Posts tagged ‘Doll Making’

May 14, 2013

“The Story of A Doll-House” by Katharine Pyle

StNicholasMagazine1889The downstairs of the doll’s house.

      Seventy-five years ago, a little brother and sister had a play-house in a cupboard. It was a sheet-closet; and on the upper shelves were piled great rolls of home-spun linen, with bunches of lavender between their smooth folds to make them smell sweet. The two lover shelves belonged to the children, and there, for a while, their toys and boxes were neatly arranged side by side, and pictures were tacked up on the walls.

      Boys are not so careful and orderly in their ways as little girls, and by and by the brother began to store all kinds of queer things in the play-house: bits of stick fit for whittling; an old dog-collar for which he had traded his jack-knife; pieces of string and fishing-line; a rusty key; and many other odds and ends, such as little boys love to gather together in their comings and goings.

      It worried the little girl to have all these things littered about on their neat shelves; and the mother, as she sat in her cushioned rocking-chair, with her basket of sewing at the nursery window, saw it all, and felt sorry for the little daughter. So, one day after the children had started for school with their books tucked under their arms, and two red apples and some gingerbread in their baskets, she put on her bonnet and shawl, and went down the street to the carpenter’s. She described to the carpenter exactly what she wanted, and he said:

      “Yes, yes; ma’am. A slanting roof, and six windows; yes, ma’am. And a wooden standard; yes, ma’am. I will have it done for you next week.”

      And next week the carpenter’s boy brought something to the house on a wheelbarrow, while the children were away at school.

      It was a play-house: a large play-house, a play-house with two chimneys and real glass windows. It was two stories high, and almost more then the boy could wheel.

      The mother had it carried up to her room and put behind the high-post bed, where it was hidden by the white valance.

      All that morning she was busy tacking and snipping and pasting the cutting; and all the while the children were at school, thinking of nothing at all but their lessons.

      It was Saturday and a half-holiday, and about noon the children came home.

      Upstairs they clattered and burst into the nursery, and then stood quite still in the doorway and looked.

      The nursery was very quite, with the chairs and tables in their places, and two squares of yellow sunlight on the carpet, but there, in the middle of the floor, stood a wonderful little house, painted to look just as if it were built of bricks, with chimneys, and glass windows, a slanting black roof, and a white door. It was the little house that the carpenter’s boy had wheeled home on the wheelbarrow; but now it was furnished, and had black and yellow silk curtains at the windows, carpets on the floors, and one of Ann’s own dolls was looking through the little square panes, for it was her home.

      There was a key in a keyhole above the first story windows of the doll-house. The children turned it, and the whole front of the house swung open, windows and all. Then they could see just what was inside.

      There was an upstairs and a downstairs. Upstairs there was a mantelpiece and fireplace, a round black tin stove, and a high-post bed with curtains and a valance. There was a clock standing on a chest of drawers under the looking-glass. There were pictures about the room, and a cozy stuffed chair stood by the bed for Grandmamma Doll to rest in when she came upstairs out of breath.

      Downstairs there was another fireplace, a round center-table decorated with pictures, and a sofa. And there was Grandmamma Doll herself, sitting in the green rocking-chair. There was a folding table that was just the thing for dollies to sit around while they drank a social cup of tea.

      While the little boy and girl were looking at the play-house their mother came in, and stood smiling on them from the doorway without their seeing her.

      That is the story of the real doll-house.

      Yes, of a real doll-house,–a dear old-fashioned doll-house.

      As one opens the front of it a faint, delightful odor of long ago breathes forth, like the ancient fragrance that haunts the boxes and piece-bags of kind old ladies.

      As one looks in the looking-glasses one thinks of all the little girls whose chubby faces have been reflected there, –Ann, in her short-waisted, long-skirted dresses; little nieces of hers, in pantalettes and pig-tails. And now others, with crisp white aprons and bangs, peer in with eager curiosity at the old-time doll-house.

      What fun they have had with it! How many times, on stormy days, when the rain beat on the nursery windows, and swept in whitening gusts over the wet trees on the lawn, the front of the dollies’ house has swung back, and little folks have played happily with it for whole mornings at a time! How often they have pretended a dolly was ill, and have laid here in the fresh, white-sheeted feather bed under the chintz curtains; and then, while the nurse warmed up her food on the tin stove, Grandmamma Doll has had her green rocking-chair brought upstairs, and sat at the bedside and rocked and rocked, while the other dolls went about very softly, and the nurse kept the baby quiet below.

      Not long ago there was a fair in a certain city to raise a fund for a hospital. There, in a room specially set apart for them, were dolls by dozens and dozens, all standing in rows and dressed in their best; for the one that was the finest of all was to receive a prize. And there, too, among all the fine dolls and in the midst of the noise and glare of light, stood the dim old doll-house.

      The key had been turned in the lock and the front had been swung back.

      There was the round tin stove, the high-post bed, and clock; there was the folding table, and the sofa, and there were the silk-covered chairs.

      A crowd of faces peered in, –old and young; people pointed and smiled; it was a noisy crowd, and the yellow-faced dolls, in their old-fashioned dresses, sitting in the quiet rooms, looked out strangely with their black wooden eyes, through the odor of long ago.

      My face, too, peered in upon that old, Quaker doll-family. I too wondered and pointed with the rest, and then I thought how other children, old and young, might perhaps care to look through my eyes into those faded rooms. So, I drew pictures of it all, and afterward I made portraits of the dear jointed and rag dolls, and here they are.

storyofdollhouse1889The upstairs of the doll’s house.

drawingsofolddollsGrimm2013Left to right, The Mother doll, The Grandmother doll and Aunt Jane.

moredrawingofolddollsGrimm2013Left, the Nurse and Baby. Right, Sister Hatty.

December 1, 2012

How To Dress A Spoon Doll or Puppet

spoonheadsad

Spend an afternoon dressing these funny little spoonheads with your young child. Teach them basic sewing skills and then, why not put on a little performance in a homemade theater? Spoonheads also make charming stocking stuffers for children ages 5-8.

Grimm Spoonheads are sold separately at local St. Louis craft fair events.

Links To Dressing Spoon Dolls:

October 3, 2012

A One Hundred Year Old Doll House

I took photos of this antique doll house in my kitchen garden. It once belonged to my mother-in-law and I will now pass it down to my younger daughter this Christmas. There are many handmade furnishings that were especially designed for it. I will include these along with measurements and templates in future articles.

Above is the side view of this 100 year old antique doll house.

The doll house has four rooms of equal size.

The roof of the doll house as seen from above.

The furnishings are mostly handcrafted. Above is an old-fashioned Welsh

cupboard, with miniature copper posts and brass candlesticks.

A hand-carved bed, tiny mattress, coverlet, and two tiny rose needlepoint

pillows provide a cozy place for small dolls to sleep.

A close up shot of the walls and curtains inside the doll house.

The doll house has two side entrances with windows.

The second entrance distinguished by red curtains and an

ornate red and blue print wall paper.

A dresser, movable vanity mirror, wash basin with a pitcher,

a fancy brass crib and a small plastic baby all accompanied this doll

house when my mother-in-law first purchased it.

A small child must have sculpted this bathtub and baby from homemade clay.

This Kitchen table and chair and cupboard also was hand crafted by

the doll house’s former owner. The mouth blown glass oil lamp was one if

the few tiny decorative objects to accompany the furnishings.

Unlike many modern doll houses, this antique version was designed

to be displayed with it’s back against a wall; it has a plain simple cabinet back.

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.

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 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.

April 20, 2012

The Camille Doll Pattern

Cut out the printed pattern shown below and trace around it onto muslin; then add a 1/4 inch or 1/8 inch seam allowance around the drawn doll body before cutting into the fabric.

Stuff all four doll body parts firmly with fiber fill. I’ve used dental floss to sew the straight seams on my doll body because this keeps the stitching tight and durable. One of my brothers gave me this weird ‘pickle floss’ for Christmas. No, it doesn’t taste like pickles.

Here is Camille’s face “in progress.” It will take many hours for me to finish this needle point doll face.

Camille is finally done! I used cast off blouses to finish off her elaborate clothing.

Camille’s hair is made from wool yarn and random blanket stitching.

I added an unusual old broach to her costume. The colors are just perfect!

Here is a close-up of Camille’s completed face. I used hundreds of seed stitches to create the textured appearance.

Camille’s costume from the back.

Camille’s leather shoes are sewn on with a blanket stitch.

Camille is ready for the sample box.

This simple doll pattern may be enlarged to whatever size you would like your doll to be. Click on each jpg to download the largest image available. Remember to add an additional 1/4 inch seam to the pattern before cutting two identical shapes out of fabric. Leave a one inch opening along your straight at the bottom of the torso, arms and legs so that you will be able to turn your doll inside out and stuff it.  Read the Terms of Use before using these doll patterns. Patterns may not be resold or redistributed from any other internet web pages. Patterns are copyrighted. Individual doll artists may make and sell as many little Camille dolls as they would like. If you photograph your completed doll and picture her on the web, give my blog a link so that others may see your success! Write me if you have more questions at pickandprintgallery@yahoo.com


The Camille doll torso and arm patterns by Kathy Grimm.


The Camille doll leg pattern by Kathy Grimm

April 11, 2012

The Wooden Doll

“Stephanie longs to play with Grandpa’s wooden doll, but it remains out of her reach, high on top of Grandma’s china cabinet. One day when no one is looking, she climbs on a chair and brings the doll down. To her surprise, she discovers it has a secret: a whole family of dolls is nestled inside it. But that’s not the doll’s only secret. On it’s bottom is written a name, Stephania, the name that only  Grandpa calls her. Is the doll for her? Then why hasn’t Grandpa given it to her?

Susan Bonner’s exquisite paintings capture the relationship between a little girl and her immigrant grandfather in this beautiful story of a family treasure.” Inside Cover

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