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14th Southern Hemisphere Felt-makers Convergence

Presenter Profiles (Version 4)

Presenter Page Notes Wendy Bailye 2

Vicki Bishop 3 Workshop requirements listed on their profile page

Eleanor Brash 4 Jacquie Damon 5

Sam Everett 6 Workshop requirements listed on their profile page

Sanneke Hart 7 Marilyn Jensen, OAM 8

Debbie Leung 9 Workshop requirements listed on their profile page

Chris Lines 10 Workshop requirements listed on their profile page

Kirbysue Lyons 15

Jonna MacFadyen 16 Workshop requirements listed on their profile page

Stuart Marshall & Shirley Johnson

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Elaine Murray 18 Workshop requirements listed on their profile page

Mieke den Otter 19

Shona Schofield 20 Workshop requirements listed on their profile page

Barbara Scott 22 Helen Stumkat 23 Marlene Taylor, Rebecca Wilyuka & Jane Easton

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Dorothy Walsh 26 Vivienne Young 27

I am a contemporary felt artisan, designer and tutor. I work fulltime

as a feltmaker

threads and recycled materials to produce fibre

wearables.

The making of handmade wool felt is an ancient technique that has

developed into a very advanced contemporary art form, incl

use of a wide variety of modern materials in the process. It is a

process of transformation, combining fabrics and fibres with great

alchemy into a pleasing finished product. I enjoy contributing to the

development of experimental, modern feltm

surface design and texture.

I have been felt making for nearly 25 years and run a vibrant felt art studio, The Felt Studio,

from my home in the Samford Valley, in Brisbane, Australia. Here I host workshops with

international tutors, and work on commissions and refining my personal felt making

practice. I teach my skill nationally and internationally from my studio and have been

featured artist with Expertise Events, travelling with the Craft and Quilt Fairs to each

Australia for two years. I continue to teach regularly in Australia. I have taught feltmaking

in the UK, Scotland, Norway and New Zealand as well as on cruises to some wonderful

destinations. I exhibit widely, and have won a variety of awards

I am constantly refining my skills, learning from many other talented artists and students,

who so generously share their wealth of knowledge with me. Being part of a growing and

diverse textile community has been a rich and life changing

ATASDA, QLD. Spinners, Weavers and Fibre Artists. I am a life member of the international

Feltmakers Association and the Australasian Regional Co

assistant editor and co-editor of Felt magazine

Felting provides me with a creative outlet that is both unique and full of challenge. It is

always the process that inspires me and fires my imagination; the finished product is often

far from my thoughts. By playing, so much is leaned!

has so many practical applications

intrigues me most about felt. I am inspired from within my inner landscape in combination

with the never-ending inspiration of

Presentations: “50 Shades of Grey” and “Hold on to Your Hats”.

Both are demonstrations only with interactive discussion.

WENDY BAILYE


as a feltmaker using an eclectic mix of wool fibres, fabrics, silks,

threads and recycled materials to produce fibre-rich artworks and

wearables.


developed into a very advanced contemporary art form, incl




development of experimental, modern feltmaking techniques, focusing on innovative



ernational tutors, and work on commissions and refining my personal felt making


featured artist with Expertise Events, travelling with the Craft and Quilt Fairs to each



destinations. I exhibit widely, and have won a variety of awards for my feltwork.



diverse textile community has been a rich and life changing experience. I am a member of


Feltmakers Association and the Australasian Regional Co-Ordinator (Region 17). I was

editor of Felt magazine for many years.



far from my thoughts. By playing, so much is leaned! Felt is such a versatile medium that

has so many practical applications – the possibilities are never-ending. It is this that


ending inspiration of colours, textures and patterns in the outer world.

Presentations: “50 Shades of Grey” and “Hold on to Your Hats”.

Both are demonstrations only with interactive discussion.

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using an eclectic mix of wool fibres, fabrics, silks,

rich artworks and


developed into a very advanced contemporary art form, including the




aking techniques, focusing on innovative



ernational tutors, and work on commissions and refining my personal felt making


featured artist with Expertise Events, travelling with the Craft and Quilt Fairs to each state in



for my feltwork.



experience. I am a member of


Ordinator (Region 17). I was



Felt is such a versatile medium that

ending. It is this that


colours, textures and patterns in the outer world.

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VICKI BISHOP, B.Ed

My Felting Life:

I began felting in 2006 at Jondaryan Woolshed with the Toowoomba Spinners and

Weavers.

My craft has developed with teaching my early learners how much fun felting is. I

have attended many workshops and love to make flowers, scarves and bags. I hope

to bring that joy of colour, texture and nature to my mini workshop.

Flower Workshop for those not going on Garden Tour:

Requirements: Small amounts of 3 or 4 colours wool, silk fabric, silk fibres and any

other texture, your preference. Usual felt items.

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ELEANOR BRASH

I discovered wet felt making in 2009, when I enrolled in a Shellharbour Council sponsored

workshop. The tutor was well-known sculpture and feltmaker Anita Larkin.

This became a “light bulb” moment. Now, felted hats are my speciality and I have received

first place awards for my hats at Sydney’s Royal Easter Show and the Bendigo Sheep and

Wool Show.

I am currently the Secretary for the Illawarra Feltmakers Inc.

Suggested reading:

“Uniquely Felt” by Christine While. Origami Hat, Pages 189-191.

“Felt Magazine” – Issue 15. 9” Square Hat by Eleanor Brash, Pages 25-27.

Presentation: 19” Square Hat – Show and Tell plus interactive discussion.

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JACQUIE DAMON

Jacquie combines decades of knowledge in the fashion industry with a passion for felting

and shoe making.

She is a designer, trainer, felter and student in the art of shoe making.

Presentation:

Shoe Making for Felters - Presentation and interactive discussion and demonstration.

Objective: Explanation and demonstration of the tools, materials and processes involved in

making a pair of felted shoes.

SAMANTHA (SAM) EVERETT

Liz Williamson was my main mentor and supervisor at Uni, and my studio practise helped

mould future Course outlines.

Anita Larkin was the first artist to teach me felting. I then studied under Jeanette Appleton

when she was in Australia, with a real focus

Hopper. My real claim to fame is having one of my felt dresses on The Kerry

Show!

I have been facilitating a 5 day course in

Bellingen for a couple of years now, and am a member of

live in a quaint and rural village called Wingham.

My studio – “A Little to the Left Studio & Gallery”

coast in NSW.

Presentation Topic: “Freestyle” Feltma

Fur and beyond!!!

Objective: Inspire, Engage, (gently) Challenge and Share my story and life as a Fibre

Artist, what “Freestyle Feltmaking” means.

Outcome: Participants will choose what we and/or they make, b

imaginations and “what if I” responses. Like the name of my studio and gallery, my work is

a little to the left or right of main stream; just like me, I guess! This workshop is for those

who wish to develop their work more concep

with materials having no final outcome in mind, have lost their creative mojo, are

passionate about the creative process or just want a bit of a laugh in a relaxed, supportive

and informal space.

Requirements: Bring 4 shades of wool (can be neutral tones or bright colours), silk hankies,

pieces of fabric or other yarns. Usual felting requirements.

SAMANTHA (SAM) EVERETT

I am an artist and at the end of last year I extended my

studio space to include a Gallery that focuses on

showcasing Textile and Fibre Art, along with

artists!

I have a Bachelor of Fine Arts with Honours, and was the

first person to Major in Textiles at the College of Fine Arts

(Cofa, part of UNSW). Part of my Degree was spent on

exchange and scholarship at Glasgow School of Art

Scotlalnd.

iz Williamson was my main mentor and supervisor at Uni, and my studio practise helped

mould future Course outlines.


when she was in Australia, with a real focus on colour mixing; and the wonderful Jenny

Hopper. My real claim to fame is having one of my felt dresses on The Kerry

I have been facilitating a 5 day course in “Freestyle Feltmaking” at Camp Creative in

ars now, and am a member of The Manning Fibre Artists

live in a quaint and rural village called Wingham.

“A Little to the Left Studio & Gallery” – is located in Taree on the mid north

“Freestyle” Feltmaking – from King Solomon, Impressionism, Possum

Inspire, Engage, (gently) Challenge and Share my story and life as a Fibre

Artist, what “Freestyle Feltmaking” means.

Participants will choose what we and/or they make, based on their interests,


or right of main stream; just like me, I guess! This workshop is for those

who wish to develop their work more conceptually, have forgotten how to simply “play”



Bring 4 shades of wool (can be neutral tones or bright colours), silk hankies,

pieces of fabric or other yarns. Usual felting requirements.

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I am an artist and at the end of last year I extended my

studio space to include a Gallery that focuses on

showcasing Textile and Fibre Art, along with emerging

I have a Bachelor of Fine Arts with Honours, and was the

first person to Major in Textiles at the College of Fine Arts

(Cofa, part of UNSW). Part of my Degree was spent on

Glasgow School of Art,

iz Williamson was my main mentor and supervisor at Uni, and my studio practise helped


on colour mixing; and the wonderful Jenny

Hopper. My real claim to fame is having one of my felt dresses on The Kerry-Anne Breakfast

at Camp Creative in

The Manning Fibre Artists, as I

is located in Taree on the mid north

from King Solomon, Impressionism, Possum

Inspire, Engage, (gently) Challenge and Share my story and life as a Fibre

ased on their interests,


or right of main stream; just like me, I guess! This workshop is for those

tually, have forgotten how to simply “play”



Bring 4 shades of wool (can be neutral tones or bright colours), silk hankies,

My name is Sanneke Hart. I was born in Leiden, Netherlands and

came to Australia with my pare

some time in the Bathurst Migrant Camp before we moved to

Toowoomba Queensland where my Dad got a job as motor bike

mechanic. Having no English language made it difficult in the

beginning. We moved to Brookstead about a

Toowoomba, and there I did my primary schooling. We moved to

Bribie Island and I went to Caboolture High School.

I was always interested in sewing, knitting and embroidery

encouragement from my Mum as she always regarded

hobby.

After my marriage we moved around a lot and got quite involved with dog obedience

training; then when we settled in Petrie (a suburb of Brisbane) I did some pottery lessons

and then decided I’d like to learn to s

Fibre Artists – as they are now known.

I bought a second-hand Ashford Traditional Spinning Wheel and enrolled in TAFE classes;

however, the tutor obviously did not care much for teaching spinning. Her

Inkle Weaving, which I took to enthusiastically. It was only when we bought a property in

Murphys Creek that I was introduced to the Toowoomba Spinners Club and joined in

January 1982.

At one of their early camps, Judy Turner was tutoring

ancient craft, I decided I had to give it a go. The requirements listed were 2” fibreglass

gauze (larger than the felt to be made), broomstick dowel 4” wider, old sheeting (to place

the wool between), needle and thread (

large galvanized tray to keep the water contained, and a box of carded wool. My mother

law (who was living with us) set about hand flicking greasy wool

End result was a very lumpy, bumpy piece of thick felt suitable for a mat, maybe.

Things have changed in felting nowadays; with superfine merino slivers, silks, glitz and all

manner of fibres which can be incorporated

mats, boots, hats, nuno-felt clothing and sculptures

Felt Butterflies: Presentation and interactive discussion

SANNEKE HART

My name is Sanneke Hart. I was born in Leiden, Netherlands and

came to Australia with my parents and brother in 1950. We spent

some time in the Bathurst Migrant Camp before we moved to

Toowoomba Queensland where my Dad got a job as motor bike

mechanic. Having no English language made it difficult in the

beginning. We moved to Brookstead about an hour west of

Toowoomba, and there I did my primary schooling. We moved to

Bribie Island and I went to Caboolture High School.

I was always interested in sewing, knitting and embroidery – with not a lot of

encouragement from my Mum as she always regarded these ‘interests’ as WORK; not as a



and then decided I’d like to learn to spin and weave, so joined the Qld. Spinners, Weavers &

as they are now known.

hand Ashford Traditional Spinning Wheel and enrolled in TAFE classes;

however, the tutor obviously did not care much for teaching spinning. Her



At one of their early camps, Judy Turner was tutoring a felting class – and being a very



the wool between), needle and thread (to stitch and hold wool in place), 3m x 1/8” cord, a

large galvanized tray to keep the water contained, and a box of carded wool. My mother

law (who was living with us) set about hand flicking greasy wool - a box full. What a task!

ery lumpy, bumpy piece of thick felt suitable for a mat, maybe.


manner of fibres which can be incorporated – and all types of techniques used to make

felt clothing and sculptures - the list is endless and exciting.

: Presentation and interactive discussion

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with not a lot of

these ‘interests’ as WORK; not as a



pin and weave, so joined the Qld. Spinners, Weavers &

hand Ashford Traditional Spinning Wheel and enrolled in TAFE classes;

however, the tutor obviously did not care much for teaching spinning. Her real love was



and being a very



to stitch and hold wool in place), 3m x 1/8” cord, a

large galvanized tray to keep the water contained, and a box of carded wool. My mother-in-

a box full. What a task!

ery lumpy, bumpy piece of thick felt suitable for a mat, maybe.


and all types of techniques used to make

the list is endless and exciting.

Marilyn S Jensen O.A.M

(Convenor of 14th

SHFC 2017, currently President of Toowoomba Spinners, Weavers &

I retired about 5 years ago from an almost 50year career in the health industry, working as a teacher

and administrator in large and small hospitals. I have graduate and several post

University qualifications at honours

local community and nationally with awards for my service across many fields within the health

industry and the local community. I have many publications related to my career and two in the

district I grew up in where my family were pioneers.

I have always been interested in threads and fibre. My earliest memories

were getting my fingers stabbed and pinned in mother’s sewing

machine as a youngster making a lace hanky for my mother as a gift.

I was first shown how to felt by Karen Christiansen, a member of the

Ipswich Spinners group in 1983. I made a flat piece of felt, which, I was

going to make into a clutch bag. That didn’t happen, and at that time I

was busy making quilts. Well, t

way into an evening jacket. I still wear this jacket with great pride.

results. I like mak

and light nuno felt, mainly because of our warm climate.

Simple but Beautiful Felt Flowers:

Objective: To discuss, demonstrate techniques and share ideas in making felt flowers.

Demonstration and interactive discussion.

Eco Dyeing on Felted Items:

Objective: To discuss the process, and demonstrate how plain felt items can be brought alive

by using natural leaves and flowers to create stunning household accessories or enhance wearable

apparel.

Presentation, demonstration, and interactive discussion.

Marilyn S Jensen O.A.M.

SHFC 2017, currently President of Toowoomba Spinners, Weavers &

Inc.)


and administrator in large and small hospitals. I have graduate and several post

University qualifications at honours degree level in these fields, and have been recognised by my



ict I grew up in where my family were pioneers.




My mum still has this hanky today, more than sixty years later.

(Mum is 95)

I have no formal qualifications in textiles, but have exhibited

nationally and locally at various exhibitions. I have been awarded

numerous championships across a wide range of textil




was busy making quilts. Well, this piece of felt just happened to find its


I find felt making hard work but so enduring. The unexpected,

sometime happens with felt making , producing extraordinary

results. I like making flowers, hats, wraps, useful bags and satchels

and light nuno felt, mainly because of our warm climate.

Simple but Beautiful Felt Flowers:

To discuss, demonstrate techniques and share ideas in making felt flowers.

ctive discussion.

To discuss the process, and demonstrate how plain felt items can be brought alive


on, demonstration, and interactive discussion.

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.

SHFC 2017, currently President of Toowoomba Spinners, Weavers & Dyers Group


and administrator in large and small hospitals. I have graduate and several post- graduate

degree level in these fields, and have been recognised by my






um still has this hanky today, more than sixty years later.

I have no formal qualifications in textiles, but have exhibited

nationally and locally at various exhibitions. I have been awarded

numerous championships across a wide range of textile crafts.




his piece of felt just happened to find its


I find felt making hard work but so enduring. The unexpected,

sometime happens with felt making , producing extraordinary

ing flowers, hats, wraps, useful bags and satchels

To discuss, demonstrate techniques and share ideas in making felt flowers.

To discuss the process, and demonstrate how plain felt items can be brought alive


Bio:

When first introduced to felting in New Zealand, I was fascinated

by the exquisiteness, pliability, versatility and functionality of the

material. Felt is believed to be the oldest fabri

Having a strong heritage in working with silk, I often employ nuno

technique (that is, fusion and lamination of wool fibre with woven

fabrics) in my work. The wonderful marriage of the two materials

provides felt a contemporary and mod

My collection is all handmade, with very fine craftsmanship

incorporating tradition, culture and contemporary design. Each

piece is a unique artwork dedicated to those who appreciate a

thoughtful approach to the integrity of making things.

sustainable practice that is culturally and socially responsible. I have adopted natural dye,

zero wastage and up-cycled materials in my collection.

Workshops:

Name: Seamless Pouch

Objective: Sharing the technique of

Outcome: End of session, participants will finish a small seamless pouch with simple

surface design.

Requirements: Bubble wrap 1x1m, 60g wool top, small colour prefect for cut up designs, 1

to 2 metres of black thin wool yarn (optional), fork/skewer for laying wool yarn (optional),

soap and small scissors, scrap fellable fabrics (optional).

Participants: 8 - 10

Name: The Little Ones Adventure

Requirements: 10 grams of brightly

NB. Dolls will be available to purchase for class. Like a barbie doll.

Dolls will be judged in a beauty contest prior to fashion parade on Thursday night.

DEBBIE LEUNG



material. Felt is believed to be the oldest fabric made by mankind.




provides felt a contemporary and modern identity.




thoughtful approach to the integrity of making things. I strongly believe fashion can be a


cycled materials in my collection.

Seamless Pouch

Sharing the technique of felting over a resist to make a seamless container.

End of session, participants will finish a small seamless pouch with simple

: Bubble wrap 1x1m, 60g wool top, small colour prefect for cut up designs, 1

f black thin wool yarn (optional), fork/skewer for laying wool yarn (optional),

soap and small scissors, scrap fellable fabrics (optional).

The Little Ones Adventure – Dolls (Barbie size)

10 grams of brightly coloured wool sliver. Bits of embellishment, silk.

will be available to purchase for class. Like a barbie doll.


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c made by mankind.




ern identity.




I strongly believe fashion can be a


felting over a resist to make a seamless container.

End of session, participants will finish a small seamless pouch with simple

: Bubble wrap 1x1m, 60g wool top, small colour prefect for cut up designs, 1

f black thin wool yarn (optional), fork/skewer for laying wool yarn (optional),

. Bits of embellishment, silk.

will be available to purchase for class. Like a barbie doll.


I am an artist who

shows. I exhibit regularly with QuayCrafts, a mixed craft group

of professional makers based on the Isle of Wight.

I have taught many aspects of felt making, including functional items such a

rugs; although these days I teach felt art workshops that are closely related to my own

practice and the specialised techniques I have developed. In 2017 I am teaching at the IFA

AGM (UK). Felters Fling (USA), as well as New Zealand and C

In 2009 I led the Medina Yurt Project with 14 schools and community groups to produce a

fully felt-covered 14” yurt. I am regional co

workshops with international and UK tutors. This is a volunteer role,

carried out for 12 years. I have had work published in a number of publications and

journals; and have travelled widely in connection with my interest in art and culture,

including Bangladesh and Siberia during the last 5 years.

Presentations

“Collage to Create”: (1) Lay Down and Cut Up (practical session)

Aims or Objectives: To explore the potential of multicolour layering of pre

without nuno additions to the surface in the medium of

different stages of pre-felting and the possibilities with each stage to proceed with the

collage. I will explain the process of cutting to create shape, outline and shadow effects: re

cutting and assembling as an experimental approach before finally felt

samples (A4 size). We will look at the different stages of pre

with each.

I am an artist who specialises in using felt as my medium. My

personal practice focuses on the production of one

pieces in 2 or 3 dimensions through which I explore and

develop my themes. I originally trained in Fine Art

(specialising in portraiture), and have taught Art and Design in

schools, community groups and adult workshops.

I have worked in Art and Art Education my whole working life.

My painting practice and understanding of sculptural form has

underpinned my artworks in textiles, which I exhibit every year

– locally, nationally and internationally, in juried touring



I have taught many aspects of felt making, including functional items such a



AGM (UK). Felters Fling (USA), as well as New Zealand and Convergence!


covered 14” yurt. I am regional co-ordinator for IFA Region 2, organising

workshops with international and UK tutors. This is a volunteer role, and one that I have



including Bangladesh and Siberia during the last 5 years.

(1) Lay Down and Cut Up (practical session)

To explore the potential of multicolour layering of pre

without nuno additions to the surface in the medium of felt collage. We will look at

felting and the possibilities with each stage to proceed with the

collage. I will explain the process of cutting to create shape, outline and shadow effects: re

cutting and assembling as an experimental approach before finally felting to produce

samples (A4 size). We will look at the different stages of pre-felting and the possibilities

CHRIS LINES

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specialises in using felt as my medium. My

personal practice focuses on the production of one-off art

pieces in 2 or 3 dimensions through which I explore and

develop my themes. I originally trained in Fine Art

ht Art and Design in

schools, community groups and adult workshops.

I have worked in Art and Art Education my whole working life.

My painting practice and understanding of sculptural form has

underpinned my artworks in textiles, which I exhibit every year

locally, nationally and internationally, in juried touring



I have taught many aspects of felt making, including functional items such as bags, hats and




ordinator for IFA Region 2, organising

and one that I have



To explore the potential of multicolour layering of pre-felts; with or

. We will look at

felting and the possibilities with each stage to proceed with the

collage. I will explain the process of cutting to create shape, outline and shadow effects: re-

ing to produce

felting and the possibilities

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“Collage to Create”: (2) The Power of Pre-Felt (practical session)

Aims or Objectives: This session follows on and builds from the previous day. Participants

will build their own small collage samples, using an image they have brought as a design

inspiration. These can be long and narrow, or rectangle shape. There will be a focus on

Design Elements: composition, colour, tonal value, line and contract, pattern elements,

accents and focal points. Surface Textures: They will learn how to select an area using an

improvised viewfinder and develop their design from this. We will discuss the limited

palette. Applications in different areas of feltmaking will be discussed: i.e. how to apply

collage techniques in functional forms inc. bags, hats and wearables. All will be illustrated

with examples via Powerpoint.

“Faces of Felt”: (2 practical sessions)

Aims or Objectives: Using natural coloured

fleece in a range of tones, participants will

create a dramatic tonal Face of Felt. This is a

special process that has been developed

using digital image processing, especially for

felting and is accessible to all. It requires only

basic drawing ability. The digital processing is

demonstrated (via Powerpoint) and there is a hand-out with all the basic steps. Anyone

who is reasonably computer literate can use the method to produce their own images later

on.

Images for this session will be supplied pre-prepared and selected. The selection will be

differentiated for varying degrees of difficulty, and there will be some choice of image.

Requirements: I am requesting that pre-felts be prepared in advance for the Faces of Felt

session, unless we can get a bit more time from somewhere. This would require 4 pieces of

pre-felt A4 size in natural coloured fleece only (nothing dyed): white, light grey/brown, mid

grey/brown, dark brown/black 20-25g dry weight of tops per A4 size piece. This must be

laid in 4 layers in 4 different directions: horizontally and vertically and diagonally each way.

Although this is a very different workshop situation, I think we can do it with a carefully

structured Powerpoint to demonstrate the steps and method.

Participants need thin plastic drop-sheets for felting – no bubble wrap

2 small towels

Cotton fabric only, no polycotton

“My Journey in Felt”: Illustrated talk. Happy to take questions afterwards.

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Felted Collage Design with Chris Lines

In this workshop we will cover the potential of multi-coloured pre-felts with the addition of

dyed or printed fabrics and non-wool fibres (if desired) to build up a 'collaged' or layered

design. We will cover techniques for making pre-felts and explore their potential, through

cutting and layering of shapes to build up a design. We will make a series of sample pieces

where we will consider aspects of colour theory, tone and composition. My aim is to show

you how these techniques can enhance and extend your skills by helping you to feel more

confident about using the basic elements of design, such as shape, colour, tone, texture and

pattern. You will produce a set of sample pieces using your own design inspiration. This can

be abstract or representational.

Session 1

You will experiment with multi-layered pre-felts to produce a range of samples: Our

objective will be to learn about mixing and separation in layers and how well to judge the

potential of softer and firmer pre-felts to give definition in shapes and motifs and how to

use the linear potential of edges within a design. We will look at blending and optical colour

mixing and the effect of changing background colours. You will produce a range of samples

for later use and to inform the design process in session 2.

Session 2

Taking a design source such as an image (drawing, photograph etc), which you will have

prepared prior to the workshop, you will prepare a selection of pre-felts. You will plan and

lay out the preliminary stages for a small designed wall-hanging sample using the methods

taught in session 1. You will continue to ‘build’ your design using a ‘collage’ technique with

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your prefelts, fibres and fabrics. You will be supported to produce a layout based upon your

design, which will involve various design processes and adaptions. A camera will be a very

useful tool! You will assemble and finally felt your mini wall-hanging to completion. Note,

this may need further work to complete depending on your rate of work.

You may of course treat this work as a background for stitching and embroidery.

Materials and Equipment Required for both sessions

• Wool Tops in a range of dyed colours of your choice.

In detail:

Wool types

I suggest Merino tops and any other fine felting wool. You may use batts in combination

with tops but tops are essential. Merino is ideal but other fibre types can also be used to

different effect. You should use a fibre that you are experienced with and that you know is

suitable for felting. A layer of very fine wool such as Merino is desirable when bonding

fabrics to the surface.

Minimum quantity of 25g of each colour but you can also use up bits and pieces. Larger

quantities (e.g. 100g) for some colours. It's good to have a range of contrasting colours and

tones. From bright lights to toning sombre shades, according to your preferred palette. You

will need plenty of ‘darks’. It can be helpful to divide colours into tonal value – darks, mid-

tone and light when making your selection.

• Small quantities of other fibres such as silk or linen tops.

Fabrics

One piece of loosely-woven cotton fabric such as scrim or muslin, cheesecloth measuring

approximately 50 x 70 cm (must have an open weave).

Pieces of sheer, loosely-woven fabric, such as chiffon, georgette, muslin, gauze, preferably

natural fibres such as silk chiffon, gauze, georgette and habotai, linen, ramie, cotton but

viscose/rayon is also suitable. Polyester is probably best avoided in the time allowed.

Upcycled scarves, ribbons and cut up clothing are sources, as well as purchased fabrics.

These can range in size from whole scarves to smaller scraps and offcuts. Lace is also

suitable.

• Interesting yarns and threads, including silks, throwsters waste, hankies, beaded

yarns.

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Your Felting Kit:

• small piece of smooth polyester net curtain (not lace or tulle) about A2 -A3 size

• thin plastic (dustsheet type, very thin) ESSENTIAL. 2 pieces A2 size

• olive oil soap,

• sharp scissors

• jug

• sprayer

• plastic bowl small for transporting wet felt and containing water

• plastic bag (for taking away)

• old towels

• cotton sheeting for rolling

soft rolling bar or swimming noodle (optional, only if you usually use one)

Notebook and camera

Some kind of design inspiration - cards, magazine clippings, photos, internet image searches

on a theme, sketches, anything that appeals to you as a starting point for design.

KIRBYSUE LYONS


Requirements: Small amounts of 3 or 4 colours wool, s

texture, your preference. Usual felt items.

KIRBYSUE LYONS

I am a felter of 10 years and just happened upon it

at a Jondaryan felters’ weekend. My love of colors,

textures, seasonal rhythms come from the many

places lived : San Diego, Melbourne, Hobart, Lae,

Honiara, Brisbane and Toowoomba.

My craft is expressed through the layer upon layer

effect implementing wool, silk and cotton.

eclectic understanding of the felting process.

Nature with its organic influence is the perfect draw

for my inspiration giving maximum impact through

the creative spirit. Each piece is unique to my mood

and sometimes bargain findings. I love the

the soapy slip and the wonderful happenings that

slide together when felting.


Requirements: Small amounts of 3 or 4 colours wool, silk fabric, silk fibres

texture, your preference. Usual felt items.

15

I am a felter of 10 years and just happened upon it

’ weekend. My love of colors,

textures, seasonal rhythms come from the many

places lived : San Diego, Melbourne, Hobart, Lae,

Honiara, Brisbane and Toowoomba.

My craft is expressed through the layer upon layer

effect implementing wool, silk and cotton. and an

eclectic understanding of the felting process.

Nature with its organic influence is the perfect draw

for my inspiration giving maximum impact through

the creative spirit. Each piece is unique to my mood

and sometimes bargain findings. I love the feel of

the soapy slip and the wonderful happenings that

, silk fibres and any other

16

JONNA MACFADYEN Textured in felt Acknowledgement to Annette Quentin-Stoll and her book Filz Experiment

Objective: Participants will have a choice of making either 3 cone shaped textured pieces or 3 flat textured pieces of felt using different stitches to pull the pre-felt into a specific textures and hand felt to “fix”. Outcome: Three finished felt items of textured felt to take home. Textures:- 1 Folds 2 Coral 3 Sheepskin Requirements: Flat texture pieces 3 rectangular pre-felts using two layers of wool. Pre-felts should be fine rather than thick layers to allow you to easily fold when making textures. The technique reduces the prefect by 50-70% so start with a minimum 30cm x30cm. Textured cone shapes 3 prefelts made around a cone shaped resist approx 28cmH x 23cmW. Strong sewing cotton in a contrasting colour Large needle towel soap solution for working the felt

STUART MARSHALL

&

SHIRLEY JOHSON

Stuart Marshall: I am President of the Hervey Bay Spinners, Weavers & Fibre Artists

Group. I enjoy all the various activities our group is involved in, although felting has been

my main focus over the last few years. When one project is completed, I have 3 more on

the drawing board.

The group have been conducting felting classes for the wider community, which have been

very popular. My felting repertoire is continually evolving; it keeps things interesting and

fun.

Shirley Johnson: I started on my fibre art journey som

encouragement of my dear friend Rosemary, who taught me how to spin. We spent many

hours together doing our crafts.

Several years later we attended a felting workshop making a hat and a bag. Well, that was it

for me – once I had shaped the hat on a proper hat block/mould, I was sold. I enjoy making

hats and make traditional hats as I wear a hat every day

many hats I own!!

Presentation: Key-hole Scarf

interspersed with lots of discussion.

STUART MARSHALL

SHIRLEY JOHSON

I am President of the Hervey Bay Spinners, Weavers & Fibre Artists





I started on my fibre art journey some 10 years ago with the


hours together doing our crafts.


haped the hat on a proper hat block/mould, I was sold. I enjoy making

hats and make traditional hats as I wear a hat every day – and I’m not going to tell you how

Photos of Hervey Bay

hole Scarf – Show & Tell with a vibrant slideshow of their environment

interspersed with lots of discussion.

17

I am President of the Hervey Bay Spinners, Weavers & Fibre Artists





e 10 years ago with the



haped the hat on a proper hat block/mould, I was sold. I enjoy making

and I’m not going to tell you how

Show & Tell with a vibrant slideshow of their environment

I live in the Toowoomba region, and have been a felt maker for

some years now and have talent in many other

particularly like nuno scarves, hats and bags.

My presentation will be for beginners to advanced, with the only

skills needed being a sense of fun.

Presentation: Beginner Felt Workshop

I will help participants to successfully make a small nuno felt neck scarf.

Requirements:

25 gm fine merino wool

Length of tissue silk – enough for scarf about 1 metre x 0.4.

A handful of fun bits to decorate

1 piece of bubble wrap a little longer than

Small piece wood dowel or plastic pipe

Usual felting items

ELAINE MURRAY


some years now and have talent in many other areas as well. I

particularly like nuno scarves, hats and bags.


skills needed being a sense of fun.

Beginner Felt Workshop – Neck Scarf

I will help participants to successfully make a small nuno felt neck scarf.

enough for scarf about 1 metre x 0.4.

A handful of fun bits to decorate

1 piece of bubble wrap a little longer than your piece of silk fabric

Small piece wood dowel or plastic pipe

18


areas as well. I


19

MIEKE DEN OTTER

Mieke den Otter is a painter with a background in

illustration and textiles. She is an active practicing artist and

regularly participates in group exhibitions, community arts

projects and mentoring to grow the arts.

Her experience in teaching includes TAFE Visual Arts & Craft,

Festivals and workshops with community.

She is inspired by the human form, environment and music.

‘Travel taught me that everyone on this planet have the

same wants and needs. I hope to make a difference in our

community by being involved in the arts.

It’s exciting, fresh, tactile, hard work, social times and creative days in isolation. My love of

the tactile has taken me on an exciting journey of mixed media drawing, painting, hand

spinning fibre, dyeing and felt making.’

www.facebook.com/Felt.Pieces

Presentation: Community Felt – Presentation and interactive discussion

I am passionate about fibres and textiles. I enjoy many fibre

arts, dyeing, spinning and feltmaking. My biggest love is designing,

producing and wearing my own unique handmade felt creations.

I grew up in Ashburton, always being interested in man

father was a foreman in the Ashford spinning wheel factory and my

husband, John was a shearer and farmer

I love to work with wool. Being introduced to felting by another

coloured sheep breeder in 1991 and atten

from NZ and overseas, I have, over the years, developed techniques

to create unique textiles.

Felting various materials such as merino, silk, mohair and alpaca, the layering of fibres and

combination of rich colours create unique e

just the look of the felt; it is the handle, touch, feel and drape of the felt that is most

irresistible. I have exhibited my felt designs in fashion parades, shops and galleries in New

Zealand and Australia. I feel I am always learning with felt, and love to inspire others in my

workshops.

My work experience covers a wide range of art and fibre techniques throughout my lifetime.

My achievements are listed over the last 5 years:

2007 Taranaki Award, Creativ

2006 Supreme Award – Creating Fibre Fashion Parade (National)

2006 Sentosa Silk Award, Creative Fibre Fashion Parade

2005 Merino Award, Creative Fibre Fashion Parade, selected by Bryan Molyneux

2005 Black & Coloured Sheep Breeders Award, Creative Fibre Fashion Parade

Exhibitions & Fashion Parades:

2015 Creative Fibre Festival Rotorua Fashion Runway, Liaison showcase

2014 Creative Fibre Festival Dunedin Fashion pop

2013 Creative Fibre Festival Wellington

2012 Cromwell combined Society of Artsd Crafts, Easter Exhibition. Guest Exhibitor &

masterclasses

2009 Waikoiaiti Fashion Parade

SHONA SCHOFIELD

I am passionate about fibres and textiles. I enjoy many fibre-related

arts, dyeing, spinning and feltmaking. My biggest love is designing,

producing and wearing my own unique handmade felt creations.

I grew up in Ashburton, always being interested in many crafts. My

father was a foreman in the Ashford spinning wheel factory and my

husband, John was a shearer and farmer – so it is not surprising that

I love to work with wool. Being introduced to felting by another

coloured sheep breeder in 1991 and attending workshops by tutors

from NZ and overseas, I have, over the years, developed techniques


combination of rich colours create unique easy-to-wear clothing and accessories. It is not



a. I feel I am always learning with felt, and love to inspire others in my


My achievements are listed over the last 5 years:

Taranaki Award, Creative Fibre Fashion Parade, selected by Annah Stretton

Creating Fibre Fashion Parade (National)

Sentosa Silk Award, Creative Fibre Fashion Parade

Merino Award, Creative Fibre Fashion Parade, selected by Bryan Molyneux

& Coloured Sheep Breeders Award, Creative Fibre Fashion Parade

Exhibitions & Fashion Parades:

2015 Creative Fibre Festival Rotorua Fashion Runway, Liaison showcase

2014 Creative Fibre Festival Dunedin Fashion pop-up

2013 Creative Fibre Festival Wellington Fashion Runway


2009 Waikoiaiti Fashion Parade

20


wear clothing and accessories. It is not



a. I feel I am always learning with felt, and love to inspire others in my


e Fibre Fashion Parade, selected by Annah Stretton

Merino Award, Creative Fibre Fashion Parade, selected by Bryan Molyneux

& Coloured Sheep Breeders Award, Creative Fibre Fashion Parade


21

Garment Construction for Felt Jacket:

Aims or Objectives: (Talk, demonstration and questions). Discuss structure, patternmaking

and felting process of a felt jacket. Including demonstration using sliver/top and needlefelt.

Outcome: Participants will be able to create a fitting felt jacket or garment.

Requirements: Pad and pen/pencil.

Rose Fascinator:

Aims or Objectives: Hands on/practical. Creation of a resist, felting to form a rose.

Using millinery techniques to create fascinator.

Requirements: 30cm wide non-slip drawer liner

70cm square fine plastic (drop plastic)

30 cms square thick plastic or foam resist

Water sprinkler

Soap

30gm merino (very small amount silk optional)

9cm diameter circle of firm aida fabric

50cm hat elastic, (comb or clip optional)

Needle & Thread

BARBARA SCOTT

enterprise employing 35 people, creating garments and bedding from beautiful Australian

wool. I was awarded the ABC Australian Rural Woman of the Year in 1996.

I originally trained as an Art Teacher in South Australia before completing a Bachelor of

Education (Aboriginal Education) and a Diploma of Teaching (Primary). I then completed

several further textile-related studies before completing qualifications in Visual Arts and

Contemporary Craft.

Wool is a fascinating fibre to work with; a natural insulator

winter – able to hold large amounts of water before feeling wet, and gentle and soft against

the skin.

My original wearable art pieces use all the properties of this wonderful fibre. Wool, with its

microscopic scales – along wit

agitation – is the basis for all of my felt making. Most of my pieces are reversible, providing

two totally different looks, and many incorporate silk and many other natural fibres.

Felt making is an energetic exercise. As I create each piece, I believe I incorporate the

creative energy into the piece, allowing the wearer to connect with the energy and the

message.

Presentation: From Conception to Installation

A presentation relating to a fibre exh

BARBARA SCOTT (Creator of Wow Creations

Original wearable art)

My fascination with Australian wool began early on in life as

I sat learning to knit and craft with my mother, a competent

craftswoman.

While incapacitated with a knee injury I learnt to spin wool

from the sheep’s back, along with many other fibres. From

here I progressed to growing and classing wool on an

Australian sheep farm while creating for my own pleasure.

However, as my production grew so did my need to find

other outlets – eventually resulting in a large commercial

employing 35 people, creating garments and bedding from beautiful Australian



(Aboriginal Education) and a Diploma of Teaching (Primary). I then completed

related studies before completing qualifications in Visual Arts and

Wool is a fascinating fibre to work with; a natural insulator – cool in summer and warm in

able to hold large amounts of water before feeling wet, and gentle and soft against


along with water, soap and a change of temperature with a little

is the basis for all of my felt making. Most of my pieces are reversible, providing


n energetic exercise. As I create each piece, I believe I incorporate the


From Conception to Installation

A presentation relating to a fibre exhibition and interactive discussion.

22

My fascination with Australian wool began early on in life as

I sat learning to knit and craft with my mother, a competent

While incapacitated with a knee injury I learnt to spin wool

other fibres. From

here I progressed to growing and classing wool on an

Australian sheep farm while creating for my own pleasure.

However, as my production grew so did my need to find

eventually resulting in a large commercial

employing 35 people, creating garments and bedding from beautiful Australian



(Aboriginal Education) and a Diploma of Teaching (Primary). I then completed

related studies before completing qualifications in Visual Arts and

ool in summer and warm in

able to hold large amounts of water before feeling wet, and gentle and soft against


h water, soap and a change of temperature with a little

is the basis for all of my felt making. Most of my pieces are reversible, providing


n energetic exercise. As I create each piece, I believe I incorporate the


23

Helen Stumkat

Textile Fibre Artist & Tutor

PROFILE

I have been conducting classes, both in

Australia and New Zealand, covering,

spinning, weaving, dyeing and felting for

the past 39 years. Throughout my career

I have received numerous awards and

accolades from multiple art galleries,

associated clubs and media print

including Textile Fibre Forum. I have also

been invited to conduct classes for Cobb

& Co Museum, MacGregor Summer and

Winter Schools, and the Cunnamulla Art Society. My works have been exhibited in solo and

group exhibitions, the latest solo exhibition of which being The Cunnamulla Fella Art Gallery

during June and July 2014.

EXPERIENCE

My initial experience began as an apprentice florist in 1959 working for Theresa O’Shea

Florist in Brisbane. From there I went into commercial breeding of cashmere goats, herd

numbering to 500 from 1977 to 2000. This journey enabled me to experience and to

expand my knowledge in all forms of natural fibres (plant and animal). During this period

and till the present day, I discovered the art of spinning, weaving, dyeing and felting which

lead me to hold positions in various local textile clubs and establishing my own business

namely, The Spinning Parlour 1979-1990 and Heirloom Creations 1994-2006. Since 2006 to

this date I currently produce and sell one-off, textile art garments, wall hangings and framed

works under my label Ewe-Unique Designs.

EDUCATION

MacGregor Summer and Winter Schools, University of Southern Queensland, Toowoomba

Queensland – Textile Art Design Courses (Dyeing, Spinning, Weaving, Felting and Millenary)

– 1980 – 2014

Textile Fibre Forum, Brisbane, Queensland – Textile Master Course – 1990 – 2006

International and National Felt Makers Convergence conducted by International Tutors –

Tutorials, Workshops and Seminars – 1996 – 2014

TAFE Brisbane, Mt Gravatt, Queensland – Diploma Millenary – 2014 – Present.

24

SKILLS

Over the years I have developed skills in spinning, weaving, dyeing and felting which has led

me to develop other skills including: Business Management, Teaching of all age groups in

the textile fields, Art Design and Presentation, Event Management and Promotion, Fashion

Design and Creation.

PRESENTATIONS

My Felt Journey

Professional Millinery Finishing Techniques

25

Marlene Taylor

Birth: 1962

Country: Finke

Home: Titjikala,NT

Language: Luritja

Yankunytjatjara

Marlene grew up at Titjikala and has spent most of her adult life in this region, her father

was a stockman at Maryvale Station, her mother worked in the station homestead cleaning

the house.

Marlene and her friends used to go to the stockyards after school and watch the stockmen

riding around, working the cattle. She attended high school in Alice Springs during her early

teens and on returning to Titjikala she worked at the Women’s Centre and the Art Centre.

She has two children and four grandchildren.

Marlene is a prolific artist and works across several mediums including batik, painting,

ceramics, felting and punu and played a major role in the designing and batiking several

fabric lengths for the Central Australian Aboriginal Women's Choir tour of Germany in 2015.

Presentation: Our Amazing Felt Beanies, with show and tell

Rebecca Wilyuka grew up at Titjikala with her two sisters and four

brothers.

Her Grandfather's Dreaming is Marlu Tjukurpa (Kangaroo Dreaming), and

her Father's is Walaru Tjukurpa (Eagle Dreaming).

Rebecca's interests are softball, hunting for bush food, painting, creating

Beanies and feltmaking.

Jane Easton has lived and worked in several Aboriginal communities

over the past four decades. She has spent the last ten years working

at Tapatjatjaka Art Centre. Her interests include textiles particularly

batik and felting and shoemaking.

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ARTIST STATEMENT

I am Dorothy Ann Walsh, born on Manus Island New Guinea and my work is an expression

of the way I choose to interact with my community. I consider myself a textile artist.

Through my work I choose to delight others with historical knowledge and indulge the

senses.

I work with textiles, specifically by creating felt and constructing historically accurate

garments and accessories. My garments are constructed with cotton, linen, silk and or wool.

My historical garments need to be wearable as mostly they are used by the members of the

Queensland Colonial Association Incorporated and fit into the period of 1800-1900.

I felt with different fibres including but not exclusive to silk, cotton, wool, camel, alpaca,

angora and plant fibres. I use both the dry and wet techniques of felting along with the

process of nuno. My felting takes many forms and includes wearables, hanging pieces and

home wear items.

Currently, my work with historical garments reflects the lives of men, women and children

performing everyday tasks and work. This requires a large amount of research as most of

the garments which we have access to come from the upper classes.

My felting practice continues to develop techniques which allow me to embed textures into

my pieces. I want my work to reflect nature in a ‘touchable’ form that we may wear or wrap

around ourselves.

I enjoy my community practice and engage in teaching workshops in sewing and felting on a

regular basis.

Joint Presentation with Mieke den Otter: Community Felt – presentation and interactive

discussion.

27

VIVIENNE YOUNG

My interest in textiles began at an early age. Surrounded by family involved in knitting,

weaving and dressmaking, something had to rub off! I trained as a secondary art/craft

teacher, majored in painting – but was drawn more and more to textiles.

For many years I bred black and coloured Border Leicester sheep; initially for their long, soft,

lustrous fleece for hand spinning. Supply outgrew demand and in 1998 “Mirragong

Woolworks” was established to promote wool, supply pure wool yarn for knitters, and teach

the ancient skill of felt making.

A placement in Gobi Altai, Mongolia to teach felting for 3 months turned into 3 years. I am

now settled in Orbost, Victoria with no sheep or alpacas but plenty of fleece to keep me

spinning, felting, dyeing and knitting for years to come.

The title of my presentation is “Felting in Mongolia” – Interactive discussion with questions.

presenter felt makers convergence1 - tmba-spinners.com€¦ · ipswich spinners group in 1983. i...

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