New tool in the studio

Over the holidays, the studio welcomed its newest tool, a plotter (cutter). There are many on the market, each having their own pros and cons, but after having done some research, I found the one for me.

I have always had a love for words.. quotes and sayings… and being a font addict with a reasonable handle on graphic design and a love for Adobe Illustrator, the possibilities with this machine are endless! It cuts so much more than vinyl… cardstock, fabric, stencils for glass etching and fabric stenciling, heat transfer for clothing.. and I have even sourced reflective heat transfer for clothing. That may sound crazy to most of the world, but living in Norway, the dark season makes wearing reflects mandatory. My son has decided he wants to start a business selling his own reflects designs.. and he is only 8! Time to make space in the studio.

Yesterday I made my first wall piece from vinyl. Well beyond the standard size of the plotter (the wording is just over a meter high), I piece-worked it to get it just the way I wanted. Part of the fun was coming up with the words.. I have seen lots of ‘family rules’ out there, but this one, after discussing what to write with the family, is just perfect.

the wall in our entryway (just across from the studio door)

pieceworking.. 4 segments (reminder to self.. registration marks next time!)

my studio helper.. nice quality time talking about the ‘rules’ and what they mean

just a quickie post!.. follow my Maker page on facebook

I have finally decided to separate my public ‘Making’ from my personal facebook page, by creating a “Cynthia Reynolds – Maker” page .. so please LIKE me and follow along on the ride —  find the link on the right hand side of this page or click here

leather handles on felt bags

A while back, I blogged about the raw wool felted laptop bag (see post) that I created for myself, and I thought I would show how the handles were made.

Store bought handles of all shapes, sizes and colours are available in most craft stores (or online), but in my opinion, nothing beats a good quality, handmade, adjustable thick leather strap with solid brass fittings.

Laptop bag - raw fleece, with 3 inside pockets and cowhide straps - this mannequin is a little size 8.. on me (178cm 5'10 tall) the bag sits higher.

 

I love the combination of warm leather, solid brass and wool

I have not used a pattern for doing this.. I simply gauge the size based on the bag and what feels comfortable. The only factor to consider is the width of your buckle. I cut five pieces of leather, one for the strap, and two shorter pieces that are doubled over and secured to the felt itself using chicago screws (leather bond optional), and two narrower pieces that are looped to keep the strap from flailing about.

undone.. this shows the part that is secured to the bag. It is doubled over so that the wool felt is sandwiched between two layers of leather. This is very solid, and can easily bear the weight of a laptop and more.

The side pieces are very simple.. an oval hole in the middle for the buckle to pivot, and in this case two holes matched up on each side.  Punch matched holes in your felt bag to line up with the holes you have punched in your leather, from there, the assembly is self explanatory. If you feel that the leather is took thick to bend smoothly where the buckle is, use the shaver to thin the area.. it helps!) You may sometimes feel like you need three hands to assemble it all, while screwing together the chicago screws, but it can be done!

the basic tools: a mallet & punches

the inside of the 'sandwich' held secure by chicago screws

The leather used on this project is a 6-7 ounce natural cowhide. You can buy precut leather straps in various widths, or use a strap cutter (see image below) and make it just the way you want. I treat my leather  (pre-assembly) with neatsfoot oil, it keeps the leather soft, and gives it that warmth of colour that only gets better with age and wear.

top: leather cowhide rolled up, from left: leather strap ,loop, neatsfoot oil, leather strap cutter, hole punches (round and oval), chicago screws, end cutter, leather shaver and mallet

Once you have both sides assembled, you simply need to take the long strap, punch the number of holes you want on each side (for adjustability) and put it on!

The life of a Maker… studio time

I managed to get in some studio time of late to finish off some orders, and get a few pieces photographed. Years ago I read that an artist should take photos of everything they make regardless of whether it is going to be a personal gift or go up for sale (or already sold for that matter). Time to start getting into the habit.

Jewelry photography is a tedious task, requiring very bright lights with a light tent to control reflections and shadows. I keep thinking I need to set up a photo spot in the studio, such that it is not such an effort setting everything up each time.

My children spend quite a bit of time with me in the studio.. asking questions, playing on the floor.. digging through all the tools and supplies while dreaming of what they want to make next (they now even have their own cupboard of supplies).

A typical studio shot.. on the right, the tripod and light tent (on top of the centrifuge), with laptop at hand. Workbench, with power tools underneath and packages in need of labeling to get to the post office. My daughter, forever curious going through my stash of jewelry... Silk shibori scarves hanging all over in need of pressing and packaging. In the background (next room) boxes and boxes of wool and silk, and ribbons hanging down from their spools over the window.

It has been a productive time, and with studio visits scheduled later this week with neighborhood children, there will be lots of laughter and fun in these rooms… but for now, a few images from last night.

words that touched me deeply

for mother and child

because sometimes we need a reminder

A handmade holiday

With the holidays fast approaching, it is time for my annual ‘buy handmade’ appeal. (click here and take a moment to read my post from 2009)

Every year, by the time mid-November rolls around our mailboxes fill to the brim with holiday catalogs from near and far. The vast majority of the stuff (for lack of a better word) is made in some far off place where people are underpaid and their work is under appreciated.

This year, as every year, I will spend my time making.  I had originally signed up for Epla’s 1st ‘in the flesh’ christmas market, which will surely be a grand success; but due to priorities and a heavy schedule… going into production mode was simply out of the question, so I have had to free up my spot — given the waiting list to get in, I am sure it made someone very happy!

Speaking of Epla, they turned 2 this week, and their success is admirable! I started with them when they first opened their doors, and have felt a sense of belonging from the get-go. They posted their Christmas gift list this morning and I was pleasantly surprised to have 2 of the 9 spots allotted for their ‘exclusive gift-picks‘. I truly hope they have a great market, and hope that I may even have a chance to pass by. For those of you who do not know of Epla, it is Norway’s marketplace for artisans to sell their work. They now, also have a fashion (vintage) and collectables section. If you are Norwegian and looking for that special gift, take a look, I am sure you will find what you are looking for, and in doing so, you will support an artist living in Norway, likely working from their home in their spare time, doing what they love most.

Support your local artist/maker.. it is a win/win situation. Handmade gifts, even if you did not make them yourself, are simply the best! Gifts with heart and soul, that show that you did take the time to find something special.

… and for my local (read: really local) readers, do make sure to visit Nesodden’s detlillestore.no  They have a lovely selection of work from some very talented local makers. I wish them all the best!

In the meantime, projects are in the works in our house, and as my children (and many of their friends) spend time making with me, you may start to see a new series of posts.. about the life of a Maker.

FeltUnited 2011 exhibit is online :)

Another year of FeltUnited comes to a close, bringing together a three year theme covering the colour wheel.

What started as a simple idea three years ago as a way of bringing artists together in a joint exhibit, has come together into an event with a following that we could not have dreamed of; over 66000 hits on the website, and well over 1250 artists in close to 40 countries. Given those numbers, one of the big topics covered while Elis Vermeulen and I met in London earlier this week was the future of FeltUnited. Things need to change.. for the betterment of all Stay tuned for more information after the new year. Until then, we will be taking time to enjoy our families and rest up before the holidays are upon us.

In the meantime, make yourself a warm cup of something good and peruse the exhibits :)

felted laptop bag – using raw fleece

Forever inspired by my dear friend Elis Vermeulen of Holland to work with raw fleece (see my previous post on working with Texel with Elis), I decided to make myself a laptop bag a while back using my favorite medium.

I have yet to add the straps (really need some studio time this week), but will be using some good quality leather with a buckle to make it adjustable.

cover flap made with lincoln long wool, norwegian C1 and Drenths Heath

using 3 resists, there is a small pocket for my phone and 2 large pockets one for my laptop and another large enough for A4 folders and more

happy mac

carefull planning re: shrinkage and you get a perfect fit!

The base is made using norwegian C1  (I planned for a shrinkage of 30%). It is the perfect wool for sturdy bags. It produces a nice firm felt that hardly pills and wears well.  Now to pull out a hide of leather and some brass findings.

Oh! by the way, if you are interested in learning more about how to work with raw fleece, Elis will be teaching a bag class at the Creative Felt Gathering in Michigan this september. See her website for more details, or contact her to arrange a workshop in your area.

FeltUnited in FiberArts magazine

FeltUnited in the spring 2011 issue of FiberArts magazine. (available internationally in newstands now)

What started out almost two and a half years ago as a simple thought on bringing together felt artists from around the globe, has grown to be so much more than Elis and I could have imagined. The FeltUnited website tipped the 50,000 hits mark recently and our facebook group is nearing 1000 fans. Who would have imagined?

FiberArts Spring 2011 issue review of FeltUnited page 1

FiberArts Spring 2011 issue review of FeltUnited page 2

Kiln fired enamel

Enamel – a fantastic way to bring some colour into what can often become a world of black and white when working with silver.

vitreous kiln fired enamel jewelry

This week, I have been testing a set of colours from Thompson Enamels – transparent/lead free for use on silver/copper/gold. Enamel is powdered glass which, when heated melts, flows and hardens to a smooth, durable vitreous coating on metal. Enameling can also be done on glass or porcelain, but requires enamels with a different COE (Coefficient Of Expansion) – expansion rates must be suited to the base surface material.

Prior to using enamels, they need to be washed to remove the “fines” – (extra fine particles which can cause your enamel to be cloudy).
This can either be done:
wet: by rinsing in water multiple times until the water runs clear
or dry: by using a series of sifting pans to separate the particle sizes (60, 80, 100 mesh etc.)

sifted enamel on silver – ready for the kiln

Regardless of which technique you plan on using to apply the enamel, the silver must be properly prepared, polished and cleaned to remove all traces of dirt and oils that would prohibit the fusing of the glass on the silver.

Dry sifting technique: To apply the powdered enamel, a mesh sifter is used to evenly distribute it across the surface. Depending on the piece, a holding medium can be used such as ‘Klyr-fire’ to help ‘glue’ the enamel  until firing. (Make sure the klyr-fire has dried prior to placing in the kiln).

Enamel can be fired with either a torch or a kiln. Torch firing, due to the fluctuations in temperature can cause uneven results and allow for the oxidation of the particles producing discoloration of the enamel. These effects are sometimes desirable for artists, but for my preference, kiln firing is the only way to go.

Paragon Xpress 14A kiln with bead/enameling door

Firing in a kiln produces an even heat (around 800 degrees celcius for enameling)  which engulfs the entire piece, which is unattainable when torch firing.

When I purchased my kiln, I knew that eventually enamel would find its way in to my repertoire of skills, so I selected a kiln with a bead/enamel door on the front which would allow me to have access to my work without opening the main door letting the heat escape. You would be amazed at how fast you can  drop down 100 degrees.

When using a kiln, certain safety precautions must be taken. Always have a non-flammable surface in front of your kiln door. Should you accidentally drop a piece of red hot metal it would be nice not to set fire to your studio. I use a Solderite pad which can withstand over 900 degrees. Use kiln gloves religiously.. (go ahead.. ask me why! – I am the queen of burns – you should see my left hand at the moment. Kitchen accident NOT studio accident).  And never look into your heated kiln without proper eye protection (you can burn your retina and cause permanent eye damage). The photos in this post were taken while I was wearing my green workglasses.

the setup

When enamelling, I cover my kiln floor with a fibreglass cloth to prevent any molten glass from sticking to the surface. a raised mesh metal stand  is used to support the pieces, and a kiln fork is used to place it in the kiln via the beaddoor.

peeking through the beaddoor

Due to the variance in temperatures and firing times for the different colours, testing is important. What may take 2 minutes for one colour, could take 4 for the next. The best way to know is to watch for the signs.

Enamel goes through a variety of phases as it goes from powder to smooth glass; first comes the sugar stage, then the orange peel stage. As it passes this stage, one must watch to make sure that it does not overfire. This can cause separation and discolouration of the enamel.

Once done, remove from kiln. You will notice that as it cools, the colour will change. Do not quench your piece in water or the glass will shatter.

Then, you are done!

making samples.. and this set is for me!

 

NOTE: when buying enamel jewelry: The term ‘cold enamel’ does not refer to true glass enamel. It is a term that has surfaced in recent years in an effort to upscale what is essentially dyed resin – a mix, pour and set plastic.

the big picture

As most artists know all too well, November and December is the busy season, holiday sales carry many of us through the rest of our year. Months ago, as the end of summer approached, the deadline for deciding in which holiday shows to participate came up, and I had to make a decision. In past years I have had open studios, inviting the public in to my atelier to see how and where my products are made. Last year, I took part in the Designers Fair (juried entry) at DogA, the Norwegian Center for Design and Architecture on Hausmannsgate in Oslo, 10,000 people in 2 days – exhausting but worthwhile! This year, the invites for various shows came in and I realized that regardless of what options I chose, the workload would be pretty much the same, long hard days in the studio working on new series and collections, evenings back in the studio polishing silver or ironing textiles, display work, pricing, labeling, packaging supplies, being away from my children on the holiday weekends, and stressing out my poor husband!.. whom I have to say is the most supportive, adoring human being.. and by far the best man I have ever known, hmm.. can you tell I love him to bits! but I digress. October, for me, is dedicated to FeltUnited, it is a lot of work, and a labour of love; I usually roll straight into holiday production mode and life gets a little hectic right until January. Well this year, I have decided to take it a little slowly… and I am thrilled with my decision.

I turned 40 this year, and no.. no midlife crisis, I could not be happier with where I am in life. I simply did a little thinking, and realized that my children (4 & 7) will not be children forever… sometimes we have to look at our priorities and see the big picture. I am fortunate to have this option. I will always be an artist/designer/craftsperson (I couldn’t stop if I tried!) –  I carry a lot of titles, but none are as important as ‘Mom’. Being a parent is where it is at! Nothing is more fulfilling. So this year, I am focusing on family.

.. how am I doing that? Well, as I said, the artist in me is pretty hard to stifle. Inspired by the school work of my australian felt-friend Elizabeth Armstrong of FrostFair.  I have just come off of an entire week working with my son’s second grade class to produce a wall hanging as part of the Art and Culture Event. An amazing initiative where the school has put aside it’s regular curriculum and dedicated two entire weeks to immersing children in music, poetry, dance, art and more. This Thursday the school will host a ‘Culture Evening’ where all of the work will be presented, I am really looking forward to it. Events such as this, are near and dear to my heart. I have a true belief that the current school model (worldwide) needs an overhaul (or at least a good re-thinking). What was created in an effort to teach a population how to function in an industrial society has neglected to foster the natural creativity in our children – if anything, it suppresses their inherent abilities. Setting aside time for ‘The Arts’ is more valuable than most people realize. Many do not see the big picture.. that the Arts (in all of its variations) fosters creativity  (with the body and mind) that can be used in all aspects of life and education. It is creative thinking that sparks the passion that has produced the biggest breakthroughs in science and medicine. Technology?.. where we would be without the creative minds who ‘dreamed big’? Creativity.. it is the future, and if we teach our children that anything is possible… just imagine the possibilities! ok.. I am rambling on. Suffice it to say, I have had a solid week of quality time felting with children, all the while talking to them about how reading and math and the other skills they are learning in school today are all part of what I do as an artist every day. They were amazed… cross-curricular education through art – you just can’t go wrong with it.

If you have not seen the enlightening and humourous talk given by  Sir Ken Robinson at TED, about education and creative thinking, make yourself a cup of coffee and watch it. Worth every minute of your time!

- and for the Mom in me.. that week, spent with my son and his friends.. priceless!

Speaking of Moms. As some of you may know, I moved to Norway 10 years ago from Canada to be with the man of my dreams. I never looked back, but have, of course missed the close contact with my family. This year, my mother, who knows all to well how that is (she moved from Australia to Canada when she was 21) will be joining us here in Norway for the entire month of December, it is going to be lovely! An entire month of making presents, baking goodies, spending quality time with my family and enjoying all that life has to offer. I know I made the right decision.

and .. a final note in a somewhat discombobulated post: Remember to buy handmade this holiday season… for ohhh so many reasons ! You can read my post from last year about a Handmade Holiday right here.

Be well.

EDIT: As per usual, I always have selected works available in studio (most work never gets online) – you can also find items in my online shop, so feel free to contact me if you are looking for something special.

FeltUnited 2010 is online :)

Yesterday, Elis and I published the 2nd International FeltUnited Exhibit. What started two years ago as an idea to connect artists from around the planet in a joint exhibit, grew to be a worldwide happening celebrated in over 25 countries on 5 continents. Nearly 1000 photos have been compiled in two themed exhibits featuring artists of all skill levels, from new beginners to renowned textile artists; all brought together to celebrate a common passion. Do take a moment to make yourself a comforting beverage, turn on some nice music and watch the show.

We have also announced next years date and colour theme; Red-Purple-Blue, our third and final segment of the colour wheel. Please join us October 1st, 2011, see FeltUnited for more details.

… and to Elis, thank you.. for everything. You are a dear friend, a fascinating artist and old soul, whom I am blessed to have in my life… I adore you.

 

EDIT: fixed the links

 

my latest addition (obsession)

Sock knitting machines!.. ahh.. I know this may sound crazy, and quite honestly I was not sure as to whether this should go on my studio blog or not, as this is more of  a ‘me’ thing. so.. no.. I am not going into the sock making business.. (at least not as far as I know!)

(…continues below photo)

restored and purring like a kitten

Since first learning of these machines over a year ago, I have patiently (well.. my husband might disagree with that statement) been waiting for the right one to find me, during that time, I have read so much about them, and the history behind them appeals to me in a significant way.

In the late 1800′s and first half of the 1900′s, sock knitting machines were produced in many countries around the world. During war times, many wives/mothers were left at home, some struggling to make ends meet. the answer?.. the sock knitting machine. Women all over the world purchased these machines, and through the same company, purchased wool. After meeting company standards, they were in a position to sell their socks back to the company for a profit (a measly one I am sure) but a profit none the less. These machines, allowed women to work from home at their own pace and schedule, while still attending to the household and family needs. Those options were often few and far between. These machines offered women some independence, in a time when that was not common.

Last week, I contacted a gentleman who was selling one that had belonged to his great-grandmother. I just knew that this was the one for me! When asking about who had owned it, he told me that his great-grandmother, who had lived on the west coast of Norway, had been widowed early, and that this machine helped her keep her family afloat. It had been packed away in a chest in the mid 40s, and nobody had touched it since. So a few days ago, I went to pick it up.. and to my surprise, it had 3 set of cylinders with corresponding ribbers, some with knitting still on them. All of the pieces were there, and with a little tender loving care, I knew I could breath some life back into this beauty.  I was giddy.. like a kid in a candy shop.. just giddy!

Upon coming home, I started to unpack all of the little packages… meticulously wrapped sets of spare needles, lustrous silk on bobbins, packaging from awool distributor (the predecessor to the company I now order from!) and an envelope. .. well.. the envelope… I poured myself a glass of wine, and tried to take it all in, deciphering handwriting and understanding the notes and handwritten charts with sizing information…. the more I read, the more I realized that the woman who owned and used this machine was not simply a woman who knit socks. She was a skilled artist, who used her equipment to the fullest of its potential. Her attention to detail and systematic approach to what she made is impressive in this day and age, let alone 80 years ago. Small sketches of garments, women’s sweaters, a child’s swimsuit, all with detailed instructions. I am in awe, and somewhat humbled..and honored to bring this small piece of history back to life.

 

notes by an artist in the 30s

 

 

Here is a before shot. I took apart every piece, slowly.. so I could remember how to reassemble it! Each needle latch has now been oiled, all the old lint carefully removed. It is just a lovely lovely thing! and now.. I need to teach myself how to make heels and toes on some scrap yarn before moving ahead and using my hand spun/dyed luxury fibres to make myself (and some loved ones) some decadent socks!.. think indigo dyed silk and cashmere.. ahhhhh.. I can hardly wait:)

before.. with knitting still attached – wool– there is nothing like it!

 

We Felt United :)

Yesterday was the big day.. FeltUnited was celebrated around the world, as felters everywhere shared in their love of wool. Photos are streaming in, and I am in awe of how many joined in on the fun. Chile, Australia, Argentina, Germany, Russia.. the list goes on. Events ranged from large to small, some organized workshops, others decorated public statues, groups marched through city streets boldly wearing this years colour theme… and many hung a symbolic piece on their fence post; and in the meaning of the event, they Felt United.

So now the work begins for Elis and I, as we sift through the submissions and try to find some order in it all before posting the exhibit.  Stay tuned.

We are featured in HandEye magazine

Take a moment to read the article about FeltUnited in HandEye magazine

Fine Silver Ring with Wool & Silk (Indigo Dyed) Felt Pearl

cochineal and shibori

Cochineal, a colour that only mother nature can produce..

cochineal dyed shibori silk shawl

but where does it come from?

cochineal bugs before grinding

Bugs. Yes, little scaly bugs that live on prickly pear cacti in the desert. Once dried and ground up to a fine powder (I use an old coffee grinder). These little critters give off the most stunning colours from the palest, softest pinks to the deepest crimson.

Shibori shawl symmetrically bound and ready for dyeing

I ground my bugs a few days ago, and brought them to a near-boil then left to cool for 24 hours. During which time their colour releases to create a deep crimson liquid. I strained it through a silk lined sieve and saved the ‘pulp’ to try and use again.

the cochineal dye bath

Cochineal will produce a variety of colours dependant on the mordant used. In this dye bath, I used Alum. I tossed in a few silk cocoons, as they make such a lovely colour reference, and will surely be used in a project one day.

with few silk cocoons floating around

Once I had the colour I was looking for, I rinsed and centrifuged the silk and let is dry.

the bound silk after dyeing.. not to be undone before it is bone dry

After drying completely, I undid the resists and carefully pressed it to retain the shibori texture.

Shibori detail

a combination of soft colour and striking texture - pure luxury

After removing this shawl from the dye bath, I experimented with different fabrics and fibres, as well as adding tartaric acid to yield more colour, resulting in varying shades. Other mordants can be used to vary the tone such as tin. An afterbath in amonia will tend toward more purple than pink. And Iron will make it more earthy, but note that the silk fibres can be damaged by iron.

varying shades of pale cochineal

silk cocoons & cochineal from pale to deep

If you are interested in a good reference book re: natural dyeing, try Indigo Madder and Marigold  by Trudy Van Stralen.