I made several hand knotted rugs and wall hangings about 9 years ago; they were useful but seemed to be more artful than utilitarian. In my sewing studio I had accumulated many fabric scraps, organized in bags by color. When I looked at the pallet of colors and textured textiles they seemed like pots of color ready to be woven together to create something beautiful! I was never able to accurately calculate the number of hours it took me to make one 1m. x 1m carpet but I’d guesstimate around 20 hours to cut strips of fabric, knot them onto a plastic grid and trim the fabric.
Because of my earlier foray into textile carpets, the Ryijy (rough and shaggy pile) Rug Exhibit in Budapest last summer interested me. The early Ryijy carpets (as early as the 9th century) weave alternates a knotted pile with a tapestry weave; these carpets are the most famous Finnish textile. Ryijy carpets started as black, gray and white, later plant dyes were used to add color and it was only in modern invention of synthetic dyes that the carpet colors became brightly colored. Ryijys carpets were originally made for a brides trousseau, as coverlets, bedding, prayer carpets and pieces for special occasions that were later hung inside the house. As the carpet evolved it’s beauty and artistry brought it into the realm of home decor. The carpets are works of art, detailed, tactile and colorful!
Early Ryijy carpet
The folk art and Geometric patterned themes of Ryijy carpets of the 1920’s and 30’s was changed by several innovative artists. Eva Brummer was originally a painter, she made water color paintings as preliminary designs for her carpets, she chose the threads and closely monitored the carpet weaving by professional weavers. Ms. Brummer wanted to show feelings and sensitivity, she used soft forms and colors in her carpets. Long and rough piles helped to give the carpet surfaces softness. Her favorite subjects were hour glasses and crosses. Another style changing artist was Uhra Simberg-Ehrstrom, in her artistic infancy her carpets evoked dreamlike feelings, later she wove large strips of rich color, she used many shades of a hue which made the weaving difficult. The artist Ritva Puotila also changed the look of Ryijy carpets by using new materials in her weaving such as paper string, silk and metal. Ms. Puotila often used Finnish folk designs as a motif but made them look very modern, she designed for the Finnrya company who used machines to weave Ryijy carpets. My favorite fact about the Ryijs carpets stated that the longest of the carpets were often hung on the wall, overlapped onto a sofa and continued onto the floor; an interesting look!
One of my newest artistic projects is restoring, designing and furnishing an 150 year old-historical piece of vernacular, Ottoman architecture. Basically, we bought a fixer-upper! We’re moving “down the street” from Neve Tzedek to Jaffa (a 15 minute walk) where we will adjust to the very different sea-side city, it’s inhabitants and all Jaffa has to offer. I’ll be documenting the 2nd floor, one story residence through it’s restoration. We’ve hired the architects Paritsky and Liani because we like their clean, modern style; together we will design the house to highlight the original shapes and materials of the structure and combine modern architectural elements that will blend with the ancient. After a brief history of what best illustrates Ottoman architecture, you will see the interior of our new-old house before any work has started.
Turkey ruled the area that is now Israel from the earyly 16th century to 1922; we can see numerous example of vernacular Ottoman architecture throughout Israel. Ottoman architecture can be recognized by a few basic characteristics common to the style: vaulted ceilings, domed ceilings, semi domes, pointed arches, columns, inner and outer courtyards and ornate tile decorations. Ottoman period courtyards were influenced by the Paradise of the Koran; so the garden (courtyard) or Earthly Paradise was designed to represent heaven, a serene place. Decorative motifs were based on nature. Vernacular Ottoman architecture retains the basic Ottoman style but the residential architecture is built with native building materials, forms, and spatial arrangements.
Positive elements of Ottoman architecture are:
Thick cement walls to aid in resistance of the vaulted ceilings (arched).:
Non-combustible, low heat transfer in fires
Does not rot, termite-proof at prescribed densities
Non-toxic, insulating, creates a healthy micro-climate, feels warm
Sound absorbing, neighbors cannot be heard through the walls.
I miss the black, shiny Raven that always sat on my gate; he and a few of his friends were always sitting on the gate or the phone wires or the branches of the big tree that spilled into my yard. As I entered the big metal gate to my courtyard, he would cock his head to the side and look at me, as we looked at each other I always had the feeling he watched over me. I came to look for this guardian of my “castle” as I came and went; his familiar presence gave me a peaceful feeling. We were friendly acquaintances for 13 years; I recently moved and I contemplate if he wonders where I am.
I have recently become familiar with the Steam-punk style and while searching for a subject for my first Steam-punk inspired sculpture, my friend the Raven came to mind.
Steam-punk-“Steam-punk is a sub-genre of fantasy and speculative fiction that came into prominence in the 1980s and early 1990s. The term denotes works set in an era or world where STEAM POWER is still widely used—usually the 19th century, and often set in Victorian era England—but with prominent elements of either science fiction or fantasy, such as fictional technological inventions like those found in the works of H. G. Wells and Jules Verne, or real technological developments like the computer occurring at an earlier date.” Wikipedia Steam-punk elements include: gears, watch-parts, watches, velvet, cameos, wings, aviator goggles, Victorian clothing, top hats, hot air balloons, locks, keys and metal parts.
The Raven is a needle felted shape, with shiny black satin quilted on top of of the wool. His eyes are a blue, blinking-doll eye and a red, glass taxidermy eye. There is a wind-up key on his back that serves as the handle to a lid, the lid covers a hidden compartment which contains the typical watch parts and gears of the Steam punk style. The Raven’s sharp talons are tiny watch hands, His pivoting neck is encircled by a thick row of black feathers and over the feathers is a stiff cardboard collar, collaged in vintage Italian train tickets. He sports a Victorian Saks-style collar that makes him appear a gentleman, as I imagine him to be. His large beak is waxed to make it very hard and a different texture than the rest of his body. The head rotates and tilts so he can be positioned as a real bird, his legs, wings and tail are poseable.
I learned a bit about watches while researching Steam-punk, like the little sapphires and rubies in the watch movements are real (also some watch crowns for winding contain real sapphires! Vintage watch hands can be very ornate and beautiful and some watch movement parts are intricately engraved.
I’ve just returned from Budapest, Hungary, inspired by the beauty of the city and the many creative crafts from the Christmas market. Even though Budapest is a modern, vibrant, European city, you can still experience old world artistry in everyday life there; in a way it’s like taking a trip back in a time machine! From quaint, wooden subway ticket booths, real leather hand-holds in the trains, a very large array of architectural styles throughout the city (Gothic, Baroque, Art Nouveau, Renaissance, Classicist, Modernist and Bauhaus), castles that dot the landscape and communist era statues that still stand, there is a real fairytale quality about this city.This Eastern European town gives you a glimpse of the way things used to be; a vintage patina colors surfaces, glittering snow paints the city and bells toll; during the holidays you can hear classic carols, concerts and symphonies. I saw handmade knives with carved bone handles, shadow puppets and puppet theaters designed by local artists, wool felted hats and bags to help keep out the winter cold and handmade lace for which the city is known; all crafts made with the highest quality.
My family and I usually travel in the spring and summer, this was our first winter vacation so the really special aspect of this trip was that it was the first time my girls have seen snow, played in snow and built a little snowman; it’s been 13 years since I’ve been in a winter wonderland-ahhh, the brisk air! We enjoyed the experience so much we’re thinking of making a yearly tradition:)
The somber light reminds me of the long Chicago winters, but when you live in a place like Israel where it’s always summer, a week of grey days, rain and snow is a nice break.
2012 Christmas wreathIn the winter, it gets dark around 4 p.m., there is little light on most days, but what light there is glows a magical yellow…
My inner child is happy and I’m inspired for the New Year…
Artsy Info. Caroline Froberg (from Silverwhitewinters) is starting a new blog for and by blogger artists. She writes: ” I need creative souls from everywhere, to make the most awesome blog ever” I want all types of artists, and I want to spread the creativity across the world.” The blog will feature artists’ works and tutorials; it’s for showing off, learning, sharing and meeting other artists! You can post about felting, sewing, working with beeswax, photography, crafting etc. Both tutorials, tips and tricks, from blogger to blogger, and reader to reader. I plan to post about my love of felting, come join me:) You can contact Caroline at email@example.com
Needle felting is the art of sculpting wool with special, barbed needles. Stabbing the wool over and over again meshes the wool fibers together, creating a firm, textile object. I started needle felting in 2004 to make toys, puppets and dolls; I’ve since added fine art sculpture to my repertoire. I love needle felting, it’s a versatile medium and it doesn’t take much space to needle felt or to store your wool.
The Origin of Needle Felting: Felt is typically very strong and industrial, needle felted- felt is used in a variety of ways. From the 1950’s, needle felting (needle punch) was originally used to make felt for industrial purposes, for use with musical instruments and as building materials. Industrial felt is made with large plates filled with special barbed felting needles that are mechanically moved up and down to felt wool and other materials together such as polyester or nylon. Industrial felt is used as a damper; it’s placed between car parts to damp the vibrations between panels and to prevent dirt from entering some joints.
Felt is also used on the underside of a car bra to protect the car body. Felt is used extensively for musical instruments; it is used on drum cymbal stands, it is used to wrap bass drum and timpani mallets. In pianos, piano hammers are made of wooden core, wrapped in wool felt. Industrially made felt is placed under the piano keys and it is used in accordions and as ukulele picks.
There are many uses for industrial felt in home construction such as: weather protection in roofing felt and a moisture absorbing layer for floor layouts. Recently, the clean white scraps of felt from industrial uses are ground up, colored and put in an aerosol cans and sold as spray to cover up bald spots!
In the 1980’s, David and Eleanor Stanwood bought a Sampling machine for needle punching; it’s a 12″ wide industrial loom that factories used for running small test samples. Eleanor, a wool artist, used it to inlay colored wool onto her dyed batts for a striking effect. During a quiet winter in the 1980’s David figured out that he could take a single felting needle and by hand he could use it to make shapes from loose wool. Ayala Talpai, a family friend was taught the technique one winter (they were making Christmas ornaments) and she further developed it into the single, needle felting craft technique we know today. Ms. Talpai wrote the book: The Felting Needle, from factory to fantasy.
David Stanwood’s website: http://stanwoodpiano.com
The basic tools of a needle felter are wool, a sponge used as a felting surface and felting needles. Eleanor’s website: Eleanor’s website: http://artfelts.com/history.html
Wool: Different types of sheep yield different types of wool(Merino, New Zealans, Lincoln, Romney, Drysdale, Rambouillet to name a few); there are many types of wool available, but not all of it is good for needle felting. The finer the wool, the softer it is; fine wool such as merino is used in the clothing industry and a coarse wool such as Karakul is used to make carpets. I prefer to felt with medium-coarse wool (Sheltland, Bershaft, New Zealand or wools marked short haired felting batts). These coarse wools felt quickly and easily, a fine wool (such as merino) takes much more time to felt and the needle marks are easily visible; I like to use merino wool for doll hair.
Felting Surface: I buy my sponge from industrial upholstery shops; I buy large squares and cut them into smaller square (depending on the size of the project I’m working on). I prefer to buy upholstery sponge because I can get very thick pieces; I always needle felt on a piece of sponge 2″ to 5″ thick. I find that the small, relatively thin sponge offered in craft stores for needle felting wears out very quickly and I often stab through to the table when I’m working with one of these craft sponges.
Needle felting Lingo: The farther back you go in the wool process, the more wool lingo you’ll need to understand, for example if you want to buy your wool from the source (sheep farmer) you’ll need to know what a fleece is (sheared wool directly from the sheep without any processing), what kind of wool you want (depends on what you want to do with it) and whether you want your wool carded (brushing the wool with special paddles to get out tangles and dirt). If you buy a fleece, you’ll receive the sheered wool from a sheep in one big, dirty lump of wool, you should wash it several times. See this blog post about raw fleece . Wool roving is wool that is rolled up in thin (about 5″ wide) strips and wool batting is wool that is rolled up in sheets (about 20″ wide) and is a little fluffy.
Felting Needles are the key to great needle felting; there are quite a few gauges and they all felt a little differently. Felting needles are usually three sided, with barbs on the side for meshing the wool together and super sharp. It’s a good idea to mark your needles by color coding them; dip the top of each needle into a bottle of nail polish to color the handle and make a chart of what color corresponds to which size.
Needle Felting Needle
Gauge Triangle – very fine-for surface finishing work 40 Gauge Triangle – fine-for surface finishing work 38 Gauge Star – less surface area than standard, with an extra corner of barbs, for quicker felting-for shaping a piece and attaching pieces together 38 Gauge Triangle – standard-for shaping a piece, for shaping a piece and attaching pieces together 36 Gauge Triangle – medium-for shaping a piece, pushes chunks of wool 36 Gauge Crown Tip – one barb on each corner set 1/8″ from the tip, for shallow surface work – coarse Reverse needle – pulls the wool out instead of pushing it in. This needle is good for blending colors or inserting special hair (like mohair) into a felted piece.
Needle Felting Terms
Batt: A length of pre-felt prepared commercially using a carding machine. Blending: Mixing fibers of different colours or different types together. Carders: Paddle brushes for separating wool fibers, cleaning the fiber or blending different types of colors of wool for spinning or making felt. Carders have fine wires set in leather or synthetic rubber cloth attached to a wooden base. Carding: Using carders to tease and open wool out to separate the individual fibers. Combed tops/Wool Tops: Commercially prepared fibers, combed into long loose ropes. Felt: A fabric in which wool fibers are interlocked and entangled. With the application of moisture and friction, they are transformed into a compact mass and become felt. Felting Needle: A long needle with barbs on the end. Used for hand, machine and industrial felting. The barbs on the needle hook on the fibers and interlock them with each other. Fleece: Unprocessed wool shorn from a sheep. Fulling: The process after the felt has matted and shrunk. It is rubbed on a rough surface, thrown gently and even slammed on the work surface to force the fibers to intertwine, shrink and become firmer. Inlay: Technique in felt design in which pre-felted pieces are placed on a background batt of wool fibres and the whole piece is then felted together. Merino: A breed of sheep producing fine wool that is best for making clothing from when it is felted. They are bred mainly in Australia, New Zealand and South Africa Micron: The measurement of fiber thickness. The lower the number the finer the fibre Needle felted Batts: Fine batts of carded fibres pass under a bed of barbed felting needles. As the needles pass through the fibres the lower layers are pulled up through the top layers. The continuous process produced a sheet of wool fibers that may then be wet felted. Nuno Felt: The name given to a fabric made with wool laminated to silk. The wool is laid on to the fabric and then rolled in the usual way. The fibers of the wool penetrate the silk and when the wool shrinks it gathers the silk forming beautiful decorative patterns. Pre-felt: The fibres are laid for felting but are only felted until they are matted but not yet shrunk. It is then rinsed, allowed to dry and used in a design. Rovings: A long thin rope of wool fibre which can be used for spinning or to make felt Scales: The hooks which can be see on the wool fiber under a microscope. Felt is made from the wool when these hooks interlock and tighten the fabric. Staple: The length the wool grows on the sheep. It can be long or short staple