Amazing Amazing Wool! Example No. 1: Felted Soap

I am going to my little boy’s classroom to teach the kids about wool, about felt, and then we are going to make felted soap. I have spent the weekend trolling through videos that show lots of different ways of doing this . . . and I have made a number of bars of felted soap myself. I have to say that I have loved the process. . . and loved the process of thinking about how to introduce my great abiding love for wool to second graders. So, what follows, at least for now, is my lesson plan. I have 1.5 hours in Ms. Woods second grade class. . . I confess that in all my years of teaching (teaching English, Creative Writing, Literature, Knitting, Felting. . . ) I have never spent so much time and put so much thought into a lesson plan. Even this bare bones outline can’t possibly convey the hours, the worry . . . nor can it convey the finished result [to commence at 12:30 on today!]. I plan to take pictures and post them here, but it may be that I get so drawn into the experience I forget and take no pictures. . . hmmmm. Perhaps I will task my son with the role of documentary photographer . . .

In any case, if you have kids or just want to get your hands REALLY clean, this is a fun project. And here is my lesson plan: I am going to use this blog posting on a smart board in the classroom. If you would like to use my blog as your own lesson plan, please feel free to do so. I only request that you please comment about how it went and the class, grade, etc., and we can start a fun conversation about how the beauty of wool and felting can be passed from one generation to the next in this accessible project.

 

Rules for Today:

If you might want to say EWWWWW, instead say AHHHH, So INTERESTING! You will learn more if you are interested and open-minded than if you reject something as gross.

You will learn more by making mistakes than by getting it perfect, so don’t be afraid to mess up. The worst that can happen is you start over. When you start over, you become an expert faster!  How cool is that?

 

WHAT IS WOOL?

Wool is the hair of sheep.

 

Liester Longwool04-grazers_louise-fairburn

There are MANY breeds of sheep: they all look different.

Rare-breedsSheep have been living with people for so long that most breads have fur that keeps growing and growing. They need people to cut their hair. Cutting a sheep’s hair is called “sheering.”

This is Shrek, a sheep that was not sheered for 6 years!Shrek-before-sheering This is what Shrek looks like during his first sheering.

Sheep-getting-sheeredWool is AMAZING!

It has incredible characteristics:

it is warm. And it can keep you warm, even when it’s wet.

It kills germs! And resists mold.

Wool has an oil on it called lanolin that is a wonderful oil and good for the skin. It also makes wool water-proof!

Wool can felt . . . This means that wool fibers matt together with other wool fibers and make a fabric.

People have used wool’s felting power to make lots of things that are useful:

To make Boots . . .

original_Sheep-wool-booties-group-NOTHSFelted boots2And slippers. . .

felt_slippersAnd Clothes

Felted Jacket1 mens felted jacketnunofeltedjacket

And bags

LIPSTICKANDCHANGE-Sparkle-line-upBag for St. John's Parish School fundraiserAnd Rugs

beautifulrugwormfeltedrug

Here is a video that shows how to make a felted rug.

You can also make Houses OUT OF FELT!

felt_yurtmaking a yurtWhy does wool felt?

Here is a picture that shows why wool felts: each hair has “barbs” or scales that want to lock together with other wool fibers.

fiber_compare-480x296

What makes the fibers do this?

Irritation! By friction (hands rubbing together, pounding on the felt, putting the felt in the washing machine).

Change in PH!  Add a little soap (this creates an alkaline environment) and this irritates the fibers even more. . .

Change in temperature. Shock the wool between hot and cold and the wool freaks out and grabs onto its fiber friends!

 

Now we are going to see first hand how wool felts . . . Before we get started with our project, I want to talk a little bit about how we are going to learn about felting.

Learning Styles: Everyone Learns in a Unique Way

Some people learn . . .

by seeing (watching) . . .

by listening . . .

by speaking . . .

by doing . . .

by teaching . . .

So, for today, this is how we are going to learn:

1. Watch what I do.

2. Listen to what I tell you.

3. Then tell me what i did.

4. Then do it.

5. Then teach someone else. Go home and teach your parents and your sisters and brothers. Teach your friends.

 

Now. . . for felted soap!

First is the decoration . . . Just to get you thinking. . .

MonsterSoapsfelted soap 3mini_monster_felted_soap_blueFelted-Soap-Labelsfelted-soap-kitsfeltedsoap2 feltedsoaps3mini_monster_felted_soap_pink_2red monstor soap zombie_ate_my_brains_felted_soap_1blueowelsoap Brightly-Colored-Felted-Soap

More Felted Soap Ideas

Materials You Need:

Soap

Wool (I am using carded Merino top from New England Felting Supply)

Water

A bit of a “sock” (a bit of stocking works well! I cut knee high stockings into 3 pieces after knotting them in 2 places.)

A bit of friction (rubbing hands and then, at the end, plastic canvas to rough things up)

Temperature differential: have a bath of cold water and a bath of hot water and shock the soap back and forth (if necessary) between the two. Squeeze out excess water and keep going.

FIRST STEP: Make a little bed for your soap that is no bigger than half a sheet of regular notebook paper.

RULE 1: If you are using more than one color, the colors must overlap.

RULE 2: If you are using sparkle, you must put a little wool spider web over the sparkle.

RULE 3: The wool be shouldn’t be too thick, or too thin, but just right.

This is the step in which your creative brain is going to be working. While we are working on our designs, we belong to a creative community!

Rules for a creative community:

1. Learn from each other.

2. Inspire Each Other. Share Your Ideas. Don’t be afraid to Copycat but add your own twist. This is what creativity is.

3. Help Each Other.

4. Comment respectfully on others’ work: all of our creations teach us something.

 

SECOND STEP: Make sure the little bed is not too thick. Think spider web rather than blanket!

THIRD STEP: Put your soap in the bed and wrap it up.

FOURTH STEP: Put the little soup in a blanket in your sock.

FIFTH STEP: Get it wet, then get the excess water out.

SIXTH STEP: Gently rub on all sides until it suds.

SEVENTH STEP: “Wash hands” for 2 rounds of the Cup Song (at least) before checking your soap!

Original Version of the Cup Song

Irish Version of the Cup Song

 

TROUBLES?

There will always be troubles! This is part of the creative process. The REALLY IMPORTANT part is HOW YOU SOLVE THE PROBLEM, FIX THE TROUBLE, AND WHAT YOU LEARN FROM THAT!

Too much wool? DOES THE SOAP HAVE A MOHAWK OR  AN EXTRA ARM OR SOMETHING?  Fold the extra over onto the soap, rinse, squeeze out all extra water, and keep going. Use your scrape tool for extra friction and keep going.

Too little wool? ARE YOU SEEING HOLES? Add another spider web layer and try again.

Also Better: Adding Cabochons as Ornaments

As I mentioned previously, ornamenting your felted bags need not be time-consuming or expensive. I have taken a liking to cabochon rivets and use them to decorate bags, my ready-made clothing, my knitted coats, my boots.

They are a nice, quick way to add both interest, sparkle, and a pretty cool look to almost any bag. Here, I’ve used them in an off-set pattern on the front of the little bag we’ve been visiting for a couple of days now met. This is, in my opinion, like the flower we saw yesterday, an example of better. And for some bags, this would be the BEST.

2014-02-10-17.09.25While you can go hunting for specialized tools with which to set these special rivets (and I even sprang for the expensive tools, I confess, but didn’t like using them and found the setting process to be frustrating and laborious), you don’t have to. I have experimented with a few different methods and find that superglue works really well to attach these rivets.

Here’s what you do:

Get a little bottle of Locktite Superglue. I prefer Extra Time Control. Place all the rivets where you want them and satisfy your eye that they are just right. If not, re-locate. Snap the front cab part (the female part) to the back (the male part) and wait for the click. They are placed, at this point, but not set. To set, I twist off the cab front, put a drop of glue in the receptacle and click back in place. Hold for a few seconds. I work systematically so I know which rivets are done and which are not.

Let sit for a bit and you are done!

Where do you get Cabochon Rivets, you might be wondering?  Noni has cabochon rivets in 3 finishes: antique brass, gunmetal, and nickel (pictured above). Call to place your order.

Better: Adding a simple flower to a tiny bag for a big statement

Red-Bag--better-with-flowerAbove you can see our little red bag dressed with a single Camellia flower. I love this look. Simple, big statement, quick knit. If you’d like to knit this flower yourself, you can buy the pattern now. To make the flower as pictured, I used a size 6 needle and a single strand of worsted weight yarn. 5 larger petals (as written) and then 4 – 5 smaller petals.

Check back tomorrow for another “Better” dressing idea for this little bag.

We’ll save the Best for later this week!

Good, Better, Best . . . Dressing a little bag for business cards

Sometimes I don’t have time to go back to a particular bag and dress it the way I would like. I tend to like little bags that are crusty with beads and flowers and ribbon in swirls. Such ornamentation takes time. And, well, for the knitter looking at my bag, such ornamentation might be a bit off-putting or intimidating.

But ornamentation need not be intimidating or time-consuming. My aim with Good, Better, Best is to show how easy it can be to turn a bag from “It’s nice,” into “I love it!” into positively “WOW!”

Here is a picture of a cute little bag that is perfect for business cards or those tiny fold up into nothing glasses that fit in a tiny case. Right now, it’s fine. It’s good.

naked-red-bagTomorrow, I’ll show you better. . .

 

 

 

 

Beguiling Golden Finches, Part 1

I have a series of bird feeders that I can see from my kitchen window. This year, I am concentrating on luring Goldfinches to these feeders. I have, according to the FAQ I recently read about attracting them, done everything right: I have a feeder specifically for Goldfinches that has a bright yellow top and is full of nyjer, a feeder of black sunflower seeds, a feeder of “Finch Supreme” mix, a water source that I keep free of ice . . . but no Goldfinches.

likely-Goldfinch-AmericanThere was one the other morning and I was so excited, creeping toward the kitchen window to get a better look, no sudden moves to catch its attention and scare it away. It ignored the Nyjer (is the seed too old?). It lept from the fence to the big hook that holds the feeder. It tested the Finch Supreme mix but seemed unimpressed. It lept back to the fence and hopped down to the hardy Jasmine vine, worked its way along the vine toward the big ceramic pot that holds my mosquito fish and is heated to the point that it steams like a dragon’s nostril on cold mornings. There is even a water lily sending up leaves to the surface. Earlier in the season it held two frogs that would cool their backs in the frigid air. I hope they left for their soil cocoons when we turned off the heater during cool days that stayed above freezing.

The Goldfinch lept to the lip of the pot and looked down at the water as if to say, “How am I going to manage to drink from this?!” but it quickly figured things out and It worked its way around the lip of the pot to the place where the black cord goes into the pot and down into the water to the pond heater. It hopped to the cord and inched its way down to the surface of the water, took a drink. A second drink. Then off it flew with a thrum of its wings.

I whisper, “Bring your friends . . .”

But the feeders are lonely of Goldfinches. Throngs of sparrows fight over the Finch mix, Cardinals and Jays like the sunflower seeds. My Nyjer must be past its day. How do they know without tasting? “At least taste,” I think to myself. Maybe they do when I’m not looking.

My friend Beth say she has “mobs” of Goldfinches. Never has the word mob sounded so lovely to me. I want mobs of Goldfinches, too.

I think of those stacks of knitted yellow sunflowers I’ve got from the days of working on the book of knitted flowers, Noni Flowers.

I get to thinking. Would a Goldfinch be beguiled by a knitted sunflower? And in the middle of Winter?

Let’s see. . .

I’ve got my plan. Join me here next week for a plan update.

Noni Q&A: Beaded Hearts on Heart on My Sleeve

2-Hearts-2Noni’s Heart on My Sleeve, is embellished with beaded hearts . . .they are beautiful, but took a bit of trial and error before I hit upon the right technique for getting a solidly beaded heart that was a pretty shape.

I rejected a bunch of lop-sided hearts (all of which got undone) before we came up with a plan for beautiful hearts every time.

Find a clean, well-lit place to work, of course: Lay down a piece of clean paper or other material on your work surface – when beads are involved, sometimes it’s nice to put down a towel so if beads go astray they don’t roll everywhere.

Gather Your Materials: No. 8 seed beads, a small dish in which to keep them, a beading needle, nylon beading thread, your almost finished bag, and scissors or thread nippers.

Decide on the Location for a Beaded Heart:  or, if you can’t decide, just pick some place with abandon. Start on the inside with your double-strand of thread knotted on the end.

Zinnia-HeartFirst, Outline The Heart with Thread:

Outline-the-Heart-with-threadAs you can see above, I used a modified running stitch. A backwards running stitch will also work. I use the outline to guide the beading process.

Second, Outline The Heart with Beads:

You can see above that I have started to follow the thread outline with beads. I go all the way around then decide how much of the heart to fill in. Sometimes, I only filled in part of the heart.

Christmas-Red-HeartFill the Heart With Beads:

hearts-at-the-bottom-of-the-bag

I have not scientific method for this process, save I keep traveling through the felt until I get the tip of the needle out again, put a bead on the needle, and then go back into the felt (rather than all the way through–in this way, I can stay working on the outside of the bag), catch a bit of the felt, and out comes the needle somewhere else ready for another bead. i do not feel that I must start at the bottom and fill in from the bottom up or the inside out or the outside in. My only concern is that I stay inside the lines.

Questions?  Post them here and I will answer in the comments or add to this blog posting.

Best Apple Pie Ever, if I do say so myself . . .

Best-Pie-Donei don’t know what the weather is like where you live. . . but where I live it’s COOOOOLD! And when the weather gets cold, I make apple pie. The pie above is a picture of the Christmas apple pie I made with my Dad in Maine. It was . . . delicious!

You see, old fashioned apple pie has a rather legendary status in my family. And I have been perfecting my version for a long time now. In the last few years I’ve hit upon a pie everyone who tastes it loves, every-single-time.

If you want a step by step with precise measurements, I’m sorry I can’t do that, because, simply, that’s not how I make pie. What I can say is that I started with recipes (I have a whole shelf of books on pie) and then started to play around. My apple pie is never exactly the same and that’s what makes it an adventure. Here’s what I do:

 

Prepare the Pie Dough

I confess that I got my secret ingredient from a recipe in Cooks Illustrated. I won’t include their recipe here as I’m a great lover and ardent respecter of copyright law.  But their basic recipe is pretty much the same as every basic crust recipe I’ve ever made.

So, follow your favorite pie crust recipe to the letter and make it a double so you can make both the bottom crust and either a lattice or full top. I personally prefer an all butter crust, so I don’t mess around with lard or oil: only 100% sweet cream butter for me. Once you’ve got the butter cut until the flower and butter mixture resembles course corn meal, you can add the cold cold water like you always do and then, here’s the secret, add the same amount of vodka. It does not activate the gluten in the flour so you get the most amazing flake, almost like puff pastry. The extra liquid makes the dough more workable without over-activating the mechanism that holds the crust together. Too much water and crust is too tough, too little and the crust will shatter.

I put half the dough in one piece of plastic wrap and the other half in a second piece of plastic wrap. I shape the dough quickly into a rough ball and then flatten to a thick disc almost a personal pan pizza dough shape. Wrap tightly in the plastic wrap and put in the freezer to store for a while, or, at the very least, put in the fridge for a couple of hours before rolling out.

 

Prepare the Oven

Preheat the Oven to 425 degrees.

Put a metal cookie sheet in the oven with a big piece of parchment paper on it. I put the cookie sheet in at the start of the pre-heating process so the sheet will be really hot when the pie pan goes on it. The function here is to get the crust cooking from the bottom up so that the crust is beautifully crisp even on the bottom.

 

Prepare the Filling

While the oven is heating up, start preparing the filling.

What Kind of Apples?

I like sweet crispy apples. My favorites:  Honey Crisp. Pink Ladies are in close second.

How Many Apples?

I get out my pie pan. Fill the pie pan with Honey Crisp or Pink Ladies apples in a single layer for big apples and add just one extra apple if you want a really big pie. This plan works no matter how big or small the pie pan is.

Apples-in-pie-pansPeel and core. I use a peeler that also cores and slices the apple. I cut each slice into thirds. If you don’t have such a gadget, peel by hand, cut the entire apple into thirds or quarters (and core at the same time) and then cut each section into pieces that are about a quarter of an inch thick or slightly thinner. Next, I put a little citric acid over my cut apples to keep them looking pretty and fresh. A little lemon juice or Fruit Fresh does the trick.

And now the fun starts. Here’s my basic philosophy: If it tastes good in the bowl, it will taste good in the pie. Go for fabulous but a little less sweet than you want the finished product to be. Never fails.

What to Add to the Apples?

Sugar. I use a cup measure and start with about a cup and a half rough. Then I sweeten to taste (but not yet).

Mix-in-the-sugar-etcSpices. A shake or two of Cinnamon, a pinch of dried Ginger, Clove. A scrape of Nutmeg. I use a fresh Nutmeg with a tiny little scrapper. A generous splash of good, real Vanilla.

Fresh-Nutmeg-2Spirits. And now, drum roll please, add a shot or two of excellent Bourbon. I have been known to use delicious brandy or even just good ole Maker’s Mark Whiskey (welll, like the very last time I made pie).

MakersmarkMix until the sugar starts to pull the juice from the apples. Now taste and taste often! Not sweet enough? Add a bit more sugar a bit at a time until it is almost, but not quite, sweet enough . . . That means it’s perfect. Dust with a bit of flour or corn starch to thicken the juice during cooking. Maybe 3 or so tablespoons, roughly. Taste again. If you are smiling, and love it, it’s going to be amazing. Stir thoroughly and set aside with the big spoon just sitting there loving where it is because you’ll mix it one more time before pouring into the pie shell (don’t forget).

 

Prepare the Crust

If frozen, the dough will need to rest on the counter for a while until it is workable.
If in the fridge, it might still need a few minutes on the counter. I have hit upon the method of starting the rolling out process by rolling around the edge first–this works well to keep the edges from splitting too much.

If a full top crust, cut some slits to let the steam escape. I prefer a lattice top most of the time, so I score with the top side of a regular kitchen knife and then put together while it is on top of the pie. I then sprinkle the top with water and then drizzle granulated sugar all over the top – don’t go wild, of course. Just enough to make it glisten and add a bit more sweetness to the top crust.

Then the crimp. I have to say, this is possibly my favorite part. If you have not already done so, study crimps, pick one, and then make it your own. Here are some ideas from simple to fancy:

piecrusts

I am teaching my son to make pie (he is 7 right now) and he has not yet developed his own crimp, but definitely his own “look.” The little pie here is one he made all by himself! And it was delicious!

Crimp

More crimp ideas:

101144029.jpg.rendition.p rope-pie-crust-s3-medium_new BraidWhat you want is everyone who sees your pie to say is, “O, this must be one of your pies! I can tell from the crimp!”

Best-Pie-Before-PictureStart in the oven at 425 degrees for 20 minutes or more depending on the size of the pie and the amount of apples:  bigger pie full of apples, better make it 30 minutes.

Baking-in-a-325-ovenAfter that, turn the temperature down to 325 and bake the rest of the way. If the crust starts getting too brown, just put a piece of aluminum foil on top or just where it is getting too dark (sometimes on the outer crust/crimp) – this will protect the crust while it finishes cooking. The pie is done when a nice golden brown and the juices are thick, a bit darker, and at a slow bubble. This means the juice has boiled and activated that thickener you put in.

Almost-DoneRemove and let it cool on a rack.

Then, have at it!

Best-Pie-DoneHmmm. Delicious!

Noni Q&A: Turnlocks 101

Bettie-Boop-resizedI have had a number of inquiries as to the best way to put a turnlock in a felted bag. In fact, in a workshop last year some of the participants chided me for not having done a video or blog tutorial on this subject. I took the pictures below at that workshop as we were working through the steps. So, thank you to the participants in the bag finishing workshops at Ann Marie’s shop Yarn Diva. What follows is a step by step explanation of the method I taught in that bag finishing workshop, and the same method use in the bags I make myself.

First, gather your materials: The turnlock flap can either be the flap of a bag – the Dinner Party Backstage, for example, could sport a turnlock instead of a fancy magnetic snap – or a narrow flap made specifically for the turnlock – this is the case here.

Materials-List-CompleteYou will also need newspaper to protect your work surface, a damp paper towel for clean-up, a bottle of fabric glue or Locktight Superglue, specifically the Extra Time Control formula (sorry, not pictured!), a pen to mark the turnlock flap, a small screw driver, scissors. and, of course, the turnlock itself.

Step 1: Place the turnlock

First, you should place the turnlock in the center of the turnlock flap. You may want to measure with a tape measure to make sure it is where you want it.

Measure twice, cut once.Measure Twice, Cut Once.

Step 2: Mark The Spot for the Lock

I recommend using a black pen or Sharpie to mark the location of the turnlock on the front or back of the turnlock flap. While we show it on the front of the flap here, it may be better to mark up the back just in case you need to revise the placement.

Mark the spot where the turnlock will sit with a black pen or Sharpie.

Mark-the-spot1aMark-the-spot2Step 3: Cut Out the Marked Space

Now you will need to cut the felt, so be very careful and deliberate. The image will you have drawn on the back of the turnlock flap will be just slightly smaller than the actual hole needs to be. Cut to that marked size and then slowly shave a milimeter at a time until the lock housing fits through the cut out without any buckling or tightness.

Cutting-out-the-spotStep 4: Apply Glue to the Turnlock Front

The turnlock will be held in place best if it is glued in place. First, apply your fabric glue or Superglue to the “front” of the turnlock housing as shown below.

Put-glue-on-the-back-of-the-turnlockAbout this much glue.  Be thorough but conservative. It is not necessary to take the glue all the way to the edge of the turnlock face because then it may show on the felt – not a good look.

About-this-much-glueStep 5: Glue the Turnlock Flap In Place on the Lock Face

Put the front (right) side of the turnlock flap down on the wrong side of the turnlock face. Press in place with your fingers for a good stick.

Put-the-flap-down-on-the-turnlockStep 6: Apply Glue to The Back of the Turnlock Flap

In order for the flap to be thoroughly held in place in the turnlock housing, apply glue to the cut edge of the felt once the front side is face down on the turnlock front housing.

Put-glue-on-the-backside,-tooAbout this much glue. Again, too much and it will be a difficult mess.

About-this-much-Glue2Step 7: Put the back of the turnlock housing wrong side down on the newly glued surface and press in place. Line up the holes for the screws with the screw housing.

Put-the-turnlock-back-on-over-the-glueUse your little screw driver to tighten the screws.

Screw-those-super-tiny-screws-tightStep 8: Clean-up turnlock with damp paper towel.

Use the damp paper towel you have at the ready to clean-up any glue that got squeezed out and then polish the exposed metal front and back of the lock until shiny and free of glue.

Looks-greatStep 9: Lock the lock and Press Prongs Through Bag.

Before you put the turnlock flap on the bag itself, lock the lock and then position the flap on the bag. Only at this point do I actually baste the flap itself in place on the bag.

Once the flap is basted in place and the flap itself allows to fall to its resting place on the front of the bag (with all parts of the turnlock on the flap–that is, the lock, too), press the prongs of the turnlock “lock” into the bag (so that the prongs are now on the inside of the bag) where you want the lock to sit.

Next, unlock the lock and, holding just the lock itself, press the lock prongs the rest of the way through the bag front. Put the little metal sleeve on the prongs and press the prongs toward the center to secure.

With the lock still unlocked, now you can rivet or sew the turnlock flap in place permanently.

This part of the process is finished!

Still have questions? Ask them in the comments section below and I will answer either in the comments or another blog posting.

Hearts on My Sleeve: Seasonal Favorite Now in Crochet!

Hearts-on-My-SleeveJust in time for American Heart Month and Valentine’s Day: Noni’s  . . . Heart on My Sleeve Bag is available in knit from Noni and a Noni version of the bag is now available in the popular book edited by Laura Zander of Jimmy Beans:  Crochet Red

CrochetRed_BookCover_HiRes For the crochet version of this design, I teamed up with Janet Brani to translate the knitted bag into crochet. I love the resulting tiny purse, perfect for Valentines Day, for any fancy party, or (picture this) in white or in an ensemble of brights for a Bride and Bridesmaids.

CrochetRed_BeadedFeltedBag_NoraBellows_JanetBrani_HiResIn next week’s Noni Q&A, I will be exploring how to do the hand-beading and make beautiful beaded hearts or other images (almost like applique) on felt, but get your bag started now and you’ll be ready to follow along with my step-by-step tutorial in next Friday’s blog. You can purchase Crochet Red for the crochet bag or buy the pdf for the knit version of the pattern by clicking here. Call me at the studio or write to me to order your hardware kit and yarn.

For those who are interested in the ways this sweet little bag can be used for occasions other than St. Valentine’s Day, consider this lovely version of the bag:

Hearts-on-My-Sleeve-with-FlowersHere, I used the Hearts on My Sleeve instructions as written, but I also made cherry blossoms and the cherry blossom leaves from Noni Flowers.

Noni-Flowers-Book-cover-finalSpecifically, I used the flower instructions on page 43 and leaf instructions found on page 152 with the information about the project Cherry Blossom Pauper’s Purse.

Paupers-Purse2

Paupers-PurseAs you can see, the Pauper’s Purse was not a felted bag but worked in Tilli Tomas Plie and Beaded Plie. Nevertheless, the instructions for the knitted leaves and flowers need no adjustment for the wool/felted versions. After the blossoms and leaves are felted and beaded, the results are delicate and romantic in true-to-life shades. They would be dramatic and daring if the flowers were red and the leaves black. Subdued if worked all in shades of grey and white and black.

Check back on Jan 31 for more in the Noni Q&A and share your own versions of this bag on the Noni Designs Facebook page and/or ideas here in the comments.

Saying Yes: Acceptance, Limitations, Creativity, and the Power of What If. . . ?

Every year in mid-October I travel to the fair grounds nestled in the heart of Rhinebeck, New York for the New York State Sheep and Wool Festival. Noni has a big booth there.  There are women who come every year to purchase a project. The next year they come back with the finished bag on their shoulder or wearing a beautiful coat and buy the next next project. I love this. Watching those beautiful bags and coats come back, I feel some measure of pride in being a small part of that project, that growth.

This year (meaning, actually, this past Rhinebeck of 2013), a pair of women I remember from the previous year walked into the booth together and found me. They live, I think, in the City and are dear friends. They had both purchased kits for the Ridge Bag.

Ridge-Bags They had done the knitting together, felted together in the same washer, the in same load even, as I think they told me. I will name these woman Clotilde and Veronique.

Clotilde’s bag was nearly done —it had lovely crisp shaping at the bottom, shiny nickel bag feet, the zipper sewn in, the handles in place with 6 evenly- spaced rivets. All that was left to be done was the turnlock, about which Clotilde asked advice (and about which I am currently working on a Noni Q&A blog, so stay tuned and check back on Friday). The bag looked, to my eye, maybe better than the original I made myself which hung, at that very moment, on a wreath hook above us.

Veronique’s bag was not finished and had been bunched up in a tote, brought to show me its imperfections. At first, I thought the subtle creases were simply due to being folded while still damp into that same tote. And, truly, this may be partly the case. Even in its rumpled state, the bag was lovely to me, and not with the rose-colored glass eyes of someone who sees only perfection where it does not lie. I saw all of its faults but also what it would, or could, become. I’ve seen a lot of lovely and not so lovely bags. This one was pretty darn terrific.

One of the things I like about the Ridge is how the rib pattern, when felted, gives the bag defined vertical stripes.

Ridge-Detail-1Veronique held the bag toward me for me to see. I took it all in, and, without a bit of dissembling said, “It looks great!” I was thinking of the work she would do, how she would thoroughly soak the bag in a sink full of hot water, how she would press out the water so that it was simply damp and pliable, how she would cut the stiffener for the bottom and sew it in, tacking directly into the overly-felted places, if there were any, and also into any less-felted place so as to even the surface and make it almost impossible to see such inconsistencies and also almost impossible to feel them. She would put in the six bag feet, matching up the prongs of the bag feet with both the holes she had punched on the stiffener inside as well as the lines of purled stitches now striping the bottom. She would lay down the second layer of stiffener carefully covered with a bright fabric surprise or a subtle grey lining to match the bag itself. She would rivet on the handle, sew in the black zipper, stitch the metal label on the back. She would rivet on the turnlock flap with the six or eight shiny nickel rivets to match the six or eight rivets holding each handle ring.

Ridge-detailWith every step, the bag would look better and better due to the dampness and her work, the attention of her fingers pressing the fabric smoother and smoother.

But Veronique has not finished as many bags as I have, I think, and she has not seen the imperfections that have come out of the washing machine in my kitchen, imperfections I have had no luxury to nurse: Photo shoot in two days, no time to knit and felt again. Had to go with this bag, as it was, had to fix it. Had to say yes.

“No, look at it,” I think she said, and held it out to me again, insistent. She pointed to all the places she felt were problems. She compared her bag to Clotilde’s. Hers was not as good.

“Why did this happen?,” she wanted to know, despair and disbelief in her voice. “We wanted to show you our beautiful bags. We had it all planned.” I could see the image of what was supposed to have happened in contrast to the little triangle we now formed. Her question was so big and there are so many possible answers. Maybe there was an inconsistency in the knitted stitches that etched themselves into the felting. But maybe not. Maybe the bag got creased up in the washer and couldn’t undo itself. Maybe the lingerie bag was too small or too large and tied itself in a knot, maybe the color of Veronique’s bag made it felt differently than Clotilde’s bag. But knowing why something happens doesn’t fix it and these answers seemed only to make Veronique feel worse. I had no magic. I only had solutions that involved working with what was.

I told her that the imperfections she was seeing in the depth and the texture of the purled stripes mattered more to her than to me. I should have thought to get down the Ridge bag I made myself, the one that hung not 2 feet above our heads, and scour it for such disparities. I am sure we would have found it. But in many ways, this is not the point . . . and it would not have consoled her.

Felt is not perfect. And if it appears to be, it is fooling you. Even leather is not perfect, decorated as it almost always is with notices about it being a natural product and therefore full of inconsistencies. A leather bag wears the imperfections that the creature who before bore that skin sustained during its life: the surface bears evidence of a cow’s movements next to a barbed wire fence, the calluses of sleep and use, a wound, the bite of a horse fly, the habits of the body in the world.

So, too, the felt in a bag bears witness to our own moods sometimes: one day my knitting might be tighter than the next, it has lain forgotten in a bag for months, nay a year. The very fiber itself is made from the fleeces of many animals, and some of those fleeces are incredible, soft and strong and supple, while others are not. There is great diversity in a single strand of yarn. And the felt bears witness to all that has brought it into being; the grain a Merino sheep eats, the tenderness with which it is raised, the age of the animal, the weather it endures, the soil under its feet, the skill of the shearer, the the twist in the milling, the way the steam sets the twist, the hands of the knitter, the swish of the washer, the heat of the wash, the alkalinity of water, the particular tumble it receives, the attention it is paid during all of that, the violence of the spin that dries it to dampness.

Even my bags come out of the washer looking like lumps. Sometimes I pull them into a shape and smoothness that seems impossible given all the variables. And sometimes they come out with problems I did not expect and I must find a way to fix, or at least disguise. Veronique wanted me to tell her what to do, how to fix it. And I tried.

I held Veronique’s bag in my hands as though it was, as I felt it was, half mine, in all its trouble, and I said, “If these places bother you so much—and they bother you more than they bother me—then you can distract the eye. Picture this—this is a lovely dark grey bag. What if you make even just one, though I think 2 would be better, but just one big Oriental Poppy out of shades of grey. Long grey stems. Let the stems circle around here,” as I gestured across the face of the bag and drew the stems over the places that bothered Veronique the most. “The face of one flower is here, the other flower here, their stems twining together, a scattering of pewter seed beads here to catch the light, pull the eye.”

I tell you, I could see it myself and it was beautiful.

But if Veronique could see what I saw, her own picture of her hopeless bag pushed the one I had just painted away. She protested that working too much over a bag, like a piece or jewelry, just makes it a “hot mess.” That’s a term I despise for its ugliness, but she’s right, of course: sometimes, in our efforts to fix something, we end up piling things on top to the point that it is overdone, overly freighted with good intentions and desperation. That is, I agree, not usually beautiful. But careful, restrained, thoughtful attention, a good plan, and some hard work are different.

Veronique was so unhappy, so disgusted. I could feel it and it felt terrible and I have been her before but I have also been her and gotten myself out of that rut of thinking. All that money in the yarn. All that time. Photo shoot tomorrow. No choice. Say Yes. Make it work. Get to work.

Her sadness made me so sad because it seemed, really, so much bigger than the bag. Of course it was, wasn’t it? We make the bag or something else into a bigger true statement about ourselves. But the statements we make to ourselves are not always true, even if we believe them and think they are. I wanted to spend the day with her. If she had been in one of my workshops, I like to think, she would have trusted me, and then, in trusting me she would have started to trust herself. We would have tried at least three different ways of dressing her bag and they would have been so different, but each one wonderful. In fact, (and I told her this) I am confident that once we were done, her bag would have been much more beautiful than it would otherwise have been. Better than Clotilde’s, or my, “perfect bag.”

But I didn’t have a day or two days. I had minutes. And I am afraid, in the end, it may not have been enough. I asked her to stop saying such ugly things about her bag. I held her shoulders in my hands and looked into her eyes and asked her to stop, breath deep, feel my heart. Open her heart to what I felt in my heart about her bag, with all the problems she saw there.

“Feel my heart,” I said again.

And I think she did. She tried to reset her thinking.

Maybe she closed her eyes, took a breath, stopped the ugly talk for a moment.

She said quietly, “Ok, I see what you are saying.” She squared her shoulders, I think. She turned toward the bags on display and gestured to one, said she liked the quilted look of the cabochon rivets on the front of my Dinner Party Backstage bag.

I liked her choice and said, “Those bright cabochons arranged the same way on the Ridge would look great. Use the vertical stripes to make the pattern nice and even. Decorate just the front or the whole thing.”

She could start with the front and then order more rivets later if she wanted to. They would go well with the brightness of the turnlock as a focal at the center of the bag. I could see it. It would look smart and it would be a faster than knitting two Poppies, hand-beading. Very different finished bags, but both terrific.

We picked out the rivets. I gave her a big hug. She looked like she felt better. I said, “Send me a picture.” She smiled and she and Clotilde left.

Hours later, Clotilde came back without Veronique, the rivets and the receipt in her hand. “She is not convinced,” is what Clotilde said if I remember right. We refunded the money and put the rivets back on the wall. I felt sad all over again.

I still feel sad, because I can still see that amazing bag Veronique could have made (may still!, I hold out hope), and I am convinced to my very core that it would have been better than the bag I originally designed and that hangs even now from the wreath stand in my studio. If Veronique came to the studio and spent the day with me, I still think she can do it . . . I mean, she knows how to do this. Her hands know. Her brain knows. And I know she can do it without me, too. I hope she might read this and be convinced, at least enough to say yes and get to work.

Because, you see, it is at just this moment of despair, when things don’t turn out the way we wanted or predicted, that most challenges us and requires a creative approach. I agree with Phil Hansen, an artist who had to overcome the way nerve damage in his hands made it impossible for him (a pointillist in the beginning) to make a simple dot or draw a straight line anymore. His Ted talk called Embrace The Shake holds such stark truths and can inspire us all. But we can’t always move without help, without someone else asking a question or making just the smallest (and biggest) suggestion: What if you embrace the shake? What if you put a ruffle here? What if you tuck in the sides? What if you cover that up? What if dots become squiggles? What if. . . What. . . if  . . . ?

I taught a workshop where a knitter I will name Clara only realized after her bag had felted that the handle across her tiny market bag was not centered in the middle as it was supposed to be but went from one corner of the bag to the other across the top at an angle. Her face was a cavern of misery at the beginning of the class. And if she had believed that it could not be saved, then she would likely have left the class early. Where she saw failure I saw possibilities. . . mainly, believe me, because I have made so many mistakes. I took her bag in my hands and said, “But what if you just say yes to the handle and do this?” I nipped in the sides so the bag had more structure and allowed the handle to fold in the middle. I held up a pretty snap that shows on the outside and put it in the middle of the front. There was a pleased and unanimous “Ahh!” from the class. She tilted her head to one side and smiled a little. Maybe she said, “That looks nice.”

Someone from the class donated bright red Hydrangea flowers to her little sage-green bag. Clara found 4 shiny crimson bag feet and put them on the bottom. She tried the Amazing Magnetic snap, liked it, and covered up the ugly back on the outside with one of those sweet little red flowers. She lined the stiffener piece at the bottom with bright red fabric. She blocked the handle into a lovely arc across the top of the bag and tacked it there with invisible stitches.

What she did was a collaboration of ideas that I and other members of the class offered and she generated herself, a beautiful synergy. That is what creativity is: it is work, hard work, in a community of other people engaged in a creative process.

And creativity is, as Phil Hansen suggests, working with a limited scope of materials and exploring an idea within those limitations. It is saying yes to adversity and absence and restriction and making something out of it. Clara could have whispered, in the light of all of our suggestions, “No, it’s ruined.” Other students in other workshops have done so, turned away, left early. Instead, Clara said yes. And, I tell you, her bag was so pretty. We all loved it. I secretly wished it was my own bag and maybe everyone else did, too. And she, rightly, loved it most of all, saying, as she left, that she had it in mind to go shopping and get a new red dress to match. She was going to the opera soon, or a special wedding anniversary dinner—something wonderful, I remember—and she was going to carry her new bag and wear her new red dress. She was radiant and beautiful with her accomplishment.

When we follow a pattern, it is not always easy, but there is, nevertheless, a certain amount of safety in doing so. So when the pattern fails us there is greater risk, but also opportunity. Phil Hansen found in himself a creativity that would not have been spurred into being had he not damaged his own body in the execution of that same art.

So, what if next time something goes awry, instead of saying “It’s over, it’s ruined,” (or go ahead, say it and get it over with. I mean, even Phil said to himself that his life as an artist was over . . . for three or so years he said it!) say instead, “What if . . . ?”

What if . . . ?

And then get to work.