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Techniques and Projec ts for Wet Felting, Needle Felting,





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Fulling, and Work ing with Commercial Felt


New York

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To the craft community, those who love fiber ar ts,
and indie crafter s around the world.

The author and publisher would like to thank the Craft Yarn Council of America for providing the yarn weight standards and
accompanying icons used in this book. For more information, please visit
Copyright © 2009 by Nikola Davidson and Brookelynn Morris
Photography and illustrations copyright © 2009 by Nat Wilson-Heckathorn
All rights reserved.
Published in the United States by Potter Craft, an imprint of the Crown Publishing Group,
a division of Random House, Inc., New York.
POTTER CRAFT and colophon is a registered trademark of Random House, Inc.
Library of Congress Cataloging-in-Publication Data

TJ190-11-2008 IMUS 7/CRA0134 Feltique W:8.5”XH:10.875” 175L EX 128 M/A Magenta (V)

Davidson, Nikola.
Feltique : Techniques and Projects for Wet Felting, Needle Felting, Fulling, and Working with Commercial Felt / Nikola
Davidson and Brookelynn Morris.—1st ed.
p. c.m.
Includes index.
ISBN 978-0-307-40699-6
1. Felting. I. Morris, Brookelynn. II. Title.
TT849.5.D35 2009
Printed in China
Design by Nancy Sabato
Photography and illustrations by Nat Wilson-Heckathorn
Nikola Davidson’s author photograph on page 158 by Andy Seavy
Technical editing by Keith Hammond
Makeup and hair by Rachel J. Lieberman










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To purchase a copy of 


visit one of these online retailers: 
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Cyan Magenta Yellow Black

co nt ent s
Introduction 6
Chapter One: Commercial Felt 8
Chapter Two: Wet Felting 36
Chapter Three: Needle Felting 64
Chapter Four: Fulled Felt 92
Chapter Five: Mixing Methods 124

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Basic Knitting and Crochet Techniques 142
Resources 150
Contributors 152
General Guidelines for Yarn Weights 157
Index 159
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My obsession with felt began with a visit
to an alpaca farm in the fall of 2004.

i n t ro d uc t i o n



What particularly drew me to felt were the many ways that it can be easily
created. Add some hot water and soap to wool fiber, and presto—you’ve made
felt. Poke a needle felting tool—usually made with wood and barbed needles—
into fiber, and within minutes, you’ll see it transform into felt. Toss your knitted
creations into your washing machine and, magically, out come pieces of felt.
When you add store-bought commercial felt to projects . . . well, it’s enough to
make you want to devote your whole life to exploring felt.
When I first started playing with felt, I was also part of the rise of the indie
craft movement. Across the country, people were taking traditional crafts
and putting a fresh, contemporary spin on them. What better vehicle for this
movement than felt? It could be funky, it could be urban, or it could rock your
socks off. When I saw what artists were creating with felt, I knew that a new
generation of felters had truly arrived.

Wool is an amazing natural
fiber with many unusual
properties. Fibers with
felting properties can also
be found on goats, alpacas,
llamas, and rabbits. Despite
their various animal origins,
the fibers from these
animals appear similar on
the microscopic level.
Wool is coated in keratin
protein. This protein is a
very hard substance, and it
forms small scales covering
the fiber. These scales
“open” when exposed to
heat, agitation, water, or
an increase in pH. Once
open, they can easily be
tangled and matted. As the
scales “close” they lock in
place into felt.

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Although I had gone to the farm to see the animals up close, I immediately forgot
all about them when I saw a group of women making fuzzy, warm hats by poking
crazy needle tools into fluffy pieces of fiber. I practically knocked people down in
my rush to find out what those women were doing and how I could learn how to
do it. As I touched a needle felting tool for the first time, I was hooked.

This book features the most innovative, fun artists in the world of felt sharing
their best projects. The chapters are organized according to technique. Chapter
One describes ways to use commercial felt, which is bought in sheets and is easy
to cut and sew. Chapter Two explains wet felting—a sudsy, wet, and physical
task. Chapter Three is dedicated to needle felting, a process in which a barbed
needle tangles fibers together. Chapter Four is about fulled felt, which is the fabric made when knit items
are shrunk into a solid, dense material. Finally, Chapter Five mixes the previously discussed methods and
includes projects that use combinations of these techniques. An introduction in each chapter explains
how the fiber can be turned into fabric or shapes. A variety of housewares, accessories, wearables, and
warm fuzzies are featured. Review the basic skills at the beginning of each chapter, then jump into the
exciting how-to’s for each project. The timelessness of each project will have you creating felt art that will
endure. I hope Feltique will help you find felt as inspiring and endlessly entertaining as I have.
—Nikola Davidson
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c o m m e rc ial felt
Commercial felt is an indispensable fabric for all

Felt-making companies are currently exploring the

crafters. Available in all colors and many different

use of new materials, such as recycled plastic

textures, it’s most often seen in craft shops as

bottles. Additionally, although felt used to be

81⁄2" x 11" (21.5cm x 28cm) sheets, but it can also be

manufactured by using wet felting processes, now

purchased on bolts at fabric stores. Commercial felt

it is matted together almost exclusively by using

has a reputation as a schoolchild’s material, and yet

felting needles in large machines or by using a

it can be used to create surprisingly sophisticated

chemical process.

Use very sharp scissors to begin a successful project

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All felt is nonwoven fabric. What sets one felt apart

using commercial felt. Most wool felt is thin—only

from the next is the source of the fiber used to


make it. Commercial felt can be 100 percent syn-

projects are this thickness. But some wool felt is

thetic, 100 percent wool, or any mixture of the two


kinds of fiber. Most of the projects in this book use

or the fiber content of the felt you are cutting,

100 percent wool felt. It is more costly, but its

sharp scissors will aid your accuracy and reduce

quality is unmatched by synthetic fibers.

distortion of the edges. Cut slowly and evenly to

⁄16" (1.6mm) thick, in fact, all the felt used in these

⁄8" (3mm) thick or thicker. No matter the thickness

avoid leaving burrs on the edge. When using
patterns to cut pieces from your fabric, pin the
patterns on directly onto the fabric or use a pencil
to trace their outlines on the fabric. Other tools that
are helpful for cutting felt include die cutters to cut
shapes and rotary cutters for making long cuts.

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machine. Embellishing felt can be as simple as
sewing on a button, adding beads, or embroidering with a chain stitch. You can also stitch
embellishments by using one or more strands of
embroidery floss and an embroidery needle.
Whipstitch is a popular choice for joining two
pieces of a pattern together. Blanket stitch is
equally popular for decorative stitching. Be aware
that felt is a soft fabric that can distort as you sew
it. To avoid buckling, creep, or shifting of the

c o m m e rc i a l fe l t

Commercial felt can be sewn by hand or by

Crimp: The bends in a length of wool. Coarse
wool might have only one or two crimps per
inch, while the finest wool can contain up to
100 crimps per 1" (2.5cm).
Staple: The locks, or clumps, that form naturally
in sheep’s wool. They are measured and used
to classify the quality of the wool.
Micron: The unit of measure of the diameter of
wool. There are 25,400 microns in 1" (2.5cm).

fabric, use an even tension when sewing and be

The same principles apply when sewing felt with

Tog: The outer coat on a dual-coated wool.
Thiel: The undercoat on a dual-coated wool.

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mindful of needle placement when hand-sewing.

a machine.
Blanket Stitch

Whip Stitch

Herringbone Stitch

Running Stitch

Back Stitch
Satin Stitch

Feather Stitch
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The narwhal, the great white shark, the giant squid, the diver in pursuit
of sunken treasure . . . the ocean is full of wonders to recreate in felt.
Don't forget to make the fish (shown on page 16).

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undersea playset


c o m m e rc i a l fe l t



⁄16 " (1.5mm) wool felt sheets in the
following colors: sky blue, ivory, burgundy,
white, black, gray, pink, sage green, dark
gray, and ice blue


6-strand embroidery floss in the following
colors: black (DMC 310), blue (DMC
3755), tan (DMC 3782), red (DMC
815), burgundy (DMC 3685), white
(DMC blanc), gray (DMC 169), pink
(DMC 3713), gray/green (DMC 3022),
dark gray (DMC 413), blue (DMC 597),
and copper (DMC Antique Effects E898)
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Small embroidery/crewel needles, size 7,
8, or 9
Straight pins
Scotch® tape
Pattern pieces (pages 18 and 19),
enlarged by 145%.
For the Narwhal and Squid only:
20-gauge craft wire and pliers or wire
For the Narwhal only: Two 4mm black
bead eyes
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thread over and under the wire. Make
your stitches shallow, so your needle
does not pierce the entire thickness
of the felt and your stitches are not
visible on the other side of the horn.
Fold the horn in half lengthwise,
covering the wire. With tan floss,
make small, tight whipstitches to sew
the sides of the horn together. When
you have completed this step, you will
have a cone-shaped ivory rod with wire
sticking out from the wide end.


fe l t i q u e


1. Enlarge all pattern
pieces on pages 18 and
19 by 145%. To cut
the pattern pieces from
the felt, tape the pattern
directly to the felt with
scotch tape. The tape
will leave no marks when
2. Use a single strand
of embroidery floss unless
otherwise noted.

FISH (shown on page 16)
sky blue
black (DMC 310)
blue (DMC 3755)
Cut from patterns:
2 fish bodies
1. Add an eye to each body piece by
making a French knot with 3 strands of
black floss.
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2. Use blue floss to stitch the body
pieces together using a whipstitch,
starting where the fish’s mouth would
be and sewing around to the top of the
head. Make sure that the French knots
are on the outside of the fish. Don’t sew
the fish completely shut just yet—leave
a small opening so you can add stuffing.
3. Stuff the fish with a pinch of fiberfill.
Use a toothpick to push it inside.
4. Sew the fish shut with a whipstitch.
Distribute the stuffing with your fingers.

sky blue
tan (DMC 3782)
blue (DMC 3755)
black (DMC 310)
red (DMC 815)
Cut from patterns:
1 ivory horn
4 blue fins
2 blue tails
2 blue body pieces
1 blue top gusset
1 blue bottom gusset

1. Use pliers or a wire cutter to scuff up
the ends of a piece of 31⁄2" (9cm) 20gauge craft wire so that it is less likely
to slide out of the horn. Lay the wire on
top of the ivory triangle so that one end
of the wire is about 1⁄8" (3mm) from the
point at the top. Some of the wire will
extend beyond the bottom of the horn.
2. Use tan floss and a whipstitch to
secure the wire in place, looping the

3. Thread your needle with 3 or 4
strands of tan floss, then sew a spiral
pattern onto the horn. Push your needle
through every second or third whipstitch
along the bottom of the horn, where the
sides were sewn together.

4. Start with the fins and tail. Whipstitch
both fin pieces together with blue floss,
keeping the flat (not pointed) edge
open. Repeat with the remaining fin and
the tail. Use a toothpick to stuff each
piece with a little fiberfill.
5. On both body pieces, stitch up the
notch where the narwhal’s mouth would
be, to add some dimension to his face.
Use black floss to sew on the bead
6. Use scissors that have a very sharp
point to make a 1⁄4 " (6mm) incision
on the body pieces, as shown on the
pattern. Insert a fin into each incision so
that about 1⁄4 " (6mm) of the fin pushes
through to the inside of the body. Refer
to the illustration for guidance. Secure
the fins to the body with blue floss and
a whipstitch.
7. Sew the top gusset to one of the
body pieces with blue floss and a

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9. Attach the tail. Finish sewing the
remaining seam, beginning at the head
and working back toward the tail. Leave
a 1–2" (2.5–5cm) opening for stuffing.
10. Stuff the narwhal, beginning with
the head. Make sure that you stuff
tightly around the horn to provide
support. Sew the opening closed with a
whipstitch. Finish by backstitching with
red floss over the seams just below the
horn to give your narwhal a mouth.

burgundy (DMC 3685)
black (DMC 310)
white (DMC blanc)
Cut from patterns:
2 burgundy fins
4 burgundy feeding tentacles

1. Use burgundy floss and a whipstitch
to sew the fins together, leaving a 1⁄2"
(13mm) opening for stuffing. Use a
toothpick to push the stuffing in, and
then finish the seam.
2. Use wire cutters to cut 20-gauge
craft wire into eight 41⁄4 " (11cm) and
two 61⁄4 " (16cm) pieces. The short
pieces of wire will go in the arms and
the long pieces will go in the feeding
tentacles. Use the wire cutters to fold
each end of each piece of wire so that
it overlaps itself by 1⁄8–1⁄4 " (3–6mm).
Pinch the folds closed. The folds will
keep the wires from sliding loose inside
the finished piece. Use burgundy floss
and a whipstitch to secure a wire to
each arm and tentacle, looping the
thread over and under the wire. Make
your stitches shallow, so that your
needle does not pierce the entire
thickness of the felt and your stitches
are not visible on the front of the arms.
3. Attach the arms to the combined
head and arm pieces so the wire is on
the inside.
Beginning at point A, sew the arms
together with burgundy floss and a
whipstitch, stuffing each one with a
little fiberfill as you work. Because the
arms are so narrow, stuffing a couple of
inches at a time is easier than stuffing
after the arms are completely sewn
together is.
4. Make the 2 feeding tentacles in the
same manner as you did the arms. Sew
the tentacles together at their tops.

5. Use black floss to sew the black
eyeballs onto the white eyes. Then
use white floss to sew the eyes onto
the squid’s head (see template for
6. Position the pair of feeding tentacles
on one of the squid’s arm pieces so
that the tentacles extend above the flat
edge by about 1⁄2" (13mm). Backstitch it
into place with burgundy floss.
7. Sew the flat edge of the arm pieces
together with burgundy floss and
a whipstitch, securing the feeding
tentacles to the other side as you work
your way past it.

c o m m e rc i a l fe l t

8. Position the horn on one side of the
narwhal’s head, overlapping the wide
end of the horn by about 1⁄4 " (6mm) at
point C. Whipstitch the horn in place.
Join both sides of the head, beginning
at point A and stitching down to point B.
Secure the horn to the other side of the
head as you work your way past it.

2 burgundy combined head and arm
2 burgundy arm pieces
2 burgundy mantles
2 white eyes
2 black eyeballs

8. Close up the sides of the head,
sewing down to point A to hide the
area where the arm and head pieces
connect. Leave the top of the head
open. Stuff the head with fiberfill.
9. Match point B on the fin and the
mantle, and stitch the fin and the mantle
together with burgundy floss and a
backstitch. Use a toothpick to push a
little stuffing between the mantle and
the fin. Finish sewing the long sides of
the mantle together so that you end up
with a cone-shaped piece.
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whipstitch. Start by sewing point A
on the top gusset to point A on the
body (as marked on the template) and
continue sewing down the side of the
body. Repeat with the other body piece.
Sew the bottom gusset to one of the
body pieces, matching point B on the
body piece with point B on the bottom

10. Stuff the mantle half full of fiberfill,
then place it on top of the head. Sew
it in place using burgundy floss and a
whipstitch, adding or removing fiberfill
as needed.

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gray (DMC 169)
pink (DMC 3713)
white (DMC blanc)
black (DMC 310)

fe l t i q u e


Cut from patterns:
2 gray bodies
2 gray dorsal fins
2 gray pectoral fins
2 white pectoral fins
2 gray anal fins
2 white sets of teeth
1 white underbelly
1 white face
1 pink mouth
Cut freehand:
2 black eyes
1. Use gray floss and a whipstitch to
sew the dorsal fins together, leaving
the bottom open for stuffing. Use a
toothpick to push the stuffing in.
Repeat this process with the anal fins.
2. Sew 1 white and 1 gray pectoral
fin together using gray floss and a
whipstitch, leaving the bottom open for
stuffing. Use a toothpick to push the
stuffing in. Repeat this process with the
remaining white and gray pectoral fins.

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3. Use gray floss and a whipstitch to
sew the dorsal fin to one of the body
pieces at point A.
4. Align the body pieces and sew them
together along the top, starting at
the head and working back to the tail
fin. Stitch the tail fins together, use a
toothpick to stuff them with fiberfill, and
then set this piece aside.
5. Using fine scissors that have a very
sharp point, make the shark’s teeth by
cutting tiny triangles along one side
of each of the white teeth pieces. Be

careful not to snip too
far into the strip or
you’ll end up slicing it
in two. Using scissors
creates uneven, more
realistic-looking teeth,
but you could cut the
teeth with pinking
shears to achieve a
more polished look
with less effort.
6. Fold the pink piece
of felt that will become
the inside of the
shark’s mouth along
the dotted line drawn
on the template. One
side of the oval will
be slightly longer than
the other side to give
the Shark an overbite.
Backstitch across the
fold using pink floss
to make a permanent
7. Sewing the teeth
onto the pink mouth
is an intricate task. Lay one set of teeth
along one of the curves of the pink
mouth. Use white floss and a whipstitch
to delicately attach the teeth. Keep your
stitches as small and even as possible
inside the mouth, since the white thread
will be visible against the pink felt and
will look like of an inner ring of teeth.
Cover the pink edge of the mouth so
the shark has little or no visible gums
showing. Repeat the process with the
second set of teeth.
8. Continue building the mouth by laying
the overbite side of the toothy mouth
piece on top of the white face piece.
Align the curve of the toothy piece with

the curve in the dotted line shown on
the template and pin it in position. Use
white floss to backstitch the pieces
together, once again being mindful that
your white stitches will be visible inside
the shark’s mouth.
9. Position the white underbelly under
the Shark’s mouth, aligning the curves
and pinning the pieces together. Use
white floss to backstitch the pieces
together. Remember, your stitches will
be visible inside the shark’s mouth.
10. Put the top of the body on the
bottom of the body, aligning the pieces
that form the top of the head and
pinning them in place. Position the
pectoral fins on the body about halfway

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11. Use black floss to attach the eyes.

13. Pin the anal fin between the tip of
the underbelly and the tail. Use gray
floss and a backstitch to sew the anal fin
to one side of the body. Finish stuffing
the Shark, and close the remaining hole
with a whipstitch.

dark gray
ice blue
sage green
light gray
black (DMC 310)
dark gray (DMC 413)
blue (DMC 597)
copper (DMC Antique Effects E898)
gray/green (DMC 3022)
Cut from patterns:
4 black gloves
4 black boots
6 dark gray helmet pieces
4 ice blue helmet windows

2 sage green diving suits
1 dark gray knife handle
1 light gray knife blade
2 long black belt/harness strips
6 dark gray weights
1 short black bottom harness strip
1. Use black floss and a whipstitch to
sew 2 of the glove pieces together
to make a glove, leaving the arm end
open so you can stuff the glove. Use
a toothpick to help push the fiberfill in
tight. Repeat this process with the other
glove pieces.
2. Use black floss and a whipstitch to
sew 2 of the boot pieces together to
make a boot, leaving the leg end open.
Use a toothpick to stuff the boot with
fiberfill. Repeat this process with the
remaining boot pieces.

c o m m e rc i a l fe l t

12. Sew the body together, using a
whipstitch and gray floss. Start at the
back and work your way to the mouth
and back around. Begin stuffing the
head once you’ve sewn past the second
pectoral fin.


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between the mouth and the dorsal fin.
Pin the pectoral fins in place, with the
white sides facing down, and use white
floss to backstitch them to the bottom
of the body.
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fe l t i q u e


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5. Pin each of the 4 ice blue windows
on the helmet, equal distance from one
another. Position 2 of the windows so
that they cover the points where the 4
semicircles intersect on the helmet. Sew
the windows on using a whipstitch and
blue floss.
6. Using 4 strands of dark gray floss,
add screens to the helmet by sewing 3
horizontal lines and 3 vertical lines over
each of the blue windows.
7. Pin one of the remaining helmet
pieces onto one of the sage green
diving suit pieces, aligning the straighter
side of the semicircle with the line
across the neck and shoulders of the
body. Sew it on using a whipstitch and

8. Using all 6 strands of the copper
floss, make 6 French knots (to look
like bolts) along the curve of each of
the helmet pieces that are sewn to the
diving suit pieces.
9. Lay the diving suit pieces on top of
one another, with the decorated sides
facing out. With gray/green floss and a
whipstitch, sew the diving suit together,
starting at top of one of the shoulders
and working down the arm. When you
reach the wrist, slide a glove in place,
making sure the thumb is toward the
body. As you sew up the arm, use a
toothpick to stuff in fiberfill. Repeat this
process with the other limbs, placing the
boots on the ankles and the other glove
on the other wrist. Continue sewing
until you reach the top of the second
shoulder. Stuff the torso of the diver
with fiberfill.
10. Position the diver’s helmet on the
suit, then sew it on with dark gray floss.
Sew any holes left on the shoulders.

11. Sew the knife handle and blade
together with dark gray floss. Wrap one
of the belt/harness pieces around the
diver’s waist. If the strip overlaps itself
by more than 1⁄8–1⁄4 " (3–6mm), trim off
the excess. Sew the square weights and
the knife onto the belt with dark gray
floss. Using black floss, sew the belt
onto the diver by stitching the ends of
the belt together.
12. Cut one of the long belt/harness
strips in half lengthwise, so that you
have two long, thin pieces. Attach one
of the strips to the diver’s belt at the far
left side of the body, pull it diagonally
across the front of the body, over the
right shoulder, and diagonally across
the back. The ends of the strip should
meet on the diver’s left side. Stitch the
strip in place with black floss. Repeat
this process with the remaining strip, but
begin on the right side, so that the two
strips cross on the diver’s chest.

c o m m e rc i a l fe l t

4. Lay one disk on top of the other, then
use a whipstitch and dark gray floss to
sew them together around the edges.
Leave a 1⁄2" (13mm) opening, stuff the
helmet with fiberfill, and then sew up
the opening to form a complete sphere.

dark gray floss. Repeat this process
with the last helmet piece and the other
diving suit piece.

13. Use black floss to sew the short
harness strip to the middle front of the
diver’s belt. Pull the strip between his
legs and attach it in middle back of
the belt.

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3. With dark gray floss, whipstitch 2 of
the helmet pieces together along their
straighter sides to form a curved disk.
Repeat with 2 more helmet pieces.
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Cyan Magenta Yellow Black

a c kn o w l e d gments
Thanks to Urban Craft Uprising for the inspiration, Meredith for creating the spark, Rosy
for taking a chance, Moxie for getting the ball rolling, Brookelynn for coming through in the
clutch, and Andy, B.B., and Ritzy for their unwavering support.
—Nikola Davidson
fe l t i q u e


I must give due accolades to many important people, first and foremost to the contributors,
whose art made this book the fantastic compilation of projects that it is. Second, to Nikola
Davidson, my fantabulous co-author, and to Moxie, Nikola’s original co-author, who kindly
invited me to take her place. Third, to my husband, Nat. His photography and illustrations
are stunning and create the atmospheric quality that fills these pages.
Much gratitude to my editor Jen Graham at Potter Craft, and also Rosy Ngo, Erica Smith,
Chi Ling Moy, and Nancy Sabato. Jen, your due diligence was obviously crucial to me. The
beautiful locations featured in our photos gave generously of their space and time, including
Far West Tea Bar, Willowood Market Cafe, and the Underwood Bar and Bistro, all in Graton,
California. I want to thank Mark Growden, Sarah Rubin, the Nolans, and Goli Mohammadi,
and the models: Leah, Lisa, Emma, Hannah, Princess, Tremaine, Harper, Jenny, Leila-Anne,
Fina, Sarah, Dyanne, Ruby, Roxanne, Cadence, Jordan, Devon, Galen, and Chai Dog.

TJ190-11-2008 IMUS 7/CRA0134 Feltique W:8.5”XH:10.875” 175L EX 128 M/A Magenta (V)

Thanks to the makeup and hair designer, Danger Peach, aka Rachel J. Leiberman. So much
thanks to “Knitting”: Christiana, Coleen, Kathy, and Sarah. I graciously thank my technical
editor Keith Hammond and his supportive wife, Suzanne Olyarnik. And lastly, our entire
families: Thanks to my dad and his wife Joanne, Nat’s parents DeAne and Alex, and our
brothers, for all your love.
—Brookelynn Morris

NIKOLA DAVIDSON is the founder of Sticky Wicket Crafts as well as the
cofounder and first president of Urban Craft Uprising. She is also a featured
guest on HGTV’s That’s Clever and the popular crafty podcast CraftyPod.
Visit her online at

BROOKELYNN MORRIS’s work has been
featured on the cover of Craft magazine,
where she is also a contributing writer. She
travels the country demonstrating her love
of craft at events such as Maker Faire.

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i n d ex

Contributors, 152–157


Appalachian carry-all, 120–123

Crimp, 9

Garter stitch, 146

Artful vessels, 59–61

Crocheting techniques
casting on, 148



binding off, 149


Baby’s rattle, 44–45

single crochet, 149

earflap hat, 109–111

Basic knitting techniques

slip stitch, 149

pillbox hat, 140–141

Crochet-to-felt flowers, 94–95

cable cast-on, 144

Cupcake chomper, 76–77

garter stitch, 146

Curly dog, 78–80

I-cord, 147

woolen cap, 118–119
Herringbone stitch, 9


kitchener stitch, 146–147


knit stitch, 142

Davidson, Nikola, 7

provisional cast-on, 145

Dot scarflette, 62–63

I-cord, 147

purl stitch, 143

Kitchener stitch, 146–147


Knit stitch, 142

Bauble earrings, 88–89

Earflap hat, 109–111

Knitting needle case, 132–134

Binding off techniques


Knit-to-felt-bowls, 106–108

crocheting, 149

bauble earrings, 88–89

knitting, 148

mod earrings, 71

Blanket stitch, 9

Embellished envelopes, 20–21


Layered flower headband, 126–129
Layered square pillow cover, 83–85

little button, big bracelet, 74–75


spiral bead bracelet, 46–48

Feather stitch, 9

Braided wool rug, 112–113


Little button, big bracelet, 74–75

Felt thirsty coasters, 138–139


Fingerless gloves, 101

Mary janes, 49–51


Finger puppet safari, 81–82

Micron, 9

Cable cast-on, 144

Floppy flying disc, 104–105

Mixing methods, 124–125

Casting on techniques

Fortune cookies, 98–100

Mod earrings, 71

Fulled felt, 92–93

Modern cape, 102–103

crocheting, 149
knitting, 144–145
Commercial felt, 8–9

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stockinette stitch, 146

i n d ex

binding off, 148


basic techniques for, 92–93
materials for, 92
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dot scarflette, 62–63

Tog, 9


nuno scarf, 56–58

Traffic jam playset, 42–43

ruffle necklace, 22–24

Single crochet, 149

stacked bead necklace, 25–27

Slip stitch, 149

Needle felting, 64–67

Snappy wallet, 72–73


basic techniques for, 66–67

Soft stones, 130–131

Undersea playset, 10–19

materials for, 64–65

Soft suds soap, 54–55

diver, 15–18, 19

Neva handbag, 31–33

Spider and web, 86–87

fish, 12, 19

Nuno scarf, 56–58

Spiral bead bracelet, 46–48

giant squid, 13, 18

Stacked bead necklace, 25–27

great white shark, 13–14, 19


Staple, 9

narwhal, 12–13, 19

Pillbox hat, 140–141


fe l t i q u e

True love purse, 135–137


back stitch, 9


traffic jam playset, 42–43

blanket stitch, 9

Wet felting, 36–41

undersea playset, 10–19

feather stitch, 9

basic techniques for, 38–41

Provisional cast-on, 145

herringbone stitch, 9

glossary of fibers, 39

Purl stitch, 143

satin stitch, 9

materials for, 36–37

whip stitch, 9

Whip stitch, 9


Stockinette stitch, 146

Wild flower pin, 52–53

Racing stripes dog coat, 28–30

Strawberry pot, 68–69

Woolen cap, 118–119

Recycled cashmere blanket, 96–97

Wools, terms for defining of, 9

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Resources, 150–151


Reverse appliqué sweater, 90–91

Table runner and place mats,


Ruffle necklace, 22–24


Yarn weights guidelines, 157

Tahoe mittens, 116–117

Tea-for-one cozy and trivet, 114–

Satin stitch, 9



Thiel, 9

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