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Face 2 Face Workshops

Lisa Klakulak focuses her instruction on understanding the material and process in order to apply good technique to create material integrity. STRONGFELT courses are not kit or generally project oriented, rather, participants work through technical studies to discover structural and aesthetic possibilities leading to ideation for future work. This empowering approach provides a knowledge base to navigate results and to achieve personalized visions and aesthetics in the felt medium.

Workshops descriptions listed below are examples of recent teaching and topics covered under a course title may vary depending on the length of course offered. Participants are requested to bring specific supplies in addition to the materials provided with the materials fee for each course and these lists/fees are made available by the hosting venue. Additionally, Klakulak offers special studio tools and a collection of her work for sale to participants.

Hosting venues can contact Lisa Klakulak through the CONTACT link to discuss the possibilities of hosting a workshop and/or lecture for your institution and its patrons.  Slide lectures are available for an additional fee and through excellent visuals and dynamic delivery, address the unique qualities of wool and the wet felting process, Klakulak’s residency experiences, development of product, concepts and teaching approaches as well as the influences of her broad travels on her work and approach to life.

Visit the WORKSHOP SCHEDULE link for a current list of workshops scheduled.
Contact the hosting venue listed and linked there for pricing, enrollment and further questions.

TWO-DIMENSIONAL FELTING TECHNIQUES:
Patterning Felt
Felt Fusion Through Substrates
Fabric Fusion & Object Inclusion
Felted Imagery

THREE-DIMENSIONAL FELTING TECHNIQUES:
Solid Form Felting Techniques
Sculpting Three-Dimensional Felt Surfaces
Resist-Based Pendants
Sculpting Hollow Form

 

Course Descriptions:

TWO-DIMENSIONAL FELTING TECHNIQUES

Patterning Felt: Partial Felt & Free-motion Embroidery
*All levels | suggested time: 3-4 day course
(4 day course includes free-motion embroidery techniques)

This class focuses on a skill set for articulating shapes and creating repeating patterns on felted surfaces. Partial-felts (also known as pre-felts, but different than a needle felted batt) is the term I use for wet felting fibers into a 2-D sheet for the purpose of cutting shapes to be felted to a background of loose fiber. Depending on the initial thickness of the sheet layout, the amount of felting/fulling that occurs before the shape application and the thickness of the fleece background an unimaginable range of effects can be achieved. Learn to control shape edge quality, background color “bleed, surface dimension and edge shaping while experimenting with color gradations, shape spacing and movement through shape design and rotation. The 4-day course includes free-motion machine embroidery, which can be applied to the felt to further define shapes, gather thin felt to accent dimension and crater thick felt to create an embossed effect.

STRONGFELT sample of an arrangement of shapes cut from partial felt
STRONGFELT partial felt gradation sample revealing variations in shape size, clarity and surface texture depending on when the shape is cut during the felting/fulling process.
Partial felt color gradation in the layout stage (Kate Veness-Meehan’s work, STRONGFELT STUDIO workshop, 2014).
Partial felt patterning created from a color gradation (participant of workshop in conjunction with Textiles Today Exhibit at the Durango Art Center, CO 2012)
The linear color bleed of partial felt’s on the backside of the background fiber (participant of workshop in conjunction with Textiles Today Exhibit at the Durango Art Center, CO 2012)
STRONGFELT sample of a multiple tiered partial felt surface design detailed with free-motion embroidered embossing

 

 

Felt Fusion Through Substrates: Texturing, Edging and Free-motion Embroidery
*All levels | suggested time: 3-5 day course

Fusion (also known as nuno, laminate and hybrid) is the term Klakulak uses to refer to the coercing of wool fibers through other pre-structured fabrics. Participants will understand the variables in this process in order to gain control and desired results. The workshop focuses on experimenting with various substrate materials and structures (not only silks!), controlling the type of fabric texture achieved including the use of partial felts as a texture resist and sampling a variety of ways to finish the edges of the fabric inclusion (tacked edge, partial felt edge and partial felt patterned edge). A 4-day course includes free-motion machine embroidery, which can be applied to the felt to further define shape edges, accent texture fields and crater thick felt to create an embossed effect. A 5-day course has been offered under the title of Depth of Surface, Depth of Field which incorporates additional studies from Fabric Fusion & Object Inclusion as well as project envisioning/calculating from chosen effects from class studies.

STRONGFELT sample of partial felt used as a resist to control the amount of hair that penetrates the substrate
Different levels of integrity of the partial felt effect the fabrics texture, the surface dimension and the finished size of the shape (Ellen Roy’s work, Auckland, NZ workshop, 2012)
STRONGFELT sample of a stretchy synthetic knit with partial felt used as a texture resist and the use of free-motion embroidery to accent the background texture
STRONGFELT sampler of various edging methods of incorporated fabric.
Applying strips of high integrity partial felt to the edge of fabrics to seal the cut edge, a technique used in creating stained glass effect with fabric (Annelie Richardsson’s work, Ullform, Stavanger, Norway workshop, 2012)
STRONGFELT body chain showing the refining of the edge of a fused fabric composition

 

 

Fabric Fusion & Object Inclusion (+ Stitching Intrusion)
*Intermdiate & Advanced| suggested time: 3-5 day course

Introducing alternative materials and objects in your felt work has the potential to add color, texture diversity, associations based on memory and experience as well as weight and movement to your work.  Participants are asked to bring a range of objects to incorporate as well as suggested types of fabric. A variety of choice fabrics are also provided based on their translucent and stretch allowing for modified viewing of the objects that will be entrapped under and between fabrics. Objects placed under fabric act as both a color and texture resist by blocking wool fiber from penetrating the fabric creating a rich contrast with the surrounding fabric fusion. Methods for structuring double sided fabric windows within a layout will also be explored: cut from a field of partial felt, using strips of partial felt to seal fabric pockets and partial felt sandwiched between fabrics. A 4-day course includes free-motion embroidery. A 5-day course has been offered under the title of Depth of Surface, Depth of Field which incorporates additional studies from Felt Fusion Through Substrates as well as project envisioning/calculating from chosen effects from class studies.

STRONGFELT class sample of various objects (zip ties, knotted nylon and safety pins) trapped under fabrics
Class participant's object entrapment creating texture and color resistance. Felter's Rendezvous 2017.
STRONGFELT class sample sizing windows for single objects & entrapping multiple small objects (top right)
Nancy Oxford's felted layout with fabric windows and partial felt edging. Appalachian Center for Craft 2017.
Sibel Adlai's project of a handbag flap entrapping beads as well as partial felt as a texture resist in the center of the fabric's daisies. Depth of Surface/Depth of Field at Eva Camacho Sanchez's Studio 2020.
STRONGFELT work 2016, Seeing Through #N225 entrapping various stones and beach glass in silk and tulle pockets

 

 

Felted Imagery: Partial Felt Mosaic Technique
*Intermediate & Advanced | suggested time: 3-5 day course

Develop recognizable imagery in felt surfaces through the wet felting technique of arranging partial felt in a mosaic style. Participants will reproduce their drawn images and/or existing images of their own choosing from partial felts shrunk to a specified degree of possible shrinkage. This high shrinkage partial felt maintains its cut shape allowing for image clarity on a background of fiber and without the image bucking from the differential shrinkage of the fulling process. This class offers skills for drawing with proportion and perspective as well as knowledge of the color globe for hand carding tints, shades and intensities of fiber in order to render objects realistically on a 2-dimensional plane if desired. Images may also be built on a carrier felt for later application on a specific project. The 4-day class involves free-motion machine embroidery, which can be applied to the felt to further define shapes, add details of shading and tinting and to add visual and physical texture. The 5-day class includes the integration of pre-structured fabrics both as fabric and as fabric fused partial felt to add surface texture, design or to support the concept of the piece.

STRONGFELT sample of drawing thread spools to be rendered in felt by being attentive to perspective, color shading/tinting and shadows (class study from workshop at New England Felting Supply North Hampton, MA, 2013)
Class study where the group took up positions around a single cup in the middle of the table to offer different perspectives and lighting. (workshop at Ullform, Stavanger, Norway 2012)
Class study in rendering random tools found in the classroom space. (Dee Dee Triplett’s work, John C Campbell Folk School, Brasstown, NC workshop, 2010)
Puzzling together shapes to form an image after partial felts of specific colors, thickness and integrity where made. (Lucia Taxdal’s work, Felt Technical/Felt Innovative Concentration, Penland School of Crafts workshop, 2010)
The assessment of colors needed to render a carton of eggs after an initial study to learn the process. (Heather Morrical’s work, New England Felting Supply North Hampton, MA workshop, 2013)
An impressionistic approach to image making using a combination of loose fiber, low integrity partial felts that blurr as well as more fulled partial felts that offer a more defined edge. (Jessie Conley’s work, John C Campbell Folk School, Brasstown, NC workshop, 2009)
STRONGFELT sample of free-motion machine embroidery used for adding fine details created by highlights and shadows.

 

 

THREE-DIMENSIONAL FELTING TECHNIQUES


Solid Form Felting Techniques
All levels | suggested time: 3 day course

Explore solid felt forms of spheres, discs, barrels, cones, hoops and cords. Learn graceful connection techniques for wet felting these basic forms together to make more complex clasps, hinges, and undulating cords applicable for adornment, wearable closures and/or sculptural elements. Learn the appropriate tension and crosshatched preparation for dry wrapping and needle felting when preparing solid forms for wet felting. This technical sequence provides ample air space for shrinkage resulting in well-integrated surfaces that won’t pill! Additionally, explore the integration of partially felted shapes in the dry preparation to create more geometric forms by providing specific areas of greater felt density.

STRONGFELT samples of spheres, discs, barrels, cones and cords and more complex forms created by connecting these basic forms
Blending color gradations for layout to create color graduated cords (Ellen Baker’s work, Happerschoss, Germany workshop, 2013).
Class samples of building a hoop on the end of a cord and learning systematic techniques so to be able to repeat the same object and/or to modify the approach to obtain desired results (Southeastern Animal Fiber Fair workshop, Arden, NC, 2013)
Repeating the same diameter and length cord and leaving the ends dry to connect to other forms (Susanna Hohman’s work, STRONGFELT STUDIO workshop, 2014).
Creating an undulating cord by connecting multiple partially felted spheres to a dry cord (Sabrina Meis’s work, Happerschoss, Germany workshop, 2013).
A collection of forms and connected forms (Silvia Josten’s work, Happerschoss, Germany workshop, 2013).

 

 

Sculpting Three-Dimensional Felt Surfaces
All levels | suggested time: 4 day course

Participants will study and explore numerous ways to bring three-dimensional surface textures to otherwise two-dimensional felt. The use of surface resists will be employed to create high-relief planes and pockets. The application of thick partial felts to a thin background fleece will result in undulating surfaces as a result of differential shrinkage and circumferential fulling. Combine these concepts of resists and partial felts to raise hollow forms from within the surface plane. Additionally, learn to attach basic solid felt forms of cords and balls (created by needle and wet felting techniques) to a surface plane.

STRONGFELT sample of using layers of plastic to resist specific areas of fiber from felting together
Felting partial felt shapes into a thin background of fiber and using circumferential fulling to shrink the thinner wool around the base of the Partial Felts causing the shapes to dome (Pam Wittfeld’s work, Arrowmont School of Crafts, Gatlinburg, TN workshop, 2012).
Felting partial felt shapes into a thin background of fiber and using circumferential fulling to shrink the thinner wool around the base of the Partial Felts causing the shapes to dome as seen from the backside (Tatiana Gvozdeva’s work, Sydney, Australia workshop, 2012).
STRONGFELT sample of layering plastic resists and partial felts on and in a plane of fibers with a high shrinkage rate to create surface caves and hollow forms that are intersected by the plane
Attaching solid form cords to a surface plane for sculptural surface texture as well as for the function of hoops for closures and straps (April Hale’s work, Arrowmont School of Crafts, Gatlinburg, TN workshop, 2012).
STRONGFELT piece demonstrating the attaching of solid form balls to a surface for sculptural surface protrusions as well as for the function of closures

 

 

Resist-Based Pendants: Hollow Forms, Dimensional Surfaces and Object Inclusion
*Intermediate & Advanced | suggested time: 4 day course

A course combining multiple three-dimensional techniques for small-scale object refinement. Design unique hollow forms and bails for hanging by using two-dimensional resists.  Learn to encase durable found objects to add color, texture, material complexity and conceptual relevancy to your work. By simply wrapping fiber around an object one doesn’t provide ample space for the fibers to felt and therefore one must employ a resist larger than the object, which involves just a little calculation! Additionally, layer surface resists and partial felt to raise dimensional planes and explore the application of partial felt in a hollow form layout as a shrinkage resist to create convex surface protrusions that sculpt the form.

Class study on the relation of the weight of fiber to the area of the resist template to obtain both high shrinkage felt and the desired size for the pendant (workshop in Point Reyes, CA, 2013)
Layering plastic resists and partial felts to create dimension on the forms surface, which also determines the shape of the form based on where the weight of fiber is added (Sidesl Saterhaug’s work, Ullform, Stavanger, Norway workshop, 2013).
Layering plastic resists and partial felt tentacles (Susan Hall’s work, Point Reyes, CA workshop, 2013).
Hollow form pendant with curling surface planes (Sharon Milliner’s work, STRONGFELT STUDIO workshop, 2013).
Encasing a faceted piece of glass with a thin, high shrinkage felt (Anne Bekk Weltzien’s work, Ullform, Stavanger, Norway workshop, 2013).
Cutting through the felt skin surrounding an object to reveal its surface quality (Katie Aldrich’s work, STRONGFELT STUDIO workshop, 2014).

 

 

Sculpting Hollow Form: Application of Partial Felt Density
*Intermediate & Advanced | suggested time: 4 day course

Learn technique for layout/wrapping of various resist shapes in a consistent thickness of fiber while simultaneously exploring extreme differential shrinkage through the integration of partial felt. In addition to resist shape, strategically varying the density of wool in specific areas and using directional fulling allows one to sculpt the surface plane of the form and to develop forms previously unimaginable. Participants will make partially felted sheets of fiber in varying thicknesses and states of structural integrity to apply in their fiber layout, first to raise a form from a 2D plane, and then to develop concave and convex hollow forms.  Proper fulling, the thickness of the vessel’s wall in relationship to its volume and the amount of and placement of denser areas of partial felt as structural support will determine the forms integrity. Hand stitched structural ribbing, steam blocking and shellac stiffening can then be applied to refine the forms posture and presence.

Lisa Klakulak's class demonstration of raising form from a 2D layout using differential shrinkage and directional fulling. Pacific NW Art School workshop, Whidbey Island, Washington, 2018.
Raising a form from a 2-D layout by circumferentially fulling the thinner areas of fiber. Class demo at Galt Museum, Lethbridge, Alberta, Canada 2014.
Veronica Padilla's layout of different weights and densities of fiber/felt on a circular template. Anilinas Montblanc, Santiago, Chile 2016.
Development of a unique hollow form from a circular template by circumferentially fulling the thinner areas of fiber and allowing the thicker areas of partial felt to protuberate. Participant's work in Taos Wool Festival workshop, Taos, NM, 2011.
Connie Spiegl's layout on a circular template fulled to sculpt form with a concave and convex surface. Atelier Fiberfusing workshop, Netherlands 2014.
Audrey Legatowicz inflating her form to determine where and in what direction to begin fulling the felt. Form & Concept workshop in conjunction with and in the gallery space! of Lisa Klakulak's solo exhibit "Since Taos" 2019.
Course participants sculpted forms developed from a circular template. Feutre Formation France workshop, Montbrun-bocage, France 2022.
Mandy Nash's elongated template with a rhythmic application of partial felt fulled into a highly textured form. Feutre Formation France workshop, Montbrun-bocage, France 2022.
Sibel Adlai working around a uniquely designed template shape as well as applying the techniques of differential shrinkage and directional fulling to sculpt form. Eva Camacho Sanchez Studio workshop, North Hampton, Mass 2019.
Camila Mesquita studying her form once the template has been removed and before beginning to full. "Felt Technical/Felt Innovative" 2 month Fiber Concentration, Penland School of Crafts, Penland, NC 2011.
Vivi creating an undulating tapered form with the application of partial felt strips on a uniquely designed template. El Refugio Creativo workshop, La Paloma, Uruguay, 2018.
Modifying an additional variable by changing the template resist shape and then applying partial felts to specific areas. Sibylle Werner’s work in Kunst-im-Souterrain workshop, Weisbaden, Germany workshop, 2013.
Marije Kooi using her breath to keep the walls of the form from felting to one another when the entrance hole to remove the resist is too small for one’s hand! Fiberfusing Atelier workshop, Amsterdam, Netherlands workshop, 2013.
Maria Pia Galleguillos fulling her application of circular and striped partial felt on a uniquely designed template. Anilinas Montblanc, Santiago, Chile 2016.
Clare Ashton's sculpted form incorporating a three ridged foot system that elevates the form off the table surface. Felt in the Factory workshop, Herefordshire, UK 2016.
Hazel's unique template and strategic application of partial felt developed a form reminiscent of an animal and that also suggests leaping or movement! Felt in the Factory workshop, Hereforshire, UK 2016.
Rosina Saqib's innovative application of techniques exhibiting personal aesthetics/interests. Felt Technical/Felt Innovative 2 month Concentration, Penland School of Crafts workshop, 2010.
Romina Ulloa embracing her sculpted form that is reminiscent of an animal embryo. Anilinas Montblanc workshop, Santiago, Chile 2016.
Lisa Klakulak showing off Sandy Compton's heart and her excellent comprehension of the course techniques! Galt Museum workshop, Lethbridge, Alberta, Canada 2014.
Cheri Miller applying natural shellac as stiffiner as a finishing technique for her well fulled form. STRONGFELT STUDIO workshop, Asheville, NC 2014.

 

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Lisa Klakulak teaching in a workshop in conjunction with the Textiles Today Exhibit at the Durango Art Center, CO 2012

Lisa Klakulak teaching in a workshop in conjunction with the Textiles Today Exhibit at the Durango Art Center, CO 2012