4-H Fiber Arts Project Guide

In the Oregon 4-H Fiber Arts project, youth learn to manipulate fiber through one or more steps to a finished product. Fibers include those from plants and animals, as well as some that are human-made. Members can learn the various ways to handle each kind. Most techniques in this proj- ect have existed for many years, and their uses have adapted as times have changed. The 4-H Fiber Arts Project gives 4-H youth the opportunity to explore 13 techniques of working with fiber: • Weaving • Embroidery • Basketry • Needlepoint • Spinning • Appliqué • Felting • Patchwork • Macramé and knotting • Quilting • Braiding • Papermaking • Hooking

Once members learn basic techniques, there are endless opportunities for them to Contents develop their creativity and design sense. Role of a 4-H Project Leader...... 2 This project guide gives a short over- Elements and Principles of Design...... 3 view of each technique. These are not Weaving...... 4 instructions for teaching the specific tech- niques, but rather a description and some Basketry...... 7 suggestions on where and how to start. Each Spinning...... 9 overview describes methods, skill building, Felting...... 11 project ideas, and standards for evaluating Macramé and Knotting...... 13 the work. Some resource books and videos Braiding...... 15 for teaching technique also are listed to Hooking...... 17 help you get started. They mostly focus on Embroidery...... 19 beginning levels and appeal to youth; some Needlepoint...... 23 of them can help members increase their skills. You might find more resources in a Appliqué...... 25 public library; or, use an online search with Patchwork...... 28 specific keywords. Many of these fiber arts Quilting...... 30 techniques have guilds or other organiza- Papermaking...... 33 tions; they also could be key resources.

4-H 7601______Reprinted May 2008______$4.00 Role of a 4-H kits or patterns to designing a project on their own. Project Leader • Keep records. My 4-H Project Record Sheet Members begin the 4-H Fiber Arts (4-H 038R, available online at http:// Project at many different ages and with extension.oregonstate.edu/catalog/4h/ different levels of experience. As Project or through local Extension offices) Leader, it is important to work provides a useful experience. Records can Work with with individual members to find focus on specific materials used, length of time to complete a project or phase individual the project level that best meets of a project, and cost of materials. The members to their needs. Members learn by sharing their work and receiv- 4-H Fiber Arts Exhibit Explanation Card find the project (available on the Oregon 4-H website level that best ing evaluation. To help make this a rewarding experience, it under “Expressive Arts Materials” http:// meets their is important to guide their work oregon.4h.oregonstate.edu/resources/ needs. in several ways. Your role is to materials.html) can serve as a record of 4-H Project Leader 4-H Project help 4-H members: the details and skills of each individual • Enjoy the activity. project as well as information for a judge. Encourage members to fill it out for each • Learn the technique. Balance members’ item they make and keep the copies with interest and enthusiasm with steps that their other project records. ensure their success. Start with small, easy-to-finish projects that fit a member’s Another type of record might be a file of attention span and physical dexterity. ideas for future projects. • Move to larger projects or alternate Younger members may not enjoy or see methods to create new experiences, as a value in record keeping. It might be members are ready. Encourage members helpful to spend time monthly to keep to look at books, magazines, or other records up-to-date. resources for ideas and to learn new • Share what they know and what they techniques. have created by teaching others, giving • Learn how to evaluate their work for presentations, making community dis- detail of the technique and design, and plays and donations, and exhibiting their identify their good skills and those they work. Members don’t have to exhibit could still improve. Skill building takes their work; but, if they want to, then practice. Some questions might include show them exhibit class descriptions and the following: work with them to learn the criteria. Evaluate the how-to instructions for a ◆ What did I learn? specific project to be sure the technique ◆ Where do I need improvement? meets the criteria for a Fiber Arts divi- ◆ How do I feel about what I did? sion exhibit. For example, bead weaving ◆ What shall I plan to do or learn next? using a loom fits as a weaving technique, Evaluation also can be in the form of but stringing beads—no matter how comparison to standards, such as those intricate—is not weaving involving a listed in “Standards for evaluating” for warp and weft. Likewise, “wheat weav- each technique in this project guide. ing” suggests a weaving technique, but it • Understand elements and principles of is primarily braiding. design and develop and use their creative abilities. They might move from using

2______4-H Fiber Arts Project Guide Elements and Principles of Design Understanding the elements and principles of artistic design is basic to working with all the techniques in Fiber Arts projects. Elements of design are the tools or parts of a total design. There are six basic elements in design.

Line is a mark Shape is a closed Form is a three- longer than it is wide. line. Shapes are dimensional shape It can be straight flat but have the with length, width, or curved, thick or thin, and dimensions of length and and depth. Balls, cylinders, run on the horizontal, verti- width. They include triangles, boxes, and pyramids are cal, or diagonal. squares, circles, and freeform. forms.

Space is the Color is reflected Texture is surface area between and light. Characteristics quality, such as around objects, or of color include rough, smooth, a feeling of depth. hue (for example, red, blue, soft, hard, slick. or green), value (lightness or darkness), and intensity (brightness or dullness).

Principles of design are the methods used to organize or arrange the elements of a design. Balance refers to Proportion is the Emphasis is the the sense of stability feeling of unity part of the design that is created when all parts of a that stands out and when the elements of design design (their sizes, amounts, catches attention. Emphasis (objects, colors, texture, or number) relate well to usually is achieved by using and space) are combined. each other. contrast; that is, the empha- Symmetrical balance uses sized part is different in size, very similar elements on color, texture, shape, etc. each side of the design. Movement is the Asymmetrical balance may path the viewer’s use different elements on eye takes, often Unity is the feeling each side which still create directed by lines, edges, that all the parts a visual balance. Radial shape, and color. work together. balance arranges elements around a central point; those Pattern is the elements may be similar. Rhythm is created repeat of an when one or more object or symbol Repetition works elements is used throughout the design. with pattern to repeatedly to create a feeling make the design of organized movement. Variety is the use of seem active. Repetition of Variety is essential to keep several elements to Reprinted from elements creates unity. rhythm exciting and active. hold the attention. A Palette of Fun with Arts & Crafts with permission It’s important that leaders and members discuss these terms and their of the National meaning, so that as members begin to create their own designs, they can 4‑H Coopera- tive Curriculum develop an understanding of how to organize elements and use principles System, Inc. to make their designs pleasing and successful. © 2001 4HCCS 4-H Fiber Arts Project Guide______3 Weaving

Crossing and intertwining linear strips Navaho weaving looms are a version of a of fiber to form fabric is called weaving. frame loom. Fibers are intertwined in an organized Rigid heddle loom. A larger wooden manner called a pattern or weave struc- frame with a “heddle” (eyes and slots). ture. There are many ways to use pattern The heddle holds the warp yarns and cre- or repetition to create design in the woven ates space for the weft yarns by moving fabric. up or down. The warp yarns are wound Many cultures around the world devel- on a bar or carrier, so they can be very oped the art of weaving. Many of their long. The maximum width of the weav- woven fabrics have unique combinations of ing is determined by the width of the technique, pattern, and materials. loom. Shaft or harness loom. This loom has a Methods number of harnesses (in multiples of four) Weaving includes both off-loom (or that determine the possible intricacies of freeform) and loom methods. Freeform the pattern. A table version uses levers weaving is done using sticks, tree branches, above the reed to pull the harnesses. A hoops, or other supports. There are many floor version has foot pedals that raise kinds of looms, from simple ones that are the harnesses. These looms allow more easy to make (such as those made from flexibility in the length and width of drinking straws, cardboard, or foam meat the weaving as well as intricacies of the trays) to large, intricate floor looms. The weave. type of loom may determine the length and/ or width of the weaving. The type of fiber Skill building (yarn, thread, fabric, ribbon) influences surface texture. Growth in weaving skill comes from A simple loom also can be used for bead trying different looms and materials, larger weaving. Decorative beads are strung on a or more advanced projects, and individual weft thread, positioned between the warp creative design. threads, and held in place with a second Members can start either weaving off- weft thread. loom or using any type of loom. Members also can make simple looms from many These are some types of looms. materials that are at hand. Inkle loom. A simple loom designed to It’s best to start with a simple weave weave several yards of narrow fabric to structure. This might include balanced make belts, sashes, ties, or bookmarks. plain weave, warp faced plain weave, or weft Card weaving. The warp is strung faced (tapestry) plain weave. These can be through holes in square, sturdy cards. woven freeform or on frame or inkle looms. Twisting the cards moves the warp and As skills improve, members can use more makes the pattern. Strips of woven fabric complex shaft or harness looms with more can be joined to make larger items. intricate weave structure and pattern. More Designs can be quite intricate. advanced weaves include twill, patterns that are a combination of plain and twill weaves, Frame loom. A rigid frame holds the warp and pile weaves. threads. A very simple one can be made The choice of fiber can make a project of stretcher bars and nails. The weft yarn less or more difficult. Beginners will find it’s is picked through the warp threads with a easier to work with fairly stable, larger scale needle or fingers. The length of the warp materials such as cotton yarns, fairly stable yarns is fixed by the size of the loom.

4______4-H Fiber Arts Project Guide cloth strips, and ribbon. More advanced decoration, the finish is appropriate for materials include wool and thread. the use. The warp threads are secured. Planning, designing, and making up the • The project is clean and smooth or pattern can make the weaving more com- unwrinkled as appropriate for the materi- plex and individual. als used. • Basic elements and principles of design Use the 4-H Fiber Arts Exhibit are pleasing. Explanation Card (see “Resources for weaving”) to describe the tech- niques you have used, skills you have Resources for weaving improved, and new things you have Members You might find many of these books learned. and videos in local libraries or for sale in bookstores. Project ideas Books Start with small items so members can Friendship Bands: Braiding, Weaving, Knotting experience the technique and complete by Marlies Busch, Nadja Layer, Ange- several small projects. That way, they can lika Neeb, and Elisabeth Walch, 1997, receive feedback sooner and evaluate their Sterling Publishing Co., Inc. (ISBN work to see where they might improve. 0‑8069-0309-0). Project choice depends on the choice of Instructions for making friendship brace- weaving method. Examples include belts, lets in 70 designs, with dozens of varia- bracelets, wall hangings, placemats, pillows, tions that use simple braiding, weaving, table runners, and samplers. and knot-tying techniques. Bead weaving instructions are included. Standards for evaluating Weaving for Beginners by Jessie Rubenstone, The goal is for members 1975, J.B. Lippincott Company to develop an understanding of (ISBN 0-397-31635-6). what makes good-quality work. The goal is A very basic introduction to weaving with a simple-to- Members learn to evaluate for members make, harness-type loom. weaving projects for the follow- to develop an ing characteristics. Items to make include head- understanding bands, belts, pillows, wall • The selvage is consistent. of what makes hangings, and rugs. Loops along the edge are the good-quality same size and not too large Weaving on Cardboard, Simple work. Looms to Make and Use by

for the materials being used. Leader 4-H Project Marthann Alexander, 1972, • There are no unintentional Taplinger Publishing Co, Inc. (ISBN changes in width (draw-in) along the 0‑8008-8120‑6). sides of the finished fabric. Easy instructions for getting started using • The choice of warp and weft materials inexpensive, easy-to-make looms of sev- is suitable for the intended use of the eral types. finished product. Weaving Without a Loom: Simple Projects • The evenness of beat (spacing of the weft for All the Family by Veronica Burning- fibers) is consistent and suitable for the ham, 1998, Search Press, Ltd. (ISBN use of the woven fabric. 0-85532-818-5). • Tension on the warp is consistent. The Simple weaving techniques using sticks, weft is at right angles to the warp unless cardboard, hardboard, picture frames, variation is a deliberate part of the weave. and rings or hoops. There are easy-to- • The project has been finished well. If follow instructions and a range of simple, the item is for practical use rather than inexpensive projects.

4-H Fiber Arts Project Guide______5 You Can Weave! Projects for Young Weavers, Introduction to Weaving by Deborah Chan- Kathleen M. Monaghan and Hermon dler (57 minutes) Joyner, 2001, Sterling Publishing Co, This video presents the basics: types of Inc. (ISBN 0-87192-493-5). looms and tools, vocabulary, character- A beginning guide that has simple looms istics of fibers and yarns, and how to to make from inexpensive materials, a calculate the amount of yarn needed for a variety of projects, and suggestions for project. keeping the weaving in the intended Rigid Heddle Weaving—Level 1 by Betty shape. It includes some simple heddle Davenport (93 minutes) loom construction and bead weaving. This style of weaving is done on a Videotapes (available for loan from the wooden loom. This video includes warp- State 4-H Office; contact your local Exten- ing and other techniques unique to the sion office to order) rigid heddle loom. Projects present a Card Weaving by Candace Crockett variety of stripes and texture weaves as (97 minutes) well as finishing techniques. This video introduces the basic tech- Oregon 4-H publications niques of card weaving, which involve simple tools, cardboard cards, and yarn. Fiber Arts Exhibit Explanation Card— Complete directions for two projects are available on the Oregon 4-H website included. under “Expressive Arts Materials” http://oregon.4h.oregonstate.edu/ resources/materials.html

6______4-H Fiber Arts Project Guide Basketry

Basketry involves weaving, coiling, twining, or plaiting fibers into a shape. We Use the 4-H Fiber Arts Exhibit commonly think that basketry is for making Explanation Card (see “Resources for baskets, but many other items, such as bags basketry”) to describe the tech- and hats, can be made this way. niques you have used, skills you have improved, and new things you have Members learned. Methods Most basketry is created by varying four Project ideas basic basket construction methods. Start with small items so members can Coiled. A core (bundle of strands or rods) experience the technique and complete is stitched into a spiraling oval or round several small projects. That way, they can form. There are many kinds of materials receive feedback sooner and evaluate their and stitch types that can be used for the work to see where they might improve. core bundles or stitching. As members advance in their skills, they Twined. Two or more flexible elements can try different methods of basketry, differ- encircle a base. Pairing and waling are ent materials, and mixing a variety of mate- specific types of twining. Materials can rials. Larger projects or those with more vary from flexible native naturals to intricate designs can expand the member’s waxed linen, cordage, or other fibers. experience. Collecting, preparing, and even Woven. Rigid stakes or spokes create a dyeing “found” natural materials can be part warp, and more pliable materials are of an individual design process. woven in and out to create a weft. Mate- You can use basketry techniques to rials can be flat or round and either natu- make baskets, mats, sculptures, hats, purses ral or human-made. or bags, and wall hangings. Snowshoes and Plaited. Stakes and weavers are the same caned chair seats also are made using bas- material. They are woven together in ketry techniques. either a diagonal or horizontal/vertical orientation in plain or twill weaves. Standards for evaluating The goal is for members Skill building to develop an understanding of The goal is what makes good-quality work. Solid base baskets are probably the easi- for members Members learn to evaluate bas- est to make. A cut piece of wood with holes ketry projects for the following to develop an around the edge to attach the fibers replaces characteristics. understanding the more involved base of fibers. The sides of what makes • Tension on elements is even. of a solid base basket can be woven in any good-quality • Shape is developed or main- shape with any of the four methods. work.

Twining with a solid or freeform base tained as intended. Leader 4-H Project also can be fairly simple. Plaited and coiled • Weave or stitching pattern is methods can be more difficult, as can maintained. designs that add handles and lids. • Ends are fastened or finished correctly. The type of material chosen also can make a project more difficult. Some materi- • Materials are added inconspicuously. als are naturally flexible, while others need • Materials have been prepared or handled complicated preparation and handling properly. before you can use them. • Item is level and/or symmetrical, as intended.

4-H Fiber Arts Project Guide______7 • Handles or lids are attached securely. Creative Basket Making by Lois Walpole, • Item can be used as intended. North Light Books, 1996 (ISBN 0-89134-299-0). • Basic elements and principles of design Contains clear instructions for using the are pleasing. stake-and-strand method (weaving) and the plaiting method. Suggestions and Resources for basketry instructions for projects are included. You might find many of these books Videotapes (available for loan from the and videos in local libraries or for sale in state 4-H office; contact your local Exten- bookstores. sion office to order) Books Splint Basketry—I, Appalachian Egg Basket by Robin Taylor Daugherty (79 minutes). Making Creative Baskets—Alternative Mate- The video presents all aspects of weav- rials, Simple Techniques by Jane La Ferla, ing an Appalachian egg basket: possible Lark Books, 2002 (ISBN 1579903827). styles, shapes, and materials; prepar- Learn the four simplest ways to make a ing materials; adding ribs; and finishing basket: weaving, twining, plaiting, and techniques. coiling. Includes projects in a variety of shapes, sizes, and materials. Splint Basketry—II, Spoked and Plaited Tech- niques by Robin Taylor Daugherty Pine Needle Basketry: From Forest Floor to (96 minutes). Finished Project by Judy Mallow, Lark The video shows how to make two dif- Books, 1997 (ISBN 1887374140). ferent baskets, one round and the other Covers the basics from gathering pine square or rectangular. It includes styles, needles through how to make a variety of shapes, and materials; preparation of baskets. materials; weaving steps; and finishing. The Basket Book: Over 30 Magnificent Baskets to Make and Enjoy by Lyn Siler, 1988, Oregon 4-H publications Lark Books, Sterling Publishing (ISBN Fiber Arts Exhibit Explanation Card— 0806968303). available on the Oregon 4-H website Complete instructions with many close- under “Expressive Arts Materials” up illustrations of each step. Weave http://oregon.4h.oregonstate.edu/ 32 basic designs by hand from natural resources/materials.html materials. Websites http://www.basketmakers.org Basket- makers website, Susi Nuss, editor. A comprehensive, informative site.

8______4-H Fiber Arts Project Guide Spinning

Drawing out and twisting fibers into develops new skills. Fine, even yarns and thread or yarn is called spinning. A variety consistently even, heavy yarns are more dif- of fibers can be spun, and different fibers ficult to spin. Fancy yarns made by plying can be blended. Several strands can be plied different fibers are also a challenge. together to make a variety of textures. Use the 4-H Fiber Arts Exhibit Methods Explanation Card (see “Resources for spinning”) to describe the tech- You can use a simple drop spindle or niques you have used, skills you spinning wheel to spin fiber, or even simply have improved, and new things you roll fibers together with your hands or have learned. You should be able across your leg. The drop spindle or spin- Members to describe on the card a suitable ning wheel puts twist in the fiber while the match between the yarn you have hands control the length of fiber allowed to created and a planned use. twist. There are several methods of pull- ing out the length of fiber (drafting) which allow different control of the process. Project ideas Sheep’s wool is the most common Start with small items so members can fiber used for spinning. Other possibilities experience the technique and complete include other animal fibers (alpaca, llama, several small projects. That way, they can goat, rabbit, dog), silk, and plant fibers (flax receive feedback sooner and evaluate their and cotton). work to see where they might improve. You can spin yarn from one fiber, or you In most cases, spun yarn is not the end can blend several fibers together. The yarn product but is meant to be used to make may be single ply or have two or more spun something else. It is important for members strands plied together. The thickness of the to make a connection between what they yarn and the amount of twist per inch influ- want to make and the chosen fiber and yarn ences the strength and feel of the yarn. It is characteristics. important to match yarn characteristics to Members can learn to weave, knit, or the intended use. crochet using their yarn. They can learn to identify the various characteristics of Skill building wool fibers from different animals, and to select and prepare fiber from the raw state. A simple drop spindle can introduce the Members may be interested in learning to technique. A spinning wheel has more parts dye fibers or yarns. There are many dyeing to coordinate and control. methods. This leads to an understanding of Whether using a spindle or a wheel, color and color theory. wool is the easiest fiber to work with, and middle-length fibers are easier than long fibers. Beginners might start with pencil Standards for evaluating roving (a prepared form of wool fibers) The goal is for members while they learn how to choose and prepare to develop an understanding The goal is a fleece for spinning. First yarns probably of what makes good-quality for members will be single ply. It takes more skill to ply work. Members learn to evalu- to develop an yarns with two, three, or more strands. ate their yarn for the following understanding More experienced spinners can move in characteristics. of what makes several directions to seek new challenges. • Twist of the yarn should be good-quality Cotton or silk fibers are more difficult to even. work.

spin than wool. Blending kinds of fibers Leader 4-H Project

4-H Fiber Arts Project Guide______9 • The yarn should be of even thickness Contains good instructions with unless it is meant to be thick and thin. illustrations. • Weight and twist of the yarn should be Spinning Designer Yarns by Diane appropriate for final use. Varney, 1987, Interweave Press (ISBN 1-931499-39-X). Introduces the intermediate spinner to Resources for spinning super-soft luxury fibers, textured effects, You might find many of these books in dyeing fibers in new and exciting ways, local libraries or for sale in bookstores. predicting how novelty yarns will look in Hands on Spinning by Lee Raven, finished fabrics, blending fibers for color 1987, Interweave Press, Inc. (ISBN and texture effects, and spinning singles 0934026270). and plied yarns. Includes Corespun, Clear directions and diagrams explain the bouclé, snarl, knotted, and tufted yarns. spinning process, from spinning fibers on The Ashford Book of Spinning: Revised Edition your thigh through use of a drop spindle by Anne Field, 1999, Shoal Bay Press and wheel. Covers how a spinning wheel (ISBN 0908704941). works, choosing a wheel, preparing Although written specifically for the fibers, carding, twisting, and plying. Ashford wheel, the material is basic, Spin It!: Making Yarn from Scratch by Lee with both text and photo illustrations. Raven, 2003, Interweave Press, Inc. Learn to spin on a spindle and a spin- (ISBN 1931499365). ning wheel, use a niddy noddy, hand Step-by-step instructions and illustra- cards, and a drum carder. Many spinning tions explain how to make yarn using techniques and ways to spin novelty yarns handspindles. Designed for the beginning are illustrated. Includes projects for using spinner. Includes instructions for five handspun. simple projects. Oregon 4-H publications Spindle Spinning from Novice to Expert by Fiber Arts Exhibit Explanation Card— Connie Delaney, 1998, Kokovoko Press available on the Oregon 4-H website (ISBN 0966095200). under “Expressive Arts Materials” How to spin with top or bottom whorl http://oregon.4h.oregonstate.edu/ spindles, Navajo, and support spindles. resources/materials.html

10______4-H Fiber Arts Project Guide Felting

Felt making is an ancient craft, perhaps Develop your felting skills by trying the first way that fabric was made. The pro- more techniques, larger or more cess of felting causes fibers to intertwine and advanced projects, and individual hold together in a bonded, random order. creative design. More advanced Once fibers are felted, the process is not projects increase in size, complexity, reversible. Members and number of parts. Most animal fibers that have overlapping scales can be felted. The most commonly used fiber is wool from sheep. Fibers differ Projects can be either wearable or deco- greatly in how they felt, even fibers from rative items. Possibilities include beads and different animals of the same species. buttons, inserts for cards, and cut shapes for ornaments or embellishment. Flat pieces could be left flat for wall hangings or sewn Methods into simple bags or pillows. There are basically three methods of A progression of projects from simple to causing fibers to felt or hold together. more difficult in wet felting might be: rope Wet felting needs only water, wool, and making, beads and balls, flat pieces with or your hands, but it often includes soap and without surface designs, flat pieces which some simple tools to help the process. can be sewn together to make items, flat Fibers also can be felted by agitating pieces shaped to become three-dimensional, them with water and soap in the washing vessels, seamless wearable items. machine. Dry felting projects might be divided into flat work or sculptures. The more intri- Dry felting or needle felting uses cate or involved the design, the greater the long, barbed needles to push the fibers difficulty of the project. together and cause them to interlock. Members might need to learn weav- The needles can vary in diameter, shape, ing, knitting, and/or crocheting to produce and the depth of the barb. Wet and dry items for fulling. They might be interested felting can be used on the same project. in learning to dye the fibers they choose. Fulling is the process of felting an item There are many dyeing methods. This that was first created by loose knitting, leads to an understanding of color and color crocheting, or weaving. Fulling usually is theory. done by the wet method either by hand or in a washing machine. Use the 4-H Fiber Arts Exhibit Explanation Card (see “Resources Skill building and for felting”) to describe the tech- niques you have used, skills you have project ideas improved, and new things you have Members It is best to start with small, simple learned. designs so members can experience the technique and complete several small proj- ects. That way, they can receive feedback sooner and evaluate their work to see where they might improve.

4-H Fiber Arts Project Guide______11 Standards for evaluating directory for supplies; and additional resources. The goal is for members to develop an understanding of what makes Scandinavian-Style Feltmaking by Patri- good-quality work. Members cia Spark, 1992, Unicorn Press (ISBN The goal is learn to evaluate their felt- 0‑916658-50-3). for members ing projects for the following A more advanced book on the regional to develop an characteristics. Scandinavian feltmaking methods of understanding making three-dimensional objects held • Firmly felted. Fibers do not together with felted rather than sewn of what makes change position when pressed or seams. Includes materials and equipment, good-quality pulled upon; the intended shape projects of increasing difficulty, and work. is maintained. 4-H Project Leader 4-H Project resources. • Evenly felted. There are The Art of Feltmaking by Anne Einset Vick- no thin or thick areas unless they are rey, 1997, Watson-Guptill Publications intended for the design. (ISBN 0-8230-0262-4). • Materials and structure are suitable for History, wet method materials and tools, the intended use of the project. and instructions for various projects • Wearable items fit as intended. including simple ropes, beads, rope and • Basic elements and principles of design bead figures, flat felt and surface designs, are pleasing. felt balls, masks, vessels, seamless wear- ables, and puppets. There are pictures of the steps, lots of finished products Resources for felting that might appeal to youth, and a source You might find many of these books in directory for supplies. local libraries or for sale in bookstores. The Weekend Crafter: Feltmaking by Chad Fundamentals of Feltmaking by Patricia Alice Hagen, 2002, Lark Books (ISBN Spark, 1989, Unicorn Press (ISBN 1‑57990-252-9). 0‑916658-48-1). History, wet method materials and tools, Basic feltmaking including choosing and instructions for various projects built and processing fiber, flat and three- on balls, ropes, and flat felted pieces. dimensional techniques, finishing the felt, There are instructions for lots of decora- and methods for creative design. There tive and wearable items that might appeal is a source directory for supplies and to youth. additional resources. Oregon 4-H publications Needle Felting by Anne Einset Vickrey, Fiber Arts Exhibit Explanation Card— 2002, Craft Works Publishing (ISBN available on the Oregon 4-H website 0‑9619053-2-8). under “Expressive Arts Materials” Techniques, equipment and materials, http://oregon.4h.oregonstate.edu/ and instructions for various projects resources/materials.html including flat and sculpted items; a source

12______4-H Fiber Arts Project Guide Macramé and Knotting

Macramé is the art of ornamental knot- might be needed. Members can build their ting. It originated as a decorative way to skill by trying larger projects using more finish a woven fabric and became a tech- complicated knots. nique for creating entire items or garments. Start tatting with small, basic motifs. Tatting also is based on knotting and forms Needle tatting is easier than shuttle tatting. a type of lace or decorative motif. Patterns and books often show basic, inter- mediate, and advanced skills. Methods Use the 4-H Fiber Arts Exhibit There are many different macramé Explanation Card (see “Resources for knots and techniques to choose. More intri- macramé and knotting”) to describe cate pieces are a combination of different the techniques you have used, skills knots. Macramé usually is worked on a flat you have improved, and new things Members surface called a knotting board. The board you have learned. supports the work, and pins hold the work in place. A grid on the surface can help keep the cords and knots spaced evenly. An alter- Project ideas nate method is to secure cords to a support For macramé, members can try coast- (cord, dowel, ring, or belt buckle held firmly ers, belts, placemats, animal leads or leashes, in place) so they can be tied under tension. napkin rings, key chains, hatbands, jewelry, Knot-tying materials vary in type and purses or bags. of fiber, both natural and synthetic, and For tatting, good starting projects diameter of the cord, thread, or rope. Use are small motifs to decorate note cards or material that is strong enough to withstand simple lace edgings to attach to another the abrasion of repeated knotting and does item. not have too much give or elasticity. As their skill grows, members can make Tatting uses one knot called a double larger, more intricate items, work with more stitch, worked in groups over a single than one color, or add beads with either thread. A tatting shuttle carries the thread type of knotting. and helps form the knots. Tatting also can be done using a long needle of even diam- Standards for evaluating eter with a blunt tip at one end and an eye The goal is for members for the thread at the other. The needle size to develop an understanding of must be matched to the thread being used. The goal is what makes good-quality work. The knots are worked over the needle and for members Members learn to evaluate their then transferred to the thread. Tatting to develop an macramé and tatting projects usually is worked with fine, smooth cotton for the following characteristics. understanding thread so it forms a strong but delicate look- of what makes • Knots are tied correctly. ing lace. good-quality • Spacing of knots follows the work. Skill building intended pattern. Leader 4-H Project For macramé, it is best to start with • Cords or threads are added small items using materials that are pli- inconspicuously. able, uniform, and of a size appropriate to • Ends are finished securely. the item but not too fine. The smaller the • Basic elements and principles of design diameter of the materials, the harder it is to are pleasing. see the knot being formed, and more knots

4-H Fiber Arts Project Guide______13 Resources for macramé Reader’s Digest Complete Guide to Needle- and knotting work, Virginia Colton, editor, 1979, Reader’s Digest Association (ISBN You might find many of these books in 0-89577-059-8). local libraries or for sale in bookstores. Includes information on both macramé Friendship Bands by Marlies Busch, Nadja and tatting. Layer, Angelika Neeb, and Elisabeth The Complete Book of Tatting by Rebecca Walch, 1997, Sterling Publishing Co. Jones, 1985, LACIS Berkeley (ISBN (ISBN 0-8069-0309-0). 0‑916896-39-0). Instructions for making bands using Complete instructions for getting started braiding, weaving, and knotting and suggestions for projects. techniques. The Weekend Crafter: Macramé by Jim Friendship Bracelets by Camilla Gryski, Gentry, 2002, Lark Books (ISBN 1993, William Morrow & Co. (ISBN 1‑57990-280-4). 0-688-12437-2). Photos and instructions for many small Instructions for making friendship brace- projects that might appeal to youth. lets using knotting techniques. Oregon 4-H publications Friendship Bracelets by Veronique Follet, 1995, Search Press (ISBN 0 85532 803 7). Fiber Arts Exhibit Explanation Card— More friendship bracelets using knotting available on the Oregon 4-H website techniques; some are more advanced. under “Expressive Arts Materials” http://oregon.4h.oregonstate.edu/ Learn Needle Tatting Step by Step by Barbara resources/materials.html Foster, 1998, Handy Hands, Inc. (ISBN 1-883432-05-7). Websites Photos and text describe basic steps of http://www.handyhandstatting.com needle tatting, including instructions for Handy Hands Tatting website. left-handed tatters. Some simple projects A comprehensive, informative site for are included. patterns, books, and supplies. Includes basic online instruction with photos.

14______4-H Fiber Arts Project Guide Braiding

Braiding intertwines multiple strands of Wheat weaving is an ancient craft found fiber to form ropes, cords, or other shapes in almost every culture that raises grains such as lace. It is somewhat like weaving, for food. It was originally a way to please except that braiding does not use separate the gods and save seed for the next year’s warp and weft fibers. planting. Today, wheat weaving has grown to include some very large and Methods intricate designs. Although it is called weaving, the technique is primarily braid- Three-strand braiding is probably the ing. Stalks of wheat are soaked in water to most common form. It is done using become pliable enough to bend without three strands of fiber and, while keep- breaking. ing tension on the strands, alternately crossing the left strand and then the right strand over center. This makes a Skill building flat, pliable braid that can be laced into It is easier to make smaller projects round and oval shapes. Alterations in working with fewer strands of fiber. Three- the sequence produce rounded or square strand braiding is much easier than 4-, 5-, 6-, corners on a flat piece. Three-strand or 7-strand braiding. Materials that are con- braiding commonly is used for floor rugs, sistently pliable and hold the braid without but you also can make things like coasters, slipping are the easiest to use. As members placemats, or ropes (see “Project ideas”). progress from basic skills, they can learn to As more strands are added (4, 5, 6, or design their own items. 7 strands), the braid becomes wider and less flexible. You can give braids a differ- Use the 4-H Fiber Arts Exhibit ent appearance by varying the braiding Explanation Card (see “Resources for pattern. braiding”) to describe the tech- Bobbin lace is a form of braiding using niques you have used, skills you have improved, and new things you have very fine materials. Bobbin lace uses a Members support surface, called a lace pillow, and learned. an actual-size pattern, called a prick- ing. Pins hold the work in place, and Project ideas the thread is carried on lace bobbins. Start with small items so members can The bobbins act as handles to move the experience the technique and complete thread and weights to keep tension on the several small projects. That way, they can thread. A wide range of styles can be cre- receive feedback sooner and evaluate their ated, from geometric to complex floral or work to see where they might improve. pictorial designs. Fabric braiding commonly is used to Japanese braiding (Kumihimo) is the make rugs. Using various other fibers, art of cord-making using braiding. Tra- members can make belts, bracelets or ditional Japanese braids are made using a necklaces, key chains, zipper pulls, coast- stand to support the strands. The ends of ers, mats, ropes, and animal leads or tack. the strands are wound around weighted As members expand their skills, projects bobbins. become larger or more intricate. Design, perhaps especially related to color or pat- tern, is something members can develop to express their individual creativity.

4-H Fiber Arts Project Guide______15 Standards for evaluating Reader’s Digest Complete Guide to Needlework, Virginia Colton, editor, 1979, Reader’s The goal is for members to develop an Digest Association (ISBN 0-89577-059-8). understanding of what makes Includes chapters on bobbin lace and rug good-quality work. Members braiding using fabric strips. The goal is learn to evaluate their braid- for members ing projects for the following The Beginner’s Guide to Braiding: The Craft of to develop an characteristics. Kumihimo by Jacqui Carey, 1997, Search Press, Limited (ISBN: 0855328282). understanding • Even tension is applied to the Instructions use simple materials to strands. of what makes produce square, round, flat, honeycomb, good-quality • The pattern is maintained hollow, and rounded flat braids. There work. correctly. are suggestions for making a simple stand 4-H Project Leader 4-H Project • New materials are added from cardboard and a lamp frame, and inconspicuously. bobbins from film canisters. • The final project has the desired shape. The Book of Wheat Weaving and Straw • Ends are finished appropriately. Craft by Morgyn Owens-Celli, Sterling • Materials are appropriate for the Publishing/Lark Books, 1998 (ISBN intended use. 157990078X). There are instructions for natural proj- • Basic elements and principles of design ects ranging from simple to more elabo- are pleasing. rate. Twenty different weaving techniques include fans and harps, love knots, Celtic Resources for braiding knots, Earth Mother, and Glory Braid. You might find many of these books in The Good Housekeeping Illustrated Book of local libraries or for sale in bookstores. Needlecrafts, Cecelia K. Toth, editor, 1997, Search Press Limited (ISBN Friendship Bands by Marlies Busch, Nadja 0688126391). Layer, Angelika Neeb, and Elisabeth Includes basic instructions for rectangular Walch, 1997, Sterling Publishing Co. and round or oval braided rugs, including (ISBN 0-8069-0309-0). lacing and finishing techniques. Instructions for making bands using braiding, weaving, and knotting tech- Oregon 4-H publications niques; short, simple projects using inex- Fiber Arts Exhibit Explanation Card— pensive embroidery floss. available on the Oregon 4-H website Kumihimo: Japanese Silk Braiding Techniques under “Expressive Arts Materials” by Catherine Martin, 1986, Lark Books http://oregon.4h.oregonstate.edu/ (ISBN 0-937274-59-3). resources/materials.html A small book consisting exclusively of 16 bobbin designs. Very traditional (Japa- nese) describing only Maru Dai (round stand) techniques.

16______4-H Fiber Arts Project Guide Hooking

Pulling loops or short strands of yarn or Punch hook or needle. A punch needle fabric through a backing material to make a commonly is used with rug or tapestry pile surface is called hooking. The pile can yarn. By pushing the hollow threaded be patterned and/or textured. needle in and out of the base fabric, the pile automatically forms on one side. A Methods pile gauge on the needle helps determine the height of the pile. The base fabric There are several hooking methods. usually is either monk’s cloth or burlap. They differ by type of hook used; type of fiber, yarn, or fabric used for the surface of the item; and type of base material. The Skill building type of fiber used and the height of the pile Start with small items so members can combine to make slightly different-looking experience the technique and complete surfaces. several small projects. That way, they can Latch hook. A latch hook helps pull the receive feedback sooner and evaluate their ends of a cut piece of yarn around the work to see where they might improve. crosswise threads of rug canvas. This Precut rug yarns for latch hooking may forms a knot to hold the yarn in place. be an easy starting point. Latch hooking and This may look similar to a Rya rug, locker hooking use rug canvas that deter- although true Rya rugs are made using mines the spacing of the yarns or fabric by a tapestry needle to make stitches on a the size of the mesh. Sometimes the colors heavy, woven, Swedish backing fabric. for the design are marked directly on the The loops that form between the Rya canvas as a guide. stitches can be left as loops or cut. Using monk’s cloth or burlap backing Hand hook. A hand hook pulls loops of requires and develops more skill, as mem- fabric through the base fabric. The pile bers must control the spacing of the hooked generally is short, and the loops are fibers. More skill is required when the uncut. The texture of the pile depends on design is charted or graphed, especially as the width of the strip and the fabric used the design becomes more complex. Choos- to make it. Medium weight, firmly woven ing the colors of the fabrics or yarns, cutting woolens are the most common fabrics the strips themselves, and dyeing fabrics used with a hand hook. Strips are usually also require and develop more skill and 3 1 between ⁄32 inch and ⁄4 inch wide. The understanding. rug base usually is burlap or monk’s cloth. Use the 4-H Fiber Arts Exhibit Locker hook. A locker hook looks much Explanation Card (see “Resources like a crochet hook but with a large for hooking”) to describe the tech- needle eye at the end opposite the hook. niques you have used, skills you have It pulls loops of fiber, commonly fleece improved, and new things you have or roving, through the squares of rug Members learned. canvas. The loops are carried on the shaft of the hook and then locked into place by pulling a strong yarn threaded in the Project ideas eye of the hook through the loops as they Depending on the height of the nap and slide off the hook. Yarn or strips of fabric the type of filling material, possible projects can be used in place of wool or roving. might include: coasters, potholders, trivets, Anchored loop is another name for this pillows, wall hangings, bags or purses, technique. area rugs, vests or other clothing items. Members also can explore dyeing fibers,

4-H Fiber Arts Project Guide______17 yarns, and fabrics to create the colors they Creative Locker Hooking by Leone desire. Hooking is a technique to which Peguero, 1998, Lacis Publishing (ISBN members can readily apply the elements 0916896951). and principles of design in creating original Basic instruction for locker hooking. projects. Reader’s Digest Complete Guide to Needlework, Virginia Colton, editor, 1979, Reader’s Standards for evaluating Digest Association (ISBN 0-89577-059-8). The goal is for members to develop an Includes information on hooking and understanding of what makes good-quality knotting (latch hooking) rugs, including work. Members learn to evalu- finishing techniques. ate their hooking projects for Rug Hooking for the First Time by Donna The goal is the following characteristics. Lovelady, 2003, Sterling Publishing Co. for members • Loops or yarn ends are even (ISBN 0806993871). to develop an in height and length unless pur- This book focuses on the primitive style understanding posely designed otherwise. of rug hooking using wool strips. It offers of what makes very easy-to-understand, basic informa- • The spacing of the surface good-quality tion covering supplies and techniques material is close enough to plus instructions and patterns for a work. cover the backing. There are no 4-H Project Leader 4-H Project variety of items including pillows, purses, holes. tote bags, wall hangings, and rugs. • Coordination of method and materi- The Complete Book of Rug Hooking by Joan als holds the pile in place. Yarn or fabric Moshimer, 1975, Dover Publications strips do not pull out of the backing. (ISBN 0-486-25945-5). • Backing is appropriate to size of filling Complete information on hand-hooking material. rugs from basic skills to more advanced. • Pattern is followed correctly to reproduce Includes dyeing and detailed shading of the design. fruits, flowers, and animals. • Project is finished appropriately. The Good Housekeeping Illustrated Book of • Project is clean and presentable. Needlecrafts, Cecelia K. Toth, editor, 1994, Hearst Books (ISBN 0688126391). • Basic elements and principles of design Includes information on hand hooking, are pleasing. latch hooking, and punch hooking related to rug making. Also includes finishing Resources for hooking techniques. You might find many of these books in Oregon 4-H publications local libraries or for sale in bookstores. Fiber Arts Exhibit Explanation Card— Basic Rug Hooking by Alice Beatty and Mary available on the Oregon 4-H website Sargent, 1990, Stackpole Books (ISBN under “Expressive Arts Materials” 0811723062). http://oregon.4h.oregonstate.edu/ Step-by-step instruction for creating tra- resources/materials.html ditional hand-hooked rugs in the primi- Websites tive style. Includes much information There are a number of commercial on colors and dyeing of fabric as well as websites with instructions and supplies for suggestions for directional hooking. locker hooking. Search using the words “locker hooking.”

18______4-H Fiber Arts Project Guide Embroidery

Embroidery is the embellishment of Blanket stitch. Blanket stitches carry a fabric with needlework. Needlework uses line of the yarn or thread across the base many types of stitching and hundreds of dif- of upright legs. They work very well as an ferent stitches. Some combinations of style, edging and are also used to outline. stitch type, fabric, and sometimes color have Chain stitch. These are looped stitches become types of embroidery with particu- that resemble the links of a chain. They lar names. often are used for outlines and decorative borders. Methods Couching. Couching is done using two Basic embroidery simply adds a design working yarns or threads. The first is laid of thread or yarn to the surface of fabric by across the design area and the second stitching. The different types of embroidery yarn holds it in place with various stitches are defined mostly by type of materials used over the top. Couching can outline or fill (base material and thread or fiber) and cer- in designs. tain types of stitches. More intricate stitches Cross stitch. All cross stitches are made are combinations and variations of a few with two crossing stitches. They can be basic ones. used as outlines, borders, or to fill in an Most types of embroidery traditionally area. are done by hand, but some embroidery also Feather stitch. Feather stitches are open, can be done by freehand guiding of a sewing looped stitches with the opening alternat- machine. Some home sewing machines use ing from right to left. a small computer to stitch digital designs Filling stitch (detached). Detached fill- automatically. ing stitches make a pattern while filling For both hand and sewing machine an area with separate, individual stitches embroidery, a frame or hoop often is used that do not connect to each other. to hold the fabric taut during stitching. This helps keep the stitches more even in ten- Filling stitch (laid). Laid filling stitches sion and avoids puckers in the base fabric. create a grid or lattice to fill in a design Machine embroidery also uses a variety of area. First, long threads are laid in two stabilizers with the base fabric. or more directions across the area. Then, For hand embroidery, there are many anchoring stitches are taken, usually patterns or designs to follow as a graph or where the laid threads intersect. chart, and others that are transferred to the Running stitch. Running stitches are surface of the fabric as a guide. Charted simple in-and-out stitches leaving at least designs are used with fabric that is suitable a thread or two of fabric between each for counting threads or squares to guide the stitch in the line. Running stitches gener- stitching. ally are used for outlining. Variations of Stitch families this stitch are used for hand quilting and Stitches are the basic units of a design. darning. They either outline or fill in a shape. Each Satin stitch. Satin stitches are closely set, stitch family has a base stitch with a basic straight stitches used to fill in a design sequence, and many variations can be built smoothly and completely. from the basic sequence. Weaving stitch. Weaving stitches weave Backstitch. These require a stitch back- over a base network of threads. They can ward before the stitch moves forward. be used to cover an area with a textured They are used mostly for outline but can surface. Raised needle weaving creates a be used for filling an area. shape that lifts slightly from the surface of the fabric. 4-H Fiber Arts Project Guide______19 Embroidery fabric especially suitable, because the fabric Almost any fabric can be embroidered, creates a natural grid to help guide stitch but there are three types that are used most. placement. Fabrics with an evenly spaced Common weave fabrics are firmly woven surface pattern also are used. fabrics with a relatively smooth surface. Assisi is a type of reverse cross stitch in Organdy, linen, hopsacking, and burlap which the background is filled with cross are examples from this group. stitch and the design area is open. Even-weave fabrics have the same number Cutwork. An openwork embroidery in of threads per square inch in both the which the outline of the design is worked warp and weft directions. Single even- in a fine buttonhole stitch before parts of weave, Hardanger, and Aida cloth all the design are cut away. Closely woven belong to this group. fabrics and pearl cotton or embroidery The third type of fabric has an evenly floss are used most often. spaced surface pattern. Ticking, Drawn thread. A counted thread embroi- gingham, and dotted Swiss are examples dery in which some of the warp or weft of this group. threads are removed from an area before the stitches are worked. Then, the stitch- Threads and yarns ing pulls the remaining threads together The most common threads and yarns into a pattern. It is typically used for a used for embroidery include: embroi- border on linens. dery floss, pearl cotton, matte embroidery Hardanger. cotton, narrow ribbon, crewel yarn, Persian An openwork embroidery in yarn, tapestry yarn, knitting yarn, rug yarn, which the design is framed by blocks of machine embroidery thread, and metal- satin stitch. Warp and weft threads are lic threads. Generally, these are uniform clipped and drawn out in some places. throughout their length without thick or It is most typically done on even-weave thin areas or slubs. Hardanger cloth. Needles for hand embroidery vary Pulled thread. A counted thread embroi- depending on the diameter of the thread or dery in which each stitch pulls threads of yarn and whether a sharp or blunt tip works the fabric together, creating open, lace- best. There are special machine needles to like patterns. use with metallic threads. Ribbon. An embroidery done with narrow Specialty types of embroidery ribbons. Smocking. This type of embroidery deco- Blackwork. A counted thread embroidery rates and gathers the fabric into small traditionally done with black silk thread pleats. The pleating can be done prior on white linen. Repetitive patterns are to the decorative stitching or as part of used to fill in the design area. making the stitches. It is usually worked Crewel. An embroidery traditionally done on soft, lightweight fabrics with pearl with very fine wool yarns, although other cotton or embroidery floss. fibers also are used. A transferred design Swedish weaving or huck weaving. An usually is used. embroidery done specifically on huck Cross stitch. A traditional embroidery in toweling. Most designs are worked on which the design is worked in a simple the double floats (longer surface threads) stitch that crosses threads to form an X. across the width of the fabric. Embroidery Variations of the stitch also may be used. floss and pearl cotton are the most com- Embroidery floss is used most often with monly used threads. many types of fabric. Even weaves are

20______4-H Fiber Arts Project Guide Skill building Start with small items and easily As your skills progress, try using handled materials so members can experi- various fabrics, different types of ence the technique and complete several threads, and more complex designs, small projects. That way, they can receive and choose larger, more elaborate feedback sooner and evaluate their work to Members projects. see where they might improve. Look for designs that are simple and do not involve a Members may find it interesting to lot of color changes. If charts are used, they investigate and share the different cultural should be easy to read. It is usually easier to backgrounds of embroidery. start with outline stitches, progress to fill-in stitches, and then learn cutwork. Encourage Standards for evaluating members to try various types of embroidery to build their skills. The goal is for members Within each stitch family or embroidery to develop an understanding The goal is type, there is generally a progression from of what makes good-quality for members work. Members learn to simple to similar but more involved stitches. to develop an It is best to master the basic stitch in a stitch evaluate their embroidery for the following characteristics. understanding family before trying the more advanced of what makes variations. The type of yarn, ribbon, or floss • Transferred design is not good-quality used also influences difficulty. Freehand visible on finished work. machine embroidery requires more physical work. • Stitches are even and cor- Leader 4-H Project coordination. rectly done. Members may use kits, but as they prog- • Thread or yarn is not too worn looking. ress, they can do more of the design work, from choosing colors and stitches to draw- • Thread ends are fastened securely with- ing or designing the entire pattern. out the use of knots. • There are no long carry-over threads on Use the 4-H Fiber Arts Exhibit the back. Explanation Card (see “Resources for • No unintended loops or thread ends are embroidery”) to describe the tech- visible on the front of the work. niques you have used, skills you have • Stitches do not pull the base fabric out of improved, and new things you have Members square or cause puckers or wrinkles. learned. • Project is clean, unwrinkled, and has been finished appropriately. Project ideas • Basic elements and principles of design Members can embroider many kinds are pleasing. of decorative or wearable items. Beginning projects might include gift tags, card inserts, ornaments, and embellishments on pockets, Resources for embroidery collars, and pillows. Members can practice You might find these books in local a variety of stitches by making samplers or libraries or for sale in bookstores. wall hangings. Some types of embroidery Reader’s Digest Complete Guide to Needlework, suggest particular types of projects. Embroi- Virginia Colton, editor, 1979, Reader’s dery is an ideal medium to expand under- Digest Association (ISBN 0-89577-059-8). standing of the elements and principles of Includes complete discussion of different design. types of embroidery, tools and supplies,

4-H Fiber Arts Project Guide______21 and easy-to-follow drawings for making Websites the hand stitches in each stitch family. http://www.stitchguide.com At this site, The Good Housekeeping Illustrated Book of find instructions with illustrations, videos, Needlecrafts, Cecelia K. Toth, editor, and in many cases, patterns to help you 1994, Hearst Books (ISBN 0688126391). practice individual stitches. Good photographs of basic stitches and lots of examples of embroidered work. Oregon 4-H publications Fiber Arts Exhibit Explanation Card— available on the Oregon 4-H website under “Expressive Arts Materials” http://oregon.4h.oregonstate.edu/ resources/materials.html

22______4-H Fiber Arts Project Guide Needlepoint

Needlepoint involves forming decora- Skill building tive stitches on special open-weave canvas. Start with larger mesh canvases and The stitches follow a pattern and can be corresponding larger needle size and yarn. formed either diagonally across the inter- Basic tent stitches (half-cross, continental, secting threads of the canvas or parallel to and basketweave) are good starting stitches. the threads of the canvas. Stitches cover the To build skills, encourage members to try entire surface of a finished canvas. more complicated stitches that change direction and combination to make the Methods pattern. Changing yarn color also increases Needlepoint stitches are worked verti- complexity. cally, horizontally, or diagonally using five stitch groups: diagonal, straight, crossing, Use the 4-H Fiber Arts Exhibit composite, and pile. Either a sewing method Explanation Card (see “Resources or a stab method can be used to draw the for needlepoint”) to describe the yarn through the canvas. techniques you have used, skills you have improved, and new things you Yarn varies according to the specific Members project and its intended use. The most have learned. typical fibers include Persian yarn, tapestry yarn, crewel yarn, embroidery floss, pearl Project ideas cotton, matte embroidery cotton, metallic Projects can include cards, ornaments, thread, and rug yarn. eyeglass cases, coasters, place mats, small The yarn is stitched using tapestry boxes, doorstops, book covers, small pil- needles with large eyes and blunt points. lows, purses, tote bags, wall hangings, and Needle size is matched to the gauge of the rugs. Members with more advanced skills canvas. The needle should be thin enough may design their own patterns and choose to pass through the holes of the canvas their own colors and stitches to express their without distorting them. individual creativity. The canvas is the background mate- rial covered by the stitches. Most canvases are made of cotton or linen threads as single Standards for evaluating mesh, mono canvas in either a plain or The goal is for members interlock weave or double mesh penelope to develop an understanding The goal is canvas. Perforated paper or plastic canvas of what makes good-quality also is used for some projects. work. Members learn to for members The gauge of the canvas means how evaluate their needlepoint to develop an many threads there are per inch. The larger projects for the following understanding the gauge, the more threads per inch. The characteristics. of what makes type of needlepoint refers to the gauge. • Individual stitches are good-quality Petitpoint is done on canvas that has 16 or worked correctly and with work. more meshes to the inch. Grospoint is done appropriate tension. Leader 4-H Project on canvas that has fewer than 16 meshes per • Proper yarn weight is used for the gauge inch. of the canvas and the stitch. Bargello or Florentine is a popular type of needlepoint that uses straight stitches of • Background mesh does not show on the varying lengths to create repeating zigzag front side of the project. rows. Stitches done in three or more colors • Yarn ends are secured without knots. create patterns of strong contrasts or har- • Yarn does not appear overworked and monious blends. frayed. 4-H Fiber Arts Project Guide______23 • Project is clean and properly finished. The Complete Needlepoint Guide by Susan • Basic elements and principles of design Sturgeon-Roberts, 2000, Krause Publica- are pleasing. tions (ISBN 0873417933). Step-by-step instruction for over 400 needlepoint stitches with photos and Resources for needlepoint drawings for each stitch. You might find many of these books in The Good Housekeeping Illustrated Book of local libraries or for sale in bookstores. Needlecrafts, Cecelia K. Toth, editor, Needlepoint from Start to Finish by Kim Cool 1994, Hearst Books (ISBN 0688126391). and Iona Dettelbach, 1992, Fredericktown Contains a complete section including Press (ISBN 0963197606). tools, materials, general techniques, spe- Includes explanations for all the tools cific stitches, and finishing. and equipment plus both right- and left- Oregon 4-H publications handed stitch instructions. Fiber Arts Exhibit Explanation Card— Reader’s Digest Complete Guide to Needle- available on the Oregon 4-H website work, Virginia Colton, editor, 1979, under “Expressive Arts Materials” Reader’s Digest Association (ISBN http://oregon.4h.oregonstate.edu/ 0-89577-059-8). resources/materials.html A needlepoint chapter discusses basic tools, equipment, and techniques. Excel- lent photographs and drawings of each stitch are included.

24______4-H Fiber Arts Project Guide Appliqué

Appliqué is the art of creating a design Specific types of appliqué by applying cut-out shapes of fabric (cut- Bias appliqué uses continuous strips of outs) to a base fabric. Historically, the folded bias to create designs such as cutouts were applied with hand stitching. A Celtic motifs, vines, or stems. machine zigzag stitch also can be used. Fus- Broderie Perse originated in France. ible products are another modern method Entire printed, realistic motifs of placing and attaching such as a flower, leaf, or animal fabrics. In the Oregon are cut out, arranged in a new 4-H Fiber Arts project, the design on a base fabric, and emphasis is on the use of The emphasis stitched in place. fiber to attach the appliqué; is on the use so, although fusible products of fiber to Dimensional appliqué gives may be used, they should not attach the a three-dimensional appear- be the only method holding appliqué. ance by filling or stuffing the the appliqué in place. appliquéd piece. This can be done either by filling the piece 4-H Project Leader 4-H Project before it is entirely stitched in Methods place or making a small slit in Members have a variety of methods to the base fabric to add the filler after the try. Types of stitches vary, as do the ways to appliqué is in place. transfer a shape and turn the raw edges. The Hawaiian appliqué typically is done by most common hand stitches include tack natives of the Hawaiian Islands. They stitch, blind stitch, ladder stitch, slip stitch, make two-color quilts with large but and running stitch. These are not intended intricately shaped symbols appliquéd to to show on the surface of the appliqué. the base fabric. Because of the tight turns Sometimes, decorative stitches which do and sharp points, a needle-turned tech- show on the surface are used. These might nique often is used to attach the appliqué. include blanket stitch, cross stitch, or other Layered scenic appliqué creates a land- embroidery stitches. Machine stitches can scape or scene design by combining vari- include a straight stitch, satin stitch, blanket ous fabrics to represent the shapes and stitch, and a blind hem or catch stitch. features of the landscape or scene. Most of the time, the raw edges of the appliqué pieces are turned under to form a Reverse appliqué uses a reverse layer- smooth edge. Techniques for turning under ing of the fabric pieces. The design is cut the raw edges include cutting and stitching in a continuous top fabric and the cut a little at a time, and variations of turning edges turned under and stitched to reveal the edge over a paper pattern and pressing, the fabric underneath. South American basting, gluing, or fusing before stitching Molas and Southeast Asian Pandau are the piece to the background fabric. Some examples of this technique. types of appliqué do not turn under the raw Shadow appliqué uses an overlay of sheer edges but either stabilize them with fus- fabric, such as organza or voile, to hold ible material or apply additional fabric over the design in place. Stitching is done the top. Which techniques to choose vary through the sheer fabric and around the according to the desired appearance and use edge of each piece of the design under- of the project. neath. The sheer fabric mutes or shadows the colored fabrics of the design.

4-H Fiber Arts Project Guide______25 Stained-glass appliqué simulates stained Project ideas glass window designs. This technique also Beginning projects could be card inserts, can incorporate folded bias strips to look gift bags, pillows, pillowcases, towels, and like the leading of a stained glass window. patches for pockets or shirts. Members In this case, the bias is attached over the may choose to apply their appliquéd design edges of the colored design pieces much to a ready-made garment or item, or they as leading would hold the glass pieces may wish to sew the item to which they together in a window. Reverse appliqué will apply appliqué. Garments that may be also can be used to create a stained glass appliquéd include sweatshirts, vests, and look. jackets.

Skill building Standards for evaluating It is definitely easier to start with small The goal is for members to develop an projects and simple shapes—straight sides understanding of what makes good-quality or gentle curves and pieces that are not too work. Mem- small. Stable, firmly woven fabrics that turn bers learn easily are simpler to work with than bulky, to evaluate The goal is metallic, or loose fabrics. Some fabrics, such their appliqué for members as felt or polar fleece, do not require the projects for to develop an edges to be turned under. the following understanding Appliqué designs using overlapping characteristics. of what makes pieces require more planning. Members • Pieces lie good-quality must choose fabrics and determine in which smoothly, work.

order to apply the pieces to prevent color Leader 4-H Project without shadowing and bulky areas. tucks, puck- As members progress in the project, ers, or folds. they might try both hand and machine stitching, more difficult specialty fabrics, • Edges of chosen shapes are smooth and smaller or more intricate shapes, larger continuous. Corners and points are sharp. projects, and specific types of appliqué • There are no raw edges of fabric showing (described above). They also could advance unless intended. from using a pattern or kit to an original • If edges are turned under, they have been design using their own ideas. They can handled in a manner that reduces bulk or develop skills in basic design as they make pulling, especially in corners and along choices about placement, balance, color, curved edges. texture, and other design aspects. • Designs with multiple pieces are layered correctly using techniques to minimize Use the 4-H Fiber Arts Exhibit bulk and unintended color show-through Explanation Card (see “Resources for where they overlap. appliqué”) to describe the tech- niques you have used, skills you have • Stitching is even and spaced closely improved, and new things you have enough to hold pieces securely in place. Members learned. • Stitching is nearly invisible unless it is intended to be decorative. • Stitches at corners and points hold with- out creating bulk. • The project is clean and smooth or unwrinkled as appropriate for the materi- als used.

26______4-H Fiber Arts Project Guide • Basic elements and principles of design Reader’s Digest Complete Guide to Needlework, are pleasing. Virginia Colton, editor, 1979, Readers Digest Association (ISBN 0-89577-059-8). The appliqué section includes basic Resources for appliqué discussion of appliqué techniques and You might find many of these books in design. Drawings of techniques are local libraries or for sale in bookstores. helpful. Covers both hand and machine Appliqué 12 Easy Ways by Elly Sienkie- stitching with tips for curves and corners. wicz, 1991, C&T Publishing (ISBN The Good Housekeeping Illustrated Book of 0-914881-42-6). Needlecrafts, Cecelia K. Toth, editor, Particular emphasis is on techniques 1994, Hearst Books (ISBN 0688126391). for preparing the appliqué for stitching. A basic discussion of appliqué primarily Includes both hand and machine stitch- as it relates to quilt making. Some infor- ing. Practice projects are included. mation on machine appliqué is included. Mastering Machine Appliqué by Harriett The Quilter’s Ultimate Visual Guide, Ellen Hargrave, 2nd edition, 2001, C&T Pub- Pahl, editor, 1997, Rodale Press (ISBN lishing (ISBN 1-57120-136-X). 0‑87596-987-9). This is a very complete guide to using A basic explanation of appliqué tech- a variety of stitches to appliqué by niques is included, especially as it applies machine. Includes supplies, tools and to quilts and quilting. equipment, machine adjustment and care, and specific stitching techniques. Oregon 4-H publications Fiber Arts Exhibit Explanation Card— Quilter’s Complete Guide by Marianne available on the Oregon 4-H website Fons and Liz Porter, revised edition, under “Expressive Arts Materials” 2000, Leisure Arts Presents (ISBN http://oregon.4h.oregonstate.edu/ 0-8487-2466-6). resources/materials.html Includes basic appliqué techniques and a good discussion of more advanced appli- Websites qué. Lots of photographs illustrate differ- Use a web search engine with the term ent techniques. “appliqué” to connect to websites offering instruction, free patterns, and supplies for sale.

4-H Fiber Arts Project Guide______27 Patchwork

Sewing together small pieces of fabric to help them experience success and minimize make a larger piece is called patchwork or frustration. piecing. There are many patterns for creat- Simple strips, squares, and rectangles ing a patchwork design, or the pieces can be are usually the easiest, though keeping joined in a random order, often called crazy blocks or patches square is important. The patch. more pieces in the design, the more places where seams must meet. Beginners should Methods be careful of seams on a bias, though there are techniques to minimize the stretch- Choosing which patchwork method ing of bias edges. Curved and multi-sided to use depends somewhat on the shapes of pieces are most difficult. Very small pieces the pieces and the technique for accurately also may be more difficult for beginners to putting those pieces together. Sewing can be handle, though a design can be scaled larger done by hand or machine. Seam allowances or smaller to meet the needs of the particu- 1 are narrow to reduce bulk; ⁄4 inch is the lar project. most common. Patchwork requires design decisions Originally, much of the cutting was from the beginning, so it is a good oppor- done using templates or patterns for each tunity for members to enhance their under- individual piece. This may have been partic- standing of the elements and principles of ularly true when the fabric came from scraps design. Besides practicing the techniques and useable pieces of worn-out clothes. involved in patchwork, members can Some designs still use this technique. Cut- develop basic design skills with color and ting and sewing must be very accurate to get scale as they choose the fabrics to combine desirable results. in their creation. Some shapes can be created by cutting strips of fabric, sewing them together in Use the 4-H Fiber Arts Exhibit a variety of ways, and then recutting and Explanation Card (see “Resources for sewing to form the desired pattern. patchwork”) to describe the tech- Paper piecing is actually a variation of niques you have used, skills you have foundation piecing, but the foundation is improved, and new things you have Members paper which is removed from the final prod- learned. uct. In this method, an accurate diagram of the design pattern is transferred to paper or cloth. Pieces of the decorative fabric are Project ideas positioned face down, sewn along one edge People often think of patchwork quilts, following the design lines, and turned over but many other items can be made with to enclose the seam. Not all designs can be patchwork. Start with small items to give foundation pieced. The individual pieces members a chance to learn from their expe- of the design must be sewn in a particular rience and evaluate their work to improve order to ensure success, but they do not their skills and the final product. Possibili- require such exact cutting to shape prior to ties include coasters, potholders, pillows, sewing. vests or parts of clothing (pockets, yokes, cuffs), table runners, place mats, bags or Skill building purses, toys or stuffed animals, wall hang- ings, and quilts of all sizes. Success in creating good-quality work As members advance, they may choose often depends on precise cutting and to develop their own original designs. sewing. Matching members’ skill levels with the difficulty level of the pattern design can

28______4-H Fiber Arts Project Guide Standards for evaluating Reader’s Digest Complete Guide to Needlework, Virginia Colton, editor, 1979, Readers The goal is for members to develop an Digest Association (ISBN 0-89577-059-8). understanding of what makes good-quality Good overview of the various forms work. Members learn to of patchwork along with basic evaluate their patchwork instructions, illustrations, and sug- projects for the following The goal is gestions for making larger items characteristics. for members such as quilts. • Stitching is regular and to develop an close enough to hold understanding Rodale’s Successful Quilting Library: Perfect Piecing, Karen Costello pieces together. of what makes Soltys, editor, 1997, Rodale Press, • Seams are smooth and good-quality Inc. (ISBN 0‑87596-760-4). lie flat without tucks or work. Complete how-to steps with color wrinkles. Leader 4-H Project photos make patchwork easy. • Corners and seams Includes fabric preparation, work- meet where intended. ing with templates, rotary cutting, press- • Block sizes are consistent and the ing, strip piecing, triangles, eight-seam intended size. joins, curved seams, foundation piecing, • Seam allowances have been pressed to crazy piecing, string piecing, and more. one side, unless special circumstances The Good Housekeeping Illustrated Book of (such as bulk) suggest otherwise. Needlecrafts, Cecelia K. Toth, editor, • Seam allowances are not visible on the 1994, Hearst Books (ISBN 0688126391). right side of the work. Good basic descriptions and instruc- • The project is clean and smooth or tions for most types of piecing. Includes unwrinkled as appropriate for the materi- instructions for success with more als used. advanced patterns involving curved seams, setting in, and eight-seam join. • Basic elements and principles of design are pleasing. The Quilter’s Ultimate Visual Guide, Ellen Pahl, editor, 1997, Rodale Press (ISBN 0‑87596-987-9). Resources for patchwork Definitions and techniques for all types of You might find many of these books in piecing are included in an encyclopedia local libraries or for sale in bookstores. format for any topic related to quilting. Very clear instructions, illustrations, and Quilter’s Complete Guide by Marianne tips for success. Fons and Liz Porter, revised edition, 2000, Leisure Arts Presents (ISBN Oregon 4-H publications 0-8487-2466-6). Fiber Arts Exhibit Explanation Card— The book includes many techniques for available on the Oregon 4-H website piecing simple to advanced designs. under “Expressive Arts Materials” http://oregon.4h.oregonstate.edu/ resources/materials.html

4-H Fiber Arts Project Guide______29 Quilting

Quilting is stitching through a top layer, is free-motion quilting. For this type of middle layer, and backing in a planned stitching, the feed dogs are disengaged and design to add texture and hold layers a special foot for darning or free motion together. It often is combined with patch- allows the sewer to have complete con- work or appliqué, but those are separate trol over stitch placement. The size of the techniques from quilting. Some very beauti- quilting project often is limited by the size ful quilting is done on one continuous piece of the open area to the right of the needle. of fabric of one color. The entire design is There are computerized long-arm quilt- created by the quilting stitches. ing machines that can be used in either a Quilting doesn’t always result in a piece machine-controlled, digitized pattern or in of bedding. Clothes and other useful and free motion controlled by the sewer. These decorative items use quilting in their design are especially helpful for large quilting and construction. projects. If members use a long-arm quilt- ing machine, it is important to keep in mind Methods that they should be in control of the entire process. Basic supplies for quilting include three layers of fabric, usually a means of holding Quilting styles the layers in position for stitching, and a Overall design quilting is a specific pat- pattern for the stitching. Other tools and tern of stitching that does not follow the supplies might be needed depending on the shape of any of the fabric pieces. It can stitching method chosen. be done on solid fabrics or those that Passing a length of thread or yarn have been pieced together. It can vary through the layers so the two ends can be from simple fans and clamshells to intricate knotted is called tying. Tying usually is curls, flowers, feathers, and scrolls. done on the front side of the quilt at regu- Continuous line designs are a type of larly spaced intervals. Separate ties should overall quilting in which the stitches run be spaced closely enough to hold the layers from beginning to end without a stop to in position, and the knots should be secure. change position. Tied quilts can be thicker or puffier than those that are hand stitched. The knots usu- Outline quilting follows the shape of the ally form a square or diamond-shape grid design pieces in patchwork or applique. 1 over the surface. The stitching commonly is ⁄4 inch away Hand stitches are the traditional from the design pieces. method of quilting, done with a running Echo quilting uses multiple rows of stitch- stitch of 6 to 10 or 12 stitches per inch. Very ing to “echo” or follow the shape of the even stitching is more desirable than more design piece in radiating layers. stitches per inch if they are not of even Crosshatch or grid quilting fills in open length. A rocking motion is used to “stack” areas in a regular pattern of intersecting stitches on the needle before pulling the lines. thread through all the layers. Coordinate the In-the-ditch quilting follows the shape use of hand stitches and the intended use of of the design pieces with stitches in the the quilted item with the loft and quilting ditch of the seam so they are less visible. ease of the batting layer. Machine stitches can be made with a Stipple quilting and meander quilting home sewing machine. Some can be done as are randomly curved lines of stitches. usual using the pressure foot and feed dogs Stipple quilting is fairly close together, to help move the fabric and determine the while meander quilting is spaced farther spacing of the stitches. An alternate method apart. 30______4-H Fiber Arts Project Guide Skill building By exploring the elements and principles of design in a quilting project, members can Start with small items and easily handled increase their understanding and expand materials so members can experience the their creative potential. technique and complete several small proj- ects. That way, they can receive feedback sooner and evaluate their work to see where Standards for evaluating they might improve. Beginning designs The goal is for members should be somewhat simple. to develop an understanding of Tying is by far the easiest technique, but what makes good-quality work. The goal is the types of things that can be made this Members learn to evaluate their for members way are few. With hand stitching, straight quilting projects for the follow- to develop an lines with square corners are easier than ing characteristics. understanding curved lines. In tight curves especially, the • Stitches are even in length, of what makes number of stitches that can be stacked on evenly spaced, and have good good-quality the needle are fewer. tension. work.

In hand quilting, it’s best to start with Leader 4-H Project a small item so that mastering the stitching • Stitches are spaced close technique is not overwhelming. enough to hold the layers together. Machine quilting may be easier for • There are no visible knots or loops of members if they are already familiar with thread on the surface (except for tying). sewing. They can develop new skills in con- • The fabric lies smooth with no excess trolling the stitching on the multiple layers fabric, folds, or puckers between stitching of fabric. Members could start with any of lines on either the top or backing layers. the quilting styles, but free-motion stitching • The quilting lines follow the intended may take more practice and physical coor- pattern. dination. Again, starting with small projects • Quilting guide marks do not show on the reduces frustration. Use of free-arm, digi- finished project. tized quilting machines may be limited by availability. If a member uses one of these, • The fabric, batting, and thread suit each be sure he or she does all the work. Com- other and the use of the finished product. mercially quilted items do not fit in this • The project is clean and suitably finished. project. • Basic elements and principles of design are pleasing. Use the 4-H Fiber Arts Exhibit Explanation Card (See “Resources for quilting”) to describe the tech- Resources for quilting niques you have used, skills you have You might find many of these books in improved, and new things you have Members local libraries or for sale in bookstores or learned. quilt shops. Hand Quilting with Alex Anderson by Alex Project ideas Anderson, 1998, C&T Publishing (ISBN Small beginning projects might include 1-57120-039-8). ornaments, potholders, coasters, pillows, Photographs show the quilting stitch for table runners, placemats, and wall hangings. right- and left-handed people using a Clothing (vests, jackets) or accessories (bags, variety of fingers and positions. purses) may require a little more skill to Quilter’s Complete Guide by Marianne incorporate fit with the design and control Fons and Liz Porter, revised edition, of bulk. 2000, Leisure Arts Presents (ISBN Quilting certainly lends itself to design 0-8487-2466-6). combinations with piecing and appliqué. In addition to complete and detailed

4-H Fiber Arts Project Guide______31 quilting information, this book includes The Good Housekeeping Illustrated Book of guidelines for choosing between hand Needlecrafts, Cecelia K. Toth, editor, and machine quilting, types of quilting 1994, Hearst Books (ISBN 0688126391). designs and placement, marking methods, This book covers the simple basics of and much more. It covers both machine hand and machine quilting and includes quilting and hand quilting while focusing tying and binding a quilt. primarily on making quilts. The Quilting Bible, Ellen Pahl, editor, Singer Reader’s Digest Complete Guide to Needlework, Sewing Reference Library, 1997, Cowles Virginia Colton, editor, 1979, Readers Creative Pub. (ISBN 0865732000). Digest Association (ISBN 0-89577-059-8). This basic guide to quiltmaking includes This book includes complete coverage of detailed color photographs and many quilting including tools, designing, basic ideas for incorporating quilting patterns techniques, alternative quilting tech- into sewing creations. niques, and finishing alternatives. Oregon 4-H publications That Perfect Stitch: The Secrets of Fine Hand Fiber Arts Exhibit Explanation Card— Quilting by Roxanne McElroy, 1997, The available on the Oregon 4-H website Quilt Digest Press (ISBN 0844226521). under “Expressive Arts Materials” Very complete and detailed information http://oregon.4h.oregonstate.edu/ on hand quilting including fabrics, bat- resources/materials.html ting, threads, tools, designing, the quilt- ing stitch, and care of quilts.

32______4-H Fiber Arts Project Guide Papermaking

Making paper by hand is an ancient art. Skill building It is a process of extracting the cellulose Either casting or pulling flat sheets of from fibrous material and forming it to paper is a fairly easy introduction to paper- make a sheet or other shape. Materials and making. Members can make pulp easily and techniques are relatively simple. cheaply from recycled, blended paper. They can make frames from simple stretcher Methods bars or picture frames and screening. First The very basic equipment for flat sheet efforts should concentrate on controlling papermaking is a container to hold water the thickness and evenness of the paper. with fiber pulp and a two-piece frame called Using additives or techniques such as a mold and deckle. The screen on the multiple couching, embedding, laminat- bottom of the mold collects the fiber while ing, and embossing requires more skill. letting the water pass through. The shape of Advanced papermakers may want to make the deckle controls the shape of the paper. original molds for casting or extract fibers Members can get the fibrous materials from plant materials. The thickness of the for papermaking in a number of ways. Sev- paper and the surface finish also can be eral types of pulp, such as cotton linters or altered; these should correspond to the abaca, can be bought in a dry form to soak intended use of the final product. and disperse in water. Paper can be recycled to pulp by soaking it in water and blending Use the 4-H Fiber Arts Exhibit in a kitchen blender. Members can gather Explanation Card (see “Resources plant materials and convert them to fiber for papermaking”) to describe the and pulp by pounding, cooking, and strain- techniques you have used, skills you have improved, and new things you ing them. Members The pulp is suspended in water and have learned. gathered into a sheet by either pulling a frame through the vat or adding the sus- Project ideas pended pulp to a frame suspended in water. Beginning items might be simple sheets, Next, the sheet is transferred to blotting with emphasis on how thick and even the material (couching) to remove excess water, paper is for its intended use. Small, cast usually with various amounts of added pres- paper shapes from three-dimensional molds sure, and then the paper is allowed to dry are also fairly easy starting projects. Hand- completely. made paper can be used to make cards Pulp also may be cast into three-dimen- or invitations, simple boxes, hand-bound sional forms by pressing it into a mold. Soft books, picture matting, wall hangings, or cotton linters are often most successful, ornaments. because they fill small indentations easily As members become more experienced, and show more detail. projects may use more involved techniques The pulp fiber can be tinted or even or become larger in size. Papermaking have scent added. requires design decisions from the beginning, A variation on the basic sheet is to lami- so it is a good opportunity for members nate two or more sheets together. Members to enhance their understanding of design may add materials to one or more of the elements and principles. Members may be sheets that alter the color or texture of the interested in learning the history of and paper, such as dried flower petals, leaves, cultural influences on papermaking, and in seeds, threads, or glitter. Other techniques sharing what they learn with others. that alter the paper include masking part of the screen, embossing, and watermarks. 4-H Fiber Arts Project Guide______33 Standards for evaluating watermarks, and pulp painting. Includes some project possibilities. The goal is for members to develop an understanding of The Art and Craft of Paper-Making by The goal is what makes good-quality work. Sophie Dawson, 1992, Lark Books (ISBN for members Members learn to evaluate their 1887374248). to develop an papermaking projects for the Includes not only complete step-by-step understanding following characteristics. instructions for sheet pulling, casting, and many variations, but also informative of what makes • Cast surfaces are smooth and notes on the history of papermaking. good-quality compact. The Weekend Crafter: Papermaking by work. • Even distribution of the pulp

4-H Project Leader 4-H Project Claudia Lee, 2001, Lark Books (ISBN forms a uniformly thick sheet 1‑57990-194-8). that holds together. Introductory papermaking directions • Thickness of the sheet is suitable for the with examples of useful and decorative intended purpose. items made from the paper. • Surface of the sheet is suitable for the intended purpose. Oregon 4-H publications 4-H Fiber Arts Exhibit Explanation Card— • Embedded materials are secure. available on the Oregon 4-H website • Basic elements and principles of design under “Expressive Arts Materials” are pleasing. http://oregon.4h.oregonstate.edu/ resources/materials.html Resources for Websites papermaking http://ipst.gatech.edu/amp/ You might find many of these books in The Robert C. Williams American local libraries or for sale in bookstores. Museum of Papermaking is an interna- tionally renowned resource on the history Grow Your Own Paper by Maureen Rich- of paper and paper technology. The site ardson, 1999, Quarto Publishing (ISBN includes a virtual tour of the museum. 1-56477-280-2). Simple and intermediate directions for http://www.handpapermaking.org making handmade paper. Includes many Hand Papermaking, Inc., is a nonprofit recipes for using natural fiber materials to organization dedicated to advancing make interesting paper. traditional and contemporary ideas in the art of hand papermaking through pub- Papermaking Techniques Book: Over 50 lications and other educational formats. Techniques for Making and Embellishing Articles for beginning papermakers are Handmade Paper by John Plowman, 2001, posted on the website including sources North Light Books (ISBN 1581802099). of fiber and pulp, common additives, A very complete reference including the molds, methods of beating fiber, methods basics for both sheet forming and casting. of drying paper, embossing, sizing, water- Additional techniques include laminating, marks, dyes, and pigments. embedding, embossing, coloring, collage,

Elaine Schrumpf, Extension 4-H specialist, Oregon State University. © 2005 Oregon State University. This publication was produced and distributed in furtherance of the Acts of Congress of May 8 and June 30, 1914. Extension work is a cooperative program of Oregon State University, the U.S. Department of Agriculture, and Oregon counties. Oregon State University Extension Service offers educational programs, activities, and materials—without discrimination based on race, color, religion, sex, sexual orientation, national origin, age, marital status, disability, or disabled veteran or Viet- nam-era veteran status. Oregon State University Extension Service is an Equal Opportunity Employer. Published May 2005. Reprinted May 2008.

34______4-H Fiber Arts Project Guide