Posts tagged ‘Craft’

October 3, 2012

Beware of The Black Belsnickles

I adore sculpting old-world Belsnickles! Several months ago, one of my visitors asked if I had ever made any of my belsnickles black? I said that I would look for some old photos to show some of these from my own collection and here they are. These versions are sculpted entirely in paper mache pulp. They are approximately 21 inches tall and very heavy. I use an old method of sculpting and it takes many hours to create each Santa figure.

June 28, 2012

A “Forget-Me-Not” Traditional Rag Doll Challenge

My teacher’s sample of the “Forget-Me-Not” traditional rag doll.

Theme: floral needlpoint/applique/fabrics/quilting etc… depicting Forget-Me-Nots

Subject: Traditional Rag Doll

Historical Connections: Forget-Me-Not in Art, Folklore, and Culture:

  • In a German legend, God named all the plants when a tiny unnamed one cried out, “Forget-me-not, O Lord!” God replied, “That shall be your name.”
  • Henry IV adopted the flower as his symbol during his exile in 1398, and retained the symbol upon his return to England the following year.
  • In 15th-century Germany, it was supposed that the wearers of the flower would not be forgotten by their lovers. Legend has it that in medieval times, a knight and his lady were walking along the side of a river. He picked a posy of flowers, but because of the weight of his armor he fell into the river. As he was drowning he threw the posy to his loved one and shouted “Forget-me-not.” It was often worn by ladies as a sign of faithfulness and enduring love.
  • Prior to becoming the tenth province of Canada in 1949, Newfoundland (then a separate British Dominion) used the Forget-me-not as a symbol of remembrance of that nation’s war dead. This practice is still in limited use today, though Newfoundlanders have adopted the Flanders Poppy as well.
  • Freemasons began using the flower in 1926 as a symbol well known in Germany as message not to forget the poor and desperate. Many other German charities were also using it at this time. In later years, by a handful of Masons, it was a means of recognition in place of the square and compass design. This was done across Nazi occupied Europe to avoid any danger of being singled out and persecuted. The symbol of the forget-me-not in modern Masonry has become more prevalent and exaggerated claims about the use of the symbol are often made in order to promote sales of bumper stickers of the symbol. Today it is an interchangeable symbol with Freemasonry and some also use the Forget-me-not to remember those masons who were victimized by the Nazi regime. In English Freemasonry it is more commonly now worn to remember those that have died as a symbol that you may be gone but not forgotten.
  • J. R. R. Tolkien refers to the flower in his poems.

Materials: listing

  • fabrics and type
  • cotton batting
  • notions

Methods of Construction: process

  • Select a traditional rag doll pattern or design your own.
  • Measure, cut, sew, stuff, and incorporate into your doll or doll’s clothing Forget-Me-Not design.
  • Those doll designs including traditional needlepoint and/or some kind of quilting/applique methods are preferable.

Expectations/Objectives/Goals: listing

  • Students will demonstrate the process of interpreting sewing patterns.
  • Students will demonstrate the theme and subject combined in a rag doll.

Exhibit: Finished figures will be exhibited inside a showcase located on the school property or be photographed by the instructor and uploaded to an internet forum/blog.

Feedback/Assessment: Students will either participate in an online discussion, classroom critiques or be expected to fill out a self-assessment form.

Include the following on a label with your finished project:

  • A Title
  • Your Name
  • The date the project was completed
  • The materials used
  • An approximate size

More Craft Resources for Forget-Me-Not:

Forget-Me-Not Doll Inspiration:

forget-me-not

Forget-me-not

June 20, 2012

The Dolls Dressmaker: The Complete Pattern Book

I learned how to sew doll clothes from this book when I was pregnant with my first girl. The book teaches process and pattern types. Once you learn these then you will be able to adapt pattern making for any doll. Even though I no longer use store bought patterns in my doll making, I keep this book in my collection for beginners.

“Venus A. Dodge, an expert in making, dressing and selling dolls for over 20 years, presents a unique and exciting collection of actual-size patterns for doll’s clothes. No enlarging is necessary – just trace directly from the page to make a ready-to-use pattern. There are 45 of them to choose from too. from modern outfits for commercial dolls to accurate period costume for antique dolls. Full making-up instructions are given throughout for clothes and accessories.

Many of the patterns are simple enough for the absolute beginner, but the experienced dolls’ dressmaker should find a stimulating challenge in the authentic and more elaborate period costumes. There is plenty of advice on techniques and how to achieve a delightful result with the minimum of expense and time, making it simpler than ever before to create your own superb doll’s clothes…and enjoy the whole process!”

David & Charles Publishing plc, Newton Abbot, Devon: Sterling Publishing Co. Inc., 387 Park Avenue South, New York, NY.

June 14, 2012

A Redwork Doll Blanket

I made this doll blanket, by hand, for a child who loves turtles and all sorts of little forest creatures. The redwork designs come from a wonderful coloring book by Diane Gaspas called “Forest Animals.”  Dover publishes many coloring books for children that may be used for a wide variety of personal projects/gifts. However, because these coloring pages are copyrighted and are not in the public domain, they should never be used for profit or be misrepresented as belonging to another company or individual other than Dover or Diane Gaspas. I specifically chose these designs by Dover because the company is sponsoring a craft contest in 2012 based upon the development of handmade crafts/personal art projects using their products. You may read more about the contest rules here if you wish.

You can see here that I traced the design in pencil and then stretched the muslin between a wooden hoop before working the threads into the design.

I decided to introduce just a bit of applique into the turtle’s shell.

Here I have worked a few red seed beads into the wild fruits hanging above my turtle’s head.

I trimmed the doll blanket in a red rick-rack. I thought it would add to the old-fashioned look of the blanket. I also rotated my muslin squares with plaid and printed squares. These had no red touches originally so I stitched some red threads into the plaid designs in order to blend my bold red colors with the neutral creams, tans, and whites of my overall color palette.

This sweet little mouse may also be found in the pages of the same coloring book along with the bees, moth and snail that are stitched into the redwork designs.

Above is the final project ready for someone very special that I have in mind.

June 13, 2012

Mermaid Paper Doll Parts

Mix and match my paper doll parts for creating your next mermaids, merbabies and mermen: Read the Terms of Use before downloading folks!

Blue mermaid tail, shell and sand dollar by Kathy Grimm

Sepia mermaid tail, shells, and sand dollar by Kathy Grimm

Aqua mermaid tail, shells, and sand dollar by Kathy Grimm.

More Mermaid Paper Dolls:

Stamps and Scraps for creating mermaid paper dolls:

Purchase Mermaid Paper Dolls:

Related articles

May 26, 2012

“Pumpkin” by Madame Alexander

Pumpkin was made in 1967 by Madame Alexander. This doll belonged to Krissy, my husband’s cousin. Krissy’s mother wants to give Pumpkin to her twin granddaughters, but, Pumpkin doesn’t sit up anymore. Her body has been cuddled so much that she is in need of a little tender repair.

I will open up this doll near the neck wear it looks as though someone may have tried to hold a seam together with a bobby pin.

This doll was originally stuffed with some very fluffy filler. I will leave this in and pack in a stiffer fiber fill under the doll’s head.

Pumpkin now is able to sit upright and the opening in the back of her body has been firmly sewn shut.

This doll’s clothes are original and her name is printed on the tag attached to her yellow, hooded jump suit.

Pumpkin’s copyright, 1967, by Madame Alexander at the base of her vinyl head on the back.

Pumpkin sits up on her own for the first time in years, the surgery was a success!

Pumpkin is ready for Grandmother Marlene to take to Chicago to give to her twin granddaughters.

May 5, 2012

Free Redwork Patterns

I’ve cleaned and redrawn this free redwork pattern of owls for my visitors.

Vintage lady wearing a veil for redwork.

White oaks leaves and acorns for redwork.

More Redwork to Admire:

More Redwork Patterns:

Books About Redwork:

More Free Redwork Embroidery Patterns:

May 4, 2012

Seven Native American Doll Types

Drawings from an 1894 anthropology book of dol...

Drawings from an 1894 anthropology book of dolls (Tihus) representing kachinas, or spirits, made by the native Pueblo people of the Southwestern US. The dolls are made of carved cottonwood and traditionally given to children. The figures are identified on p. 74 of the source as representing the kachinas: 37.Si-o-S(h)a-li-ko 38.Si-o-ka-tci-na 39.Co-tuk-i-nun-wu 40.La-puk-ti 41.Do-mas-ka-tci-na 42.Tcuc-ku-ti 43.Si-o-sa-li-ko. Alterations to image: removed plate number. (Photo credit: Wikipedia)

1. Kachina Dolls – A kachina (play /kəˈtʃiːnə/; also katchina or katcina; Hopi: katsina /kətˈsiːnə/, plural katsinim /kətˈsiːnɨm/) is a spirit being in western Pueblo cosmology and religious practices. Kachina dolls are modeled after kachina dancers, masked members of the tribe who dress up as kachinas for religious ceremonies. These dolls are perhaps the most recognizable Native American doll types collected today. Katchinas are made by the western Pueblo, Native American cultures located in the southwestern United States.

A kachina can represent anything in the natural world or cosmos, from a revered ancestor to an element, a location, a quality, a natural phenomenon, or a concept. There are more than 400 different kachinas in Hopi and Pueblo culture. The local pantheon of kachinas varies in each pueblo community; there may be kachinas for the sun, stars, thunderstorms, wind, corn, insects, and many other concepts. Kachinas are understood as having human like relationships; they may have uncles, sisters, and grandmothers, and may marry and have children. Although not worshipped, each is viewed as a powerful being who, if given veneration and respect, can use their particular power for human good, bringing rainfall, healing, fertility, or protection, for example.

The most important of the kachinas are known as wuya. These are some of the wuyas: Ahöla, Ahöl Mana, Aholi, Ahul, Ahulani, Akush, Alosaka,Angak, Angwushahai-i,Angwusnasomtaka, Chaveyo, Chakwaina Chiwap, Chowilawu, Cimon Mana, Danik?china,Dawa (kachina), Eototo, Hahai-i  Wuhti, He-e-e, Hú, Huruing Wuhti, Kalavi, Kaletaka, Ketowa Bisena, Köchaf, Kököle, Kokopelli, Kokosori, Kokyang Wuhti, Kwasai Taka, Lemowa, Masau’u, Mastop, Maswik, Mong, Muyingwa, Nakiachop,Nataska, Ongchomo,Pachava Hú, Patung, Pohaha or Pahana, Saviki,Pöqangwhoya, Shalako Taka, ShalakoMana, Söhönasomtaka, Soyal,Tiwenu, Toho, Tokoch, Tsitot, Tukwinong, Tukwinong Mana, Tumas, Tumuala, Tungwup, Ursisimu, We-u-u, Wiharu, Wukokala,
Wupa-ala, Wupamo, Wuyak-kuita,

Links to Kachina:

2. Corn husk dolls were first made by Native Americans for their children. These little dolls are made out of the dried leaves or “husk” of a corn cob. Making corn husk dolls was adopted by early European settlers in the United States of America. Corn husk doll making is now practiced in the United States as a link to Native American culture and the arts and crafts of the settlers.

Corn husk dolls do not have faces, and there are a number of traditional explanations for this. One legend is that the Spirit of Corn, one of the Three Sisters, made a doll out of her husks to entertain children. The doll had a beautiful face, and began to spend less less time with children and more time contemplating her own loveliness. As a result of her vanity, the doll’s face was taken away.

Links to corn husk dolls:

3. Innu tea dolls – Traditional Innu craft is demonstrated in the Innu tea doll. These children’s toys originally served a dual purpose for nomadic Innu tribes. When traveling vast distances over challenging terrain, the people left nothing behind. They believed that “Crow” would take it away. Everyone, including young children, helped to transport essential goods. Innu women made intricate dolls from caribou hides and scraps of cloth. They filled the dolls with tea and gave them to young girls to carry on long journeys. The girls could play with the dolls while also carrying important goods. Every able-bodied person carried something. Men generally carried the heavier bags and women would carry young children.

Links to Innu tea dolls:

4. Comanche deer skin dolls and cradleboards – The Camanche newborn was swaddled and remained with its mother in the tipi for a few days. The baby was placed in a cradleboard, and the mother went back to work. She could easily carry the cradleboard on her back, or prop it against a tree where the baby could watch her while she collected seeds or roots. Cradleboards consisted of a flat board to which a basket was attached. The latter was made from rawhide straps, or a leather sheath that laced up the front. With soft, dry moss as a diaper, the young one was safely tucked into the leather pocket. During cold weather, the baby was wrapped in blankets, and then placed in the cradleboard. The baby remained in the cradleboard for about ten months; then it was allowed to crawl around.

An exquisite full sized cradleboard

Children learned from example, by observing and listening to their parents and others in the band. As soon as she was old enough to walk, a girl followed her mother about the camp and played at the daily tasks of cooking and making clothing. She was also very close to her mother’s sisters, who were called not aunt but pia, meaning mother. She was given a little deerskin doll, which she took with her everywhere. She learned to make all the clothing for the doll.

Deer skin dolls and cradleboards:

5. Seminole cloth dolls reflect the elaborate, bright costumes of these people. Seminole women have always been admired for their creative designs and admirable sewing skills.

The Seminole are a Native American people originally of Florida, who now reside primarily there and in Oklahoma. The Seminole nation emerged in a process of ethnogenesis out of groups of Native Americans, most significantly Creek from what is now Georgia and Alabama, who settled in Florida in the early 18th century. The word Seminole is a corruption of cimarrón, a Spanish term for “runaway” or “wild one”, historically used for certain Native American groups in Florida. The Seminole are closely related to the Miccosukee, who were recognized as a separate tribe in 1962.

Links to Seminole cloth dolls:

6. Eskimo Assouk Dolls/ Inuit DollsInuit dolls are made out of soapstone and bone, materials common to the people of northern Alaska. Many are clothed with animal fur or skin. Their clothing articulates the traditional style of dress necessary to survive cold winters, wind, and snow.

The Inuit live throughout most of the Canadian Arctic and subarctic in the territory of Nunavut; “Nunavik” in the northern third of Quebec; “Nunatsiavut” and “Nunatukavut” in Labrador; and in various parts of the Northwest Territories, particularly around the Arctic Ocean. These areas are known in Inuktitut as the “Inuit Nunangat”. In the United States, Inupiat live on the North Slope in Alaska and on Little Diomede Island. In Russia, they live on Big Diomede Island. The Kalaallit and other natives of Greenland are the descendants of migrations from Canada and are citizens of Denmark, although not of the European Union.

Links to Eskimo Assouk Dolls:

7. Storyteller Dolls are a clay figures made by the Pueblo people of New Mexico. The first contemporary storyteller doll was made by Helen Cordero of the Cochiti Pueblo in 1964 in honor of her grandfather who was a tribal storyteller. It is basically a figure of a storyteller, usually a man or a woman and its mouth is always open. It is surrounded by figures of children and other things, who represent those who are listening to the storyteller.

Links to Storyteller dolls:

More Links To Native American Dolls:

May 4, 2012

Black Toddler Dolls


Above are two of my favorite painted canvas dolls. I designed and made these toddler dolls in the late 90s.

The features of the little girl were appliqued onto the canvas prior to the painting of her face.

The little boy has no three dimensional facial features.

Here he is again seated in an old-fashioned school desk that was hand-crafted by a neighbor.

May 3, 2012

Papier-mâché, Life-size Baby Doll


I made this papier-mâché baby doll several years ago. It is life-sized and can be dressed in real baby cloths, size three months.

Close up of the baby’s eyes.

The head of this doll is attached to a canvas body and has prefabricated limbs.

A view of her head from the side. I used acrylic paints for her head. Her lace bonnet belonged to my daughters.

This particular papier-mâché head is made with a layers of sanded pulps. Stockinette is stretched over the head and impregnated with Gesso at the end of the process before the head is painted.

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