In my previous entrepreneurial post this week, I talked about selling doll patterns that I’ve created. I have patterns that I am working on that are not ready for release yet. I had put them on a back-burner while I was working on the art workshops I wanted to teach. Everything is flipped around due to circumstances beyond my control, so it’s all doll patterns a-go-go here in my world right now!
I have five separate monster doll patterns; Harold, Cubby, Clarence, Ginger and Beady. Each single Monster Doll patter is priced at 4€ each ($4.35 USD). I’m not selling a physical product. The Monster Doll patterns are download only! You will need an email account to receive your purchased patterns.
Included in the price of the Monster Pattern is an additional 26 page PDF with more detailed, step-by-step instructions and photographs. Because many people around the world right now are social distancing and/or are under isolate-at-home orders, I have included additional ideas and information for materials usage if the Basic Fabric, Notions and Supplies listed for each doll pattern are not immediately available for the purchaser. The PDF Monster Doll instructions will be sent via email to everyone purchasing a Monster Doll pattern.
For those who wish to use this pattern with school aged children, you’ll find it quite easy to do so. Children 10 and older can work more independently with this pattern, while younger children will require more direction and assistance by an adult. There are multiple instructional possibilities that could be utilized with the Monster Doll patterns. At the very minimum, creating a Monster Doll could be part of a child’s on-going visual arts instruction. These Monster Doll patterns can also be utilized to instruct children about recycling and up-cycling of the materials they already have at home. It can also be used as a means of teaching critical thinking for students, especially when substitutions for the listed materials needs to be made. The finished Monster Dolls could be used as a writing prompt for puppet shows or fictional stories with illustrations.
Easy Peasy Doll Pattern:
I’m also offering my Easy Peasy Doll Pattern. It’s 2€ ($2.17 USD) This pattern is also download only!
The Easy Peasy Doll Pattern is four pages with pattern and instructions. The construction methods of the Easy Peasy Dolls are similar to the Monster Dolls.
If you wish to purchase any of the Monster Doll or Easy Peasy Doll patterns, please contact me via email at Katiekinsman.email@example.com or via Facebook Messenger (Katie Kinsman) or by Instagram DM. I will give you the payment details at that time. You will receive your patterns and directions files via email. They can then be printed out and used.
All of the patterns for sale are for individual use only and not intended for resale.
I’ve spent the past few days experimenting with the most recent tiny doll pattern I’ve created. It’s the same one that I used to create bunnies, bears and ducks. One of the great things about being a visual artist is that I can go from idea to physical object in a relatively short span of time. Revisions and streamlining of the art production process can sometimes take a bit longer. Sometimes, I have to simply put a piece aside so I can think about the problem for a while, and that takes time. At present, I’m still not sure about Stanley’s top hat. It’s merely pinned to the top of his head, instead of being permanently attached. This is because I want to be completely sure about something before committing to it totally. Nothing sucks quite as much as not listening to your creative gut instincts, rushing through a decision, and then having to come up with a way to fix the solution that you thought would work.
The bird and duck dolls contain the most individual pieces of each of the dolls I’ve been creating lately. It’s strange, because it doesn’t seem like a lot of parts to me. They seem to come together quite quickly. The additional hats, dresses and collars feel like they take a lot more time to me. The dress for the little ducky doll Edwina was actually made twice. That was about four hours of work, and I only used one of them.
I took some photos while creating a blue bird. I wanted to try out a new method of attaching the heads to the dolls that wouldn’t require them to be sewn on. I wanted to try this out, because if I ever created a pattern to sell for these dolls, I wanted an easier method than the one I’m employing. That’s not to say that how I sew the dolls heads to their bodies is insanely hard. It’s just tricky. A novice doll maker might become frustrated with the method. I think this is the ‘art teacher’ part of me at work. I want everyone to feel successful when creating art.
I’m still being lazy and not creating a pattern piece for the wings or the tail. It’s just so much easier to cut them out free-hand for me. Each of the pieces that are pinned are two-layers of felt. I used a medium and a dark blue felt to make it more interesting to look at. The yellow pieces, in the shape of U’s are the feet. The kind of longish pieces that’s tapered at each end are the beak pieces. I use a single strand of regular sewing thread, and a blanket stitch, to hand sew all of the pieces together to create the feet, wings, tail and beak.
The picture above shows what all the cut pieces look like once they’ve all been sewn together. I think the only piece I didn’t show was the little pink tongue. It’s about two and half millimeters long and about a millimeter wide. I only cut it out when I have the beak sewn onto the head of the doll and it’s ready to be glued in. For the more easier method of attaching the head to the body, the arms and legs are sewn onto the torso first, then the head is attached. When I sew the head on, it’s sewn to the torso first, then I add the arms and legs. All of the sewing on the head is completed before it’s attached to anything. It’s so much easier to hid knots inside the head on the underside.
I think I’m okay with the new way of attaching the head, but I still think it needs some work. I don’t like how there’s a visible bump between the top of the torso where it meets the head. It really bugs me. The head is securely fastened. I think I’ll crochet a collar to hid this, otherwise it will drive me nuts!
I also made a little pig, because I found a few tiny scraps of some wool felt and I wanted to see how it would work for such a tiny doll.
The felt was harder to work with. It’s a 40/60 acrylic and wool blend. It was a little thicker than 1mm as well. Honestly, I hated this doll when I got to the point of putting the snout on. I was so close to just scrapping it completely. Then I added the ears and the doll started to look ‘right’ to me. Any future piggies will be made with a lighter weight felt, and have a shorter snout I think.
I tried out making a little strawberry head doll next. She went well. I used a 1mm felt for her body and head, but don’t like how her body came out. I may have just been working too fast though. The second attempt at the strawberry head I think was much improved.
I like the dark green for the body better. I also added some stitches for the ‘seeds’ that should be on a strawberry. I like using yellow for this, making the strawberry more ‘cartoony’, but it didn’t look right. I changed to a slightly darker red and it looks much better I think. The new method of attaching the head worked out well for this doll. I think due in large part to the fact that I added a green ruff to look like leaves around the neck.
And what goes with strawberry? Banana! (I love strawberry and banana flavours together!) I like how this little guy turned out. What really kills me is that I had to stop and create a pattern for this little banana, but I can free-hand cut more complicated wings and have them come out almost identical. I suppose it’s because I’ve made thousands of wings over my lifetime of being an artist, and this is the first time I’ve ever made a banana!
The size of these dolls, between 6 and 6.5 cm or so, makes it fairly easy for me to change things around once I feel like I’m getting a bit bored. I always feel like a bit of a lout when I say that, but it’s true. I like solving the problem, and once it’s solved, I want to go on to the next problem. These problems always start with, “I wonder if I could do that?” or “Would this work?” Perhaps it’s not true boredom, but impatience. Or perhaps a combination of the two? I’m not sure. I’m just thankful that I don’t ever seem to run low on ideas for artwork that I want to create. Time is something that I never seem to have enough of though.
That’s what I’m working on this week. What are you working on?
I recently read a blog post by an artist named Salley Mavor regarding how she feels about creating patterns and instructions for people other than her self to purchase and use. You can read the post ‘To Teach or Not to Teach’ here. It was interesting to read about how an artist, who works in the same realm as I do, hand sewing, embroidery, doll creation, thinks about their own original art creation and the creation of patterns and instructions of their original work for sale to others.
Before I go any further, I should note that I have owned a copy of her book Wee Felt Folk in the past. I think it’s a lovely book with clear, easy to follow patterns and instructions for creating incredibly sweet, tiny dolls. I made a few dolls from the book and while they were a lot of fun to make, I found myself more interested in creating my own original artwork and art dolls.
One of the many reasons that I found Mavor’s post so interesting is that I have been working on a project that would at least partially encompass patterns and instructions for doll creation that I may offer for sale. Some of the points that Mavor makes struck a chord within me and made me think that maybe I didn’t want to make and sell patterns and instructions for doll making. This made me feel as though perhaps I had wasted the time that I had already spent planning, writing and creating patterns for my project.
There were three points that Mavor asserts that she feels negatively affect her feelings towards creating patterns and instructions for sale.
Salley Mavor, in addition to being an artist, is also an accomplished illustrator. She creates intricate embroidered illustrations using a variety of different embroidery techniques as well as her own original compositions that are just brimming with amazing details. Her work is enchanting, sweet and elegant all at the same time. The longer you look at them, the more little surprises you find within them, which makes them all the more fabulous!
Mavor speaks about how there have been people wanting to know if she would ever create patterns for some of her illustrations. Which on the face of it sounds like a huge compliment, but is in fact more complicated than that. Mavor states that she feels creating patterns for some of her larger illustrations and pieces of art would stifle her own artistic creativity, because she would constantly be thinking about how to create instructions for other people, instead of being within the moment of creation, actually making the art.
What makes this complicated is that would people ever ask a painter or a sculptor for instructions on how to re-create their original artistic creation? Did anyone ask Picasso for instructions on how to re-create Guernica? Was Rodin asked for instructions about how to re-create The Kiss? This is a weird double standard that artists who work with textile and fiber arts, and something that within a consumer economy, where everything is for sale, customers think that they should be able to get that pattern and those instructions, because, you know, it’s just sewing and embroidery, right? It’s not like…you know, Art of anything. It’s just craft…right? (Okay, I’ll get off my soapbox of sarcasm now.)
Another point that Mavor makes is that she wants to keep some of her own creative secrets for herself. She has her methods of construction and creation that she has honed over decades of artistic practice. Why give that away? In addition, what she does and how she does it may not be something that can necessarily be ‘taught’ via a set of instructions and a few pattern pieces.
I know that I have ways of holding the pieces of felt that I’m sewing together that work for me. Doing it the way that I do it has simply evolved over my own decades of artistic practice. At this point, I don’t need to always create a pattern either. Sometimes I just sit down and start cutting. That’s efficacy and it’s earned by years of dedicated work within an artistic medium(s). That cannot be conveyed through a set of patterns and instructions, unless the purchaser is someone who already has a fair amount of knowledge, skill and ability under their own belt. So, I get that point. I like the idea of keeping some of my magic for myself as well.
Salley Mavor has published a book of patterns and instructions, Wee Felt Folk. She took one of the simpler elements (the dolls) within her own artwork and broke down the construction into easy to replicate steps, complete with patterns. She hoped that people who purchase the book would put their own creative spin on the dolls — alter them so that they are more an expression of the person who is utilizing the patterns and instructions, rather than just an attempt to copy exactly what Mavor creates herself as an artist. As stated previously, I’ve worked with her patterns. I chose to create my own dolls instead, because…I’m an artist too. I want to make my own create visions, not the visions of someone else.
Mavor speaks about being a bit of an outsider within the greater world of Art (with that capitol A). She’s expressed that she doesn’t even really fit with current trends within sewing and embroidery movements, which are much more modern than her personal style of needlework. There is also the resurgence of needleworkers who create patterns and kits for people who want to follow someone else’s creative vision, instead of creating their own unique pieces of work. And that’s fine, but it should be noted that when you create something using someone else’s pattern and instructions, without making any type of creative alterations yourself, you are creating a craft, not a piece of original artwork.
The weird space that I feel as though I tread is not considered Art and not considered craft, simply because I utilize tools, materials and techniques that are not considered by the wider world as a form of Art — with that capitol A — and is somehow less than a painting or sculpture. I’m not bemoaning this; it just seems to be the way that people other than those who work within the same creative realm think when they look at my work.
I can see my own thoughts regarding my artwork reflected in what Mavor writes. There are two big differences between the two of us though. 1) I’m a very, very, very small art creator by comparison and 2) I’m an art teacher.
I truly enjoy teaching people how to create artwork, especially their own artwork. This may mean that they begin their work by utilizing a pattern or technique that I have demonstrated or supplied, but their end product should be, will be, their own. Mavor stated that teaching people how to create using her techniques is not something that she is interested in. And she totally has the right to say that. She doesn’t owe anyone anything, period.
As an art teacher, I have learned how to give the student enough information to get them started, to allow them to get comfortable with the entire creative process, so that when it comes to the point within the creative process in which the student needs to take that leap and put themselves into their artwork, they are brave enough to be unique and add themselves into their artwork. Teaching art is not something everyone can do or wants to do. I love being there when the art begins to happen. When the confidence is built. When the students tries out an idea, and another idea and another idea. I love the planning, creation and implementation of art lessons. I think the biggest part of why I love it so much, is that I want to share with my students this amazing thing that makes me so incredibly happy and I want them to be able to experience it as well.
So, I am going to continue working on my plans for patterns and instructions…and the other things I want to go along with it as well.
Thanks for reading, and I’ll see you again next Tuesday.
These little, handmade Little Ladies (5 and 7 cm) are ready to do some traveling! Each doll is one-of-a-kind, made using a pattern that I designed myself. Each Little Lady comes with her own stand (pictured) and will be shipped in a padded envelope from Finland. Each Little Lady is 40 €, including shipping. If you have any questions, or are interested in purchasing one of my sweet Little Ladies, you can contact me through my email in the contact section of this website!
I’ve created doll patterns in the past with the intensions of selling them. The creation of the pattern itself seems to relatively easy for me to do. Writing the initial instructions is a little more difficult, mostly because I want to make sure that I’m telling the reader everything they should know. I want the people who buy my patterns to be able to have a good time using the pattern, perhaps learn a new thing or two, and creating something that they will truly enjoy.
These are the same considerations that I take into account when I’m teaching students in the art education classroom. I strive to create an art experience for my students in which they will have opportunities to learn, grow as well as being able to express themselves and have a good time doing it.
I would assume to have all the requisite mental and physical tools to design and write fairly good patterns and sets of instructions then, right? I looked over the patterns that I’d designed and written in the past few years and couldn’t shake the feeling that there was something lacking in them. There was some essential element that was missing, but I had no idea what it was.
I mentally chewed on this idea for a few weeks. I didn’t see any huge difference between the types of patterns or templates that I created for student use in my classroom. I had to break down the the actions that my students would take in the classroom and the user of one of my patterns and instructions.
What I discovered is that there are two big differences between teaching students in a classroom setting and selling a pattern to a customer:
I’m not present as a teacher to guide the user of one of my patterns, so that they can have a fulfilling creative experience.
I want users of my pattern to make their own art, not an exact copy of mine, and it’s impossible to guarantee that.
Those two differences, combined with my personal beliefs about creativity and art creation, are the biggest mental obstacles that I have when it comes to creating moderately good patterns.
Teaching art in the public school is a contact sport:
I love teaching children art. Seeing my students create their artwork is amazing. I love being there to see them have those ‘ah-ha!‘ moments, where a concept or technique just suddenly comes together for them and you can see their world get a little bigger. Being an art teacher akin to teaching children how to discover who they are as humans. I’m so grateful for all of the years that I have been privileged to work with students.
The student and I are both present in the same space, at the same time, working together, getting and giving feedback, while they are creating their artwork. Because of this, I’m there to guide them as much or as little as they require.
I never liked having students copy my art lesson examples. I felt as though it was as if they were going through the motions of creating art. Using the tools, materials and the techniques, but not infusing their artwork with their own choices of composition, color, or subject. Not showing themselves reflected within their artwork.
“The teacher drew a panda, so I will draw a panda. I will make my work look like hers, because hers is good.”
Creating art is more than simply using the tools, materials and technique. That’s more exercise than a unique creation of artwork. For art to have life, to have meaning, requires the presence of the human creating the artwork in its creation. Growth takes place because the creator is different after the experience of creating; the finished artwork is a physical reminder of the mental and emotional growth that has taken place within the creator, and imbues the artwork with the importance of that growth.
I never wanted my students to make their artwork look like mine. I wanted them to take the lesson, the art experience that I was presenting to them, and make it their own. I wanted them to put their own unique mark on it.
I think that where I get mentally stuck is that I feel as though the patterns that I create must offer to the user every, single, solitary, solution to an infinite number of questions and problems. To be frank, I tend to have mental plans A-ZZZ ready in my head, juuuuust in case I need them, for many possible scenarios. I’ve done it as long as I can remember. In the art classroom it makes me a very flexible art teacher that can adapt quickly, allowing me to work with the students to help them create the artwork they want to create.
“Yeah. We’re all working on huge Sonia Delaunay-inspired mixed media pieces, but I want you to use the colors you like, and the shapes you like, and the composition you find the most personally satisfying. Use the tools or don’t use them. It’s up to you. Don’t want to use the oil pastels? Here, pick some paint colors. I want to see your artwork.”
My lessons are simply a blank pattern, that the students finish in their own unique way. Once I had mentally sorted this out, my problems creating patterns for other people to use became clear. The pattern is just a starting point. Once you learn how the pattern works, you can then begin to alter the pattern to suit your own specific creative needs.
My art is mine. I am the audience.
As a practicing artist, I’m constantly creating my own patterns for my work. There are times in which I don’t feel as though I require a pattern and just kind of ‘wing it’, but that’s the benefit of about three decades+ of accumulated professional efficacy at work. I put myself into every piece that I create.
No one tells me how to create my artwork. I research materials and techniques. I create test pieces to make sure that I have a construction method or technique well in hand before I start a new piece of art. I never listen to advice from non-artists/creators that begins with, “You know, you should make…” I know that this advice is meant well, but more often than not, the person offering it doesn’t know why I make art. And that’s okay.
I think there is also a part of me that thinks that if I create patterns for other people to use, that in some way, I’m giving away my own ‘magic’ for free. That there will be someone out there, who takes my ideas, my methods and techniques, and calls them their own and that somehow I’m materially damaged because of that. It’s completely irrational, but I thought it should be noted, as it is something that crosses my mind as regards the creation of patterns to sell.
So…what do I do?
I need to go through the mental block, or around it, or maybe under it:
With all of the above, swirling around in my mind, I thought I would try and create a simple pattern for a doll that people could download for free. In the download, you’ll get a pattern, a list of tools and materials and some very basic directions that show the user how to create an articulated doll using recycled materials (carton board, cardboard, magazines) as well as easy to find tools and materials like scissors, glue sticks, pencils, buttons, pipe cleaners and wire, and other things that you may have around the house, like fabric, felt and yarn.
Here’s the thing, I don’t show you how to create a face, or clothing or hair. I suggest materials, but how they are to be used is up to the person using the pattern. Some people may want to only use colored paper and markers to complete their doll. Other people may want to use wiggly eyes for the face, and add a lot of texture with things like beads or beans glued to the cardboard surface of the doll. While other people may want to paint fabric and then wrap each individual doll piece, and using small pieces of wood to put the doll together instead of buttons and pipe cleaners. There may be people who want to use a copier to increase the size of the pattern, while there may be others that want to make the wrists and ankles moveable.
The thing that scares me, and makes me feel like the user of one of my patterns will not be happy with the pattern, instructions or the art they create, is that I’m not there to guide them. I have no part in the users creative process beyond making a pattern available to them. If they don’t like the pattern, they could tell everyone they know that they think I stink and am a bad pattern maker and everyone on the planet should avoid me, my artwork and my patterns at all cost.
Whatever the user of this pattern does with it, I hope it is a unique expression of who they are and that they have a very good time creating their own artwork.
(I will have a Finnish language version of this pattern added very soon. I am having a native speaker go over the Finnish before I post it.)