded in towards the centre to make a triangle with two flaps. I pressed these as I did them so they would keep their shape - a fiddly job, which I usually wouldn't bother with, but the instructions were there to be obeyed.

All nicely ironed, four of these triangles were placed together on a backing fabric, and secured by a stitch at the point of each triangle. 

Round two of triangles. The folded shape can be seen better here.

Next, I added eight more folded triangles in a contrasting colour, lining them up (more or less) with the triangles already sewn down. The final step was to add a further eight triangles around the outside, again, securing at the points, and I also slip-stitched the final ring along the folded edges, to keep everything in place. Because this was just a try-out, I edge-stitched with the machine to finish. 

Finished folded patchwork star.

The result was a slightly wonky star. The layers made it pleasingly puffy, but it looked a bit dull, so, on impulse, and very much not in the instructions, I covered it with tiny cross stitches, with a single thread of floss. 

A much brighter version using 2 inch scraps.

It was time for a more artistic attempt. This time I used smaller rectangles in scraps of fabric. I found it easier to fold the triangles and then secure them with a couple of tacking stitches. This way I could make a whole pile of them, and press them all in one go just before sewing.  I also added another eight triangles around the edge, so the star has a double layer of borders. The star can be continued to be bigger than this - you would need sixteen triangles to make the next round. 

In the end, I was pleased with both results. The technique looks complicated, but it was quite easy to do, and there was very little sewing involved. The yellow star has a lovely 3D effect. But I don't find it the most practical of techniques. Quite a lot of fabric is used in the folding, and because there is little sewing, it probably wouldn't be very robust. 

The latest edition of Linda Seward's book is here . It's a great resource, with clear and detailed step-by-step diagrams throughout.

Crafts of Christmas Past

Christmas is a great time for crafters - a time to get out the ribbons and sparkles, sequins and stars. I love making decorations for the Christmas tree. They are small enough to make quickly and can be as simple or as elaborate as you wish. This year I have added to my collection by making some couched wool stars. I've used up tiny scraps of wool on a base of felt. Thick and fluffy wools gave a lovely texture when they had been tamed, but  soft chenille and good old double knitting worked well too.  I used leftover threads for the couching, ranging from tapestry wool in the yellow star, to a mixture of metallic machine thread, embroidery floss and strong white cotton in the purple one. Once all the couching had been done, I cut out the star close to the stitching and oversewed the edges to a matching star shape. All the loose ends were trapped inside, and acted as a bit of padding. It was fun to play with the colours on these - the warm yellow star is my favourite.

Since they only appear once a year, Christmas ornaments tend to survive much longer than other homemade efforts. The little green patchwork tree below is about forty years old and was one of my very first patchwork makes, inspired by a picture in the Marks and Spencer Christmas Celebration book. A few years later, I'd moved onto hexagons and a more sophisticated effort with bead decorations.

The little angel originally had a satin dress, which frayed badly, and after a catastrophic fall from the Christmas tree a few years ago she was given a cosy new felt dress and new hair and halo, looking a lot happier for it. 

The angel and her trees.

Father Christmas pops up in various guises on the tree. Here, the sequined Santa was part of a huge kit of Christmas decorations that I sewed while living in America.  All the pieces were stamped onto sheets of felt and numbered, ready to cut out and sew. The sequins, beads and threads were all provided. There was a sheet of instructions with a perplexing array of symbols for what you should do where. The kit maker was Bucilla.

The middle Santa is made from Fimo modelling clay. I'm not sure why he's doing jumping jacks, possible an effort to slim down his perfectly circular belly. He's thin and flat and so rather delicate. I'm always glad to find he's survived another year when I unpack the box of decorations.

The last Santa is a finger puppet, which I used to produce in bulk for school Christmas fairs, which is why he is machine rather than hand sewn. Perhaps this one suffered the indignity of not being sold. He usually swings about on the lower branches of the tree with the bigger baubles. 

Father Christmas, of course, needs stockings to fill. The stripy stocking here was a very early effort, carefully hand sewn. I think the material came from a Laura Ashley patchwork pack, and it has a precious (though now rather grubby) velvet ribbon round the top. The tiny Santa inside is also made from Fimo. He is about three-quarters of an inch tall.

The green plush stocking was made when I acquired a sewing machine with embroidery stitches. It looks like I had fun trying them out, although nowadays I rarely use anything but straight and zigzag stitches. 

The end stockings are both made of felt, decorated with beads, stars and those lovely blue sequins, which it turns out weren't that useful for anything else. I love the curly toe shape of these, although Father Christmas must find it tricky squeezing the presents in. The longest of these stockings is about 4 inches. 

 Happy Christmas!

Christmas Scraps

Every project produces a pile of scraps, whether it's fabric snippings, lumps of wadding or half lengths of thread. Of course these all get saved, because they will certainly 'come in useful' for something else. My fabric scraps are kept together in a large basket, and one afternoon, on a whim, I sorted them all into separate colour bags. This means less scraps fly about when rummaging for a particular colour. However, it also means that any new scraps have to be sorted into their correct bag, and this doesn't always seem like an appealing job. Therefore a new basket has appeared, full of scraps waiting to be sorted. 

I've been using blue, green and white scraps to make small squares and rectangles, with the idea of eventually putting them together somehow to make something. I'm using my favourite technique of raw edge applique, sometimes sewn over the edges and sometimes secured with tiny stitches all over the fabric. I've done both on this star, using metallic thread which makes it sparkle in the light (but not on the photo, unfortuately.) The size is about 3 inches square. 

Much scrappier is this little cottage in the woods scene (a favourite subject!). The sky and background were taken straight from the scrap basket without any trimming, and the trees and house cut roughly into shape. This piece is about 2 inches by 3 inches. I like its haphazard look and loose threads.

At last, the long-suffering Bare Rabbit has a piece of clothing that seems to suit him. In addition to the sewing scraps, there have been knitting and crochet projects over the years, not to mention some impulse buys, and so I have a drawer full of half-finished balls of wool. In here I discovered a bag of very small scraps, which I've crocheted up into a thick lumpy jumper for him. He looks a lot more at home in this than in fancy bloomers or the dreaded spotted dungarees. The colour combination has turned out very well -I'd be happy to wear this jumper too. 

 I improvised the pattern for the jumper, but Bare Rabbit was made from the Luna Lapin pattern. The website is here - https://www.coolcrafting.co.uk/luna-lapin/