The Textile Artist's Studio Handbook

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(Fogra 39) Job:02-28051 Title:RP-Textile Artist Handbook

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042-049_28051.indd 46 3/6/12 7:52 PM

(RAY)

(Fogra 39) Job:02-28051 Title:RP-Textile Artist Handbook

#175 DTP:225 Page:47

042-049_28051.indd 47 3/6/12 7:52 PM

(Text)

The TexT ile ArT isT 's sTudio hAndbook

46

Needle (Dry) Felting

Once you’ve mastered welt felting, you won’t want to

stop! When you are ready to work in more detail and

add intricacy to your patterning, coloring, and form-

ing, try needle felting.

Needle felting is based on the same principles as

wet felting but offers greater detailing control. The

felting needle is very sharp and barbed and is used

to permanently tangle surface fibers into a base fab-

ric. Use this technique to gradually build up a three

dimensional object or to add details to sheets of felt or

other fabric. Basically, you use the needle to add small

amounts of roving as a way of “drawing” on the sur-

face of a felted form or fabric. This is a wonderful way

to create facial features on dolls, as well as a way to

add color details and shading in two-dimensional art.

To create a three-dimensional figure, felt around

an armature or other object or layers of roving to cre-

ate the body and shape. Then apply roving to the outer

surface to create details and make specific shapes.

Nuno Felting

If you like how needle felting adds delicacy to felt,

you may enjoy nuno felting! It is a special technique

that uses a very fine or sheer backing fabric to sta-

bilize and structure lightweight felt. The finished felt

is sturdy enough to make into some clothing, but it

is mostly used for making shawls and scarves. The

beautiful thing about nuno felting is its softness with-

out weight. This is achieved by felting on top of a wo-

ven fabric, typically silk gauze or other open weave

fabric. You can use wet or dry or both techniques, and

the finished felt lends itself to embellishments.

You will need a base cloth (usually silk gauze) and a

rolling mat (or bubble wrap!) as a surface to help the

fibers mesh. You can completely cover the base cloth

or apply roving in a random or specific pattern. Con-

sider felting on sheer fabric with patterning or a de-

sign already printed on it so you can use the pattern

as a guide for where to add felted texture for visual

and tactile interest. Follow the techniques for wet and

dry felting on silk gauze or any fine fabric.

Fulling

If you have ever accidentally washed a wool

sweater in a washing machine, then you are

familiar with fulling. Through the same process

of applying moisture, pressure, and heat as in

wet felting, the fibers matt together, condensing

and causing the material to shrink. The differ-

ence between fulling and felting is that the

fulling process is applied to fabric or ready-made

garments rather than to loose fibers.

F elT inG

Smoother Felting

• When making an armature for felting, use

pipe cleaners instead of smooth wire. The

texture of pipe cleaners creates a convenient

gripping base for the roving to cling to and

minimizes shifting around the frame.

• Because wool roving is expensive, some-

times you can use a combination of syn-

thetic and natural fibers. If you decide to

combine fibers, make sure at least half the

fibers are natural or the material won’t felt.

tipS

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(Fogra 39) Job:02-28051 Title:RP-Textile Artist Handbook

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THE TEXT ILE ART IST 'S STUDIO HANDBOOK

Tutorial: Welt Felting in Your Studio

instructions:

1. Cover your table or work surface to protect

it from the water. Lay out your rolling mat

on the table, giving yourself ample room.

2. With the roving in one hand, pull a small

tuft away with the other hand until the

bers pull apart. Repeat to separate several

fiber tufts and lay them out on your work

surface. [A]

3. For the first layer, place several tufts side

by side with the fibers all in one direction

on the rolling mat. For the second layer, lay

the tufts over the first, but in the opposite

direction. This creates friction so the fibers

felt together. [B]

4. Add three or four additional layers, alter-

nating horizontally and then vertically. The

more layers you have, the stronger the felt

and the more felting time required. Five to

six layers is good for a small sturdy piece

of fabric. [C]

5. In a large bowl or sink, mix enough soap

with the hottest water you hands can stand

until the water feels slightly oily.

6. Cup the soapy water with your hands and

wet the fibers. They need to be fully wet,

but not resting in a puddle. [D]

Wet felting is a very fun

(and messy!) way to cre-

ate fabric for constructing,

embroidering, or even print-

ing on. Through friction and

heat, you bind loose fibers

together. Depending on how

many layers you use, you can

make extremely durable and

warm fabric.

tools

• Soft netting mat/mesh

• Bamboo rolling mat

• Tarp, tablecloth, plastic to

protect your work surface

materials

• Several ounces of roving in

a variety of colors

• Boiling water

• Dish or olive oil soap

(something soft on the

hands)

F ELT ING

47

A

B

C

D

(RAY)

(Fogra 39) Job:02-28051 Title:RP-Textile Artist Handbook

#175 DTP:225 Page:47

042-049_28051.indd 47 3/6/12 7:40 PM