Category: Fabric Art

A sock doll swap is an exchange of dolls made from socks.

In this 2010 Wild Art Dolls exchange, the dolls had to be made from socks and three of them had to fit inside a flat-rate Priority Mail envelope.

Three of us participated. Here are some of the dolls:

My dolls were almost identical. (The fluffy orange bits at his right shoulder are ends of the yarn I used to give him a pom-pom tail.)

My doll design started with ideas I gleaned from the book, Stray Sock Sewing. (As I’m writing this, you can snag a good, used copy for under $3.)

I love making dolls from socks!

Historical notes

Of course, the classic sock doll is probably a sock monkey, invented around 1932. I think many people have happy memories of sock monkeys from childhood.

A quick survey of Amazon will show lots of different kinds of sock monkeys, including a Beanie Baby sock monkey, and books about making dolls (including sock monkeys) from socks.

Homemade dolls’ faces are easy to make, even with little or no sculpting skills. Whether you want to make a doll’s face, a doll’s head, or a mask for a doll, you can make it yourself in under an hour.

Sculpting skills are not necessary. Here’s what you need:

• An existing doll that’s the right size, in any condition.
• Fimo, Sculpey, or a similar clay that you can dry or bake at home.
• Optional : Tools for carving the clay. (They can be anything from kitchen utensils, manicure tools, or plastic or wooden tools for working with plasticene or other clay.)

In the photo above, you’ll see the molds I’ve made.  They’re on the right.

In the center column, you’ll see the results, after using those molds.

On the far left, to show size, I have an American quarter (25-cent coin) and 20p from Ireland.  (I wrote this article before Ireland joined the EU.)

You can make your own molds in any size.

Here’s how I used one doll’s face from this experiment.

Let’s talk about the two molds that I created, and how you can make them yourself.

The doll mask

In the top row, the mold was made from a vintage international doll. That doll is made of cheap plastic and her face has a nice expression.

To make the mold

1. First, I dusted the doll’s face with cornstarch.
2. Then, I kneaded a lump of Fimo to soften it, and then flattened it slightly so it was bigger than the face of the doll.
3. To create the mold, I gently (but firmly) pressed the Fimo onto the doll’s face.
4. Starting at the top, I carefully peeled the Fimo off the face of the doll.
5. I gently pressed the mold back into shape.
6. Following the directions on the Fimo package, I baked the mold and then let it cool.

To make the doll mask

1. Dust the mold very lightly with cornstarch or talcum powder.
2. Press kneaded, prepared Fimo (or any clay that you can bake at home or air dry) into the mold.
3. Carefully remove the Fimo from the mold.
4. If the Fimo changed shape as you lifted it out of the mold, gently bend it back to the shape you want.
5. In the edges (flaps) on either side of the face, create holes for the ribbon.  (I used the point of a mechanical pencil.)
6. Bake Fimo (or any clay) according to package directions.

The result is a mask that you can paint, add ribbons to, and tie onto a cloth doll as a mask or an alternative face.

By studying full-size masks — including Native American designs and Italian masks — you may think of more elaborate designs to modify your doll masks.

Stylized, modern doll head

In the lower row in the photo above, you’ll see a mold that creates a very simple face for a doll. This is a very stylized doll’s face, with a brow, a nose, optional area for eyes, and you can add a mouth if you want… or leave it blank.

It’s a little like faces in artwork by Paul Klee, and inspired by the figures on Easter Island.

To make the mold

I started with a small ball of kneaded Fimo. I smooshed it flat — about 1/4 inch thick — and smoothed the edges.

Then I cut out a three-sided notch with a paring knife.  That notch is the size and shape of the figure’s nose.

After cutting the notch, I smoothed its edges.

Next, I curved up the lower edge of the clay mold.  That created a handle that makes it easier to use the mold.

Then, I punched a small hole in the handle — with the tip of a mechanical pencil — so I can put a string through the mold, to hang it with others on my studio wall.  (I wish I’d done this with all of my molds.  It makes storage much easier.)

I baked the mold, following the directions on the Fimo package.

To use this mold

1. Roll a ball of Fimo (or any clay you can bake at home, or air dry).  Prepare to experiment with various sizes of lumps of clay, to get the proportions you want for your doll’s head.
2. Place the ball of clay on a smooth surface.
3. Press the mold into it
4. Carefully lift the mold from the clay.
5. Add as many details as you want*, or leave the face that simple.
6. Add a neck to your doll.  (Generally, I roll a piece of clay and smoosh it onto the base of the head.)
7. Push something round-ish through the neck sideways, to create a hole big enough for a piece of wire.  (I’ve used round toothpicks to make this opening, or a piece of spaghetti, or an orange stick, or a big yarn needle.)  That hole will enable you to attach the head to a wire armature/body, or sew the doll’s head into a stuffed cloth body.
8. Bake the head according to Fimo (or other clay) directions.

*If you’re going to add beads or jewels or something else as eyes or other decoration, create a gentle indentation for each of them, but don’t add them until after you bake the head.  Otherwise, the beads might melt, crack or even explode.

Summary

With an existing doll** or a simple design concept, and some use-at-home clay such as Sculpey or Fimo, you can make molds for doll’s heads and faces.

Then, you can use those molds to make doll heads or doll masks, also from home-baked (or air dried) clay.

**WARNING: Do not use a modern, copyrighted doll, particularly if you’re planning to sell or even give away the dolls you create.  Though I can’t advise you about copying the doll’s face for your personal use, it absolutely cannot be copied to make dolls you’ll sell.

This is the second page of a two-part interview with British dollmaker Ambermoggie.

Q. If you were stranded on a deserted island and could take just a few supplies with you, what would you need to make dolls?

A. If I were stranded on an island the items I’d need would be wool, wire, a needle and cotton and paint. I could make my own felt and the wool would also make the dolls hair. With paint I could make any colour and by thinning it down dye the fibres. I’d hate to not have a doll in progress… it doesn’t feel right.

Q. What’s your best advice for someone who’s just beginning as a dollmaker?

A. For anyone starting out I would say: Just play and let your mind lead you to your kind of doll. There are no right and wrong ways to make dolls; there are only people’s interpretation of the ideas within. I’d just go for it.

If after that you want to take classes that’s good, but don’t feel that is the only way to learn. It isn’t. I’ve never been able to take any classes in any of the arts I do but it doesn’t stop me having a go.

Q. Do you have a special way of displaying dolls that you keep, or your own collection of dolls?

A. I display my dolls that I keep on a fairy tree .It has tiny christmas lights on and the dolls. These change quite often as I tend to give most of them away.

For me the joy is in making them and then the pleasure people get from receiving them, They seem to bring something to people and that for me is the best reason to make them.

The ones that I most remember from selling were made for auctions to raise money for 9/11. People gave most generously and I received some lovely emails saying how they loved the dolls. I like the idea that my dolls are in many private collections around the world for one reason – they are loved. Not bad for someone who, up to a few years ago, was too scared to make anything.

Q. Do all of your dolls have names when you make them? If so, does the name “come to you” or do you think it up deliberately?

A. I don’t name them usually if they are going to other people; I leave that to them. I just think of them as a representation of the element they embody . I have named some of the figures that I’ve kept, from characters in books.

For example, I have one with feathers and gems who is my idea of Margaret Pye (Magpie) in the Charles de Lint Some Place to Be Flying. His work has influenced me the most. I see characters I want to make in all his books. Charles and Maryann have quite a collection of my figures and also commisioned one for a friend of theirs several years ago.

Q. Your art is always breathtakingly beautiful. Where do you plan to go with your dolls and figures in the future?

A. I look now at the first doll I made. She is sitting on my desk as we speak with her brush in hand, ready to create. The ones I make today resemble her but yet are different and that is what I’d like to continue doing: Moving ever on in different directions from this beginning.

I’m currently exploring pixie feet, faces and hands, and that is fun.

I’m also enjoying getting back to writing stories. I’ve had quite a few dolls and other items in magazines and I’d like to do more of that.

I’d also enjoy teaching some more. I did a workshop last summer at a camp we were at. There were 30 people there from around 4 years of age to 80, both male and female. It was a shock when I saw how many were waiting for the class, but we had great fun. Everyone made a doll and each one was different. It was so much fun to see how they all did.

Q. Is dollmaking an evolutionary process for you, and–if so–where do you see your dolls and figures going, in the future? Were there significant discoveries ∓ turning points for you, along the path?

A. The most significant stepping stones for me and my art were: Firstly, I could make something that reflected what I could see. Secondly, that following your heart is the most important tool in making dolls. Thirdly, that it doesn’t matter that I can’t cut a straight line or turn tiny fingers out of fabric with these stiff and clumsy fingers of mine. Finally, that I make my dolls and my art for me. That other people love them is a bonus… but not the reason to do it.

Aisling’s notes: Sukie–also known as Ambermoggie–has been a friend of mine for several years, and I’ve admired her dolls and figures for even longer. I was delighted when she agreed to an interview, because I know how busy she is. One of these days, I hope to visit her studio in England.

Q. Your dolls are wonderful! How would you describe what you do as a dollmaker?

A. I make elemental figures and goddess dolls primarily. However I’m always trying new ideas because it stops me getting bored.

Q. How did you get started as a dollmaker?

A. I’ve been making dolls for around 10 years, ever since my husband encouraged my “inner child” within to come out and play.

In my past, I had never been allowed to make things. So, it took me a long while to work up the courage to show the items I made to anyone.

Then, my husband purchased a computer for me to take my mind off my health problems.

While browsing the Internet, I found forums on different crafts. I had never heard of rubberstamping until this. I asked questions and became interested in the idea of papercrafts, and I started to make rubberstamped cards and gifts. From rubberstamping, I went on to mixed media collages and embroideries, followed by freeform beading.

One dark winters unday I was reading Somerset Studio and saw the call for artwork and a story. I started to write a story and part way through had to stop and go ask my husband “How will I make this doll I want to make?” Between us we figured it out and my first elemental was born along with a story. It went to the magazine–and unfortunately wasn’t printed–but that set me off on my elemental journey.

Q. What do you like best about being a dollmaker?

A. My favourite aspect of making them is waiting to see what they want to be. I can never make 2 alike and I never know which element I’m making until I start.

Q. Describe the creative process, when you’re making your dolls and figures.

A. I make my framework and then the doll decides what colour it is. I like the spontaneity of this… It’s an adventure! I do get ideas for other dolls and try to journal them. I then go back to them days or even weeks later, and see what I’ve written and what suggests itself.

I am not very good at drawing so I draw word pictures of what something will look like.

I also get a lot of ideas for stories and art as I am going to sleep. I used to find it hard to sit up and write them down. However my lovely husband gave me a dictaphone for Christmas which is ideal for those sudden inspirations at bedtime.

This is a 2005 interview with Italian doll artist Stefania Morgante. This is a very informative interview, and you may want to print it out to read offline.

Q. What kinds of dolls do you make?

A. Italian…? I don’t know; Italians tell me that I make American dolls and the Americans say that I create Italian-style dolls. I like to think that my dolls are very international.

Mostly, I like to create unusual effects with materials, especially papier-mache. For example, my Pinocchio figure isn’t really made of wood; he’s papier-mache. I’ve also developed a porcelain effect with papier-maché.

And, I love materials of all kinds. They spark my imagination. I love weldments in copper, I love essential oils and terracotta, spices, leaves, beads, stones, bells, and… anything that piques my curiosity!

Last but not least, I love my dolls to have a “lack of perfection.” You will never see symmetry in my dolls.

For example, see my cloth bears. One of my recent teddy bears, Ichnusa, won First Prize (Undressed Bears category) in the 2004 Italian Festival of Teddy Bears.

Q. How did you become a dollmaker? How long have you been making dolls and figures?

A. I have been creating dolls since I was a child, and I have been collecting them for years, too. I think that I inherited my mother’s passion for creating things. She specialized in dresses made with little pieces of fabric that no one would ever have thought to use.

As I grew up, I used to paint, create sculpture and, when I wasn’t studying or reading… Well, I followed my mother’s example and kept creating.

I went online about five years ago and discovered the international world of dollmakers. I met many people, and soon my American friends encouraged me to open my own dollmaking workshop. That has become www.gufobardo.com. Soon I will have dolls patterns, dollmaking kits, and cross stitch patterns.

Also, I hope to offer art lessons, including instruction in painting. And, I have an idea for a challenge to connect the USA and Italy! 2005 will be a very exciting year for me.

Q. Did you study art in school?

A. Yes. I studied at the Art High School in Lecce. Lecce is in the little region of Puglia, and it is best known as southern Italy’s most important Baroque city. Lecce’s craftsmen are respected worldwide for their papier-mache art, especially for religious sculptures.

Then, I attended the DAMS University in Bologna (Art, Music and Performance) where I got my degree in Shapes Theory. My thesis was based on a Sylvia Plath poem that was, in turn, inspired by a de Chirico painting.

Q. When you make dolls, do your ideas arrive all at once? Or, do you have a few ideas, and then later think of some more, and–eventually–this becomes a doll?

A. I plan a doll as I would plan a sculpture. It’s the same approach. I start with something that I saw while traveling, a note, a sketch, or perhaps a fabric in a shop. Sometimes the idea comes from a dream and I’ll sit down to work on it that same day.

At other times, I think-think-think and then–when I see a decoration or a fabric–actually start work after some days or months.

I think that a doll, like any artwork, emerges from layers of ideas, and from things already seen: from books read, vegetables of flowers in my garden, or something that I noticed on TV.

Q. What inspires you as an artist, and as a dollmaker? Do you ever run out of ideas?

A. My country inspires me. I get inspired by the remarkable artistic tradition we have in Italy. For example, this was the birthplace of the Renaissance, and Italy has always been one of the world’s great artistic centers.

The food, the music (Rossini, Verdi, Paganini and so on…), and our characteristic creative spirit inspire me: colors and shapes of our small region, our rich history, culture, and Italy’s legendary wine and food. And, I love our continuous capacity to renew arts and craft. I attended the Bologna university, Europe’s oldest continuing institution of higher learning, and possibly the world’s oldest university!

And finally, my parents are native Italians, one from the south and the other from the north, so I think I can say that I’m completely Italian. And so, my country inspires me.

I won’t make the same doll over and over, just as I don’t want every day to be the same. I love to make things–dolls, sweaters, patterns, kits, angels, witches, amulets, talismans, and thousands of others things–but each one is different!

Q. Tell us how you make each doll unique.

A. Do you need cuddles? Do you want a new atmosphere in your house? In your life? Do you want an angel to protect you? Do you want a special gift for your wife? These are some of the requests that I get as a dollmaker, and I love this!

In Christmas 2003, I was asked to make a witch doll for a girl passing through an awful period. So I wrote a “magic formula rigamarole” and I tied it to the doll’s arm. The girl has been so happy, the lady who ordered it bought a second one for herself! I think to dream is indispensable for everyone!

Q. How do you name your dolls?

A. Well… sometimes my dolls haven’t a name until they are finished. And, sometimes the name is in my mind when I start, but it doesn’t suit the doll, after all. I love the sound of some words like “Camilla,” “Desiderio”(one of my angels is called Desire), and “Coriandolo” (coriander). These words inspire figures.

For example, right now I’m creating a cross stitch pattern of a colorful cat, and I don’t know why, but it’s called “the dreams of Theo”.

And, occasionally I give dolls to my friends’ children, and they have changed the dolls’ names. For each child, the doll seems to have another name. I don’t know why, but this always delights me.

Q. If someone wants to become a professional dollmaker, what advice would you give them?

A. Consistency, perseverance, discipline, and a sense of your own artistic identity. Learn from every person you meet. Remember, communication is essential! Keep these in mind, and good fortune will result.

Do you have a collectible Barbie® doll with “green ear”? Here’s how to remove most of it safely.

I haven’t found any product that removes ALL “green ear” and does it safely. Also, I wrote this article years ago, so there may be better products for this kind of project.

My Barbie / Green Ear Story

I have a great, vintage Barbie® doll in a red swimsuit and her original box, complete with stand.

However, that Barbie had green spots – stains in (not just on) the plastic -where her earrings used to be. It was a developing tragedy as the green spread a little more each year.

Then, I read that Extra Strength Clearasil will remove most of the green discoloration (but sometimes the skin dye, too) by leaching out the color. The active ingredient is Clearasil’s organic peroxide.

The cleaning process can be slow, taking up to a month, sometimes longer. Here’s what I did, and it might work for you.

Disclaimer: This information is provided as a guideline, not as specific advice for your dolls. The author assumes no responsibility for your repair & restoration efforts, and speaks only from personal experience, providing opinions about repairs.

If you have any questions, please consult a qualified doll hospital.

How to use Clearasil to reduce or remove Barbie “green ear”

• Apply the Clearasil with a cotton-tipped swab. (Some choose to use the tip of a toothpick, for extra-precise application.)
• Be sure to apply it to the stain. Avoid any painted areas, or “just fine” skin-colored areas.
• Change the Clearasil every few hours, after each application has dried. (For me, the most dramatic reduction of green appeared after the first application, in about two hours.)
• Keep in mind that the green may get worse before it gets better, as the green inside Barbie’s head is leached out, and becomes visible. (That didn’t happen with my doll.)

And, before you choose one approach to the ‘green ear’ problem, it’s not wise to mix treatments if one doesn’t work. (The plastic can turn brown.)

But remember, most doll restorers say that the green stains cannot be fully removed from most dolls.

Important: I accept no responsibility for results you may have, so please test the Clearasil on a not-important part of any stained doll (or other vinyl item) that you want to clean.

This cleaning tip is strictly for items where the staining is so severe, you have nothing to lose, and safer choices haven’t worked.

Other products that may work as well or better…

Twin Pines of Maine makes “Remove-Zit”, a product with organic peroxide that is intended specifically for treating plastics safely.

Related Link: Tips for Restoring Barbie and Other Plastic Dolls

More info about vintage Barbie, Ken, Francie, and Skipper dolls

If you’d like to learn more about vintage Barbie dolls, this book (shown at right) might be exactly what you seek!

And a search tip…

Remember that the Barbie^TM name has been trademarked and is very protected by the Mattel company. If you’re searching for more Barbie-related info, you may have better luck using the phrase “fashion doll.”

Important Legal Information

This website has no connection with the Mattel Corporation.

Advice about fashion dolls, including Barbie^TM, is provided as personal opinion. When restoring valuable dolls, always consult a professional before attempting any repair.

The name “Barbie” is a registered trademark of the Mattel Corporation.

Let’s see… did I say enough about trademarks, Barbies and green ear to protect myself..? *LOL*

Barbie® brings out the worst in me, sometimes.

This is a good example.

She’s not quite Toy Story, but she certainly is strange.

I started with a new Barbie doll, bought at a store, specifically for this art project.

First, I replaced her torso with a cloth body, and reinforced the (cloth) neck to hold her head up.

Her arms and legs are jointed, and attached at the hips and shoulders with antique buttons. Her knees are bendable, too.

The reinforcement in her neck makes it possible for you to angle her head how you’d like, as well.

Around her neck I’ve hung a “fetish”-type necklace that I made from glass and wooden beads, bits of fabric, and feathers.

I added a few (removable) “Voodoo” pins in place. The next owner could decide what to do about that.

(I mean no disrespect to those who practice Voodoo, Hoodoo, Vodun, or any related spirituality. She’s more closely related to the tourist-y “Voodoo” dolls sold in very commercial shops in New Orleans & Salem, MA.)

Mostly, Voodoo Barbie was made for every mom who’s spent two frustrating weeks visiting every toy store and website, looking for the exact Barbie doll a little girl asked for, for Christmas.

(Not that I ever did that, mind you. Ahem.)

Designing this doll, I chose to make Barbie’s cloth torso is a “normal” size and shape. In other words, the chick has hips.

It makes her look just a little off-balance and dangerous, and perhaps more normal... whatever that is.

She now lives in the home of a doll collector who appreciates this kind of art.

I have three more Barbies that I view with a slightly deranged look, on days when whimsy and mischief seem very tempting!

Altered dolls usually (but not always) start with ready-made, store-bought dolls. They may be modified or even deconstructed to make a different art doll or mixed-media figure.

These can include anything from themed, customized Barbie^TM dolls, to Raggedy Ann gone wild, to McD’s doll toys that are made into jewelry or chess pieces.

However, that definition of altered dolls is the tip of the iceberg.  For many doll artists, “altered dolls” mean anything that even vaguely resembles a doll.  This takes altered dolls into paper arts, mixed media, and beyond.

My doll in the photo above is from around 2002 or so.  She’s more an assemblage than an altered doll.  My initial concept was to create a futuristic Kachina doll.

The face and feet were cast from existing dolls, using my mold process.  The torso/body was a clear plastic cube filled with opalescent Easter grass.  The arms were a single lucite rod, decorated with feathers.

(Thread didn’t attach the feathers as well as I’d hoped, so the thread was also glued in place.)

That doll was small enough to sit in my hand.  (She was one of several I made at the time, and all dolls from that series are now in private collections.)

Here’s what’s important about altered dolls: There are no limits to what you can do!

December 2011 update

If you’re intrigued by altered dolls, here are some more recent altered art doll articles to inspire you. (If any of these links are broken when you visit, let me know in a comment. Thanks!)

C. Dianne Zweig – Kitsch ‘n Stuff: Altered Doll Assemblages: Using …

Altered Doll Assemblages: Using Up Your Vintage Junk. Creating Dolls Out of Vintage Junk I would love to be able to try my hand at making Altered Doll Assemblages out of vintage odds and ends. Like many of you who are …

Dianne’s illustrations look similar to the altered dolls and assemblages we used to make when I taught at Artfest. They’re quirky and strange and generally wonderful!

For me, those represent some of the roots of assemblage and altered dolls, going back to the Dada movement and maybe earlier.

Next, scroll down this linked article to see a few interesting altered paper dolls. I think this concept could be taken in very wild directions.

inkspired musings

inkspiredmusings.blogspot.com11/29/11

4, 9am – 4pm. I had a fun discovery today -. several completed altered paper dolls! 2 of them are Halloween themed, but I’ll still put them out. Here are 3 that I have scanned. The others need to be resized, etc. and I will share! …

If you like those altered paper dolls, you may enjoy the next examples of altered paper dolls:

Jumbled Crafts: Altered Dolls at Craft Room (offline as of 2020)

jumbledcrafts.blogspot.com6/15/11

Well I have never done anything like this before but it was so much fun. I didn’t know where to start really but the ideas just kept coming as I went along. What a great idea it is to alter a paper doll and I am pleased …

And another:

Sue’s Art of Craft: My First Altered Paper Doll – Love It!

suesartofcraft.blogspot.com
My First Altered Paper Doll – Love It! This month’s challenge at Craft Room is to make an Altered Paper Doll. Click the link in the sidebar for Craft Room Challenge to take part. I’ve never tried anything like this before and must …

Next, some art deco-style altered dolls at Etsy. What intrigues me is that the faces look like the ones I’ve made since 2002 (maybe earlier) using homemade molds. (The same kinds of molds I used for the futuristic kachina, above.)

I love seeing my ideas spread throughout the dollmaking community! (If you have other ways to use cast faces or other doll parts, please let me know. Leave a comment below.)

thechildrensgardenandseedcompany: My Latest Altered Dolls on Etsy

thechildrensgardenandseedcompany.blogspot.com10/28/11

Create a garden that will delight children. Become sensitive to what delights children- smells, textures, tastes…Create a place for adventures! Friday, October 28, 2011. My Latest Altered Dolls on Etsy …

Now we shift to another extreme, a downright creepy altered doll. It’s one of Natasha Morgan’s stylish dolls, inspired by the DC Comic Book character, the two-faced Mr. Dent. (However, it’s not one of the creepiest dolls I found, when I was searching for altered dolls to share with you.)

Natasha Morgan Art Dolls: Harvey – A Two Faced Altered Doll Portrait

natashamorganartdolls.blogspot.com7/1/11

Harvey – A Two Faced Altered Doll Portrait. Named by my Husband after the Two Faced vintage DC Comic Book character Mr Dent, I was inspired to make Harvey by a challenge I was asked to take part in on behalf of my …

If you liked that doll, be sure to see more at Zuzu’s Alter It Monthly.

And finally, returning to altered paper dolls and doll-related paper arts, here are some interesting and elaborate dolls & figures. (The website has music that starts playing on its own. If you’re at work, turn down your speakers.)

ALTERED EXPRESSIONS: Matchbox dolls!!

bloubell-alteredexpressions.blogspot.com5/4/11

Hi Betty, I’m so excited about your Matchbox Dolls tutorial…thank you so much! 🙂 I just love them! …

I could have continued this list for pages & pages, but I think it’s enough of an overview to give you some inspiration and starting points.

The concept of “altered dolls” is huge. From altered children’s dolls (plastic, etc.) to altered paper dolls, to assemblages and found art, to cast elements and odd bits & pieces… there’s a lot to play with!

This is one of a series of pin dolls that I  made by hand.

First, I create my doll collages digitally, using antique photos and illustrations.

When I’m pleased with the design and colors, I print each doll onto iron-on transfer paper.

Next, I apply each doll design to cotton, usually unbleached muslin, raw silk, or a light-colored cotton.

The edges of the fabric are treated with Fray-Chek, a product that prevents the edges from fraying. (You can find it in any fabric shop or sewing supply store.)

Then I sew, quilt, stuff, and bead the doll by hand.

(This is a very relaxing activity, and I often assemble my dolls when I’m traveling by airplane.)

Finally, I add the beaded antennae and a simple pinback, so you can wear the pindoll as jewelry, or attach her to a curtain.

Because these are sewn, quilted, and beaded by hand, not machine, each doll is slightly different, and one-of-a-kind.

These dolls are three inches tall without the antennae, and nearly four inches tall with them.

This design includes the face of my great-grandmother, Annie Maloney Morey. She was a wealthy young woman who eloped to America (from County Cork, Ireland) to marry her True Love, a dashing local lad with eyes the color of the Caribbean and the reputation of a rake.

They had six children and lived happily ever after.

(These “Annie Faeries” sold out within minutes at Artfest 2001.)