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feltiquefeltiqueTechniques and Projec ts for Wet Felt ing, Needle Felt ing,

Ful l ing, and Work ing with Commercial Felt

N I K O L A D A V I D S O N A N D B R O O K E L Y N N M O R R I S

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To the craft community, those who love fiber ar ts,

and indie crafters around the world.

The author and publisher would like to thank the Craft Yarn Council of America for providing the yarn weight standards and accompanying icons used in this book. For more information, please visit www.YarnStandards.com.

Copyright © 2009 by Nikola Davidson and Brookelynn MorrisPhotography and illustrations copyright © 2009 by Nat Wilson-Heckathorn

All rights reserved.

Published in the United States by Potter Craft, an imprint of the Crown Publishing Group, a division of Random House, Inc., New York.www.crownpublishing.comwww.pottercraft.com

POTTER CRAFT and colophon is a registered trademark of Random House, Inc.

Library of Congress Cataloging-in-Publication Data

Davidson, Nikola. Feltique : Techniques and Projects for Wet Felting, Needle Felting, Fulling, and Working with Commercial Felt / Nikola Davidson and Brookelynn Morris.—1st ed. p. c.m. Includes index. ISBN 978-0-307-40699-6 1. Felting. I. Morris, Brookelynn. II. Title. TT849.5.D35 2009 746'.0463—dc22 2008037096

Printed in China

Design by Nancy SabatoPhotography and illustrations by Nat Wilson-HeckathornNikola Davidson’s author photograph on page 158 by Andy SeavyTechnical editing by Keith HammondMakeup and hair by Rachel J. Lieberman

10 9 8 7 6 5 4 3 2 1

First Edition

Potter Craft NewsletterSign up for our monthly newsletter at www.pottercraft.com to get information about new books, receive free patterns, and enter contests to win prizes.

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To purchase a copy of 

Feltique  

visit one of these online retailers: 

 

Amazon 

Bar blenes & No  

Borders 

IndieBound 

Powell’s Books 

Random House 

www.PotterCraft.com

Introduction 6

Chapter One: Commercial Felt 8

Chapter Two: Wet Felting 36

Chapter Three: Needle Felting 64

Chapter Four: Fulled Felt 92

Chapter Five: Mixing Methods 124

Basic Knitting and Crochet Techniques 142

Resources 150

Contributors 152

General Guidelines for Yarn Weights 157

Index 159

contents

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Although I had gone to the farm to see the animals up close, I immediately forgot all about them when I saw a group of women making fuzzy, warm hats by poking crazy needle tools into fl uffy pieces of fi ber. I practically knocked people down in my rush to fi nd out what those women were doing and how I could learn how to do it. As I touched a needle felting tool for the fi rst time, I was hooked.

What particularly drew me to felt were the many ways that it can be easily created. Add some hot water and soap to wool fi ber, and presto—you’ve made felt. Poke a needle felting tool—usually made with wood and barbed needles—into fi ber, and within minutes, you’ll see it transform into felt. Toss your knitted creations into your washing machine and, magically, out come pieces of felt. When you add store- bought commercial felt to projects . . . well, it’s enough to make you want to devote your whole life to exploring felt.

When I fi rst started playing with felt, I was also part of the rise of the indie craft movement. Across the country, people were taking traditional crafts and putting a fresh, contemporary spin on them. What better vehicle for this movement than felt? It could be funky, it could be urban, or it could rock your socks off. When I saw what artists were creating with felt, I knew that a new generation of felters had truly arrived.

This book features the most innovative, fun artists in the world of felt sharing their best projects. The chapters are organized according to technique. Chapter One describes ways to use commercial felt, which is bought in sheets and is easy to cut and sew. Chapter Two explains wet felting—a sudsy, wet, and physical task. Chapter Three is dedicated to needle felting, a process in which a barbed needle tangles fi bers together. Chapter Four is about fulled felt, which is the fabric made when knit items are shrunk into a solid, dense material. Finally, Chapter Five mixes the previously discussed methods and includes projects that use combinations of these techniques. An introduction in each chapter explains how the fi ber can be turned into fabric or shapes. A variety of housewares, accessories, wearables, and warm fuzzies are featured. Review the basic skills at the beginning of each chapter, then jump into the exciting how- to’s for each project. The timelessness of each project will have you creating felt art that will endure. I hope Feltique will help you fi nd felt as inspiring and endlessly entertaining as I have.

—Nikola Davidson

in t roduct ion

My obsession with felt began with a visit

to an alpaca farm in the fall of 2004.

WHY WOOL FELTS

Wool is an amazing natural

fi ber with many unusual

properties. Fibers with

felting properties can also

be found on goats, alpacas,

llamas, and rabbits. Despite

their various animal origins,

the fi bers from these

animals appear similar on

the microscopic level.

Wool is coated in keratin

protein. This protein is a

very hard substance, and it

forms small scales covering

the fi ber. These scales

“open” when exposed to

heat, agitation, water, or

an increase in pH. Once

open, they can easily be

tangled and matted. As the

scales “close” they lock in

place into felt.

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Commercial felt is an indispensable fabric for all

crafters. Available in all colors and many different

textures, it’s most often seen in craft shops as

81⁄2" x 11" (21.5cm x 28cm) sheets, but it can also be

purchased on bolts at fabric stores. Commercial felt

has a reputation as a schoolchild’s material, and yet

it can be used to create surprisingly sophisticated

projects.

All felt is nonwoven fabric. What sets one felt apart

from the next is the source of the fi ber used to

make it. Commercial felt can be 100 percent syn-

thetic, 100 percent wool, or any mixture of the two

kinds of fi ber. Most of the projects in this book use

100 percent wool felt. It is more costly, but its

quality is unmatched by synthetic fi bers.

Felt- making companies are currently exploring the

use of new materials, such as recycled plastic

bottles. Additionally, although felt used to be

manufactured by using wet felting processes, now

it is matted together almost exclusively by using

felting needles in large machines or by using a

chemical process.

Use very sharp scissors to begin a successful project

using commercial felt. Most wool felt is thin—only

1⁄1616" (1.6mm) thick, in fact, all the felt used in these

projects are this thickness. But some wool felt is

1⁄8" (3mm) thick or thicker. No matter the thickness

or the fi ber content of the felt you are cutting,

sharp scissors will aid your accuracy and reduce

distortion of the edges. Cut slowly and evenly to

avoid leaving burrs on the edge. When using

patterns to cut pieces from your fabric, pin the

patterns on directly onto the fabric or use a pencil

to trace their outlines on the fabric. Other tools that

are helpful for cutting felt include die cutters to cut

shapes and rotary cutters for making long cuts.

C H A P T E R O N E

commercia l fe l t

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Commercial felt can be sewn by hand or by

machine. Embellishing felt can be as simple as

sewing on a button, adding beads, or embroider-

ing with a chain stitch. You can also stitch

embellishments by using one or more strands of

embroidery fl oss and an embroidery needle.

Whipstitch is a popular choice for joining two

pieces of a pattern together. Blanket stitch is

equally popular for decorative stitching. Be aware

that felt is a soft fabric that can distort as you sew

it. To avoid buckling, creep, or shifting of the

fabric, use an even tension when sewing and be

mindful of needle placement when hand- sewing.

The same principles apply when sewing felt with

a machine.

Satin Stitch

Whip StitchBlanket Stitch

Herringbone Stitch

Running Stitch

Back Stitch

Feather Stitch

THE TERMS THAT DEFINE WOOLS

Crimp: The bends in a length of wool. Coarse

wool might have only one or two crimps per

inch, while the fi nest wool can contain up to

100 crimps per 1" (2.5cm).

Staple: The locks, or clumps, that form naturally

in sheep’s wool. They are measured and used

to classify the quality of the wool.

Micron: The unit of measure of the diameter of

wool. There are 25,400 microns in 1" (2.5cm).

Tog: The outer coat on a dual- coated wool.

Thiel: The undercoat on a dual- coated wool.

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The narwhal, the great white shark, the giant squid, the diver in pursuit

of sunken treasure . . . the ocean is full of wonders to recreate in felt.

Don't forget to make the fi sh (shown on page 16).

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SKILL LEVEL: ADVANCED

MATERIALS

1⁄1616" (1.5mm) wool felt sheets in the following colors: sky blue, ivory, burgundy,

white, black, gray, pink, sage green, dark

gray, and ice blue

6- strand embroidery fl oss in the following colors: black (DMC 310), blue (DMC

3755), tan (DMC 3782), red (DMC

815), burgundy (DMC 3685), white

(DMC blanc), gray (DMC 169), pink

(DMC 3713), gray/green (DMC 3022),

dark gray (DMC 413), blue (DMC 597),

and copper (DMC Antique Effects E898)

Scissors

Small embroidery/crewel needles, size 7,

8, or 9

Fiberfi ll

Toothpicks

Straight pins

Chopsticks

Scotch® tape

Pattern pieces (pages 18 and 19),

enlarged by 145%.

For the Narwhal and Squid only: 20- gauge craft wire and pliers or wire

cutters

For the Narwhal only: Two 4mm black

bead eyes

under sea p layset

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NOTES

1. Enlarge all pattern

pieces on pages 18 and

19 by 145%. To cut

the pattern pieces from

the felt, tape the pattern

directly to the felt with

scotch tape. The tape

will leave no marks when

removed.

2. Use a single strand

of embroidery fl oss unless

otherwise noted.

FISH (shown on page 16)

Felt:sky blue

Floss:black (DMC 310)

blue (DMC 3755)

Cut from patterns:2 fi sh bodies

1. Add an eye to each body piece by

making a French knot with 3 strands of

black fl oss.

2. Use blue fl oss to stitch the body

pieces together using a whipstitch,

starting where the fi sh’s mouth would

be and sewing around to the top of the

head. Make sure that the French knots

are on the outside of the fi sh. Don’t sew

the fi sh completely shut just yet—leave

a small opening so you can add stuffi ng.

3. Stuff the fi sh with a pinch of fi berfi ll.

Use a toothpick to push it inside.

4. Sew the fi sh shut with a whipstitch.

Distribute the stuffi ng with your fi ngers.

NARWHAL

Felt:ivory

sky blue

Floss:tan (DMC 3782)

blue (DMC 3755)

black (DMC 310)

red (DMC 815)

Cut from patterns:1 ivory horn

4 blue fi ns

2 blue tails

2 blue body pieces

1 blue top gusset

1 blue bottom gusset

Horn

1. Use pliers or a wire cutter to scuff up

the ends of a piece of 31⁄2" (9cm) 20-

gauge craft wire so that it is less likely

to slide out of the horn. Lay the wire on

top of the ivory triangle so that one end

of the wire is about 1⁄8" (3mm) from the

point at the top. Some of the wire will

extend beyond the bottom of the horn.

2. Use tan fl oss and a whipstitch to

secure the wire in place, looping the

thread over and under the wire. Make

your stitches shallow, so your needle

does not pierce the entire thickness

of the felt and your stitches are not

visible on the other side of the horn.

Fold the horn in half lengthwise,

covering the wire. With tan fl oss,

make small, tight whipstitches to sew

the sides of the horn together. When

you have completed this step, you will

have a cone- shaped ivory rod with wire

sticking out from the wide end.

3. Thread your needle with 3 or 4

strands of tan fl oss, then sew a spiral

pattern onto the horn. Push your needle

through every second or third whipstitch

along the bottom of the horn, where the

sides were sewn together.

Body

4. Start with the fi ns and tail. Whipstitch

both fi n pieces together with blue fl oss,

keeping the fl at (not pointed) edge

open. Repeat with the remaining fi n and

the tail. Use a toothpick to stuff each

piece with a little fi berfi ll.

5. On both body pieces, stitch up the

notch where the narwhal’s mouth would

be, to add some dimension to his face.

Use black fl oss to sew on the bead

eyes.

6. Use scissors that have a very sharp

point to make a 1⁄4" (6mm) incision

on the body pieces, as shown on the

pattern. Insert a fi n into each incision so

that about 1⁄4" (6mm) of the fi n pushes

through to the inside of the body. Refer

to the illustration for guidance. Secure

the fi ns to the body with blue fl oss and

a whipstitch.

7. Sew the top gusset to one of the

body pieces with blue fl oss and a

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whipstitch. Start by sewing point A

on the top gusset to point A on the

body (as marked on the template) and

continue sewing down the side of the

body. Repeat with the other body piece.

Sew the bottom gusset to one of the

body pieces, matching point B on the

body piece with point B on the bottom

gusset.

8. Position the horn on one side of the

narwhal’s head, overlapping the wide

end of the horn by about 1⁄4" (6mm) at

point C. Whipstitch the horn in place.

Join both sides of the head, beginning

at point A and stitching down to point B.

Secure the horn to the other side of the

head as you work your way past it.

9. Attach the tail. Finish sewing the

remaining seam, beginning at the head

and working back toward the tail. Leave

a 1–2" (2.5–5cm) opening for stuffi ng.

10. Stuff the narwhal, beginning with

the head. Make sure that you stuff

tightly around the horn to provide

support. Sew the opening closed with a

whipstitch. Finish by backstitching with

red fl oss over the seams just below the

horn to give your narwhal a mouth.

GIANT SQUID

Felt:burgundy

white

black

Floss:burgundy (DMC 3685)

black (DMC 310)

white (DMC blanc)

Cut from patterns:2 burgundy fi ns

4 burgundy feeding tentacles

2 burgundy combined head and arm

pieces

2 burgundy arm pieces

2 burgundy mantles

2 white eyes

2 black eyeballs

1. Use burgundy fl oss and a whipstitch

to sew the fi ns together, leaving a 1⁄2"

(13mm) opening for stuffi ng. Use a

toothpick to push the stuffi ng in, and

then fi nish the seam.

2. Use wire cutters to cut 20- gauge

craft wire into eight 41⁄4" (11cm) and

two 61⁄4" (16cm) pieces. The short

pieces of wire will go in the arms and

the long pieces will go in the feeding

tentacles. Use the wire cutters to fold

each end of each piece of wire so that

it overlaps itself by 1⁄8–1⁄4" (3–6mm).

Pinch the folds closed. The folds will

keep the wires from sliding loose inside

the fi nished piece. Use burgundy fl oss

and a whipstitch to secure a wire to

each arm and tentacle, looping the

thread over and under the wire. Make

your stitches shallow, so that your

needle does not pierce the entire

thickness of the felt and your stitches

are not visible on the front of the arms.

3. Attach the arms to the combined

head and arm pieces so the wire is on

the inside.

Beginning at point A, sew the arms

together with burgundy fl oss and a

whipstitch, stuffi ng each one with a

little fi berfi ll as you work. Because the

arms are so narrow, stuffi ng a couple of

inches at a time is easier than stuffi ng

after the arms are completely sewn

together is.

4. Make the 2 feeding tentacles in the

same manner as you did the arms. Sew

the tentacles together at their tops.

5. Use black fl oss to sew the black

eyeballs onto the white eyes. Then

use white fl oss to sew the eyes onto

the squid’s head (see template for

placement).

6. Position the pair of feeding tentacles

on one of the squid’s arm pieces so

that the tentacles extend above the fl at

edge by about 1⁄2" (13mm). Backstitch it

into place with burgundy fl oss.

7. Sew the fl at edge of the arm pieces

together with burgundy fl oss and

a whipstitch, securing the feeding

tentacles to the other side as you work

your way past it.

8. Close up the sides of the head,

sewing down to point A to hide the

area where the arm and head pieces

connect. Leave the top of the head

open. Stuff the head with fi berfi ll.

9. Match point B on the fi n and the

mantle, and stitch the fi n and the mantle

together with burgundy fl oss and a

backstitch. Use a toothpick to push a

little stuffi ng between the mantle and

the fi n. Finish sewing the long sides of

the mantle together so that you end up

with a cone- shaped piece.

10. Stuff the mantle half full of fi berfi ll,

then place it on top of the head. Sew

it in place using burgundy fl oss and a

whipstitch, adding or removing fi berfi ll

as needed.

GREAT WHITE SHARK

Felt:gray

white

pink

black

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Floss:gray (DMC 169)

pink (DMC 3713)

white (DMC blanc)

black (DMC 310)

Cut from patterns:2 gray bodies

2 gray dorsal fi ns

2 gray pectoral fi ns

2 white pectoral fi ns

2 gray anal fi ns

2 white sets of teeth

1 white underbelly

1 white face

1 pink mouth

Cut freehand:2 black eyes

1. Use gray fl oss and a whipstitch to

sew the dorsal fi ns together, leaving

the bottom open for stuffi ng. Use a

toothpick to push the stuffi ng in.

Repeat this process with the anal fi ns.

2. Sew 1 white and 1 gray pectoral

fi n together using gray fl oss and a

whipstitch, leaving the bottom open for

stuffi ng. Use a toothpick to push the

stuffi ng in. Repeat this process with the

remaining white and gray pectoral fi ns.

3. Use gray fl oss and a whipstitch to

sew the dorsal fi n to one of the body

pieces at point A.

4. Align the body pieces and sew them

together along the top, starting at

the head and working back to the tail

fi n. Stitch the tail fi ns together, use a

toothpick to stuff them with fi berfi ll, and

then set this piece aside.

5. Using fi ne scissors that have a very

sharp point, make the shark’s teeth by

cutting tiny triangles along one side

of each of the white teeth pieces. Be

careful not to snip too

far into the strip or

you’ll end up slicing it

in two. Using scissors

creates uneven, more

realistic- looking teeth,

but you could cut the

teeth with pinking

shears to achieve a

more polished look

with less effort.

6. Fold the pink piece

of felt that will become

the inside of the

shark’s mouth along

the dotted line drawn

on the template. One

side of the oval will

be slightly longer than

the other side to give

the Shark an overbite.

Backstitch across the

fold using pink fl oss

to make a permanent

seam.

7. Sewing the teeth

onto the pink mouth

is an intricate task. Lay one set of teeth

along one of the curves of the pink

mouth. Use white fl oss and a whipstitch

to delicately attach the teeth. Keep your

stitches as small and even as possible

inside the mouth, since the white thread

will be visible against the pink felt and

will look like of an inner ring of teeth.

Cover the pink edge of the mouth so

the shark has little or no visible gums

showing. Repeat the process with the

second set of teeth.

8. Continue building the mouth by laying

the overbite side of the toothy mouth

piece on top of the white face piece.

Align the curve of the toothy piece with

the curve in the dotted line shown on

the template and pin it in position. Use

white fl oss to backstitch the pieces

together, once again being mindful that

your white stitches will be visible inside

the shark’s mouth.

9. Position the white underbelly under

the Shark’s mouth, aligning the curves

and pinning the pieces together. Use

white fl oss to backstitch the pieces

together. Remember, your stitches will

be visible inside the shark’s mouth.

10. Put the top of the body on the

bottom of the body, aligning the pieces

that form the top of the head and

pinning them in place. Position the

pectoral fi ns on the body about halfway

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felt

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acknowledgments

Thanks to Urban Craft Uprising for the inspiration, Meredith for creating the spark, Rosy for taking a chance, Moxie for getting the ball rolling, Brookelynn for coming through in the clutch, and Andy, B.B., and Ritzy for their unwavering support.

—Nikola Davidson

I must give due accolades to many important people, fi rst and foremost to the contributors, whose art made this book the fantastic compilation of projects that it is. Second, to Nikola Davidson, my fantabulous co-author, and to Moxie, Nikola’s original co-author, who kindly invited me to take her place. Third, to my husband, Nat. His photography and illustrations are stunning and create the atmospheric quality that fi lls these pages.

Much gratitude to my editor Jen Graham at Potter Craft, and also Rosy Ngo, Erica Smith, Chi Ling Moy, and Nancy Sabato. Jen, your due diligence was obviously crucial to me. The beautiful locations featured in our photos gave generously of their space and time, including Far West Tea Bar, Willowood Market Cafe, and the Underwood Bar and Bistro, all in Graton, California. I want to thank Mark Growden, Sarah Rubin, the Nolans, and Goli Mohammadi, and the models: Leah, Lisa, Emma, Hannah, Princess, Tremaine, Harper, Jenny, Leila-Anne, Fina, Sarah, Dyanne, Ruby, Roxanne, Cadence, Jordan, Devon, Galen, and Chai Dog.

Thanks to the makeup and hair designer, Danger Peach, aka Rachel J. Leiberman. So much thanks to “Knitting”: Christiana, Coleen, Kathy, and Sarah. I graciously thank my technical editor Keith Hammond and his supportive wife, Suzanne Olyarnik. And lastly, our entire families: Thanks to my dad and his wife Joanne, Nat’s parents DeAne and Alex, and our brothers, for all your love.

—Brookelynn Morris

NIKOLA DAVIDSON is the founder of Sticky Wicket Crafts as well as the cofounder and fi rst president of Urban Craft Uprising. She is also a featured guest on HGTV’s That’s Clever and the popular crafty podcast CraftyPod. Visit her online at stickywicketcrafts.com.

BROOKELYNN MORRIS’s work has been featured on the cover of Craft magazine,

where she is also a contributing writer. She travels the country demonstrating her love

of craft at events such as Maker Faire.

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Feltique  

visit one of these online retailers: 

 

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