Fairy Houses

FAIRY
HOUSES
How to Create
Whimsical Homes
for Fairy Folk
Sally J. Smith
MINNEAPOLIS, MINNESOTA
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2017Quarto Publishing Group USAInc. Cool Springs Presstitles are also available at discounts in bulk
Text2017SallyJ. Smith quantity for industrial or sales-promotional use. For details
Photography 2017Sally J. Smith contact the Special Sales Manager at Quarto Publishing Group
USA Inc., 400 First Avenue North, Suite 400, Minneapolis,
First published in2017by Cool Springs Press, an imprint of MN 55401 USA.
Quarto Publishing Group USA Inc., 400 First Avenue North,
Suite 400, Minneapolis, MN 55401 USA. Telephone: (612) 10 9 8 7 6 5 4 3 2 1
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ISBN:978-1-59186-672-5
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Visit our blogs atquartoknows.com Softcover edition: 978-1-59186-6-725
Library of Congress Cataloging-in-Publication Data

All rights reserved. No part of this book may be reproduced in Names: Smith, Sally J., 1954 author.
any form without written permission of the copyright own- Title: Fairy houses : how to create whimsical homes for fairy
ers. All images in this book have been reproduced with the folk/ Sally J. Smith.
knowledge and prior consent of the artists concerned, and no Description: Minneapolis, MN, USA : Quarto Publishing
responsibility is accepted by producer, publisher, or printer Group USA Inc., 2017.
for any infringement of copyright or otherwise, arising from Identifiers: LCCN 2016033755 | ISBN 9781591866725 (plc)
the contents of this publication. Every effort has been made to Subjects: LCSH: Nature craft. | Fairies in art. | Dollhouses.
ensure that credits accurately comply with information supplied. Classification: LCC TT157 .S543 2017 | DDC
We apologize for any inaccuracies that may have occurred and 745.592/3dc23
will resolve inaccurate or missing information in a subsequent LC record available at https://lccn.loc.gov/2016033755
reprinting of the book.
Acquiring Editor: Mark Johanson
Creative Director: Laura Drew
Project Manager: Alyssa Bluhm
Art Direction and Cover Design: Cindy Samargia Laun
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Book Design: Amelia LeBarron

Book Layout: Wendy Holdman
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CONTENTS
4 D E D I C AT I ON
5 AC K N OWL E D G ME N T S
7 I N T R OD U C T I ON
9
CHAPTER 1
INSPIRATIONS: DESIGNING WITH NATURE
37
CHAPTER 2
BLUEPRINT FOR A FAERIE HOUSE
53
CHAPTER 3
ITTY BITTY NITTY GRITTY: CREATING
MAGICAL FAERIE HOUSE COMPONENTS
101
CHAPTER 4
ADDING TWINKLE AND STYLE:
LIGHTING AND INTERIORS
127
CHAPTER 5
FINISHING TOUCHES: ROOFS, BASES,
AND EXTERIOR DETAILS
16 3
CHAPTER 6
BUILDING A FAERIE HOUSE FROM THE
GROUND, UP
186 INDEX
190 ABOU T T H E AU T H OR
192 C ON VERS I ON S
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DEDICATION This book is dedicated to the living earth and the visible and
invisible beings with whom we share this extraordinary place
we all call home.
In memoriam, this book is also dedicated to my dear feline

companion Oliver, whose endless patience and love are
intermingled in mysterious ways with many of the creations
you will find in these pages.
Oliver was no ordinary cat. For the past 14 years he

accompanied me on many of my building and gathering forays
into the forest and in all sorts of weather. He was especially
fond of the crisp, cold days of winter. His playfulness helped
keep me lighthearted and his animal instincts helped keep me
open to the subtle changes in the forest around us. He brought
joy and delight to each and every step out our front door. He
was often by my side as I made many of the images in this
book, inspecting the faerie houses and adding his comments
when he felt they were needed.
So it was a great shock when, just as this book was finished,

his life also came to a close. Olivers journey done, he slipped
away peacefully in my arms, in the garden on a beautiful late
summer day.
Blessed be one and all.

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ACKNOWLEDGMENTS
There are so many people I wish to thank who have helped make this book:
Katie Elzer-Peters, who was given the impossible job of editor, coach, cheer-
leader, and head-weeder, and did it all with cheerfulness, professionalism, and
enthusiasm. Thank you, Katie!
Jonathan Gunson, who encouraged me from the very first Milkweed House.
My father, whose last words to me were to keep making faerie houses because it
wasimportant.
My mother, who gave me life and a love of gardens and flowers.
My sisters, who had to put off so much while I worked on this.
Elizabeth, who taught me to take care of what I was given.
Hilary Matthewssupporter-in-chief and fellow wild-woman.
Paul Wheeler at LGLfor several decades of first-rate friendship and
professionalrepresentation.
Derek Muirden, who shot hours of faerie house videos in the magical light of
the Adirondacks for his PBS show and became a good friend in the process.
Leslie and Aleta at Amber Lotus for making my work look so good.
The other: SJS, Stephen, who gave me the tools I needed to get started and
helped keep the magic alive, along with MM, his wife, who is the epitome of
tenacity.
The Sisters of the Sacred Vessel, who supported me with unconditional love
and support for this projectyou helped more than you know.
To Jon Hancock for phenomenal technical support and faith in me as an artist.
To dear friends Robyn, Robert, Davie, and many others . . . you know who
you are.
To all my many fans, Kickstarter supporters, and customers who helped
keep the lights on and the computer(s) humming (even after the first one died).
To you, dear reader, who knows that there is still plenty of magic left in the
world and who wants to make some more.
I am most grateful to the Invisible Beings who live with us every day and who
guide me to secret places of beauty and magic, who protect me out in the wilder-
ness while I work, and who make their presence known to anyone who will take
the time to slow down and pay attention. This book could not exist without their
gentle presence.
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INTRODUCTION
T his book is definitely a different kind of faerie book. It will take you from the world
of dreams and imagination right down to the earth by way of practical matters
learning how to actually construct and build detailed faerie house creations of your very own.
Its filled with nuts and bolts, practical information, and step-by-step guides that teach you
how to build your own enchanting creations.
Ive written this book with the skillful crafter in mind. If youve never made anythingwith
your hands before, you may find the tutorials in these pages a bit challenging, so start withthe
beginner projects. If you have some experience with putting things together, this book will
open new doors of creativity for you.
Our main focus will be houses built in the craft studio (not outdoors), though I will
cover some of the basics of outdoor constructions. This book presents basic faerie house
construction as a series of steps or phases. First, youll make the small elements, such as win-
dows anddoors. Then youll construct the main body of the house. Finally, youll put it all
together and place it in the landscape. It may sound simple, but there are loads of tricks and
detailed techniques that I share in this book to make the projects easier for you. Ive devel-
oped these over the past decade with practice, trial, and error, so you dont have to make the
same mistakes.
A word to parents of crafty kids: This book may be suitable for talented older kids, as well
as young adults who want to learn more about this subject. I find that young people learn a
great deal about structure, form, design, and ingenuity by taking up the craft of faerie house
building. Perhaps they are budding architects or engineers in the making, or stage designers
or movie-makers trying to develop their dreams and visions. If so, this book may be helpful
to them because we cover various construction methods in miniature that they may be able to
apply to their own creative projects. These houses are works of art, howevernot toysand
should be treated as such.
Ive written this book as I would speak if we were sitting together in my studio and I was
guiding you through your very own project. I hope that learning some of these simple skills
and methods will enable and embolden you to take your creativity as far as you want. It is
satisfying to make these little structures, and everyone always benefits from more magic and
creativity in their lives!
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C HAP T ER 1
Inspirations
D E S I G N I N G W I T H N AT U R E
W hether you bring your tools and build onsite or take a

few photos and go home to conjure and create the per-
fect dwelling for the space youve discovered, its always best to take
your creative cues from the natural world around you. As you look
to nature for inspiration and building supplies, you may also find
that unexpected things happen, like discovering a perfect faerie nook.
Perhaps this is the faerie folk letting you know they approve!
Inspired by the tiger lilies that

grace my garden every year,
I built this tiny house to be
enjoyed by the faeries when
the flowers are in full bloom.
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OP P OS I T E:
The Cedar
BasketHouse.
This ephemeral
structure encloses
the charming space
nestled between the
trunks of a few white
cedars. It is made
entirely from materials
found nearby. The
mushrooms were not
present when the
house was built, but
when I returned the
next day to take the
photos, they had all
magically appeared.
Sometimes delightful
things happen when
we play respectfully
with nature.
LEF T:
Autumn Leaf Gazebo.
This observation
gazebo perched over
the small waterfall
provides for ideal
viewing of red and
golden autumn leaves
drifting downstream.
The bridge made
from pinned-together
autumn leaves ensures
that only the light-
footed will be able
tovisit.
INSpIRATIONS
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RI GHT:
The GoldenDoor.
Sometimes a tiny
space can be
transformed with a
simple addition. I
made this doorway
in the studio using
eco-friendly glues and
techniques so that it
could be left in the
tree roots for others
toenjoy.
OPPO SI TE :
Emerald Moss House.
Some locations just
beckon to us with
possibilities. This site
along a remote trail
was such a location.
The stone house took
a week to make with
all locally sourced
materials, but all the
moss was already
there. Sharp-eyed
hikers enjoyed finding
the house for several
years until nature
claimed it back.
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STUDIO-BUILT HOUSES INSTALLED OUTDOORS
When youre learning to build faerie houses, crafting in the studio is easiest. If you have a particular destination
inmind for your faerie dwelling, take some measurements before you build. That way youll know the house will fitin
your chosen location.
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ABOVE : Fernwood Cottage. I created this rustic cottage OP P OS IT E: The Bellflower House. A rugged alpine cliff
in the studio for this particular locationtucked under a festooned with wildflowers was the perfect location for this
clump of maidenhair ferns (my favorite). There were moments unusual house made from birch bark. After taking the photos,
when dappled sunlight filtering through the leaf canopy high I brought the house home with me to be used in a different
above the woodland garden caught the edges of the cottage setting years later.
and brought the whole scene to life.
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INSpIRATIONS
O PPO SI TE : The Adirondack Faerie Lodge. A BOV E : High-Summer Cottage Garden House.
This house weighed 20 pounds due to the stone foundation A neighbors garden bursting with color inspired this rather
and was a challenge to haul up the mountain! I replanted the formal home with blue-glazed windows that match the
cushion mosses back in my garden (where I got them) after blue blossoms in the background. Imagine looking out the
the photoshoot. windows of this house and seeing the daisies so close!
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ABOVE : The Dogwood Chateau. Tucked under some OP P OS IT E : The Beach House. Using materials collected
fragrant balsam branches, this tiny house glows with from beaches from around the world and recycling a
welcoming wonder. Some houses can manage a few days previously used house (can you find it in these pages?), I
in cold and snow (if the snow is dry), but for the most part, created a sumptuous beach house dwelling for a few days of
scenes like this are created for the moment and live on only high summerenjoyment.
CHApTER 1
in photos. This house now lives next to a stone fireplace in a

lovely home, where it looks equally magical.
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ASSEMBLED ONSITE
WITH STUDIO-BUILT
COMPONENTS
Its a deep pleasure to work onsite and go with
the flow of natural nooks and crannies, interest-
ing building materials, or particularly magical
spaces you happen upon. To make creations
that are even more satisfying, try bringing a few
premade components, such as doors and win-
dows, with you to enhance your projects. The
pre-made elements add a lot of detail and save
on construction time, which can be limited
when working outside.
Brookwater Pavilion. This Japanese-style

CHApTER 1
teahouse made with ferns and flowers is

even more charming with the addition of the
birch-bark walkway.
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The Hosta Treehouse.
This house was
custom built for this
location. The two shelf
mushrooms were alive
and attached to this
tree, as were the ivy
strands growing up
the trunk. The main
house, lower door, and
balcony were separate
elements designed to
rest upon the fungus.
Live flowers and leaves
give it a bright finish.
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Marsh House. Imade
much of this structure
in pieces ahead of
time, but I found the
roof finial and the
doors bark decoration
near the site. I sourced
all of the twig supports
and platform from the
edges of the pond
and built onsite. This
was a difficult location
for building because
the beaver pond was
sodeep!
INSpIRATIONS
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Mossy Manor House. I made all of the
windows and the tower for the house after
finding this moss-covered stump. I collected
the shelf mushroom awnings, as well as the red
berries and flowers, nearby, and made the door
onsite. This house is a lovely celebration of the
forests bounty.
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Stonewood Cottage. The front wall of the
house and the tower were built ahead of
time for this lush location. I collected flowers,
berries, and accent stones nearby and built all
of the leaf roofs onsite, pinning them together
withthorns.
INSpIRATIONS
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WILDCRAFTING: FAERIE HOUSE BUILDING ONSITE
This is the most elemental state of faerie house building, and one that youll enjoy more as you gain experience. It is possible
to build charming dwellings with nothing but the materials you find scattered about. While youre likely to mostly make
faerie houses indoors, its fun to occasionally craft a surprise dwelling outdoors for an unsuspecting faerie (or person) to
stumbleupon.
Stone Garden Hut. This house is made with dry-laid stones, just like human-scaled stonework. These houses, however, are
a bit of an illusion because theyre not really hollow on the inside. Stone houses last longer and are easier to build if they are
constructed as solid structures that give the illusion of having an interior. You can do this by placing a dark stone behind the
door window and creating a deep window well for the round window. This house lasted through several harsh winters because it
CHApTER 1
was solid and well built.

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I love working with flowersthey just naturally seem like places faeries would have tea or
take a nap. The following are a few of my favorite flower houses.
The Tulip Tea House.

Made from a single
spring tulip, daffodils,
and red fern fronds,
this delicate house
perched in a miniature
rhododendron seems
like a perfect place to
sipsome Faerie Tea.
INSpIRATIONS
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Part of the adventure of building in the wild is searching for special locations. You never know what you may find out in
the woods, in a park, or in your own backyard. Seeing new potential in simple materials or settings is part of the learning
curve. The more you let yourself explore and create, the more you will see each time you venture out looking for magical
experiences and materials.
O PPO SI TE : Spring Gazebo. Hidden in the spring border A BOV E: Dogwood Duplex. On a moss-lined bank of a
garden is this delicate gazebo made with pussy willow quiet river, this little stone structure seemed to just build
twigs and spring blossoms all bursting forth from a tuffet of itself. I collected all materials within a 100' stretch of the
cushion moss. river: driftwood, stones, shells, and birch bark. I came back
the next day and saw that someone else had added some
extra decorations, which delighted me completely.
INSpIRATIONS
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O PPO SI TE : Forest Moss Palace. A lush, moss-covered A BOV E : Rivertwig House. Delicate autumn twigs, grasses,
stump was the base for this 30"-tall creation. The ground and milkweed pods are arranged in an unusual house that
cedars (a protected species) were already there, which made moves gracefully in the wind. Milkweed pods make excellent
the spot irresistible for embellishing. faerie boats too!
INSpIRATIONS
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ABOVE : Riverstone Tower. This 3'-tall stone tower was OP P OS IT E: The Ice Queens Palace. I collected icicles from
made entirely from materials collected along the river. It took the shores of a freezing lake to make this house. Ice sticks
three to four days to build but was enjoyed by many, as a together very well with a little bit of water and snow when the
nearby bridge allowed everyone to easily see the project. temperatures are between 22 and 28F. Just hold the ice in
place while it sets. Go slowly and carefully while building and
you can create glittering palaces with surprisingease.
Faerie house building out in nature does not have to Ready to build? The next chapter outlines the tools and
CHApTER 1
stop in winter. Some of my favorite houses are made from materials you will need to make fabulous faerie creations.
ice andsnow.
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C HAP T ER 2
Blueprint For
a Faerie House
B efore we can get down to the basics of building, I need to
teach you about the various elements, processes, and mate-
rials used in faerie house construction. The ultimate location where
you plan to place your faerie house will impact the design and mate-
rials used, as will your skill level. Here are some essential tips to help
you orient yourself as you design your first creation.
LOCATION! LOCATION! LOCATION!

The first place to start in discussing the building of faerie houses is to
An extravagant Faerie Chteau consider whether you want to work strictly outdoors or if you want
perched on the edge of a quiet to create your house in a studio or indoor location.
lake is kissed by morning light.
Sustainably harvested cypress
knees make excellent bases for OUTDOOR FAERIE HOUSES
treehouse-type constructions. Building faerie houses outdoors with materials found right in the
immediate area results in sculptures that are spontaneous and fun
but not very durable. Locally sourced takes on a whole new mean-
ing when you are looking at stumps, forest floors, or other natural
locations for building materials. A general rule of thumb is to collect
respectfully and leave living materials in place untouched. While it is
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true that some of my images contain fresh-collected leaves and flowers,
I always did so following sustainable practices and asked permission
first . . . even from the plants themselves. Sometimes, even if they are
Items built to be left outdoors
plentiful, a tree may not wish to share its leaves. Consult your intuition
must be constructed using only
and respect the answer that comes.
natural materials and non-toxic
glues, which means using no hot These little creations are naturally ephemeral as they come from the
glue or glue guns. This glue is earth and return to it. Its likely youll make your little house and enjoy
made from plastic, so it will not it for a bit, only to leave it for others to discover while it still stands.
degrade and can cause harm to Oftentimes the site itself will help guide that process.
wildlife. Please work respectfully
When building outdoors, you can bring premade elements, such as
if you are going to leave your
doors or windows, with you. I like doing this because it adds creativity
studio-made embellishment
outsidepermanently. and sophistication to the design. Some things are difficult to make
CHApTER 2
Once you start creating, youll find inspiration everywhere Here is the same location with the addition of a few twigs
such as this moss- and fungi-covered tree. and leaves. Sometimes less is more.
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out in the field but can be made in the studio
ahead of time. I keep a stash of premade items
in a basket to take into the woods with me. It is
great fun to work thisway!
Making houses for different seasons gives
us fabulous opportunities to expand our crea-
tive expression.
This studio-built door turned into a perfect

faerie portal.
When this real pumpkin house began to BLUEpRINT FOR A FAERIE HOUSE
collapse, I retrieved the door and window to be
used again in a different house. Can you find
them in these pages? If you want to create a
permanent pumpkin house, make or buy a faux
pumpkin to use as your base. Proof 1 2C
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A festive holiday house made from a hollowed-
out pomegranate. I used hawthorn thorns to pin
the doorframe and awning in place. I used eco-
glue to make the window lattice ahead of time
and used more thorns to pin the latticework
to the inside of the windows. Holly covers
the top opening. Because the house was 100
percent natural, I left it for the woodland faeries
toenjoy.
INDOOR FAERIE HOUSES

Building a faerie house indoors in a controlled environment with lots
of tools, pre-gathered or purchased materials, and plenty of time allows
you to make one-of-a-kind, truly amazing artistic creations. Houses
that will be kept safely indoors (with an occasional visit to the garden)
can be made with more durable components and adhesives, and with
more luxurious decorative elements such as battery-powered lights,
sparkly glass beads, velvet leaves, wallpapers, and so forth.
SELECTING A HOUSE STYLE

After choosing a location (indoors or outdoors), decide whether the
house will have round/curved walls or flat ones. There are construction
challenges to each design style. For example, doors and windows are a
bit more difficult to install on curved walls. Flat-walled houses require
more creativity on your part to ensure that they dont look like minia-
ture human houses. Once youve had a little experience with each, you
will feel comfortable using either design format.
Here are some examples to illustrate the point.
CHApTER 2
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BLUEpRINT FOR A FAERIE HOUSE
TO P R O W: A round-walled house with and
without its roof.
B O TTO M R O W: A flat-walled house with and
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DESIGNING & BUILDING
A FAERIE DREAM HOME
Once you have decided whether to use curved or flat wall construc-
tion, its helpful to make a quick sketch of the house so you know
where you plan to put doors, windows, and towers on your house. You
should also think about the type of roof youd like to build.
Once the sketch is done, you can gather your materials. Select
interesting materials to inspire constructionperhaps a particular
twisted branch, a lovely jewelry finding, or a special shell or stone that
youve found. Dont worry about having absolutely everything on hand
before you begin, as part of the processthe adventure of creatingis
going out to find additional bits for your project to enhance its design.
When you have a basic plan for your faerie house, youll follow
these general steps to build it.
1. Select and prepare the wall materials, as well as the baseif

the house will have one.
2. Create the individual elements for the house such as doors,
windows, vestibules, towers, porches, and so forth. It is much
easier to create these elements separately ahead of time and add
them to the body of the house.
3. Install the doors and windows while keeping in mind whether
the house is to be finished on the inside or not, if lighting will
be added or not, and if the roof will be removable or not.
4. Attach towers, bay or bump-out windows, decorative outside
features (such as vines and twig trim), and prepare for the
roofattachment.
5. Install lighting, keeping the battery pack handy (but as hidden
as possible) so its easy to operate the switch and change the
batteries, when needed.
Here are two sketches for the houses youll 6. Finish the interior walls, including decorative elements and
learn how to build in Chapter 6.
trims, lighting sconces, window seat upholstery, and so forth.
Final finishing is done at this step if the house will have a fixed
roof. If the roof will be removable, finishing can be done later.
7. Build the roof(s). Build attached roofs directly onto the house.
Build removable roofs separately. Add dormers, towers, chim-
neys, and finials that are part of the roof. Finish the inside of
CHApTER 2
the roof if it will be removable.

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8. Create and install the floor for the house. If a fixed roof has The base of the house adds just as much to the
overall look and feel as the rest of the elements.
been installed, this will be your final chance to make any Learn more about constructing basesin
adjustments to the interior of the house before it is sealed up. Chapter5.
For removable-roof houses, adding the floor is usually com-
pleted before the final interior finishes are done.
9. Add final landscaping details to the house. If you desire to
attach the house to a base, do that now as well, and landscape
around the base.
Chapter 6 will show you step-by-step instructions for house building.

FAERIE HOUSE TOOLKITS
If youre like me, youre always going to want to have your faerie house
toolkit handy because you never know when inspiration might strike!
There are certain tools, such as hand pruners, that I always carry when
Im walking about, looking for materials or building faerie houses in
nature. Other items, including things like glue guns and epoxy resin,
are only used indoors, so I have two different toolkits with a few items
that are common to both. Because building out in nature requires
respect for the environment, I tend to use a lot of thorns, raffia, and
cotton/linen thread to hold things together, as they will eventually
break down and return to nature.
Lets take a peek at my outdoor kit first.
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OUTDOOR TOOLKIT
There are a few more tools in my kit that I bring with me Leather gloves
that are not in this image because they are larger, but I Small foam kneeling pad
always bring them with me and Im happy that I have them Collecting bags or baskets
when I work in the woods. They are: Notebook and pen
J N
X
M Y
I K
L
T
P U
O
Q
W
V
C D
A B E H
F G
(A) Fine-toothed flat saw, (B) small, sharp hand knives, (C) tweezers, (D) sandpaper, (E) florists wire, (F) micro garden snips,
(G)long-nosed garden snips, (H) hand pruners, (I) wooden clay sculpting tools, (J) raffia or other natural fiber twines and heavy
threads, (K) awl, (L) folding multi-tool device, (M) florists water piks, (N) surgical glovesmandatory for mushroom handling,
(O)wooden clothespinshelpful for holding things together during assembly, (P) cotton threadvarious seasonal colors to
blend in with seasonal foliage, (Q) small scissors, (R) hawthorne thornsmy essential fastening method for outdoor creating,
(S)natural insect repellent, (T) safety matchesonly for emergencies, (U) assorted sewing needlesfor stitching and sewing
items together in the field, (V) small rulerto help estimate distances during construction, (W) marker pens, (X) 1"-wide natural
bristle brushfor sweeping and cleaning the site, (Y) large, old spoonfor digging and landscaping the site.
CHApTER 2
Proof 1 2CT
44

STUDIO TOOLKIT
The toolkit for studio work contains more carving, cutting, Tools not shown but part of my studio collection:
and sculpting tools as well as various kinds of adhesives.
Flat, fine-toothed draw saw
Below is my basic set of tools that I use in the studio.
Coping sawessential for cutting plywood bases
Small hand drill and bits
P
J
M
Q
K O
G
H

A
B E
D I
C F
(A) Fine-toothed flat saw, (B) 2" flat-bladed knife, (C) flat, chisel-bladed knife, (D) tweezers, (E) sandpaper in many sizes/grits, (F)
florists wire, (G) micro garden snips, (H) long-nosed garden snips, (I) hand pruners, (J) wood carving gougesfine and extra-
fine sizes, (K) fine and extra-fine craft knives, (L) wooden clothespins, (M) awl, (N) needle-nosed pliers, (O) regular and fine-point
scissors, (P) wood-colored two-part epoxy adhesive, (Q) 4" glue sticks for hot glue gun, (R) hot glue gun, (S) clear epoxy resin,
2-part resin.
Proof 1 2CT
45

BUILDING MATERIALS
Let your imagination run wild! Between your backyard and your
neighborhood craft store, you should be able to find everything you
When sourcing materials, always need to create all manner of magical faerie dwellings.
keep the idea of scale in mind.
What might be a tiny bead on COLLECTING MATERIALS FROM THE WILD
the end of an earring could serve
Take a look at the inspiration pictures to see what you can collect to
as a full-sized doorknob for a
faerie house. Choose materials
build your faerie house. Dried mushrooms, twigs, bark, lichens, seed
that look harmonious together in pods, and leaves can all help enhance your project and make it more
terms of size, and that will help inviting for faerie folk.
you recreate a tiny world. Mostly, Keep these tips in mind while collecting materials:
thinksmall.
Never pull bark off of a living tree, as it can cause irreparable
and irreversible damage to the tree.
Collect first on your own property, and always ask for permis-
sion when collecting on someone elses. Follow all city, state,
and federal laws for removing items from public property.
If removing material from living plants, such as leaves from a
tree, never take more than 5 percent of the overall plant mass.
(That is likely to be much more than you would ever possibly
need.) Ask permission from the plant first before collecting.
Never collect protected or endangered plants.
Here are some of my favorite building materials.
Twigs and branches.

These are twigs and branches that I commonly use. Of course, what
is available in your area may be different. Whenever possible, collect
twigs and branches that have already been shed naturally. Make friends
with your local garden center so that you can stop by when theyre
pruning. This can be an excellent source for beautiful and unusual
twigs, vines, and branches.
Fresh twigs and small branch cuttings can be bent and shaped into
positions that will be useful for construction purposes later once they
have dried. For example, bend dogwood or willow stems into com-
plete circles and wire them together. The twigs will then dry in that
shape and be useful for windows later on. You can also make arches for
Chapter 2
doorways this way. It takes a bit of planning, but the natural-looking

results are worth it.
Here are some of the many different kinds of twigs and branches
that go into making my faerie houses.
Proof 1
46

I
B
H
G
A C
(A) White birch branch with dark twigs, (B) flame willow branch, (C) white cedar root, (D) driftwood, (E) willow twigs, (F) roots,
(G)white cedar twigs, (H) birch twigs, (I) birch branches , (J) corkscrew hazel twigs, (K) redosier dogwood twigs.
KEEPING IT TOGETHER: A FEW WORDS ABOUT GLUE

There are three main types of glue that youll use to Clear epoxy: Also strong and long-lasting but slightly

build your faerie house creations. runnier than wood-colored epoxy. Comes in two parts
and mixed as needed.
For studio-building use:
Whenever you are using glue, take care not to get
Hot glue: Primarily used for temporarily anchoring
drips on the outside of the house. Epoxy sets very
pieces in place while you build. Usually reinforced by
quickly and is nearly impossible to remove, unlike hot
epoxy. Applied via hot glue gun.
glue. This is especially important when working around
Wood-colored epoxy: The type of glue youll most hinges, as you can accidentally glue your hinge shut.
often use. Strong, lightweight, and long-lasting.
For outdoor construction:
Comes in two tubes, mixed in small amounts as
needed. Follow package instructions and apply There are eco-glues that can be used for certain
withtoothpicks. applications, but drying time is so long that I generally
avoid it, ifpossible.
Proof 1 2 T
47

Birch bark samples.
Because I am blessed to live in an area where birch trees are abundant,
it is one of my most commonly used building materials. I love working
with it because it is so versatile and because it comes in a wide range
of colors and textures.
Note:
Never collect bark off a living tree! The one exception with birch bark
is if the piece is being naturally shed and is about to come away from
the tree. But if the piece resists at all when you pull it, its best to leave it
alone because you can damage the tree if you pull bark off prematurely.
B
C
D E F
G
I J
CHApTER 2
(A) Ordinary white or gray birch bark, (BE) inner layers of white birch bark, (F) golden or yellow birch bark, (G) thick piece of
white birch bark, (H) golden birch, (I) a tube of golden birch, (J) naturally occurring birch curl.
Proof 1
48

Mushrooms and tidbits.
Below are some of my other favorite natural building materials for faerie
houses, including some house elements that I would make ahead of time
to take with me out into the wild to build houses that have a more fin-
ished look.
Note:
Some of these fungi are not very durable. Use only in structures that
youll want to keep for a year or so. After that, they tend to disintegrate.
Make sure all gathered materials are brushed clean and dried fully
before storing/using.
I
J
K
L
M
G
B N

F
C
E
(A) Shelf mushrooms, (B) birch conk, (C) bracket fungus, (D) multiple shelf fungus group, (E) artists fungus, (F) willow pinecone
galls, (G, H) acorns, (I)premade parts for fieldwork installations, (J) premade ramps and bridge, (K) ornamental poppy pods,
(L) goldenrod galls, (M)pieces of bark from red pine trees, (N, O) thin bracket fungus showing typical damage after two years
of normal storage, best used for short-term projects. Proof 1 2 T
49

BITS AND BAUBLES FOR FINISHING TOUCHES
People often ask me where I get all of the materials that I use for dec-
orating my houses, particularly for finishing the interiors. Because I
live in a rural area, I tend to do a lot of my shopping on eBay because
of the large selection and because there are international sellers with
unique items. Yard sales, thrift shops, and vintage clothing (especially
hats and jewelry) can have excellent potential for finding that special
faerie house decoration. Etsy can be a good source as well.
Decorating these little creations is where you can really let your
imagination soar. Use all kinds of materials, personalized items, and
whatever bits of magic and enchantment you want to make the struc-
ture truly yours and unique. Everyone will have their own sense of
style, desired color palettes, and specialty items that they want to use
for their faerie houses.
N
K O
M
J
A C
E
G
H F
D
(A) Silk ribbon on spools, (B) manufactured, embossed paper leaves, (C) glittery floral embellishments, (D) miniature mushrooms
CHApTER 2
made from either cotton, clay, or sculpted paper, (E) vintage velvet leaves wired together, (F) glass and acrylic beads, faceted
and vintage designed beading used in lighting, (G) glass baubles, (H) sequin trim and other novelty trims, (I) glass and plastic
florist accessories built onto florist wires, (J) modern beaded garlands and swags that can be taken apart, (K) vintage garlands
to repurpose, (L) loose ribbons, (M) silk fabric leaves, (N) modern single velvet leaves (not wired together), (O) silk botanicals,
including flowers and leaves.
Proof 1
50

Keep scale in mind and dont be afraid to take items
apart in order to get at smaller components. For exam-
ple, large silk flowers cut apart for their petals,
sewn together, and stuffed make excellent faerie
seatcushions.
Be thoughtful about the longevity of the items that
you select for adding details. While feathers and butterfly
wings may be appealing now, will they still look good in a year
or two? Its still possible to use fragile and short-lived items in your
constructions, but make sure that they are easy to repair and replace
if you must use them. See page 50 for materials I commonly use for
finishing touches.
Handmade mulberry and bamboo papers.
WALL COVERINGS
There are various types of paper, wallpaper, and
card stock that work well as interior wall cover-
ings for faerie houses. Here are a few examples.
Now that youve gathered
your materials and planned your
house, youre ready to build!
Japanese Chiyogami papers,

which make a beautifuland
elegantwall-coverings.
Wallpaper that is specifically made for dollhouses.

The tiny delicate patterns are the perfect scale for
most faerie house constructions.
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51

Proof 1 2C
52

C HAP T ER 3
Itty Bitty Nitty Gritty

C R E AT I N G MA G I C A L FA E R I E H O U S E C O M P O N E N T S
W hy do we so love the faerie world? Is it because faerie

houses speak to our love of miniature thingstiny
worlds where our imaginations can soar and fly? Or do we long for a
place to escape? Who knowsbut perhaps rather than trying to ana-
lyze it, we should just dive in and experience the simple joy of making
something magical, by hand, which comes from our hearts and the
materials that nature so kindly provides.
As mentioned in Chapter 2, once we have a vision and plan for
the house we want to build, we begin by constructing the smaller
elements first. Lets start then with an in-depth look at some of
The magical Dragon Castle
thesecomponents.
faerie house. Each roof is
removable to allow viewing the
exotic interior spaces. There
is even a secret entrance to a
crystal-lined cave under the
castle for sleepy dragons to
enter for a nap.
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16/9/16 1:27 PM
DOORS
Most doors on human-designed houses are basic rectangles, and the
same goes for windows. One of the quickest ways to make your faerie
house charming and magical is literally to go outside of the box and
make windows and doors that are anything but linear squares or rect-
angles. This simple design choice makes a huge difference. Let the
shape and form of the materials guide your construction design, and
your faerie house will look more natural.
Doors that open and close add a lot of interest and magic to a
tiny house, but doors that are fixed in place can also be quite alluring.
Because doors and windows are made at such a small scale with many
fine details such as hinges, doorknobs, latticework, etc., its much eas-
ier create these separately and then attach them to the main house.
The initial factor to consider when designing the door is whether
the house has flat walls or curved walls.It is far easier to make a flat
door than a curved one, but the challenge becomes how to attach a
flat door to a curved wall and have a nice fit over the opening.You
can solve that problem by creating a special vestibule entrance that has
a flat front to support the flat door with curved edges on the back to
accommodate the curved wall of the house. You will still make doors
for flat-walled houses ahead of time, but the whole process is much
easier with flat walls.
Dont worry, this will all make sense as we go along!
If youve never made a faerie house before, you might want your
first house to have a fixed-in-place door. If you have some crafting skills
already and really like the idea of a door that opens and closes, then you
may want to skip ahead and try your hand at crafting a hinged design.
Let me share some examples of what Im talking about to make it
easier to appreciate the different options.
FIXED, CLOSED DOORS ON FLAT WALLS WITH

VESTIBULES AND SURROUNDS
Opposite are four examples of fixed, closed doors installed on flat
walls. These doors do not open but, as you can see, it is quite possi-
ble to create an elaborate entrance design even when the door itself is
reasonablybasic.
CHApTER 3
Proof 1
54

ITTy BITTy NITTy GRITTy
Each of these doors represents the same style of function and construction method. They are made in the fixed position (they
do not open) and they have detailed surrounds to enhance their impact and appearance.
Proof 1
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16/9/16 1:27 PM
FIXED DOORS ON CURVEDWALLS
Because many faerie houses are constructed with curved walls, it
is helpful to know how to insert a flat door and have it look good.
Usually, the trick is to float the door in a frame or vestibule within the
curved wall. As shown here, this can work beautifully.
This door is flat and the wall has a gentle curve to it, butbecause the This door is attached to a curved wall but is fixed in
door is set into a deep frame, the flat door can rest in the curved surface the open positionagood solution to the flat door/
of the wall without difficulty. curved wallproblem.
Chapter 3
Proof 1
56

HINGED DOORS
Here are some examples of simple hinged doors. If you dont plan to
handle the door a great deal, one nice way to make hinges is to use tiny
silk leaves or simple ribbons, which allow the door to swing a bit. This
is a good technique for especially tiny doors.
A B O VE : This tiny, 1"wide door swings on tiny silk ribbons that you can All hinged doors should always
see just on the right side of the door. swing out from a faerie house.
R I G HT: This rather simple door has wire hinges. One of the features If they swing inward, then it is
that makes this door so inviting is the glass leaf bead, which forms a sometimes difficult for human-
window in the door. Additionally, you can see that the twig that forms sized hands to get inside the small
part of the frame is the same twig upon which the door is hunganother
doorway to pull the door closed!

simple, elegant solution.
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57

16/9/16 1:27 PM
HINGED DOORS WITH ELABORATE
SURROUNDS
Once you feel confident in your building skills, you can get
more creative with the details surrounding the door. Here
are some examples of doors that move on wire hinges with
embellishments in the framing surrounding the door.
LET YOUR IMAGINATION SOAR!

These images should help you see some of what is
possible in making magical faerie house doors. As
with all things, if youre new to faerie house design
and construction, it is best to begin learning by first
working with simpler designs. As your skills improve,
you can expand your constructiondreams.
CHApTER 3
Proof 1
58

STAINED GLASS DOORS
For the most exotic doors and entryways one
can take things a step further and make doors
that are transparent or translucent. They are
difficult to make, so they are not covered in this
book but are included for inspiration. They are
made, in part, using photos of dragonfly wings
printed on acetate, which creates the filigree
pattern that you see.

The enchanting quality of these
stained glass doors is really seen
at their best when twilight descends
and the lights in the faerie house get
switched on. Proof 1
59

16/9/16 1:27 PM
HOW TO BUILD A
TWIG-FRAMED FIXED DOOR
WITH A SIMPLE SURROUND
Whether your faerie house will have round walls or flat walls, it is easiest to make your door as part of a
larger vestibule that you will then attach to the house. I like to let the materials guide the shape of the door,
so to speak. We will eventually add this to our Green Dreams House (detailed in Chapter 6).
MATERIALS
Flat piece of birch bark
orsmooth bark for flat wall
ofvestibule
Contrasting piece of birch
bark or smooth bark for the
door front
Two strips of birch bark or
smooth bark for the arched
roof of the vestibule around
the door
Twigs to frame the door
Bead or other suitable
material for doorknob
Fine-gauge wire
Wood-colored epoxy glue
Hot glue sticks
TOOLS
Scissors
Fine-tipped pruners
Wire snips
Hot glue gun
Toothpicks
(to apply epoxy glue)
CHApTER 3
Fine-toothed flat saw

Proof 1 2 T
A fixed door in a vestibule.
60

1 2
Twigs glued Trimmed twigs
in place. Door to match the
front cut to vestibule wall.
match opening.
4
3 Applying the
Back view of doorknob bead.
the door being
glued in place.
STEP 1 STEP 3
Lay out the twigs that will frame the door. Use overlapping Trim the piece of bark youre using for the door front so that
and underlapping joints, if possible. Trim and carve the none of it shows beyond the frame edge and use epoxy
twigs Lincoln Logstyle to get the twigs to lie as flat as glue to attach it to the twig frame. You can use tiny dots of
possible. Use wood-colored epoxy to glue twigs together. hot glue to temporarily hold the door in the proper place
Cut a door from a contrasting piece of birch bark. Make within the frame while you apply the epoxy.

the door a tiny bit larger than the opening in the frame.
Donot attach yet. STEP 4
To attach the doorknob, run a thin wire through the bead
STEP 2 and then bend it so the wire forms a horseshoe shape.
Cut out the large flat piece of birch bark into an arched Pierce a small hole in the door for each wire and insert the
shape for the vestibule face wall. The arch can be wires through the holes. Bend the wires flat on the back side
symmetrical or asymmetrical, but it should extend a bit of the door and epoxy-glue the wires down so the bead
beyond all the glued joints of the twig frame. Using a fine- cannot be pulled out. You can use the same method for
toothed flat saw, trim the ends of the twigs so that the frame anchoring seeds, shells, jewelry findings, or any sort of item
now fits perfectly inside the vestibule wall panel. you want to use for a doorknob. Note: Be very careful doing
this step because thin bark can tear easily.
Proof 1
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16/9/16 1:27 PM
5
The framed door
STEP 5
glued to the Carefully center the frame on the wall and glue the door
vestibule wall.
and frame assembly to the vestibule wall. Quickly remove
any visible epoxy glue before it hardens.
STEP 6
Cut two strips of birch bark that will form the arched roof of
the vestibule. The strips should be the same width as each
other and the lengths should match the length of the arched
edge of the wall. You want bark that is fairly sturdy yet flexible
enough to wrap smoothly along the side of the wall. If you
have bark that is naturally curved already, this is ideal to use.
STEP 7
6 Glue the roof strips to the wall panel, positioning the wall
Two strips panel along the center of the strip. Starting at the top of
cut to the arch, hold the strip of bark against the wall panel and
form
apply three to five small drops of hot glue to hold the strip
the
roof. in place. Do not put the hot glue at the very beginning or at
the very end of the strip. You want these joints to be filled
only with the epoxy. Once the hot glue drops have set, fill in
the entire back side of the joint with epoxy glue.
When the second strip is glued in place and is solid, fill
in the apex of the arch on the back side with an extra bit of
epoxy glue. Apply a thin bead of epoxy glue to the apex on
the front side using a sharpened toothpick.
If you desire, cut a small section of extra twig and glue
it on the inside of the front apex of the arch. This adds
strength to that joint and hides the place where the two
7 strips come together.
Three dots of Congratulations, your door is finished!
hot glue and
four sections
of epoxy glue The finished door and
on the arch, vestibule with a peg at
backview. the apex of thearch.
CHApTER 3
Proof 1
62

Here is an example of a door made using the same technique.
Proof 1
63

16/9/16 1:27 PM
HOW TO BUILD A
HINGED DOOR IN AN
ARCHED FRAME
The movement of hinged doors adds an extra bit of magic to faerie houses. This door will eventually
find a home in our Golden Cottage house, built in Chapter 6. You can use the techniques presented
in this tutorial to create other types of hinged doors.
MATERIALS
Small twigs
Arched loop of padded florists wire
Thin birch bark or other thinbark
Medium-thick birch bark
Dark or contrasting birch bark,
bark, or card stock for doorfront
Raffia
Very fine plastic-coated aluminum
wire (used in jewelry making)
Bead or other feature for doorknob
Hot glue
Jewelers head pin (soft wire with a
bead/head on one end)
Piece of paper
TOOLS
Tweezers
Hot glue gun
Wire snips
Pencil
Sandpaper
CHApTER 3
Proof 1
64

1
STEP 1
Make the door arch using the padded florists wire. Cut a small twig a
little bit longer than the width of the bent arch. Glue the twig to the arch
using epoxy glue. Wrap the entire arch structure with the raffia strands
for a smooth, natural look. On the back side, secure the ends of the raffia
carefully with epoxy glue.
STEP 2
Trace the space within the arch frame on a piece of paper to make a
template for cutting the birch bark. The door should rest within the frame
A B C
2 but not be able to be pushed through the frame. Once you have the paper
pattern for your door, cut out one piece of the dark brown bark (A)for the
front of the door and a second piece of thin, light-colored birch bark for
the back of the door (B). If your arch is not symmetrical, be careful to make
sure that the back piece is the mirror of the door front. Cut a third piece
out of slightly thicker bark for the inner middle layer(C). Once you have this
middle layer piece cut out, trim a very tiny amount off all around the entire
piece so that it is just barely smaller than the door front and back.
3
A
STEP 3
Carefully cut small twigs so that they fit together in a leaf vein pattern.
Thetwig pattern, when laid out, should be larger than the door front.
Using fine sandpaper, sand the twigs so they fit nicely on the vertical
stem. Use tiny drops of wood-colored epoxy to attach the angled twigs
onto the central stem.
Using small beads of wood-colored epoxy, attach the twig assembly
to the front of the door making sure that the stem is flush with the
bottomof the door front and that the small branches extend beyond
the edge of the door. Let dry until the glue is firm. Prepare the doorknob
bead (A) by inserting a jewelers head pin wire. Create a tiny hole in the
4 A B door front and feed the wire through the hole, bend the wire over, and
glue it down with epoxy.
STEP 4

Place the thin birch bark door back (the part without the twigs) in the arch.
Determine where the hinges should go and cut small notches for the wire.
Cut small pieces of wire and bend as shown (A). Make sure that the wire
is at least 316 inches away from all the edges of the door back. When you
have the wires where you want them, use a thin amount of wood-colored
epoxy to glue in place.
Cut out a narrow band of the trimmed middle layer, as shown (B). This
will go around the outside of the wire that you just glued onto the door
back. Cut an additional small vertical piece to go in the space between
the hinges (Figure B).
Proof 1
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16/9/16 1:27 PM
5
STEP 5
Carefully glue the C-shaped piece of thick bark (A) onto the
A
door back with epoxy glue. Also attach the small vertical
piece that goes in between the hinges. (B) Be careful not to
get any epoxy on the doorframe or in the hinges, as you can
accidentally glue the door shut at this stage.
B
STEP 6
On the door front panel carefully cut and trim off the
excess twigs so that the cut ends exactly match the edge
of the brown door. Use fine sandpaper to finish these twig
endsnicely.
Apply a generous amount of glue to the back of the
brown door front and place that on top of the door back
6 that is sitting within the door frame arch that was just
completed in the previous step, again making sure no glue
leaks out. The door will now move freely within the frame.
Let the entire piece dry for at least 12 hours.
Once the door is completely hard and dry, carefully trim
and sand the edge of the door so that it fits nicely within the
arch frame.
STEP 7
Push the door into the closed position and bring the two
unused wires from each hinge forward around the door
arch frame to the front of the door. With each wire, make
a decorative spiral and lay flat on the door front. Mix up
a small amount of clear epoxy glue and drop a couple
of drops in the center of each spiral and work the glue
outwards along the wires so that the whole spiral is now
glued down. Lay the door flat until the glue is completely
7
dry. Do not let any glue run into the hinge. Install spacers
on the outside of the door arch. Make three tiny spacers (A)
A
from the same thick bark that was used for the middle layer
of the door.
CHApTER 3
Proof 1
66

8
STEP 8
Attach the spacers to the door arch in-between, above, and
below the hinges. Use a thin application of wood-colored
epoxy and make sure that all of the spacers lie flat in the
same plane. The easiest way to do this is to press the arch
against a flat surface briefly just before the glue starts to
set up. Once again, be careful about not allowing any
epoxy glue to get onto the hinges or they will no longer
workproperly.
STEP 9
Cut the strip of nice birch bark that you have left into an
awning. Hold it up around the door to get the right shape.
STEP 10
Once the awning strip has been trimmed and shaped properly,
use a thin amount of epoxy glue to attach the awning to the
arch, again avoiding getting any glue on the hinges.
Congratulations! You have a finished hinged door.
9
10
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67

16/9/16 1:27 PM
Here are some other examples of doors that were created
using similar techniques. Note how there is an upright twig in
each example to support the hinges. This works really well and
is easy to make.
A simple hinged door. This doorknob is an earring! Cut tiny channels in the upright
supports for the hinge wires to ensure that the door does not
slide down the twig over time and with use. Use a folded-
over piece of fine sandpaper to make this groove if the twig
is small and delicate.
CHApTER 3
OP P OS IT E: A grapevine decoration is sewn to the doors

front panel before being glued onto the full door.
Proof 1 2C
68

Proof 1
69

16/9/16 1:27 PM
WINDOWS
In simplest terms, a window is an opening between the inner house
and outer world. Other than the door, they are the most essential ele-
ments that add style and interest to the faerie house.
Once you know the basic configuration for your faerie house, its
important to decide the best location for the windows. Make sure
theyre in scale with the door and other basic aspects of the house. If
you make your windows too small, they will be difficult to create. If the
windows are too large, the walls of the house may become too flimsy.
Other things to think about include what you want for glazing
material. (Cellophane films are available at craft stores.) Think about
whether you want curtains and whether youll want to add lighting.
Do you want to make simple yet charming windows, or do you want
to make something extravagant with lots of detail?
If youre going to have multiple windows, its best to use a similar
design style for all of the windows so that the whole house has a pleas-
ing and harmonious appearance.
GENERAL INSTRUCTIONS FOR

BUILDINGWINDOWS
1. Decide on the relative size and placement of windows for the

house. I usually make paper patterns or templates for each
separate window.
2. Cut the opening in the wall of the house to create the opening
for the window.
3. Install the window either by applying a decorative frame with
some sort of nice finish to the opening so that the raw cut edge
is hidden from view or insert a complete window that has been
fabricated ahead of time for the corresponding opening in
thehouse.
4. Finish with a frame on the outside and/or inside to hide raw
construction edges.
WINDOW STYLES
Because there are so many options for window designs and techniques,
CHApTER 3
lets break it down and examine different examples of the kinds of win-
dows you might want to make for your house.
Proof 1
70

Flat-Frame StyleWindows.
Flat-framed windows are the easiest to make and are a good place to
begin. They can be round, oval, parabolic, arched, or any unusual
shape you desire, as theyre usually just a simple opening cut in the wall
with a simple frame to surround the opening. The trick to successfully
making flat-framed windows is to ensure that the surrounding frame
covers the edge of the cut window opening. Use twigs and other fine
materials to add details to the windows and frames.
Here are some examples.

Flat-framed windows are great to make ahead of time in pairs or
sets for adding to faerie houses you may want to make out in the wild.
If you plan to leave your faerie house structure in the woods, then it is
best to use non-toxic, non-plastic adhesives to construct your windows
so that they will decompose as naturally as possible.
3C
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Twig-Framed Windows.
These windows are very similar to the flat-
framed style except that rather than using flat
bark to frame the window, youll use twigs,
which determine the shape of the window.
Always select your twigs first and make the
window frame before cutting the window
opening in the wall of the house. That way they
willmatch.
Because twigs are generally straight or flat
when laid on a surface, these windows are best
suited for flat wall construction. Trying to make
the twig frame go around a curved wall is dif-
ficult and not recommended unless you are
skillful or have access to a lot of curved twigs.
CHApTER 3
Proof 1 2 T
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Porthole Windows.
Porthole windows are similar to flat-framed windows but have an additional strip of material that is used to line the open-
ing of the window. This becomes an important element of the window construction and design. I use porthole window
construction a lot because it is a great way to install a window in a curved surface. The porthole window usually sticks out
a fair amount from the curved wall and offers a design element that looks a bit like an awning for the inserted window.
This inner liner/awning then needs an outside frame, which is very similar to the first design style, the flat-framed window.
Porthole windows can have any sort of mullion or divider used to divide the interior space of the window just as with
the flat-framed windows.
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MULLION DETAILS
Mullions are the additional delicate elements within the frame of the
windows that add style and interest. The important thing to keep in
mind is to stay to scale and to make sure that whatever you use for
mullions is firmly attached to the frame of the window on the inside.
Here are some examples.
Latticework.
Latticework can be done with fine twigs, thin strips of birch bark,
hemp, or linen twine. It is usually not necessary to actually weave the
lattice together as this is too difficult for most of these small spaces.
CHApTER 3
Proof 1 2C
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Unusual Mullion Examples.
Unusual mullions can be made by creatively manipulating fine botani-
cal materials. In this example, a single weeping willow branch was
twisted upon itself several times to create the delicate mullion within
the circular frame. Notice the freshly harvested hazel leaf draperies that
I placed inside the window before setting the entire window assembly
into the moss wall.
Twig mullions in a door window. Proof 1
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16/9/16 1:27 PM
BAY WINDOWS
Add a bay window for extra interest. These are
basically tiny half-rooms with a prominently
featured window stuck onto the side wall of a
house. Bay windows are generally curved and
need a roof and some sort of support to attach
the rounded space to the main house. Bay win-
dows bulge out from a wall with brackets or
corbel supports below the window to anchor it
to the main house. Lets look at some.
CHApTER 3
Proof 1
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WINDOWS IN STONE HOUSES
Stone-walled faerie houses are always magical, but without windows and doors they look more like fortifications. Adding a
door vestibule and windows to the stone portions of a tiny house make the whole structure more inviting and interesting.
However, if you are building a dry-laid house outdoors, without mortar, then you must be very careful to make sure your
wall will not become weak by opening it up for a window. In such cases, a single window (below) may be a better option.
A BOV E: Windows that will be incorporated into stone structures are

made separately and added to the walls as they are raised.
R IG H T: It is best to use minimal to no glue in windows for stone houses
that will be left to weather the elements. This window is made from
several green braches from a nearby weeping willowtree.
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ABOVE : I made the door and windows for
this house in the studio using eco-glue and
then brought them to the site where the house
wasbuilt.
RI GHT: These arch-shaped windows were
made ahead of time and then placed in the wall
as it was being built. Each window assembly
consists of the curved twig (that was bent and
dried months before), a matching straight sill
twig that has been glued to the arch, a lattice
of toothpicks, and sturdy birch bark liners that
match the arch and project back into the full
thickness of the walls. I used toothpicks so
that the delicate open fronts would be strong
and keep their shape under the weight of the
stonesabove.
CHApTER 3
Proof 1
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WINDOWS WITH LIGHTING
Windows are especially enchanting if your house has lighting built
into the structure. You can light the faerie house by installing small,
battery-powered lights.
A single battery-powered tea light makes this house glow. Micro LED lights illuminate this house.
Sometimes lighting is configured so both

the inside and the outside of the house are illu-
minated using a single strand of lights.
Windows are one of the biggest design
features on a faerie house. Start out with the
simpler styles and get used to how they are
made. Then let your skills grow along with your
imagination as you tackle more elaborate and

challenging designs.
In the tutorials that follow, I will show you
some basic and simple techniques to give youa
good start in seeing how these little elements
are fabricated. Some of the windows demon-
strated in these tutorials will be used later in
Chapter 6.
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HOW TO MAKE A
FLAT-FRAMED WINDOW
Flat-framed windows are some of the easiest window styles to make, and they can be made in almost
any shape that you wish. For this tutorial, we will make a triangular window for a round-walled house
that will eventually end up in our Green Dreams House, detailed in Chapter 6. However, you can use
these techniques to make any framed window for a flat- or curved-wall house.
MATERIALS
Two identical pieces of
contrasting birch bark (or thin
material that will contrast with
the material used for the outer
covering of the house) cut into
frames for the window
One long narrow strip of birch
bark (or thin, flexible material)
for the liner of the window
Sapphire faerie film (a thin,
transparent material with a
reflective surface)
Glue sticks
TOOLS
X-Acto knife
Scissors
Pencil
Tweezers
Hot glue gun
CHApTER 3
A finished flat-framed window.

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STEP 1 1
Using one of the window frames as a template, carefully
trace an outline of the inner opening of the window onto the
main body of the house. Make this line as faint as possible
but still visible. Carefully using a very sharp X-Acto knife,
cut out the window opening. Make your cut on the outside
of the line you drew so that the actual window openingwill
be just slightly (about 1mm) larger than the opening in
theframe that you used for a template. That way, once the
frame is installed, youll see the inside edge of the frame
rather than the raw edge of the opening cut into the wall.
Use the side of the tip of the hot glue gun and sear the
2 3
edge of the cut opening. This helps smooth the cut edge.
No glue is applied.
STEP 2 A
Cut the transparent film so that it is slightly smaller than the
outside edge of the window frame.
STEP 3
Use wood-colored epoxy glue to affix the window frame
over the cut opening in the house. Take care to ensure no
glue appears on the front side. Take the long thin strip of
birch bark (A) and gently fold it so that it completely fills the 4
window frame. You may need to use a small tweezers to
hold and coax the liner strip all the way into all the corners.
Carefully glue the strip in place from the inside of the house
using wood-colored epoxy glue, keeping the liner edge
flush with the inside of the wall. It usually helps to have the
liner strip overlap itself along the bottom edge so that the
windowsill is reinforced with the two layers of the liner.
STEP 4

From the inside, apply hot glue sparingly to the inside wall
of the house and affix the transparent film centered over
the window opening. Test the interior window frame in
place and make sure no film edges stick out from behind
the frame. Trim glazing material if needed, and then
glue theframe in place over the film to create a finished
interiorlook.
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Here are some other examples of windows that are made using the same basic principles in thistutorial.
CHApTER 3
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HOW TO MAKE A
WINDOW WITH A FRAME
WITHIN A LINER
This kind of window can be made for either a curved or flat wall. I will demonstrate on a flat wall, but
the same steps are done for installation in a curved wall, the main difference being that youll need to
make sure that the tube/liner that the frame sits within is a little deeper so youll have enough depth
to accommodate the curved wall. If that sounds confusing, check out the porthole window tutorial
and youll see how it would work with a curved wall. This window will eventually end up in our Golden
Cottage house.
MATERIALS
Thin twigs
Rigid material for window frames;
can be medium-weight birch bark,
matboard, very heavy paper, etc.
Flexible, thin bark for the window
liner (can also use heavy paper)
Hot glue sticks
Piece of paper for making a pattern
TOOLS
Tweezers
X-Acto knife

Hot glue gun
Pencil
Sandpaper
Scissors
Proof 1 2C
A finished window.
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To make these windows, you will need an oval frame
C made from semi-stiff material such as birch bark (used here).
Matboard or stiff decorative paper will also work (A). Be choosy
A about this piece. The bark should be the kind that does not
B delaminate (peel and come apart) easily. It should be thick
enough to flex slightly, but rigid enough to stay flat as you build
the window. Ive used twig mullions (B) here but the windows
can be open, glazed, or made using any sort of material youd
like for the interior of the window. A butterfly wing or silk flower
petal covering half of the open window would make a lovely
curtain-like effect.
Youll also need a flexible strip of clean birch bark (C) or
1 heavy paper for the lining. The strip should be long enough to
go around the frame with a little overlap and should be as wide
as you want the window to be deep with a little extra width
for good measure. You will need a frame, twig mullion, and
liner for one window. Multiply the materials for the number of
windowsdesired.
STEP 1
Build the mullions within the frame. Carefully trim twigs and
glue them together to form a leaf-vein patterned mullion.
2
Once the glue is lightly set, you can glue the mullions to the
backs of the window frames. Then trim away excess glue
visible from the front. Let dry completely before going to
the next step.
STEP 2
Hold the window frame with tweezers. Begin gluing the liner
strip to the edge of the frame. Anchor the strip to the frame
with a tiny drop of hot glue on the inside of the window (the
side that will face inside the house). Roll the frame a quarter
turn while wrapping the strip tight against the frame edge.
Apply another tiny drop of hot glue to hold the strip in place.
Turn another quarter turn and repeat. Do this until theentire
A
3 B frame has been wrapped with the strip. Trim offthe excess at
the overlap. Glue the overlap with epoxy glue, not hot glue.
STEP 3
Carefully apply wood-colored epoxy all around the inside
CHApTER 3
of the frame where it joins up with the liner strip (A). Make
sure none of the epoxy shows from the front side. This will
reinforce the small hot glue dots that anchored the liner
strip in place. Install the liner strip (B).
Proof 1
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STEP 4
Place the window on a piece of paper and trace around
it. This will serve as your template to cut the opening for
the window in the wall of the house. Cut an opening in the
paper using the traced line. Test the paper template by
gently pushing your window into the opening of the paper.
Do not force it; it should just barely fit.
INSTALLING THE WINDOWS

Take the paper template and position it over the place where the edges to adjust the opening until your window fits
you want your window to be in your faerie house. Hold the perfectly. From the back side (interior side), use wood-colored

paper and carefully trace a pencil line onto your wall material. epoxy glue to attach the window to the wall opening.
Using a sharp X-Acto knife, cut along the pencil line or a Congratulations! Youve made and installed a
little to the inside of the line to make the opening in your beautifulwindow!
wall. It is best to cut it a little small and sand the opening Following are some other examples of windows made
with sandpaper to make the final fit adjustments. Place the using the same technique.
window into the opening in the wall. Use sandpaper along
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16/9/16 1:27 PM
HOW TO MAKE A
PORTHOLE WINDOW
Porthole windows are an excellent choice when working with curved- or round-walled structures. They
provide an elegant solution to a difficult problem: how to make a window that curves. Youll make
these windows using a combination of techniques used for flat-framed windows and framed windows
within a liner, so it is a good idea to practice with those first if you are new to window constructing.
Your finished windows will add a lot of charm to your faerie house, in addition to structural integrity
from the epoxy glue. Experiment with different shapes once you have the skills. The frame itself can
be shaped, decorated, or have contrasting and multiple layers. Silk flower petals, moss, beads, and so
forth can be applied to the top of the porthole liner/awning for additional color and texture.
MATERIALS
Twigs (if you want
twigmullions)
Birch bark, heavy paper,
or another smooth
flexiblematerial
Tube of birch bark to simulate
a round or circular house
Hot glue sticks
TOOLS
Tweezers
Hot glue gun
Scissors
Paper
Pencil
X-Acto knife
CHApTER 3
A porthole window installed in a birch bark wall.

Proof 1 2C
86

STEP 1 1
Make a window template from a piece of paper that is the
shape and size you want. Use this template to cut a hole
in the wall of the faerie house that matches the template
exactly. Save the template. Cut a window frame (A) using
the template. This frame will hold the porthole liner and
will be affixed to the outside wall of the house. The inner
opening of the frame should be a tiny bit smaller than the
template line, and the outside edge of the frame needs to
A
be larger than the template line. This will ensure that the
frame will correctly cover the opening in thewall.
STEP 2
2
Form the long strip of birch bark into a circle and insert
it into the opening of the frame. You may need to apply
a tiny dot of hot glue just to temporarily hold it in place.
It should fit snugly but still allow for adjustment between
the frame and the wall of the house. The joint of the strip
should be positioned at the bottom of the window once it
isassembled.
Insert the window assembly into the opening in the
faerie house wall and gently re-position the frame so that it
closely matches the curve of the house wall while the liner
has full contact all around the windowopening.
Carefully remove the window assembly from the house,
making sure it does not move and apply four dots of hot 3
glue to anchor the curved frame onto the liner. Re-test the
alignment in the opening of the house wall.
STEP 3
If all is well, remove the assembly and glue the frame to
the liner tube on the back side using wood-colored epoxy.
Start by gluing the top half of the liner to the window frame

first. Let dry. Next, glue the overlapping junction of the liner
itself. You need to do this to give that part of the window
extra strength. Finally, glue the lower half of the liner into
the frame. It is best to work slowly.
If youve done it correctly, no glue will show from the
outside of the window assembly. The window is now ready
to install into the house if no mullions are desired. If you
wish, add curtains (silk flower petals, leaves, ribbons, etc.) or
glazing material (faerie film, sheet mica) to the back of the
window after you install it into the house.
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4 5
STEP 4 (optional) 6
Turn the window assembly so that the inside of the frame
is facing upward and test your twig arrangement on the
opening to get the design you want. Trim the twigs so they
are just barely longer than the opening of the window. You
may want to cut small notches in the liner to hold the ends
of the twigs in the proper placement. Use wood-colored
epoxy to glue the twigs in place, making sure to keep the
inside of the window opening free from any glue drips.
STEP 5 (optional)
If you are creating a lattice-like mullion, apply one layer first,
let dry and then apply the second layer of twigs. Dont try to
do it all at once because the twigs sometimes move when
you clean up the excess glue.
The finished porthole window in a curved wall.
STEP 6 (optional)
7
Install the window in the house. Insert the entire assembly
into the opening of the wall and test the position. Be sure
that the overlapping junction on the liner is positioned at
the bottom of your window. Remove the window assembly.
Apply epoxy to the back of the entire frame and reinsert
the window assembly into the opening in the wall. Hold it in
place until it is set.
STEP 7 (optional)
CHApTER 3
You can add more glue to the inside of the window if you
want a perfect seal. Just make sure that the extra glue goes
in the space between the window liner and the original
opening that was cut in the wall.
Proof 1
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Here are some other examples of porthole-style windows.
Proof 1 2C
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16/9/16 1:27 PM
HOW TO BUILD A
BAY WINDOW
Bay windows make wonderful additions to faerie houses. They can be added to just about any structure with a little
planning and care. This tutorial will show you how to make a basic bay window on a flat-walled structure. Once you
have mastered this technique, you can adapt the process in a variety of ways for your faerie house creations.
Two questions influence where I choose to place a bay window:
1. Is there enough space on the house itself so it can be sufficiently anchored to the wall of the house without
looking clumsy or being structurally deficient?
2. Will this structure enhance or detract from the overall design?
MATERIALS
Twigs (if you want twig
mullions)
Birch bark, heavy paper,
or another smooth flexible
material in at least two
contrasting colors
Felt
Hot glue sticks
Wallpaper for interior
TOOLS
Tweezers
Hot glue gun
Scissors
Paper
Pencil
X-Acto knife
CHApTER 3
Proof 1 2C
A three-pane bay window with twig lattice. Note that the single piece of brown bark with
three oval holes gives the look of three separate windows.
90

If the window will be an enhancement and structurally so the roof for the bay window is going to be simple and have a
supported, then I often make a little sketch of how I want the rather low pitch or slant so it will not take up too much room.
bay window to look. Keep in mind that the roof for the bay Because the house will be finished on the inside and lighted,
window will be below the eaves of the house and should match I will include the steps needed to prepare the window for those
stylistically. This tutorial shows how to make the bay window for additions. If your house is not going to have lighting or will be
the Golden Cottage featured in Chapter 6. The space was tight, unfinished on the inside, you can skip those parts of the tutorial.
STEP 1 1
Cut the opening for the bay window into the house wall
panel (A). The curved window panel that already has a round
window installed in it (B) is the height of the opening in C
the house wall plus 14 inch. Cut tiny 18-inch notches at each
A B
corner of the bay window panel top andbottom.
The length of the window panel is longer than the width
of the opening cut in the wall so that this piece will form
a bowed-out shape when the ends are placed within the
opening in the main wall. A roof will be made from the
curved piece of white birch bark (C). The bottom of the
D
bowed window will be made from a similarly shaped and
matching piece of golden birch bark (D).
STEP 2 2
Cover the entire bowed window wall with brown felt to
block out any possible light leaks around the round window.
Curve the wall as you apply the felt. Cut out the notches at
the corners.
STEP 3
If you plan to finish the interior of your house, this is
the time to add the wallpaper to this piece. Make your
wallpaper the same shape and size as this curved window
panel (B) section but attach the wallpaper only at the edge

of the circular window. Leave the rest unattached to the wall 3
section for the moment.
In addition, use the main house wall panel (A) as a
template and cut out a matching piece of wallpaper. Cut out
the opening in the wallpaper just as the opening is in the
wall panel (A). Setaside.
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4
STEP 4
Insert the curved window panel into the house wall, making
X
sure that the round window is right side up. The curved wall
should fit snugly into place. Tack into position with four dots
of hot glue from the inside. Do not put the hot glue at the
exact corner as this needs to be glued well with the epoxy
glue. On the inside, glue this joint well with wood-colored
epoxy all along the entire XY length of both ends. Y
STEP 5
When the epoxy is solidly set, create a paper pattern for
both the roof and the base. Make your adjustments to the 5
paper pattern until you are satisfied, then cut out the good
materials you will use for the roof and the bottom. Make
wallpaper copies of the roof and base. Do not install these
pieces yet. Turn the house wall panel over and workonthe
inside. Using hot glue, attach the wallpaper pieces to
theinside of the bay window as shown. You may need to
add extra strips of paper to cover all the joins. Each window
is different, so work slowly and finesse each piece into place.
STEP 6
Once the bowed window well has been wallpapered, 6
secure the round window frame in place with epoxy glue.
Then apply the full wall piece of wallpaper to the wall of
the house. This will cover over any of the raw edges of
wallpaper and give a clean finish to the inside of the bay
window.
The wall with window should look like this from
theinside (A); and from the outside (B).
If you plan on lighting the house, I recommend covering
the back side of the exposed wallpaper with felt before
A
attaching the roof and base of the bay window.
CHApTER 3
B
Proof 1
92

STEP 7 7
Attach the roof/awning. Apply the glue to the top edge of
the roof and the top edge of the curved wall for cleanest
results. Use epoxy glue and be careful not to leave any
drips. Hold the roof in place while the glue sets. Be sure to
have extra glue in the corners for a solid joint.
STEP 8
Now glue the bottom carefully in place using the
sameprocess.
Sometimes, if I know in advance that

the roof is going to be a challenge
to apply, I attach the wallpaper after
I have added the roof so I have
access to these critical joints and can
glue them well.
HIDE AND STRENGTHEN

One good way to camouflage the joints
is to add twig or silk leaf details overthe
place where the curved piece meets
themain house. This is a good idea if the

house is particularlydelicate.
Twigs hide construction joints in several

places on this house.
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BAY WINDOW, continued
If you plan on making an upholstered window seat inside the house, you can do that now. It is much easier to work in this tiny area
while it is separate from the house. Once the main house is all put together, it is sometimes hard to reach these little nooks.
Here are two examples of window seats made in bay-type windows.
Here is a visual tutorial showing how I attached two bowed windows to a curved-wall faerie house. Now that you know how it is
done, you should be able to see some extra tips in theseimages.
A curved-wall faerie house base Bay windows positioned (see pages Apply glue to the entire edge of the
with attachment cleats (A) for 90 to 93 for instructions on how to bay window bump-out and to the
baywindows. make bay windows). cleats and attach the bay window.
Hold it in place until it is set.
CHApTER 3
Proof 1 2C
94

The moss was gently pulled away from the main house
to add the windows and was glued back in place
whenfinished.
The finished house with the shelf-mushroom roofs applied to

Proof 1
both bay windows, which match the main shelf-mushroom roof.
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TOWERS AND PORCHES
As you become a more experienced builder,
you may wish to add a tower or porch to your
house. These pieces are best constructed sepa-
rately and then added onto the main structure
once you have the doors and windows installed.
The construction techniques for towers are sim-
ilar to bay windows, except that the curve of the
tower is usually more extreme and the tower is
usually finished with a full roof and complete
support base. Install the windows in the tower
first before adding it to the house. Afterward,
finish the top and bottom. To install, cut a
small, narrow opening, then glue the tower
directly onto the house. This is similar to the
way bay windows are installed.
Here are some examples of towers.
Bay window on left, tower on right.

CHApTER 3
Proof 1
96

L EF T: The tower was added above the roofline
using a conical support.
BEL OW: A free-standing tower (left) and bay
window (right).
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A tiny porch with delicate framing. Porches are handled much the same way as bay windows, except
they are usually more open structures that can be built out from
the house using twig framing and dont require doors or windows.
Remember to plan for a roof that complements the main house.
CHApTER 3
Proof 1
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Now that you know how to make the most important structural A porch with a shelf fungus roof.
details, the next step will be to work on the inside and add lighting (if
desired), which we will look at in the next chapter.
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Proof 1
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C HAP T ER 4
Adding Twinkle and Style

L I G H T I N G A N D I N T E R I O R S
F inishing the interior of your faerie house has many advantages.

The materials used will add strength and beauty to your cre-
ation, plus its very satisfying to decorate the interiors so that viewers
can see that the inside of the house is just as lovingly crafted as the
outside. First, well look at lighting, as that is an integral part of add-
ing sparkle and style, and then well continue with finishing the rest
of the interior of the house.
As dusk falls, lighted faerie

houses come alive with magic
and charm.
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LIGHTING
Theres nothing quite like bringing one (or more!) of these little houses
out into the garden, turning on the lights, and enjoying the enchanting
glow. Faerie houses that are made with some form of lighting have an
extra aura of realism.
CHApTER 4
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There are several different lighting methods available. Lighting Exterior lighting can also be welcoming.
ADDING TWINKLE AND STyLE

design depends primarily on whether the roof will be removable. If the
roof is fixed in place and all of the lights are inside the house, then not
as much detailing work needs to be done to hide the wiring or decorate
the bulbs, as they will only be viewable through the windows. If the
roof is removable, then more effort is made to give a finished look. All
of the lighting that I install is battery-powered LED lighting because it
is safe, efficient, and allows you to enjoy your house anywhere.
It takes a fair degree of patience and care to install lighting in these
handmade sculptures, but the effort and time is well rewarded. Lets
explore the options, tricks, and techniques. Proof 1
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LIGHTING MATERIALS
No matter which form of lighting you use, you will first need to check
your house with a small flashlight to make sure there are no cracks
through which light will escape. You can fill cracks with epoxy, felt,
patches of bark, or any other material that makes sense within the
design scheme of the house.
I
G
(A) Battery powered tea lights, (B, C) button battery-powered micro wire LEDs, (D, E) AA or AAA battery-powered micro LED
lights, (F) AA battery-powered LED lights with acrylic flowers, (G) old-school battery-operated incandescent lights (Note: These
lights do generate a tiny bit of heat, so I generally do not recommend using them, although you can set them in the foliage
around a faerie house in the garden for a nice effect), (H) LED lights with bare wires and bulbs encased in acrylic faceted beads,
CHApTER 4
(I) LED lights that are encased in a small plastic bead and with wires covered in plastic.
Proof 1
104

A battery-powered tea light installed with fabric
surrounding it to soften the glow.
INSTALLING LIGHTING
BATTERY-POWERED TEA LIGHTS
If you are using a battery-powered tea light, the installation process
is fairly straightforward. If you have a removable roof on your faerie
house, then you can simply create a place to set the tea light while it is
on. Alternatively, if your house is very small, you can cut a hole in the The strings with pre-applied
floor just big enough to push the tea light through and glue it in place. blossoms or beads cannot be
The switch will now be accessible on the bottom of your house, and pulled through small holes or a
you can replace the batteries if that is an option. space narrower than the baubles.
This could be a problem for
someinstallations.
BATTERY-POWERED MICRO LED STRING LIGHTS

I most often use the ultra-thin micro wire button battery LED strings.
They come in 10-, 15-, and 20-bulb strands and can be found in warm
or cool white, individual colors, and mixed colors. Usually, youll
install lighting after the main structure is completed but before the
interior finishing is started. This allows you to cover over the wiring
after installation with wallpaper coverings.
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Preparing micro LED lights for installation.
Apply small coatings of hot glue to both wires on either side

of the LED bulb and to the back of the bulb itself. This helps
protect the fragile wire from breaking during installation.
It also helps to have glue pre-applied to the wire to anchor
intoposition.
Decide where youre going to put the battery pack before you
permanently affix the lights. Make sure the pack is hidden, yet
accessible, so that you can easily change the batteries and can
use the switch to turn it off and on.
Build a small holder for the battery pack out of bark, felt, or
other sturdy material and secure it to the house. A good place
to conceal a battery pack is under a floor with the switch
Hot glue correctly applied to wires. access on an outside wall. Make sure you can reach the switch
to operate and can pull the unit out far enough to change
thebatteries.
Map out where each light is going to go. Be careful while
handling the wires, as they are very fragile and can break easily.
Make a tester model using string or wire with bulb placements
marked on the string to map out difficult configurations.
Sometimes with towers, dormers, second stories, and so forth,
it is difficult to get the configuration right on the first try. Use
tape to hold it in place. Do not stretch the wires as this may
cause them to break.
If there is an excessive length of wire between your chosen
light placements, just make gentle S shapes with the wire and
glue it down when you get to that part of the string.
When the lights are in position, test the lights to make sure
they work before you glue them down. Test frequently during
installation. Sometimes a bulb goes dead and you have to
reconfigure your lighting plan.
If a bulb ends up being in a place where you want no light,
you can mask it out by gluing a small wad of felt over
thelight.
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106

Here is a birch bark box (before the lid is glued
on) I made to hold the battery pack onto the
house. Note the loop of wire that allows the
pack to be removed completely free of the box
for battery replacement. This is crucial.
Installing micro LED lights.

Begin the installation process at the battery pack end rather than at the
finished end of the string of lights. You may need to thread the light
string through a tiny hole or weave it in and out of rooms, and you
cant do that with the battery pack attached. Micro LED lighting being installed.
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Because each situation is unique, you will need to work out the
best configuration for each project. Once the plan is configured, begin
gluing down the wires as needed. Hot glue works very well because you
can reheat it and reposition the wires if needed. Use small dots of glue
to anchor everything in place first, then return and permanentlyattach.
If the eaves (see Chapter 5) are already in place on the house (the
exposed birch bark in these images), you can simply cut a tiny hole in
the eaves and just barely insert the bulb and glue it in place. This will
give you a tiny light that shines down on the exterior of the house. The
middle bulb in the left image has been installed using this technique.
The other two bulbs simply protrude into the room and will be
covered with a large, faceted bead to act as a sconce. In this way, you
can light both inside and outside using just one string of lights.
To block the light from leaking elsewhere and spoiling the effect,
youll need to apply a small patch of dark felt to the back side of
eaveslights.
One string, two lighting styles.
This is how the bulb looks from An oval pad of felt is placed
the outside of the house, a tiny over the bulb on the inside of
dot emerging out of the birch the eaves, where it will not be
bark. In this instance, the light seen but will serve to block any
will shine down from the eaves of light leakage, which can spoil
the roof onto the exterior of the thelighting effect.
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house. Because the LED bulbs

give off no heat, its perfectly safe
to have it right next to the bark
like this.
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108

Hiding the battery pack. Option 2
The battery packs for micro LED lights are small and use button bat-
teries. They are easy to hide under foliage. You can also position them
on the back of the house up near the eaves.
You can also engineer a way to have a movable leaf hide the open-
ing if there are few other camouflage options.
Option 1
Option 3

Before. After.
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HIDING A LARGE BATTERY PACK.
Youll need to get creative in hiding the larger battery pack for lights that use AA or AAA batteries. Keep in mind that the best
place may be outside the house in the landscaped base.
CAMOUFLAGING THE WIRES.

LED strings of lights are a great asset for faerie
house builders, but the shiny silver wires (or
other colors depending on the string you use)
may not be something you want to see. Here
are a couple of different ways to handle the
shiny wires.
If the wires are going to be highly visible,
use green or brown tissue or crepe paper to
cover the wires before you install them. This
turns the light string into what looks like a growing vine, which you can enhance with applied silk foliage. Narrow
silk ribbon or novelty yarn works too. Apply with small amounts of hot glue so that the wires stay flexible. The
opposite image shows the same structure with stair steps added and the vine lights turned on.
If you plan to wallpaper your house, you can simply paper over the wires. If you install the lighting after the
wallpaper, it still may be possible to layer on matching paper. Or, if that looks messy, try using thin strips of felt or
CHApTER 4
novelty yarn to simulate flower stems and add silk blossoms and leaves. Using your own creativity and decoration
style, you will find many clever ways to conceal unwanted wires from view.
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Adding embellishments to lighting.
Sometimes the bare bulb is too bright or too ordinary looking and we
want to jazz things up a bit. In certain situations, hanging a glass or
acrylic bead in front of the bulb works well.
Another way to make a sconce is to wrap the LED bulb in a silk
petal or two. Thin, translucent petals work best.
Hanging glass leaf beads

conceal bare LED bulbs,
which are just emerging
from the wall of the
vestibule on either side of
the door. The drop bead
above also covers a bare
LED bulb. A matching leaf-
bead dangle visually ties it
to the two beads below in
the vestibule.
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You can also use small, glittery novelty bits to add as sconce parts
and decorations. It really is fun to dream up unique ways to enhance
your lighting options.
Faerie houses really come to life with added lighting. Once youve
mastered the basic skills, youll have great fun making your little houses
sparkle and twinkle.
The same doorway with

the lights on.
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Several lighting effects on one house. Notice that in the two windows the light bulbs are centered at the top of the window
arch. Placing lights at either the top or the bottom of any window works better than trying to place the light in the middle of the
window. The lights over the door show acrylic beads glued directly over the LED bulbs affixed with clear epoxy. Some acrylic
beads may be drillable. Using beads with facets gives a sparkly look to the lighting!
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In this example, the LED lights were placed around the base of the dried lotus blossom roof, and then the sparkly beaded
garland with faceted beads was worked into the petals next to the lights. There is a single strand of ten lights used for this tiny
(4"-tall) housetwo inside and eight outside (two shining down near the door and six in the flower roof). The battery pack is
hiding under the bed but accessed from outside (see movable leaf on page 109).
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TOP: Fancy sconces for an elegant house.
RI GHT: Silk blossoms conceal LED lights.
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INTERIOR DECORATING
Once the body of the house is complete, you may want to decorate
the interior. If the roof is fixed in place, the view of the interior will
be limited, so you may want to keep the decorating to a minimum.
However, if the roof is removable, then you can really have some fun.
WALLPAPER
Regardless of whether the roof is removable or fixed, youll probably
want to add wall coverings of some sort. There are many good reasons
for doing this:
Giving extra strength to fragile walls

Increasing the quality of reflected light by using light
coloredwallpaper
Hiding the wiring used in the lighting
Adding style and elegance for a more complete creation
Incorporating personal touches for an intended recipient
Handmade mulberry paper produces a simple,

clean finish. The off-white paper is infused with
real flower petals and reflects light out the
windows better than dark papers. Notice also
the green velvet window seat and green felt
carpet on the floor. These are simple touches
that give the room some character.
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Every house is different and each has its own challenges. Here are
some basic tips, though, that will help you during the process of fin-
ishing the interior and hanging wallpaper regardless of the house
shape or size.
When applying the wallpaper dont worry about a perfect

match with the edges of the window and door openings
because the frame that you apply around these openings after
the wallpaper is down should cover up any gaps that may
occur. Just get as close as you can to the outline of the door
and window and if needed, make larger frames!
Think of the space in terms of blocks and try to tackle those
that are most difficult to reach first. I usually do around the
doors and windows first and then layer on the big open wall
sections last so that their edges overlap the other pieces previ-
ously applied.
When using mulberry or rice papers for your wall covering try
to tear the edges rather than cut them with scissors if possible.
The torn edges will blend better with the layers below when
they are soft and ragged.
Oftentimes it works best to bring all the vertical pieces
beyond the edge of the outside wall (either the top edge or the
floor edge, depending on your design) and trim them all off
together once the glue has dried using a sharp knife or a pair of
sharpscissors.
Green paper frames the door and windows

after the wallpaper has been applied. Use a
thick, heavy paper for best results. Decorate the
frames (if desired) before you install.
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If your faerie house has a fixed roof, then all of the ends of the
wallpaper should extend to the bottom of the house where the floor
will be once it is installed. At this point, just double check to make sure
that everything is well glued down and then once the glue is dry, trim
off the excess with a sharp knife. Test to make sure the house sits level.
After you have covered the walls, you can apply your interior door
and window frames and any additional decorations you may wish
toadd.
Peeking inside. When installed, the roof rests on the twig spokes. Here I have used the same mulberry wallpaper and have
added decorative touches to make the interior a little more interesting. These decorations also hide the lighting that circles
around the top of the house. In this image you can also see the nicely framed window. The beaded garland, green felt
leaves,and vines bring a subtle color scheme into the interior of the house that complements the color scheme on the exterior.
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FINISHING THE TOP EDGE OF
THE HOUSE
If your faerie house has a removable roof, youll need to finish the top
Apply all your interior decorations edge nicely. Adapt the example below for your house.
first and finish the top edge last.
That way you can cover over any
FINISHING WITH A FELT STRIP
of the raw edges of wallpaper or
trims with the finishing strip. Be
If you have any indentations or recesses in your walls, cover those first,
sure to test your materials and then finish the larger lengths of wall after. For this house, I simply
glues first, however. Clear epoxy, cut a strip of brown felt to 38 inch and glued it to the raw edge a few
while very durable, tends to bleed inches at a time using wood-colored epoxy, because the clear epoxy
into most ribbons and fabric. Tacky has a tendency to bleed into the felt and make it shiny. Hot glue is not
glues may not stick well enough.
durableenough.
Contrasting strips of birch bark
can work well in some situations.
TOP: A flat-walled house ready for edge

finishing. Walls are uniformly thick and well
finished inside and out.
BOTTO M: The finished edge. The felt
performs an additional function: it acts as a light
barrier to improve the seal of the roof when it is
put in place.
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CREATING A SHELF FOR A REMOVABLE Apply a wide strip of felt by folding over the
ROOF TO REST UPON edges on both inside and outside. This adds
extra strength to a thinner wall.
On some houses the removable roof rests on eaves that are attached
to the house. The Sunflower House is one such example. Because the
top side of the eaves is visible when the roof is removed, you may want
to finish this large brim nicely as well. Page 122 shows the steps for
decorating the top side of the eaves for a sunflower-themed house.
As every faerie house is a unique creation, each house with a remov-
able roof may require special, creative solutions for finishing the edges.
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FINISHING A TOP EDGE
If your faerie house has a special theme, adding some creative embellishments can help carry it further. For the house
shown below, the flat surface of the eaves (where the roof sits when it is in place) provided another opportunity to celebrate
a passion for sunflowers. The application of the silk petals and leaves also helped camouflage the seams in the birch bark,
which were already hidden by the twig beams when viewed from below. Plus, the added detail was a nice surprise for the
curious viewer.
TOP L E FT: The edge where the brim meets the walls of the house is reinforced with a bead of clear epoxy. After the glue is
dry, you may apply silk botanicals to finish it off.
TOP R I G HT: Apply the green leaves first, then the yellow petals. Using the thinnest dab of clear epoxy on the edge of each
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petal, glue only at the inner edge.

BOTTO M L E FT: Once the glue is fully dry, apply a trimmed piece of brown felt using hot glue. The strip is wide enough to
hide all the shiny epoxy.
BOTTO M R I G HT: For a final touch, carefully glue a fat novelty yarn to the edge of the rim using wood-colored epoxy. This
adds protection, durability, and a bit of color to the delicate edge.
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FLOORS
Floors are an important element in faerie house construction because
they add strength and stability to the entire piece. Houses with remov-
able roofs make floor installation and decoration a much easier process.
Additionally, if the roof does come off and reveals the interior of your
faerie house, you may want to maximize your decorating options and
fill every inch of the house with crafty bits, including the floor. A crea-
tive treatment of the floor can go a long way to creating a stunning
interior space.
Structurally speaking, floors made out of acid-free foam-core board
work well, or, if you need extra strength and rigidity, you can use spe-
cialty plywood made specifically for model and dollhouse building. To make a floor that fits inside the house, trace
There are two basic options for flooring: carefully around the house, then cut out the
material on the inside of the line.
A carefully cut piece that fits perfectly inside the walls of
thehouse, OR
A panel that extends beyond the house to become a base.
There are no hard and fast rules to observe when making floors,
though it is helpful to know the difference between these two design
options so you can choose the one that will be best for your project.
Floors that go inside the walls:
Add strength and help maintain the shape and structure of a

delicate house.
Can be installed in such a way that there is a space under-
neath the floor, which is a handy place to hide battery packs
forlighting.
Are a good design choice for a house that will be attached to or
sit on top of an additional decorative base.

Floors that extend beyond the edge of the walls:
Are a great option for houses that have stiff walls or have rough
interiors that are unlikely to be finished. Because a house can change its
Can be extended a little or a lot depending on the design shape and dimensions during the
for the base. Sometimes the floor need only extend a half an construction process, make the
inch or so beyond the edge of the walls. In some cases it can floor pattern after the walls of the
extend a great deal more than that because it is the entire house are complete.
decorativebase.
Simplify your design because installing the floor also finishes Proof 1 2 T
the base of the house nicely.
123

This floor and base are one. I cut a piece of
dollhouse-grade plywood 12" larger than the
house footprint all the way around. I covered
the top of the plywood with sage green felt and
used epoxy to firmly glue it down. I applied
wood-colored epoxy to the very bottom edge
of all six walls and centered the house on the
felt-covered plywood. Fluffy novelty yarn covers
up the raw edge of the house nicely andas an
added bonuslooks a bit like grass.Matching
yarn used on the roof visually ties the two
elementstogether.
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A welcoming threshold of leaf steps.
124

MAKING A FLOOR
With a removable-roof house you can expand your decorations to include a needle-felted rug or wall-to-wall carpet if space
allows. Adding botanicals or sparkly bits makes the rug even more magical.
Once your house is gorgeous inside and out, its time to cap it all off with a roof and landscape around it so that it
comes alive.
TO P L E FT: Applying felt trim to the walls that matches the spiral floor (in background), which will be added next. ADDING TWINKLE AND STyLE
TO P R I G HT: A sunny, needle-felted rug for the SunflowerHouse.
B O TTO M L E FT: Sweet dreamy rug blends perfectly with the walls.
TO P R I G HT: Autumn winds appear to swirl into the house through the front door. This effect is accomplished with
needle-felted hand-dyed wool that has paper leaves stitched inplace Proof 1
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Proof 1 2C
126

C HAP T ER 5
Finishing Touches
R O O F S , B A S E S , A N D E X T E R I O R D E TA I L S
W ith the basic components of the faerie house built and

the interior assembled, its time to put it all together by
finishing the exterior of the house. Roofs offer plenty of opportunity
for creativity, as do landscaped bases. Learn the basics and let your
creativity do the rest.
ROOFS
A well-designed and well-crafted roof brings considerable style and
visual impact to your faerie house. Even if your house will never go
The roof and the base should outside, because the roof is what shelters the house from the ele-
complement each other and ments, having one that looks solid and substantial, yet whimsical, is
the house they surround. If the
ideal for tying the faerie house together and making it come together
house is to be a gift, then adding
a personal, secret touch will as a visual success.
make it even moreenchanting. Design options are infinite. From felted or pinecone roofs to straw
roofs that look like thatching, you are limited in your creation only
by your imagination. Usually, the roof will extend out over the edge
of the house in all directions, and the steeper the angle or pitch, the
greater the charm. Roofs can have small porthole windows, gables, or
towers that are part of the structure, so it is helpful to have a sketch
of what you want before you build.
As noted in the lighting section, there are two main kinds of roofs:
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those that are attached permanently to the house (fixed roofs) and
those that are designed to be removable. A removable roof will need
127

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a means of support when it is on the house. Some rest directly on the walls of the
house, while others can sit on pegs or faux eaves that are fixed to the house walls.
Small tower roofs can be made with a lip that fits inside the walls of the tower.
No matter how the roofs are supported, most have the same basiccomponents.
THREE MAIN COMPONENTS OF ROOFS

Base layer.
On twig frame roofs, this is made of twigs or branches that may or may not be
visible from the inside. Some base layers are simply made from heavy paper or
stiff felt.
Middle layer.
This joins the branches together on a frame roof and gives shape and a degree of
sturdiness. On paper roofs, a strengthening layer is applied to the paper.
Exterior roof covering.

The top, decorated, outer layer of the roofwhat is visible from theoutside.
TYPES OF ROOF COVERINGS

There are many materials that make excellent roof coverings. Lets take a look at
some different examples for inspiration.
Bark roofs.
You can take pieces of bark apart and use them as shingles or cut and glue together
larger sheets to make whimsical roofs. Never remove bark from a livingtree.
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Silk botanical roofs.
These roofs have it all: color, texture, whimsy, and durability. They are
a good choice for removable roofs because they are lightweight.
Live collected flower roofs.

These are for ephemeral, field-based creations only. Though they only
last a very short time, flower roofs are truly magical. You can use them
with prebuilt houses for photo shoots in order to preserve the memo-
ries forever.
FINISHING TOUCHES
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Live collected leaf roofs. Moss roofs.
Much like flowers, these creations are ephem- Moss is not the longest-lasting material for a roof covering, but it does
eral, but beautiful. With some houses, you can make a perfect finish for many woodland faerie houses. Use dried,
get a great photo with live leaves and flow- preserved moss from floral supply stores for indoor houses.
ers, and then, if you want to keep the house
indoors for longer, you can make a silk botan-
ical facsimile.
Pinecone scale roofs.

Carefully take apart pinecones and use the scales just like youd use tiny
roof shingles.
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Mushrooms/fungi. Single fungus roof.
If youre planning to keep your faerie house for a long time, the fungi For houses using a single fungus for the roof,
you use must be dried and hard. Some last longer than others. make sure that you choose a variety that is com-
pletely dried out and will not fall apart quickly.
The fungus should be hard and dense, like soft
wood. Many types of shelf fungus will work
well. If you live in a humid climate, you may
want to seal the fungus with polyurethane. This
will reduce the natural look, but will keep
secondary mold from developing.
Needle felted roof.

All the whimsy you want in a roof! A middle layer of felt is covered
with novelty yarns, raw dyed wool, silk and velvet leaves/flowers,
beaded vines, or whatever your imagination inspires.
FINISHING TOUCHES
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HOW TO MAKE A
TWIG FRAME ROOF
It may not look very glamorous, but this roof is the goal for this tutorial (for now). This framed roof
with a raffia and felt middle layer is an excellent design to learn because it can be adapted for nearly
every situation and finishing material. You can also adapt the constructionas I will also describe
in this tutorialto make a removable roof for nearly any cottage. Later Ill show you one way to
beautifully finish this roof base.
Read through all of the instructions before you begin so you are clear about what youll be doing.
Most roofs are started once the body of a house has been built, so this tutorial starts at that point.
MATERIALS FOR
BOTH FIXED AND
R E M OVA B L E S T Y L E S
Acid-free cardboard or matboard
Thicker twigs for roof beams
Matched, slightly curved twigs for rafters
Long twig for central support pole
Raffia
Felt (brown and green used here)
Small piece of waxed paper (3 x 3)
forremovable roof
Hot glue sticks
TOOLS
Pencil
Scissors
X-Acto knife
Hand pruners
Wire snips
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Needle-pointed pruning shears

Sandpaper
Fine-toothed flat saw
Hot glue gun
Proof 1
132 BOTH: Examples of a finished twig frame roof and the accompanyinghouse.

MAKING THE ROOF For the fixed roof: Glue cardboard circle in place so
that the cardboard is lower than the top edge of the house
STEP 1 wall by the thickness of the beams.
For both roof styles: Turn the house upside down onto For the removable roof: Do not do this step.
a sheet of acid-free cardboard or matboard. Trace around
the outside circumference of the house with a pencil. Cut
out the cardboard/matboard slightly inside your pencil line
STEP 3
so that the piece of cardboard will fit snugly inside the top For the fixed roof: Use the X-Acto knife to cut U-shaped
of the house and function as a ceiling. notches in the top edge of the house wall to hold the roof
For the removable roof: Insert the circle into the top of beams. Attach the roof beams to the body of the house
the house and lightly tack in place with three to four small using epoxy glue on the inside of the notches, extending
drops of hot glueit will be removed later. the beams inside the house a little bit. Do this one beam at
a time, letting the glue set before you move to the next one.
That way you can make sure all of the beams stay level.
STEP 2 For the removable roof: Do not do this step.
For both roof styles: Cut six or more roof beams using
(Handy trick: Once the glue begins to set, turn the house
the fine-toothed saw for flat ends. The number of beams is a
upside down onto a flat surface and adjust the beam so it is
style choice. Eight is a good average. The beams should all
pressed flat while the glue finishes setting. Do this with each
be approximately the same diameter and length and nicely
beam and all the beams will be flat and true.)
finished on the ends.
Beams Side view
U-shaped
notch
Top view
FINISHING TOUCHES
For the fixed roof: Here is a view of how the house looks with all the beams in position for a fixed roof but before they are
glued permanently in place. Note how the beams extend slightly to the inside of the house. This allows for extra surface area for
the glue to make a solid contact and creates strong joints to support the rest of the roof.
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STEP 4
For both roof styles: Create and affix the eaves ring For the fixed roof: On the paper mark the location of
that will support the rafters. To determine the shape and outer ends of the beams. Remove the house. Draw a circle
dimensions of the ring, turn the house upside down onto 1
2 to 34 inch inside those beam ends. Also draw a circle
a clean sheet of matboard and trace around the walls of 1
2inch inside the outline of the house wall. Cut out the ring.
thehouse.
For the removable roof: Trace around the house wall
first. Lay down a few roof beams and trace another circle that
is 12 to 34 inch inside those beam ends. Remove house and
retrace the inner line 18 inch inside. Cut out the circle.
For both roof styles: Collect twigs that will be used for the For the fixed roof: This is how the cardboard cutout
roof rafters. You will also need a piece of acid-free matboard should fit the house while it is stilling on top of the beams.
to create the eaves ring. You will need one good twig rafter Note that the front of the house is indicated with an arrow
for each roof beam, plus some additional twigs that are drawn in pencil on the top of the eaves ring. This helps to
similar in size and appearance. The main rafter twigs should ensure that the correct side is downnot all structures are
all have a similar diameter and shape. If you want a pleasing perfectlysymmetrical.
bell-shaped roof, select rafter twigs that have a slight curve
at one end and are straight at the other.
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134

STEP 5
For both roof styles: Cover the matboard eaves ring Support pole
with your choice of desired material, such as felt or paper to
give a decorative finish to the underside of the eaves. Cut
the decorative material so that it is larger around the outside
Fabric edging
edge and smaller than the inside edge of the ring. Fold over
the outside edge and glue the fabric to the board well, so
that the good side faces down.
For the fixed roof: When you have completely covered

the ring, glue it (good side facing down) to the beams using
wood-colored epoxy.
For the removable roof: Once the ring is covered,

place it on the table good side up. Attach it to the house by Matboard ring
applying a bead of hot glue to the rim of the house wall, then
quickly turning the house upside down and centering it onto
the felted ring. Take the twig beams and glue them evenly
around the ring with wood-colored epoxy. Apply glue also to
the end of each beam where it is meeting up with the wall of
the house. Do this step well because the weight of the roof
will rest on this ring.
The felt-covered eaves ring glued onto the beams for the
fixed-roof design. The central twig is also glued firmly in
STEP 6 place. For removable roofs, the ends of the twigs inside
the ring do not show as they butt up against the wall of the
For both roofs: The height of this support pole will
house. Also, the central support twig is very lightly glued in
define the total height of the roof.To determine the ideal place to be removed later.
height for this central pole, hold one of the selected rafter
twigs in position from the top of the support pole out
past one of the twig beams to make sure that enough of
the curved end of the rafter twig extends well beyond
the outer end of the roof beams. The height of the roof is
simply a matter of personal preference and not a specified
measurement, so make this adjustment to your own taste.
Just make sure that your rafters are long enough to extend
beyond the roof beams when the other end is attached at
the peak/top of the main pole support. You will need to
FINISHING TOUCHES
lower the height of the support pole if the roof rafters do
not meet the beams properly.
For the fixed roof: Glue the long straight support

pole twig to the center of your cardboard insert using
epoxyglue.
For the removable roof: Do the same thing, only glue

very lightlyyou will remove this later.
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16/9/16 1:27 PM
STEP 7A: PRIMARY RAFTERS
For both roofs: You will now begin to install the
individual rafter twigs. Do this step carefully because
the shape of your roof depends on good technique and
attention to detail in this step. Use the straight ends of the
rafter twigs at the peak of the roof and the curved ends at
the bottom (beam end) to give a pleasing silhouette to your
Primary
roof. Cut the specially selected matching rafter twigs to rafter
approximately the same length and trim the curved ends so
they all have approximately the same angle cut to the others.
For the fixed roof: Use wood-colored epoxy, not

hot glue, to glue the rafters in place. Watch for drips and
remove them before they set. Use wood-colored epoxy glue
to attach each primary rafter to the central support pole
Secondary
and to one side of the appropriate roof beam. Use small
rafter
amounts of epoxy glue to simply anchor the rafters in place.
Once they are all dry, you can apply more epoxy to each
rafter joint to make sure it is solid, taking care not to drip. Tertiary rafter
For the removable roof: Wrap the top of the center

Select the four best rafter twigs that match one another and
pole in the waxed paper to keep glue from sticking to it.
use these as your primary rafters to be installed first. They
Secure with tape. Use tiny drops of hot glue to affix each should be equally spaced, roughly speaking, one at each
rafter to each beam. Be careful to not get glue on the quadrant, and are attached first to help establish the roof
felt/eaves ring. Use epoxy glue to affix the other ends of shape. Trim the top ends of the primary rafter twigs so that
there is a good surface joining the central pole, then add the
the rafters to each other as they rest on the waxed paper rest of the rafters.
covering the tip of the central support pole. Youre going to
need to remove the roof afterward, at which time you will
reinforce all the joints. Glue just enough to hold it together.
STEP 7C: TERTIARY RAFTERS

STEP 7B: SECONDARY RAFTERS
For both roofs: After the primary and secondary rafters
For both roofs: Once the primary rafters are securely are attached, it is time to install the tertiary rafters. These
attached it is time to apply the secondary rafters. These are twigs should be about one-third the length of the secondary
the next-best twigs in your collection and ideally should rafters. Attach these twigs onto the opposite side of each
have curved ends similar to the primary rafters. Trim off beam where the primary or secondary rafter is already
1
2inch from the top end of the twig. Glue the secondary attached. Glue these into position so that the outside ends
rafters in place so that the curved end is attached to one roughly match the primary and secondary rafter ends to
of the beams already attached to a primary rafter and the make a full and complete circle around the edge of the roof.
straight end is attached to the adjoining primary rafter. Each beam should now have two rafters attached to it.
Attach all secondary rafters in the same manner.
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For the fixed roof: Use epoxy glue at both ends.

For the removable roof: Do the same thing, using
For the removable roof: Use epoxy glue at the top and
small dabs of epoxy at the roof top and tiny drops of hot
tiny drops of hot glue at the beam/bottom ends.
glue to (temporarily) attach to the beams.
Proof 1 2 T
136

STEP 7D: DOORWAY RAFTER
For both roofs: The final rafter to be put in place will be
a single rafter that is centered over the doorway. This rafter
can be longer or shorter than the primary or secondary
rafters, it is simply a matter of personal preference. Note
that a support beam from below is not required for this
ry rafter. Just make sure that it follows the same general shape
and curve of the primary and secondary rafters.
For the fixed roof: Glue with epoxy at both ends, but
attach to the eaves ring if there is no available beam for
thisrafter.
For the removable roof: Attach with epoxy glue at the

top end only. Allow the lower end to be free for now. For
this roof only, go back to all the epoxy joints above the ring
line and reinforce with extra epoxy. Glue the tops of the
rafters to one another, not to the central pole.
Roof with all rafters glued into place. Both styles of roofs
should look similar to this.
From below, both

styles of houses
should look similar
to this except the
removable roof will
have tiny dots of
hot glue joining the
rafters to the beams.
This image shows
how the tertiary
rafters are matched
to the primary and
secondary rafters on
either side of each
beam. You can see
how important it is
not to let epoxy glue
FINISHING TOUCHES
drip while you are
attaching rafters for
a fixed roof. The key
is patience! Let each
piece dry before
gluing thenext.
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16/9/16 1:27 PM
STEP 8A
For both roofs: Using a hot glue gun, attach strands of
raffia to the rafters in a spiral pattern starting from the top
of the roof and working downward. Only a small drop of hot
glue is necessary to attach the raffia to each rafter. Space
the strands approximately 12 inch apart at the top of the roof
and space them gradually closer together as you approach
the bottom. Apply the raffia below the eaves ring but not
all the way to the ends of the rafters. Space these last few
strands closer together.
STEP 8B
For the removable roof: Using a sharp craft knife, cut
the twig rafter frame free from the beams at the glue dots.
Gently remove the twig frame. Pull out the central support
pole and discard. Pull out the initial cardboard insert circle
and discard. Pull out any loose bits of waxed paper and
Strands of raffia are wrapped around the roof support
discard. Clean and trim any glue drips. Apply small dabs
structure to strengthen it and provide a gluing surface for the
of epoxy glue to all wood joints if needed. Replace roof roof covering.
ontohouse.
STEP 8C
For both roofs: If you plan to apply lighting to your
roof, do that next before applying the felt layer.
For the removable roof: Keep in mind that the lights

applied to the roof will not be able to be attached to the
body of the house. However, a lighted roof can illuminate
the interior of a single room house very well.
STEP 9
For both roofs: Install the underlayer for the roof skin.
Ordinary felt works really well for this step because it can
be stretched slightly if needed to fit the natural curves and
bumps made by the twig rafters while still giving a smooth
continuous cover upon which the finished roof materials will
be applied. The color of felt to be used depends on the
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material you will be using on the outer, visible layer of the

roof. Silk botanical or needle felted roofs work better with
green felt as the underlayer because it gives a natural look.
Triangular strips of felt are glued to the roof structure to
create the roof underlayer.
Proof 1
138

For both roofs (continued): Begin by cutting out For the fixed roof: Turn the house over and trim off the
triangular-shaped pieces of felt that closely match the space excess felt at the bottom edge, leaving a 18-inch margin of
between the major rafters. Depending on the size and shape felt that extends beyond the last raffia strand.
of your roof this can usually be achieved using six large
For the removable roof: Simply remove the roof to trim
pieces. The important issue is to match up the edges of the
the felt.
felt with primary and secondary rafters going all the way from
top of the roof to the bottom of the raffia. Apply the felt with Stretch and adjust the felt triangle during the attachment
hot glue. Many small drops of glue are preferable to large process as needed for a smooth fit, but do so gently with
amounts that might drip down onto the inside of the house. the removable roof as it is more delicate.
Start at the top of the triangle and work down. If desired you
can also attach the felt to the freely floating raffia if desired,
but the felt needs to be firmly attached to all the wood raters.
FINISHING TOUCHES
Proof 1
Here we have the finished framing and roof ready to be decorated with the final layer of covering materials.
139

16/9/16 1:27 PM
COVERING THE FRAMED ROOF STEP 1
WITH PINECONE SCALES AND
Prepare the pinecone scales. Any large conifer cone can be
SILKBOTANICALS
used. These cones are from sugar pines, which I purchased
Now we can apply a decorative finish to the roof. The steps are from reputable sellers on eBay who collect them in a
the same for both the fixed and removable roofs. sustainable way.
Cut off the individual scales as close to the core as
possible. With some cones you can pull the scales off the
core with just your fingers. This is the preferred method
because it causes the least amount of damage to the scales.
Discard split/broken scales.
YOU WILL NEED: Trim the scales to make them ready for use. Most scales
have a tough ligament where it was connected to the cone.
Pinecone scales
Trim that off. You may also need to reshape the lower edge
Silk botanicals
of some scales with sandpaper so they are more uniform
Acorn cap
and rounded.
Goldenrod burl, or other suitable
finial seedpod or pinecone
Florists wire
Sandpaper
Needle-nose pruners
Drill
The image [above] shows this process. Scale #1 shows the

top and bottom views of the scale as it came off the cone.
Scale #2 shows how the top of the scale has been trimmed
and rounded using the needle nose pruners and sandpaper.
Here are the various silk leaves for this roofing project. You
CHApTER 5
Scale #3 shows how the bottom edge has been trimmed and
can see a variety of sizes, colors, and textures, but they all rounded using only sandpaper. This scale is now ready to be
look good together. applied in a roofing project.
Proof 1 2 T
140

takes longer to apply. Whichever glue you choose to
Most methods of applying the final finishing
layer of the roof begin at the bottom of the use, application isfairly straightforward: simply dab on
roof and work up to the top. Another general a suitable amount ofglue to just the top of the back of
rule of thumb to keep in mind is that larger thescale and press the scale down into position close to
objects or items are usually placed near the previous scale. You may need to trim and adjustthe
the bottom and the smaller ones near the scales for a tighter side-by-side fit (before you apply
top. This makes the roof look balanced and theglue) as you go along.
also provides the most efficient coverage Once the first row of scales is glued on, add a few
with whatever material you are using for tendrils of preserved Spanish moss, using the hot glue gun.
decorating your roof.
After applying the layer of moss, add the second row of
scales like fish scales: apply a single scale over the space
between the two scales that are on the row below. This
gives a lovely decorative pattern. Trim the width of scales
asneeded.
STEP 2 The roof now has two complete rows of scales applied so
Apply the scales as shingles. Use the largest prepared scales you can see how the overlapping pattern works. You could
at the bottom, gradually using smaller and smaller scales as cover the whole roof this way. Usually the last few layers
you work up the roof. Begin laying down the lowest/first row require careful trimming and fitting of the scales so that they
of scales starting at the back of the house, working around the are perfectly matched and sit side by side with no gaps.
roof returning to the starting point. The reason: sometimes Finish the roof using the epoxy glue instead of hot glue for
the final few scales need to be trimmed or narrowed in order the last three rows, if you chose this method.
to finish the row. Keep that less visible by starting in the back. Another option is to apply something completely
Always use the best materials on the front. different yet harmonious. This could be done with pine bark
Hot glue is easiest for this step, but tends to come pieces, a different species of pinecone scaleor you could
away from the scales over time. Epoxy is better but use silk botanicals, which is what we will add next.
Finishing Touches
Proof 1 2 T
Notice how the first row of scales extends well beyond the Work upward from the roof eave, starting with your longest
edge of felt but not as far as the edge of the rafter twigs. pinecone scales. Layer in Spanish moss strands as you go.
141

Fairy Houses Interior_11673 C2.indd 141 Job: 11673 Title: #223176_Fairy Houses (MBI)
22/9/16 2:53 PM
STEP 3
Apply the silk botanicals. Just as with the scales youll want
to have all of your botanicals sorted according to size, color,
etc., before you actually begin.
Begin at the back of the house using the largest
leaves first. You dont need to apply glue to the entire leaf
surfacein fact its best not to. Rather, apply the glue to
just the top third of the leaf back and let the rest of the leaf
float freely after it is stuck onto the roof. Optional: Continue
to apply small tendrils of the Spanish moss along with the
leaves to help visually tie the two layers together.
Alternate the colors and textures of the leaves while
applying for a more natural-looking and interesting roof.
Continue working in this manner using smaller and smaller
leaves going up the roof until you reach the very top.
Use smaller silk botanicals

as you move higher up on
the roof. Save the smallest
leaves for the peak, adding
small tendrils of Spanish
moss in the layers as
yougo.
CHApTER 5
Proof 1
142

STEP 4
Finish the roof with a decorative finial. You can build your
finial on a tiny funnel to help control the shape. The curls
of birch bark used for this finial add another layer of texture
that also harmonizes with the walls of the house. Glue the
finial together using the wood-colored epoxy, so it will be
sturdy even though it looks delicate.
Insert a short, sturdy wire into the top of the point of the
roof and glue it in place with epoxy glue (you may need to
drill a hole in your rafters for a secure fit). Once the wire is
secure, lower the finial (without the acorn cap) onto the wire
and fill the space with generous amounts of epoxy resin for
an absolutely secure junction. Watch out for drips! Drill a
small hole in the acorn cap and lower it onto the wire, glue
in place. Finally, drill the goldenrod burl to accept the wire
and glue it into place.
Optional: Use extra-fine sandpaper to finish the ends of
the rafters in whatever way appeals to you.
Congratulations on building a great roof for your house!
Create a finial and attach it to the peak with wire. If you

do not have these exact materials, improvise! Other
finial options include a small pinecone, a walnut, a large
acorn, an unusual piece of driftwood, or a shell. Use what
natureprovides.
For removable roofs, you may wish to add some sort of liner FINISHING TOUCHES
to your roof. Here paper petals have been glued inplace
inside this twig-framed roof.
Proof 1
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16/9/16 1:27 PM
HOW TO CREATE A
NO-FRAME REMOVABLE ROOF
WITH SILK BOTANICALS
In this lesson you will learn how to build a no-frame roof, which makes a great base for simple
removable roofs. You can use heavy paper, birch bark, felt, or any other thin, flexible material for this
base. Adapt the technique for different materials and for polygonal houses.
You will also learn how to apply silk botanicals, which add lots of color without adding lots of
weight to your faerie house roof. Additionally, you can have so much fun mixing up different elements
and textures for a colorful, organic look. Any sort of silk flower, leaf, or fern can be used, just apply
themusing the same basic technique.
MATERIALS FOR
ROOF FOUNDATION
Watercolor (or other heavy, acid-free) paper
White glue mixed with water
Green tissue paper
Sheet of waxed paper larger than the top
ofthe house
Hot glue sticks
MATERIALS FOR
DECORATIVE COVER
Silk flower petals in varying sizes (take apart
large silk flowers or purchase loose petals)
Silk leaves
Decorative paper for lining (optional)
Hot glue sticks
Epoxy glue
TOOLS
CHApTER 5
Scissors
Tweezers
Glue gun
Brush to apply white glue mix
Proof 1
144

MAKING THE NO-FRAME
1
ROOFFOUNDATION
STEP 1
To begin, make a basic cone that fits the circle of the body
of the house. Heavy watercolor paper works well, and it
can be found at good art supply stores. Use hot glue or
epoxy to glue the paper together. This is one of the few
times when I like to use hot glue because its fast-drying
and relatively strong. To make the brim for the roof, cut
outtwo arcsof paper as shown. Each house will be different
so adapt your pattern accordingly.
2
STEP 2
Approximate the angleof the brim to the cone by taping
it together.Once youre satisfied with the shape, glue it
inplace.
STEP 3
Once the paper foundation is satisfactory, give it a little
strength using tissue paper and glue. I like to use green
tissue paper or thin, gauzy fabric to give the no-frame roof
strength and a consistent color. Tear strips of tissue paper
into small strips. Use a brush to coat the strips with slightly
thinned white glue. Apply the pieces to the roof overlapping 3
the strips as you go. Use the glue mixture sparinglyjust
enough to anchor the pieces in place. If you use too much
glue-mix you run the risk of making the base too soggy
and it could bubble and warp. Cover the no-frame roof
completely on the top side. Let it dry. Add an extra layer of
tissue paper to the edge of the brim for added strength. Let
dry again. Turn the roof over and repeat the process on the
interior. If you plan to line the roof with decorative paper,
you do not need to cover the inside of the cone.
FINISHING TOUCHES
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16/9/16 1:27 PM
STEP 4 4
When the roof has dried to a leathery feel, put a piece of
waxed paper over the rim of the house, and put the roof on
the faerie house to make sure everything is fitting properly.
Gently press and mold to fit well.
STEP 5
Check the roof from all angles to make sure that it is fitting
as snuggly as possible against the base of the faerie house.
Let dry overnight. Remove and discard wax paper.
The paper roof may seem small at first, but

once the botanicals start getting layered
onto it, the roof will become much larger
in appearance. The ends of the petals or
leaves look best if they extend well beyond 5
the edges of the paper base, for a fluffy,
naturallook.
CHApTER 5
Proof 1
146

DECORATING WITH SILK BOTANICALS
STEP 1 STEP 2
Because the inside of the roof is going to be visible when You should see the petal ends and the leaves from the
you remove it from the house, give it a nice finish. Turn the underside of the roof extend past the edge of the brim.
roof over. Apply some yellow petals to the underside of the Check around the entire edge of the brim to make sure all
brim. Use hot glue sparingly; you dont want to add too much of the petals and leaves from the underside are securely
weight to the roof. Because these petals will barely show, its anchored to the edge of the brim.
okay if theyre not of the best quality. Next, apply the green Begin adding the first layer of silk botanicals to the top
silk leaves, making sure that they overlap one another so that side of the paper roof, placing one petal tip in the space
no paper brim is visible. Make sure to extend the edges of between the two petals from the underside.
the leaves up inside the cone, past the brim. Cover the brim Use two-part epoxy (mix equal amounts in small batches)
completely. Turn the roof over for the nextstep. or hot glue, but use sparingly. The epoxy is stronger, but
test it first on scrap pieces because it sometimes leaks
through the silk fabric and gives an undesired result. The
1
wood-colored epoxy seems to soak in less.
Apply the first layer of petals so that none of the paper
roof shows underneath or between the petals. Apply the glue
to the upper fourth (top) end of the petals only and leave the
pointy ends free to float for a more natural look.
Many silk leaves and ferns come with an

added rib that mimics the veins of the
FINISHING TOUCHES
leaf. Leave this attached if it gives added
shape and support where you need some.
Otherwise, you can pull off the rib.
Always test the glue on your materials first

to make sure that youre happy with how the
glue interacts with the material. Proof 1 2 T
147

STEP 3
3
After applying the first row of petals, add the next row.
Again, place the next petal so that the point rests in the
space between the two petals on the layer below. Use the
largest pieces for the bottom/first rows, middle-sized pieces
for the middle of the roof, and save the tiniest pieces for the
top of the roof. If the silk botanicals are all the same size,
you can trim them so that you have different sizes. Follow
the same steps applying smaller and smaller botanicals as
you ascend the roofuntil you come to the apex.
Try to make the placement of the silk

botanicals very slightly irregular on each
layer. Mix it up as the layers go up the
roof. Layer in a bit of ribbon, or leaves of
a different texture/material. Break up any
regular patterns that may be formingit will
look more natural if its slightly random, like
it would be in nature.
4
STEP 4
If your artificial flower comes with a stem, you may be able
to modify it to act as the finial for the roof.In this example,
the green petals of the back of the artificial sunflower were
applied in the same manner as the large petals to come all
the way up to the point of the roof. I bent the artificial stem
into a pleasing design.
Attach the stem from the artificial flower onto the apex
of the roof. Because this junction point is critical to the
integrity of the roof, use epoxy glue to make sure that the
stem is glued solidly. Use a wire connector before applying
the glue for a stronger bond (see above in the previous roof
tutorial). If youre not using an artificial stem, you can simply
CHApTER 5
bring the botanicals up until they make a natural point or

use an acorn or seedpod as your finial. Whatever you use,
make sure its glued down really well.
Proof 1
148

STEP 5
To finish the inside of the roof, make a cone of decorative
paper or fabric and trim to the proper size so that it overlaps
any of the raw edges. When you have determined that the
cone of decorative material fits nicely,glueitall in place
really well with the hot glue. Optional: Add a bit of fun trim
around the raw edge of the liner to seal it up well.
The finished roof sitting on the finished house.
In the example to the right, Ive used basically

the same technique that I used with the
sunflower roof but with different materials.
This roof is constructed using silkandvelvet
leaves in autumn colors. If you look closely,
youll see that there are also silk ferns and
sprigs of glittery twigs in between the layers.
FINISHING TOUCHES
To give the best effect, keep the outer/lower
edges of the leaves or petals free from glue.
This creates a more natural look.
Proof 1 2 T
Feel free to add bits of sparkly material, yarn, ribbons, or
whatever you like in the layers as you go up the roof. They
will add interest and dazzle to your faerie house.
149

BASES & LANDSCAPING
There are so many options for faerie house
bases! The base can be a major part of the look
and feel of the house. Depending on the design,
a base can be added after a house is completed
or can even be the initial inspiration for creat-
ing a house.
Lets look at some bases to get grounded
in the possibilities and see some construc-
tiondetails.
TOP: This base forms the foundation for the

tree trunklike structures that support the house
and gazebo. The base also provides structure
for the waterfall and mossy landscaping.
BOTTO M: A modest base can still be lovely
and should harmonize with the house design
and materials.
Be certain that the bottom of the

house is plumb and level before
permanently affixing it to the base,
unless you want a lopsided look.
CHApTER 5
Proof 1 2C
150

FINISHING TOUCHES
TO P L E FT: More elaborate designs can provide additional
opportunities for miniature landscaping.
MI D D L E L E FT: A base can help tell a story. Here is an island
waiting for its house.
B O TTO M L E FT: Here there (may) be dragons in a crystal-lined
cave beneath a faerie castle!
TO P R I G HT: Dont forget to decorate the back!
B O TTO M R I G HT: Some bases add considerable height for
Proof 1 2C
better viewing. This house can come off the base to be taken
toother locations.
151

16/9/16 1:27 PM
HOW TO MAKE A SIMPLE BASE
Here is an example of the simplest solution for the bottom of a faerie
house. A piece of dollhouse-grade birch plywood has been cut out
in an oval-like shape slightly larger than the actual footprint of the
house. The finished house is then glued onto the base using wood-
colored epoxy glue. A small piece of preserved moss is added at the
front entrance, but otherwise the polished plywood is visible as an
undecorated yet sturdy base for the house.
You may wish to add several small circles of felt to the very bottom
of the base if the house is going to be placed on fine wood furniture.
The felt pads help prevent scratches.
A base is cut to fit from dollhouse-

gradeplywood.
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Preserved moss is attached to the base to create an entry mat.

Proof 1
152

T OP L EF T: A more organic version of a
modest base. Decorations add great appeal
and unify house with base.
T OP R IG H T: A top-heavy house needs extra
stability. This tall house is not a good design
for a stand-alone structure. To firmly attached it
to a broader base, first glue felt to the bottom
rim of the finished house with a generous
application of epoxy. Next, glue pebbles to the
outside wall and the felt for extra strength.
L EF T: The base slab of wood is minimally
FINISHING TOUCHES
prepared by trimming and sanding any rough
edges on the top and bottom surfaces. The
raw side/edge is left as natural as possible. Use
liberal amounts of epoxy on both the base and
the bottom of the felt and then press the house
into place for a secure bond. See the next page
for landscape decorations.
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16/9/16 1:27 PM
L EF T: Finished and decorated base from page 153.
A BOV E: Stone steps and mossy accents help seamlessly
blend house with base. The base was created first, and the
house was then crafted to fit it very precisely. Applications
of small stones add physical weight, which can add helpful
stability to a lightweight cottage.
BEL OW: This base is made from 18" cabinet-grade plywood
and has subtle contours built from multiple layers of felt.
Preserved moss, silk botanicals, river stones, and faux moss-
covered stones are used as landscaping materials. The tiny
mushrooms help with a sense of scale and bring in spots of
color. The edge of the plywood is covered with a "-wide
strip of green felt. Another option is to paint the sanded
plywood edge with acrylic paint before it is landscaped.
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Proof 1 2 T
154

T OP : A thick piece of natural
birch bark has been trimmed
and shaped into an asymmetrical
base. There is a smaller circle of
1
8 plywood underneath the bark,
but it is invisible from the top. It
was added to give extra support
to the base and also to keep the
bark from curling. The main house
is attached to the birch bark using
liberal applications of wood-colored
epoxy glue. Several types of silk
botanicals are applied around the
base for landscaping. Notice how
the leaves are glued in place to give
a naturalappearance.
M ID D L E : When creating a base
like this, use several different kinds
of silk leaves to maximize the visual
impact and create a more natural-
looking setting. Adding a few sprigs
of climbing greenery to mimic vines
on the walls visually ties the house
to the base and gives it a sense of
age. There is a battery pack hiding
in the foliage on the left.
BOT T OM : A good base will add
physical and visual stability to your
faerie house creation.
FINISHING TOUCHES
Proof 1 2 T
155

PATHWAYS TO HOME
The making of paths, steps, and stairs is a deeply intuitive part of the
whole faerie house process. Ive learned this from watching children
making faerie houses either alone or in a group. At some point, usually
after the main components of the house are complete, kids will almost
always lavish great care on the pathway to the house. It is as if some
part of our deep, innocent selves knows that finding our way to the
place of magic and sanctuary must be mapped.
I like to think of stairs, steps, and paths as the metaphorical bridges
our imagination needs to help us connect to the magical world. While
the front door allows us to actually enter the magical space within,
our eyes instinctively seek our way to that door by following paths,
stairs, and steps. Everyone will have his or her own style and method
for crafting this part of their dream house. Some builders like to create
extravagant bridges and bordered paths. For others, a humble set of
stepping stones will do.
Here are some constructions to help spark your own creativity.
Proof 1

L EF T: Stone stairs enhance any faerie
houseentrance.
BEL OW: Tiny strips of green felt look like
moss when added to stonework for tiny
houses. Rough up the cut edges of the felt with
sandpaper for a softer edge and tuck in as you
glue the stone in place.
To lay in a set of simple stairs, start with uniformly thick stones.

Then, beginning at the bottom, rest the front edge of the second stone
onto the back edge of the first stone. Repeat until you have the height
you want. You may need to provide additional support behind and
under some stones.
FINISHING TOUCHES
L EF T: Out in the wild, a meander of sandstone steps brings

the viewer up the thyme-covered slopes right to the round
front door.
A BOV E: In this example, tiny bracket fungi are being
used as a stairway to the front door as well as for additional
decorations on the exterior of the house.
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TWIGGY BITS
Making the little twig details for faerie houses
is a lot of fun and doesnt require a lot of skill
or equipment. What it does require, however,
is patience, a delicate touch, and a little bitof
creative ingenuity. Here are some samples
oftwig work to help you get inspired to experi-
ment with embellishing your own projects with
these delicate details. All of the components
in these images were made with very simple
tools: a fine-toothed saw, a sharp knife for trim-
ming and carving, sandpaper for smoothing,
and wood-colored epoxy for gluing the twigs
together. In some cases raffia or moss were
added for decoration.
CHApTER 5
Proof 1
158

The balcony and railing installed.
Tip: In most instances it is better to use the lighter-colored

twigs so that they show up against most backgrounds and
houses, which are usually darker. Look for light-colored
TO P: This tiny footbridge was made using a twigs for your delicate railings and other twig work details,
similar technique as on page 158. The curved such as mullions in windows. That way, your careful and
footbridge base was made first. There are three
patient craftwork will be shown to its best advantage.
crossbars hidden underneath. Next, the upright
posts were cut and carved to fit, and finally the Fresh weeping willow is an excellent choice for beginner
curved railing was attached. twig work, because the branches are flexible and easy to
B O TTO M: A balcony with a twig railing and work with when they are green and they dry to a lovely
a mossy carpet were designed for a special golden honey brown. They are also common trees that can
location. Choose a long twig with interesting be found in many urban and suburban environments and
curves and details for the railing and similarly parks all around the world.
colored twigs for posts.
O PPO SI TE TO P: A simple footbridge is
FINISHING TOUCHES
made from two similarly curved twigs of the
same length. They are joined together at
regular intervals by crosswise twigs glued
underneath the bridge. The joints are wrapped with raffia to conceal the glue. Once all the crossbars are in place and decorated
with spiraling strands of raffia, a long narrow strip of birch bark is cut, fitted, and glued in between the two railings. These simple
bridges can be flat or arched.
O PPO SI TE B O TTO M: This faerie footbridge leads to a magical teahouse set in the middle of a forest stream. It was
constructed using the same techniques as the other footbridge. The rustic nature of the sections enhanced the whole setting for
this tiny teahouse. Proof 1 2 T
159

TOP L E FT: These tiny structures add a lot
of charm and style, but they do take time
and patience to make. This little gem, at 312"
tall, took more than eight hours to make! The
vines are actually covered wires that allowed
the miniature gazebo to be lighted.
TOP R I G HT: If the space you want to
decorate with railings is too small for twigs, you
can try using dried grapevine tendrils instead.
They come in strange and crazy shapes, but
they add a wonderful sense of wildness for tiny
balconies and windows. The tendrils from wild
or cultivated grapes need to be collected in
the fall after they have dried on the vine. Use
needle pruners to snip them off and clear epoxy
to glue in place, as the wood-colored epoxy will
show against these darktendrils.
RI GHT: Dont forget to have fun decorating
your tiny twig details too. Wrap with ribbons or
bring out beads and berries for holiday cheer.
A birch bark bucket of berries and a tiny wreath
completes the festive look.
CHApTER 5
Proof 1
160

It is my sincere hope that the images and instructions Please remember to collect your own materials from
in these pages have filled you with inspiration and courage nature with respect and gratitude but always do so in a sus-
to try your own hand at making something magical from tainable fashion. Be kind to Nature and she will be kind
natures bounty. Whether you are just a beginner or an expe- toyou.
rienced crafter, these pages should give you the information Now its time to put everything together and build a
you need to get started on a whole new adventure imagining couple of delightful houses from the ground up!
new dimensions of creative expression and joy.
FINISHING TOUCHES
Fireflies and a faerie housea midsummers dream.
Proof 1 2 T
161

Proof 1
162

C HAP T ER 6
Building a Faerie House

from the Ground, Up
T his chapter is going to be a bit different. Here you will find
step-by-step instructions on how to construct two different
faerie houses. I specifically designed these two houses for this book
and photographed them step-by-step as I built them. The first house,
the Green Dreams House, will show you many of the basic tech-
niques needed to help you get started to successfully build a faerie
house. There will be written instructions and copious photos to guide
you along. This house features curved-wall construction with basic
door, window, and fixed-frame roof components, all finished off with
an integrated flat base.
The Green Dreams House
The second tutorial is advanced and has less text describing the
in a garden setting.
process. This tutorial follows the creation of the Golden Cottage, with
flat walls with an arched, hinged door, complex mullioned windows,
a bay window feature, and an elaborate removable, lighted roof. The
house also features a sculpted and landscaped base. These two houses
together were specifically designed to teach you all the key techniques
you will need to then set off down your own path of creativity of
making charming and unique faerie houses.
As I have suggested many times already in these pages, please read
all the instructions and be very familiar with the process before start-
ing. Work slowly and carefully and use lots of patience during each
phase of construction, and you will be rewarded with a sweet little
Proof 1
house that you can be proud of!

163

16/9/16 1:27 PM
CAS E STUD Y N O. 1
GREEN DREAMS HOUSE

The main body for this house is made from a tube of birch bark
that I found in the forest. As with all of the wild-collected mate-
rials, it is necessary to clean, dry, and prepare found pieces for
use. If you do not have access to birch bark in your area, it
is possible to purchase flat sheets and tubes from various
suppliers on the Internetespecially on eBay. Feel free
to adapt any of the materials in these tutorials to ones
that are plentiful in your region. For this project, the
tube of birch bark is approximately 6 inches in
diameter and 8 inches tall, but this house can be
made at any scale as long as you keep things
relativelyproportional.
CHApTER 6
Proof 1 2 T
164

1 MAKE AND INSTALL THE DOOR 1
Follow the instructions in Chapter 3 on page 60 to make

the twig-framed door in vestibule. Once you have madethe
door, trim and adjust the back edge of the vestibule so that
it fits snugly against the curved wall of the main house.
Once that adjustment has been made, glue the vestibule to
the house using wood-colored epoxy glue. After the epoxy
has set, apply a decorative twig to either edge of thejunc-
tion where the vestibule meets the houseagain using
wood-colored epoxy. Note: Unless otherwise specified, you
should use epoxy for most of these constructions.
2 MAKE AND INSTALL THE WINDOWS

Next, gather your materials for the two triangular-shaped That hasnt been done to the window on the left. If one
windows with awnings and install them in the house. The wanted to use dark twigs as decorative accents, the result-
tutorial for these windows is found in Chapter 3 on page80. ing look would be different and striking, which may be
Image 2A is the main body of the house and the more appealing to your taste. What is important is to use
installed door with its vestibule, as well as one of the win- materials that are durable, beautiful, and pleasing to your
BUILDING A FAERIE HOUSE FROM THE GROUND, Up

dows with the decorative awning. Note how the twigs have eye, so dont feel that you have to replicate exactly what is
been glued over the junction areas to help strengthen the being shown here.
joints and hide any imperfect bonding. The apex of the window awnings and the door vestibule
Notice the way using different colors of birch bark for are all at approximately the same distance away from the top
the awnings and the door can add harmonious subtlety edge of the house. In this tutorial example that distance is
tothe main body of the house. In image 2B, the decorative approximately 1 inch on the nearly 8-inch-tall house. You
twig outlining the window on the right has been applied. will need a proportional margin for the next step.
2A 2B
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3 4
3 INSTALL ROOF BEAMS 4 APPLY DECORATIVE TWIGS

Following the instructions in Chapter 5 on page 132 Now that the roof beams are in place it is possible to fit
for the fixed, framed roof tutorial, begin by creating and a matching pair of decorative twigs to the front and back
installing your roof beams as instructed. If your house is of the house. Getting the roof beams into position first
smaller than 4 inches, you could use just six roof beams. defines available space for adding decorative twigs without
If your house is larger than 712 inches in diameter, I rec- interfering with the roof beams.
ommend using more roof beams. They are a functional yet
aesthetic element, and the roof may look weak if there are
too few beams in a large house. 5
INSTALL TWIG RAFTERS

5 AND EAVESRING
Continue to follow the instructions in Chapter 5 on page
134 and install the roof rafters to create a conical roof for
your round house. (You may opt to make a removable roof
if you feel confident with your skill level. Just follow those
instruction threads instead.)
Chapter 6
Proof 1
166

INSTALL UNDERLAYER ROOF
6
6 SUPPORT
As with the instructions for the framed roof tutorial on
page 138, use raffia or a similar material, such as heavy
thread, yarn, or cotton string, to apply a webbing sur-
face for your mid-layer of roofing. If the house will be
equipped with LED lighting (optional) install the lighting
at this stage, either before or after the raffia/paper appli-
cation as you chose. Follow the basic lighting instructions
found in Chapter 4 on page 104 and adapt as you wish
for this design.
7
COVER THE ROOF
7 WITH THEFELTLAYER
Following the instructions in Chapter 5 on page 138 and
apply the felt layer upon which your final decorative roof-
ing layer will be attached. Use brown felt for any bark,
Building a Faerie house From the ground, up

pinecone scales, or other dark roofing materials. Use green
or appropriate-colored felt for silk botanicals (either leaves
and/or flower petals) that will look harmonious with your
final roofing materials.
APPLY THE FINAL,

8 DECORATED ROOF LAYER
Here we have the finished roof as is described in the tuto-
rial in Chapter 5, page 140, using pinecone scale shingles
for the first two layers and silk botanicals for the rest of
theroof. Feel free to modify this tutorial and apply what-
ever roof covering inspires you.
Proof 1
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16/9/16 4:15 PM
9 10
FINISH THE INTERIO R OF

9 THE HOUSE (IFDESIRED) 10 MAKE THE BASE
This is the view from the bottom of the house so far. For this You will make a simple, flat base for this house. Using a
simple structure, Ive chosen to line the main house with a sheet of cabinet-grade 316- or 18-inch-thick plywood, cut
fresh spring green mulberry paper. Using the tracing of the out a pear-shaped base. The size of this base is determined
footprint of the house to arrive at the approximate shape by the footprint of the house, including the bump-out cre-
and size, make and apply a circle of paper to the ceiling of ated by the door vestibule. The wood extends out beyond
the room. Next, add the paper to the walls, following the theedge of the house by a small margin, as desired.Place the
guidelines in Chapter 4, page 117, on finishing the interior. house on the base, and check to make sure that the house
Once the ceiling and the walls are covered with the paper, is plumb and level. Trim the bottom edge of thehouse as
apply a small decorative strip of printed floral paper to what needed to make it sit square and level.
will be the very top edge of the wall inside the house. (In Smooth and sand the plywood base to a medium-high
this example it was approximately inch wide.) This deco- finish and then seal with several thin coats of spray ure-
rative strip acts to camouflage any mismatches between the thane. Wait until completely dry to attach to house.
wallpaper on the ceiling paper. The final touch is to add dec-
orative frames over the window openings on the inside to
give the interior of the house a nice finish. Any additional
decorations, personalization, or other embellishments that
you wish to add to the inside of the house must be done
CHApTER 6
now, because the next step will seal up the house completely.
Proof 1 2 T
168

11 ATTACH THE BASE AND DECORATIVETRIMS
Once the house and base have been fully prepared, check
the interior one last time. Apply a bead of wood-colored
epoxy to the bottom edge of the house, and quickly attach
the house to the plywood base. Clean up any excessive glue
before dries.
Once the house is permanently attached to the ply-
wood base, you may wish to add a decorative strip of
birch bark (or similar material) around the very bottom
of the house. This strip will add an extra layer of contact
for added strength, and it will also camouflage any gaps in
the joint between the house and the base. You will need to
apply this strip in pieces as you work around the twigs. As
a final touch, cut and glue a small piece of preserved mass
in place as a natural welcome mat.
Now is the time to add glass beads and decorative orna- 11
ments the roof and exterior walls of your house.
12 12 MAKE AND ADD A ROOF FINIAL

Follow the instructions in Chapter 5 page 143 which

describes how to make and install a finial for this
conicalroof.
To add bead dangles, use jewelers head pins or beading
wire to create beaded dangles as desired. Glue them into
place using epoxy glue.
Your house is now finished and ready to be enjoyed.
Congratulations!
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CAS E STUD Y N O. 2
GOLDEN COTTAGE
This tutorial is geared toward the accomplished builder. It is mainly a photo tutorial with minimal instructions,
because in order to make it, you need to be familiar with and have practiced many of the building techniques
used in this construction. As with all the other tutorials in this book, you can adapt the materials and the process
for other creations. Work carefully, and with patience, you can construct this gorgeous house, or one quite like
it, with your owntouches!
Proof 1 2C

Many of the key
elements to make
the main house
body are made with
golden birch bark,
but feel free to use
any material you like.
It just needs to be
fairly stiff and rigid.
Contrasting twigs for
trim will add strength
and interest.
1 2

2 BUILD THE BAY WINDOW
Build a bay window in the central back panel as described in Chapter3
on page 90.
1 BUILD THE DOOR

Follow the tutorial in Chapter 3 on page 64
and complete a door scaled to your project.
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171

16/9/16 1:27 PM
BUILD SIDE WINDOWS
3 ANDINSTALL 3
Build and install the side windows as described

in Chapter 3 on page 83. You can use differ-
ent mullions if you wish.
INSTALL LIGHT-BLOCKING
4 4 FELT AROUND WINDOWS
Apply felt to cover over all construction joints
around all the windows. Check all wall panels
for any holes and fill.
INSTALL DOOR AND ADD

5 LIGHT-BLOCKING FABRIC 5
Make a contrasting frame for the door, using

the door as a template. Cut an opening in the
front house panel and install the door, just as
you did the windows. Apply the frame. Apply
light-blocking felt around the door on the
inside. Using the panels as templates, cut out
wallpaper panels. Cut holes for windows and
CHApTER 6
door while all of the pieces are flat.

Proof 1 2 T
172

JOIN SIDE, FRONT, AND
6 6 BACK PANELS TOGETHER
Use strips of felt to attach the panels together.
Fit panels as closely together as possible but
leave a little gap for the twig trim to sit in
(applied next). The felt provides a flexi-
ble joint that is also strong and light-fast.
Connect three front panels together and three
back panelstogether.
APPLY WALLPAPER AND

7 INTERIOR TRIM FRAMES 7
Apply wallpaper to all the walls (see page118).

Overlap and trim as needed. Apply decorative
interior frames around windows and door.

8 8 JOIN FRONT TO BACK
Join front to back sections with strips of felt
as before (you may need narrower strips than
used before as the angle is more acute).
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16/9/16 1:27 PM
FINISH THE
9 WALLPAPERING 9
Complete installing wallpaper. The house

should still be a little bit flexible.
FINISH TOP EDGE AND

10 10 ADDTWIG TRIM
Apply trim twigs to all vertical wall joints.
Paint the top end before installing to match
bark color, if needed. Use a generous bead of
epoxy behind each twig. Do one at a time, and
attend to drips before they set. Optional trick:
If your twig has a fragile bark that you wish
to protect, you can apply a thin coat of glue
(clear epoxy for a shiny finish, white glue for
a matte finish). Apply the sealed twigs to the
house walls as described.
Front of house.
10
CHApTER 6
Back of house.
Proof 1
174

BUILD THE BEAMS AND EAVES
11 11 RING AND APPLY (TEMPORARILY)
With tiny drops of hot glue, temporarily attach the beams
as they rest in the wall section joints with approximately
inch of the beam sitting inside the house. Tip: a single drop
to the felt edge strip on either side of the twig should be
enough. Cut eaves material as shown. (Make a paper tem-
plate first to get the shapes right.) You can use bark or any
stiff, flexible material. The good side is facing down here.
INSTALL THE BEAMS AND

12 EAVES RING AND STRENGTHEN 12
THEJOINTS
Carefully attach each eaves piece to the beams. Keep all of
the glue on the upper side of the ring with none showing
below. Do one section at a time, and test to make sure it is

not getting stuck to the house. The ring will be very floppy
at this point. Attach strips of reinforcing paper to each sec-
tion, overlapping the beams as shown. Do the entire ring.
With surgical precision, use a sharp knife and cut the
ring free from the house. Ideally cut just the drops, not
thetwigs or the felt.
Top view.
12 12
Front, the top/side to The eaves ring from the underside,

showarching eaves panels. showing no visible glue.
Proof 1 2 T
175

CREATE AND INSTALL ROOF LIP
13 AND LIGHT-SEAL THE BEAM JOINTS 13
This is a very fiddly step, so go slowly and take your time.

Glue the felt strips to the backs of the bark with epoxy and
form the strip into a curve similar to the inside of the eaves
ring. Do both strips.
Now glue each strip into place as shown. The bark faces
in, but the strip will attach firmly to the ends of the beams
and the edge of the eaves ring. Glue firmly. Apply strips
of felt to all of the joints as shown to block and light and
add strength. The roof at this point should slip neatly onto
the house edge with the lip sitting inside the house. Trim
andadjust.
BEGIN TO INSTALL
14 14 LIGHTING INROOF
Following the instructions in Chapter 4, page 106. Begin
to install the lighting. Note that several bulbs are planned
for the eaves, four at the inner quadrants (to illuminate the
interior) and two bulbs are free to go up inside the cupola.
Tack temporarily in place with tape or drops of hot glue.
15 CREATE CUPOLA AND WINDOW 15
Create a round cupola with a window installed. Here it was

easier to just line the whole thing with felt for strength and
light-blocking. Install window and seal.
CHApTER 6
Proof 1
176

16 17
CREATE FRAME FOR ROOF AND MAKE PATTERN FOR PANELED

16 APPLYCUPOLA 17 ROOF AND OPTIONAL
Place eaves ring on house. Use a temporary support to float DECORATIVE LINER
the cupola approximately where you want it above the roof. Make a paper template of entire roof as shown. Label each
Use matching quality twigs to create rafters and join cupola section carefully.
to eaves ring, as shown. Glue lightly until all the rafters are Cut out nice pieces of bark to match each section. You
in place, then use more glue to secure. Finish installing the could also skip the bark and use felt panels if you plan on
lighting wires. Mask the eaves bulbs with felt ovals. Line using silk botanicals, conifer scales, or needle felting for a

the cupola with wallpaper and attach the last lights. roof finish. Cut matching pieces of decorative paper (good
side facing in) if you want to line the roof. (This is sug-
gested with a bark roof.)
CREATE BATTERY BOX,

18 APPLY DECORATIVE LINER, 18
AND OUTER ROOFBARK
Make and install a box for the battery unit as shown (see
another photo on page 107) in Chapter 3 under Lighting.
Attach the cover and seal up (not shown).
Optional: Apply the lining papers to the rafters as
shown (green paper). Do all of the roof sections, trimming
as needed. Put good side down. Glue securely to rafters all
along the length. Seal to eaves ring at wide end.
Apply the bark roof sections as shown on top of the
paper liners. Glue firmly. Also attach to the eaves ring if
you can do so without distorting the ring.
Glue a ring of felt to the top of the cupola edge.
Proof 1 2 T
177

CREATE AND INSTALL
19 19 EAVES FACADE TRIM
Depending on your materials, the battery
box will most likely need a special facade to
cover over the entire end of the roof section,
between the beams, as shown. This will be vis-
ible, so take your time and make it perfect.
Apply your last roof section when finished.
Seal the connection between the bark and
the eaves around the entire roof. You can fill
with felt or bark strips as desired, but the
wide ends of each section between the rafters
should be sealed up.
APPLY DECORATIVE TRIMS

20 20 TO ROOF AND CUPOLA
Apply decorative trim as shown. (The con-
trasting bark edge and dark twigs in the joints
as well as curly bits under the cupola are all
optional.) Note: Learn from my mistake and
do not attach the curls at the ends of the rafters
just yet!
CHApTER 6
Proof 1 2C
178

HOW TO CREATE CUPOLA ROOF
T Op L E F T: Four-piece roof made with bark and paper

lining already attached. Create a paper pattern first to get
the shape right.
T Op RI G H T: Apply matching trim as with the main roof.
Note slight cut-out in the front to go over the round window.

This is a small, optional detail.
L EF T: Attach acorn finial using epoxy glue for a secure
adhesion. If the small twig trim is not working, you can try
thin strips of dark birch bark as shown. Apply curly trim, if
desired. Setaside.
Proof 1 2 T
179

21 21
21 CREATE AND INSTALL STOOP AND PORCH (OPTIONAL)

Cut a piece of curved birch bark as shown, and apply a Attach fungus to the house wall under the door. Attach
twig edge. Cut and fit a shelf mushroom to fit under the curved porch roof so that your vertical posts will fit in
doorsill. Create a means to connect the two. (I used thick, between. Attach vertical posts and bark curls now.
curled birch bark, but any strong, vertical component will
work. Be creative!)
ATTACH
22 22 CUPOLA ROOF
Attach the cupola roof with epoxy.
Check for light leaks and block
with felt strips. Apply faux eaves to
the underside of the cupola roof, if
desired, before the roof is attached.
CHApTER 6
Proof 1
180

INSTALL INTERIOR DECORATIONS AND FLOOR WITH RUG
T Op L E F T: A piece of white, acid-free foam-

core for the floor trimmed to fit perfectly. Green
felt for carpet. Brown paper to finish underside
(optional). Decorations for the inside!
T Op RI G H T: Install the foam-core floor panel to

the bottom of the house, leaving a -inch space
under the house. From the underside, tack floor
panel temporarily in place with small drops of hot
glue. Turn the house over to decorate the interior.
Apply the decorations, bringing all stem ends to
the floor, if possible. When finished, install the
carpet and hide the ends of the decorations.
L EF T: Turn house over and finish the bottom. A
piece of green felt seals the fungus underside.
Attach felt pads to the corners if the house will be
standing on any fine furniture without a base.
Proof 1 2 T
181

23 MAKE THE BASE
Collect materials for the base: 18-inch plywood cut to desired shape, several pieces of felt, preserved moss, and decorations.
23
24 APPLY FELT LAYERS FOR 24

CONTOURS
You can add layers of felt to make a contoured
landscape, or just apply one layer to cover the
plywoodyour choice. After applying the first
flat layer, build layers of green felt around, but
not touching, the house.
When sculpted as desired, cover with pieces
of preserved moss, cut, and fit as needed. Glue
moss down well (hot glue is fine here) to felt.
CHApTER 6
Proof 1
182

25 DECORATE BASE AND EDGE
Add foliage, stones, flowers, crystals, etc. as desired. Cut a strip of felt and apply to the edge or paint
the edge. (Paint before applying any felt layers for best results.)
25
Base, front and back view.

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16/9/16 1:27 PM
26
26 APPLY CURLY ROOF TRIM (OPTIONAL)

After all construction is completed, now is the best time to add the curly
trim at the ends of the rafters.
Now that youve followed these detailed tutorials and step-by-step

photo progressions, you should be ready to explore and create your
own faerie houses.
Be amazed (and proud)! Enjoy!
CHApTER 6
Proof 1
184

Your finished beautiful Golden Cottage, with a door that

opens and a roof that removes so visitors can peer inside to
enjoy all your creative work. Well done!
Proof 1 2C
185

16/9/16 1:27 PM
Index
A C
Adirondack Faerie Lodge, 1617 Cedar Basket House, 1011
Arched Frame, Hinged Door in an, 6469 clear epoxy, 47
Autumn Leaf Gazebo, 1011 collecting materials, 4649
conversions, 186
B coverings for roofs, 128131
balconies, 159160 cupola, 176180
bark, 48 curved walls, 4041
bark roofs, 128
base layer of roof, 128 D
bases designing houses, 42
about, 150151 Dogwood Chateau, 18
as floors, 123124 Dogwood Duplex, 31
for Golden Cottage, 182183 doors
for Green Dreams House, 168169 about, 54
simple, 152155 fixed, 5456, 6063
battery pack, hiding, 109110 for Golden Cottage, 171
battery-powered micro LED string lights, 105108 for Green Dreams House, 165
battery-powered tea lights, 105 hinged, 5758, 6469
bay windows, 76, 9095, 96, 97 Hinged Door in an Arched Frame, 6469
Beach House, 1819 stained glass, 59
Bellflower House, 1415 Twig-Framed Fixed Door, 6063
birch bark samples, 48 Dragon Castle, 5253
branches, 4647
Brookwater Pavilion, 2021 E
building basics, 4243 eaves, 166, 175
building materials, 4651 eco-glues, 47
Emerald Moss House, 1213
epoxy, 47
exterior roof covering, 128
Proof 1
186

F I
Faerie Chteau, 3637 Ice Queens Palace, 3435
Farmwood Cottage, 14 indoor faerie houses, 40
felt strip, finishing with, 120 interior decorating, 117119, 168, 173, 181
finial, 143, 169
finishing touches, 5051 L
fixed doors, 5456, 6063 landscaping, 150151, 183
flat walls, 4041 latticework, 74
flat-frame style windows, 71 leaf roofs, live, 130
Flat-Framed Window, 8082 lighting
floors, 123125, 181 about, 101103
flower roofs, live, 129 camouflaging wires for, 110
footbridges, 158159 embellishments for, 112116
Forest Moss Palace, 3233 for Golden Cottage, 176
fungus roofs, 131 hiding battery pack for, 109110
fungus stairs, 157 installing, 105116
materials for, 104
G windows with, 79
glue, 47 live flower roofs, 129
Golden Cottage, 163, 170185 live leaf roofs, 130
Golden Door, 12 location, 3740
Green Dreams House, 162163, 164169
H M
Marsh House, 23
High-Summer Cottage Garden House, 17 materials
Hinged Door in an Arched Frame, 6469 building, 4651
hinged doors, 5758, 6469 collecting, 4649
Hosta Treehouse, 22 lighting, 104
hot glue, 38, 47 metric equivalents, 186
house styles, 4041 micro LED string lights, battery-powered, 105108
middle layer of roof, 128
moss roofs, 130
Mossy Manor House, 2425
INDEX
mullion details, 74
mushroom roofs, 131
mushrooms, 49
Proof 1
187

16/9/16 1:27 PM
N R
needle felted roof, 131 rafters, 136137, 166
No-Frame Removable Roof with Silk Botanicals, Riverstone Tower, 34
144149 Rivertwig House, 33
roofs
O about, 127128
outdoor faerie houses, 3739 base layer of, 128
outdoor toolkit, 44 components of, 128
covering with pine cones and silk
P botanicals, 140143
papers, 51 coverings for, 128131
pathways, 156157 cupola, 176180
pinecone scale roofs, 130, 140141 fungus, 131
porches, 9699, 180 for Golden Cottage, 176178, 184
porthole windows, 73, 8689 for Green Dreams House, 166167
projects live flower, 129
Golden Cottage, 170185 live leaf, 130
Green Dreams House, 164169 middle layer of, 128
How to Build a Bay Window, 9095 moss, 130
How to Build a Hinged Door in an Arched mushroom, 131
Frame, 6469 needle felted, 131
How to Build a Twig-Framed Fixed Door with a No-Frame Removable Roof with Silk
Simple Surround, 6063 Botanicals, 144149
How to Create a No-Frame Removable Roof with pinecone scale, 130, 140141
Silk Botanicals, 144149 removable shelf for, 121
How to Make a Flat-Framed Window, 8082 silk botanical, 129, 142143, 144149
How to Make a Porthole Window, 8689 Twig Frame Roof, 132143
How to Make a Twig Frame Roof, 132143
How to Make a Window with a Frame within
a Liner, 8385
Proof 1
188

S W
sconces, 112, 116 wall coverings/wallpaper, 51, 117119, 173174
shelf for roof, removable, 121 window seats, 94
silk botanical roofs, 129, 142143, 144149 windows
Simple Surround, Twig-Framed Fixed Door about, 7095
with a, 6063 bay, 76, 9095, 171
sketches, 42 flat-frame style, 71, 8082
Spring Gazebo, 3031 general instructions for, 70
stained glass doors, 59 for Golden Cottage, 171172
stairs, 156157 for Green Dreams House, 165
Stone Garden Hut, 28 with lighting, 79
Stonewood Cottage, 2627 mullion details for, 7475
studio toolkit, 45 porthole, 73, 8689
Sunflower House, 121122 in stone houses, 7778
styles of, 7073
T twig framed, 72
tea lights, battery-powered, 105 Window with a Frame within a Liner, 8385
temperature conversions, 186 wires, camouflaging, 110
tidbits, 49 wood-colored epoxy, 47
tiger lily house, 89
toolkits, 4345
top edge, finishing, 120122, 174
towers, 9697
Tulip Tea House, 29
Twig Frame Roof, 132143
twig framed windows, 72
Twig-Framed Fixed Door with a Simple Surround,
6063
twiggy bits, 158160
twigs, 4647
INDEX
Proof 1
189

16/9/16 1:27 PM
About the Author
B orn the eldest of three equally talented daughters
to an architect/nature photographer father and a
mother with a lifelong passion for flowers and gardens, I
was destined to have a deep reverence for the environment
and an innate understanding of what the Japanese call
wabi-sabi: the art of finding beauty in the imperfections
and elegance of nature, of accepting the natural cycles of
flourishing growth and decay/death.
My early years were spent blissfully engaged with
all manners of creativity and adventure as I grew up in
the forests, pastures, and gardens of Shelburne Farms in
Shelburne, Vermont. In those days we were given com-
plete freedom to play in and explore the hundreds of
acres surrounding our rural home and the mythic build-
ings that dotted the farmrelics of the late nineteenth
century Gilded Age designed by the prominent architect
Robert H. Robertson. I believe that growing up with
these remarkable buildings and out in the wilds of nature
laid the seeds for what would later become my art/career
path of expression: the building of faerie houses and other
environmental sculpture works.
As with all mythic adventures, the traveler must go Having returned to the northern forests once more, this
away before they can return home, and so it was with me. I book offers an opportunity to share some of the techni-
was fortunate to be able to make my living as a professional cal skills I have developed along the way. I love living on
watercolor artist for over 22 years and to travel to many the fringe of what is considered normal and continue to
sacred and magical locations. I also explored the internal thrive in the liminal spaces between the visible and invisible
landscape with deep excursions into mythology, medita- realms, where magic still exists and the flow of timelessness
tion, and ancient studies, which captured my imagination is experienced regularly. I am a bridge person, of that I am
and fed back into the matrix of my creative work. sure . . . The rest is still a work in progress.
Sally J. Smith
www.greenspiritarts.com
Proof 1 2 T
www.greenspiritarts.blogspot.com
190

ABOUT THE AUTHOR
Proof 1 2C
191

16/9/16 1:27 PM
Conversions
Metric Equivalent
Inches (in.) 1
64 1
32 1
25 1
16 1
8 1
4 3
8 2
5 1
2 5
8 3
4 8
7
1 2 3 4 5 6 7 8 9 10 11 12 36 39.4
Feet (ft.) 1 3 3112
Yards (yd.) 1 1112
Millimeters (mm) 0.40 0.79 1 1.59 3.18 6.35 9.53 10 12.7 15.9 19.1 22.2 25.4 50.8 76.2 101.6127 152 178 203 229 254 279 305 914 1,000
Centimeters (cm) 0.95 1 1.27 1.59 1.91 2.22 2.54 5.08 7.62 10.1612.7 15.2 17.8 20.3 22.9 25.4 27.9 30.5 91.4 100
Meters (m) .30 .91 1.00
Converting Measurements
TO CONVERT: TO: MULTIPLY BY: TO CONVERT: TO: MULTIPLY BY:
Inches Millimeters 25.4 Millimeters Inches 0.039
Inches Centimeters 2.54 Centimeters Inches 0.394
Feet Meters 0.305 Meters Feet 3.28
Yards Meters 0.914 Meters Yards 1.09
Miles Kilometers 1.609 Kilometers Miles 0.621
Square inches Square centimeters 6.45 Square centimeters Square inches 0.155
Square feet Square meters 0.093 Square meters Square feet 10.8
Square yards Square meters 0.836 Square meters Square yards 1.2
Cubic inches Cubic centimeters 16.4 Cubic centimeters Cubic inches 0.061
Cubic feet Cubic meters 0.0283 Cubic meters Cubic feet 35.3
Cubic yards Cubic meters 0.765 Cubic meters Cubic yards 1.31
Pints (U.S.) Liters 0.473 (lmp. 0.568) Liters Pints (U.S.) 2.114 (lmp. 1.76)
Quarts (U.S.) Liters 0.946 (lmp. 1.136) Liters Quarts (U.S.) 1.057 (lmp. 0.88)
Gallons (U.S.) Liters 3.785 (lmp. 4.546) Liters Gallons (U.S.) 0.264 (lmp. 0.22)
Ounces Grams 28.4 Grams Ounces 0.035
Pounds Kilograms 0.454 Kilograms Pounds 2.2
Tons Metric tons 0.907 Metric tons Tons 1.1
Converting Temperatures Fahrenheit Celsius

Convert degrees Fahrenheit (F) to degrees Celsius (C) by following this simple
formula: Subtract 32 from the Fahrenheit temperature reading. Then mulitply that
55 25
number by 59. For example, 77F 32 = 45. 45 59 = 25C.
50 20
To convert degrees Celsius to degrees Fahrenheit, multiply the Celsius temperature 45 15
reading by 95, then add 32. For example, 25C 95 = 45. 45 + 32 = 77F. 40 10
35 5
30 Freezing 0
25 5
20 10
15 15
10 20
5 25
0 30
Proof 1
192


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FAIRY

Fairy Houses Interior_11673.indd 1 16/9/16 1:33 PM

Library of Congress Cataloging-in-Publication Data

Book Design: Amelia LeBarron

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In memoriam, this book is also dedicated to my dear feline

Oliver was no ordinary cat. For the past 14 years he

So it was a great shock when, just as this book was finished,

Blessed be one and all.

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W hether you bring your tools and build onsite or take a

Inspired by the tiger lilies that

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in photos. This house now lives next to a stone fireplace in a

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Brookwater Pavilion. This Japanese-style

teahouse made with ferns and flowers is

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was solid and well built.

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The Tulip Tea House.

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LOCATION! LOCATION! LOCATION!

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This studio-built door turned into a perfect

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INDOOR FAERIE HOUSES

SELECTING A HOUSE STYLE

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1. Select and prepare the wall materials, as well as the baseif