Baba Yaga in stocking technique. DIY interior Baba Yaga doll

MASTER CLASS: We sew a little Baba Yaga For work you will need: - printed cotton fabrics and flesh-colored; - padding; - yarn for hair; - felt; - beads; - sewing accessories; - cardboard, glue. We print the pattern on sheet A-4. We transfer the details of the head, torso, arms, and nose onto a flesh-colored fabric folded in half. We sew, leaving the holes for stuffing unsewn (indicated by dotted lines on the pattern). Cut with an allowance of 2-4 mm. We also stitch and cut out the details of the hat, and duplicate the brim of the hat with padding polyester. On the head and crown of the hat we baste the allowances along the bottom edge, this will make it easier to connect them with the brim of the hat. We turn the head, nose, crown, and stuff it. In the brim we make a slit for turning inside out at the place where the head is sewn on, turn it inside out, iron it, and trace the inner circle. We sew the head and crown to the brim of the hat, focusing on the marked inner circle. We sew on the nose, you can shape the face at this stage. We fix the thread on the back of the head, bring the needle to the place where the eye will be located, sew on the bead, bring the thread to the mouth, make the first cross stitch, bring the thread to the location of the second eye, return to the mouth, make the second cross stitch, slightly tightening it. We bring the thread to the back of the head and secure it. At the same stage, think over the hat accessories and sew them on. I remembered this when the doll was ready and sewing it on was not very convenient. Let's start with the legs. We sew stockings. We cut two pieces of wire, 20 centimeters longer than the height of the legs and torso. At the end of the wire we make loops for the foot. If the stockings are made of knitwear, then we wrap the wire with padding polyester tape to the height of the stocking and put it on. If the stockings are made of fabric, then we put the stocking on the wire and stuff it so that the wire is surrounded on all sides by stuffing. We cut out the parts of the shoe from felt and sew it together buttonhole stitch. From cardboard we cut out the insole a couple of mm smaller than the sole around the entire perimeter. We insert the insole into the shoe and stuff it. We put the shoe on the foot and sew it in a circle. We close the seam with a strap with a buckle. At the bottom of the body we sew the corners and turn it inside out. We use an awl to pierce holes in the bottom of the body. We insert the legs and sew them in a circle. We stuff the body, cut off the excess wire, and sew the hole in the neck over the edge. We sew pantolons, first we sew them side seams, then step ones in one line. For the dress, we cut out one part of the bodice with a fold in the center and the shoulders, two parts of the skirt measuring 25x14 cm. We gather the parts of the skirt, sew them to the bodice, and sew the dress along the sleeves and side seams with one line. We put pantolons on the doll. Sew to the legs and torso. We stuff the arms, sew up the holes for stuffing hidden seam. At the back of the head we make a slot for the neck. We strengthen our hands. At this stage it is better to put a dress on the doll, do not repeat my mistake. The dress, of course, will fit, but with difficulty. We insert the neck into the slot prepared for it. Sew on the head. We shape the face and bring it to life. Let's do our hair. For braids, insert a thin wire into a thick needle and stitch it through. We wrap the yarn around the finger and attach it to the ends of the wire. We sew the end of the yarn on the back of the head and begin to wind the yarn onto the wire until we close the back of the head, then we wrap one pigtail back and forth. We wind the yarn onto the wire again, but we make several turns in front. We wrap the second braid and make a few more turns around the hat. We fasten the thread. We sew along the parting at the back and front. Let's move on to the raven. We trace the details onto the fabric without cutting. We sew, cut out, stuff the body and beak tightly, the wing and tail lightly. We sew feathers on the wings and tail. We sew everything to the body. For the eyes, we cut out two circles from white knitwear, pull them together with a thread over the edge, stuff them, and sew on a bead. Sew the eyes over the beak. Raven is ready. For the book, cut out two rectangles from cardboard measuring 8.5x15.5 and 20.4x2.5. We bend the long rectangle, departing 6.2 cm from the edge on both sides, slightly rounding the edges. We cover the rectangles with fabric and glue them together.

Those who have experience in making textile dolls, will easily understand the presented patterns and be able to make this wonderful witch doll. Well, by changing the doll’s outfit, you can make not an overseas Halloween witch, but our dear Baba Yaga. All you have to do is lengthen the dress, replace the flirty boots with wicker shoes, and replace the pointed hat with a scarf with knots on the forehead. Oh, and don't forget the apron!

And you can also sew such a Yagushka 0, the most charming, attractive and not at all scary.

The hanging doll “Baba Yaga” from the “Doll” series is kind and sweet, and not at all harmful. It carries the magic and beauty of the holiday. Create an atmosphere of fun and joy in your home.
Dear customers! A custom-made doll may differ slightly from that shown in the photo.
Dear Clients! The product made to order may differ slightly from the photo, general form remains.

Unique copyright rag dolls artist Lyubov Lavrentieva, who have won many awards at international exhibitions, are now available to everyone on the pages of this book! What makes them unique? They are very simple, even primitive, but incredibly positive, joyful, sincere and very modern. Unique combination simplicity of execution, fashion, the most modern style and the ancient traditions of Russian protective dolls makes these dolls unique! Detailed step-by-step illustrations and master classes, gallery fairy tale characters and great pleasure from both the process of creation and the result. Dolls that create a mood, infect with positivity, bring joy, are warm, funny, stylish! And at the same time carefully preserving the tradition of the Russian folk doll! It is precisely these dolls that the famous puppet artist Lyubov Lavrentyeva offers to learn how to sew on the pages of this beautiful book! Multi-colored shreds, scissors, needle and thread, acrylic paints, and your home will be protected and protected amazing creature, which you sewed with your own hands, bearing your features, your character, your individual taste! Such a doll will delight your guests, comfort and lull your child to sleep, and become an unforgettable gift for dear ones and loved ones.
Sewing them is very simple, even for beginners, but only the very best can breathe soul into them. creative people. Good luck in your creativity!

The charming soft toy Magic Bear Toys “Cat Amantis”, made of high-quality non-toxic materials in the shape of a black cat with a bow, will bring tenderness and a smile to everyone who sees it. This amazing soft toy will bring joy and give its owner moments tender hugs and pleasant memories.
Excellent workmanship makes this toy a wonderful gift for any occasion.

BABA YAGA... WHO IS SHE?

V.Ya. Propp. Historical roots fairy tale (fragments)

Yaga is a very difficult character to analyze. Her image is made up of a number of details. These details, put together from different fairy tales, sometimes do not correspond to each other, do not combine, do not merge into a single image. Basically a fairy tale knows three different shapes Yagi. She knows, for example, the giver yaga to whom the hero comes. She questions him, from her he (or the heroine) receives a horse, rich gifts, etc. Another type is the kidnapping yaga. She kidnaps children and tries to fry them, followed by escape and rescue. Finally, the fairy tale also knows a warrior yaga. She flies to the heroes' hut, cuts a belt from their back, etc. Each of these types has its own specific features, but in addition there are features common to all types. All this makes research extremely difficult.

Walking “wherever they look,” the hero or heroine ends up in a dark, dense forest. The forest is a permanent accessory to the yaga. Moreover, even in those fairy tales where there is no yaga (for example, in the fairy tale “Kosoruchka”), the hero or heroine still certainly ends up in the forest. The hero of a fairy tale, be it a prince or an exiled stepdaughter, or a runaway soldier, invariably ends up in the forest. This is where his adventures begin. This forest has never been better described. It is dense, dark, mysterious, somewhat conventional, and not entirely believable.

Here, a whole ocean of materials related to ideas about the forest and its inhabitants opens up before the researcher. In order not to get lost here, you must strictly adhere to only those ideas that are associated with the fairy tale. Thus, goblin and mermaids are almost not reflected in the fairy tale. The mermaid appears only once in the entire Afanasyev collection, and then in a saying. The goblin is always nothing more than a renamed yaga. The closer the connection fairy forest with the forest that appears in initiation rites. The initiation ceremony was always performed in the forest. This is a constant, indispensable feature of it throughout the world. Where there is no forest, children are taken at least into the bush.

The forest as a separate isolated element does not prove anything. But that this forest is not entirely ordinary can be seen from its inhabitants, and can be seen from the hut that the hero suddenly sees in front of him. Walking “wherever his eyes look” and accidentally raising his gaze, he sees an extraordinary sight - a hut on chicken legs. This hut seemed to be familiar to Ivan for a long time: “We’ll climb into you, eat bread and salt.” He is not at all surprised by her and knows how to behave.
Some fairy tales say that this hut “spins,” that is, it rotates around its axis. “In front of her stands a hut on chicken legs and constantly turns around” (Aph. 235). “It stands and turns” (K. 7). This idea resulted from a misunderstanding of the word “turns.” Some fairy tales clarify: when necessary, it turns. However, it does not turn by itself. The hero must make her turn, and for this he needs to know and say the word. Again we see that the hero is not at all surprised. He doesn't mince words and knows what to say. “According to the old saying, according to my mother’s saying: “Hut, hut,” said Ivan, blowing on it, “stand with your back to the forest, with your front to me.” And then the hut turned to Ivan, a gray-haired old woman was looking out of the window” (Af .560). “Hut, hut, turn your eyes to the forest, and turn your gates to me: I will not last forever, but last a night. Let the passerby in” (K. 7).

What's going on here? Why do you need to turn the hut? Why can't I just log in? Often in front of Ivan there is a smooth wall - “no windows, no doors” - the entrance is on the opposite side. “This hut has no windows, no doors, nothing” (17). But why not go around the hut and enter from the other side? Obviously this is not possible. Obviously, the hut stands on some kind of visible or invisible edge that Ivan cannot step over. You can only get to this edge through the hut, and the hut needs to be turned “so that I can get in and out” (See 1).

The open side of the hut faces the thirtieth kingdom, the closed side faces the kingdom accessible to Ivan. That is why Ivan cannot go around the hut, but turns it around. This hut is a guard post. He will not cross the line until he is interrogated and tested to see whether he can go further. Actually, the first test has already been passed. Ivan knew the spell and managed to blow on the hut and turn it.

We will continue to follow the actions of the hero. The hut has turned, and the hero enters it. He doesn't see anything yet. But he hears: “Fu, fu, fu! Before, the Russian spirit was unheard of, unseen; today the Russian spirit sits on a spoon and rolls into its own mouth” (Af. 137). “The Russian spirit came to my forest!” (North 7). Or in short: “Ugh, how Russian bone stinks” (Af. 139). We need to dwell on this detail. It is very significant.

However, as soon as we turn to comparatively earlier stages, we immediately receive the key to our motive. This material shows that Afanasyev was not mistaken in asserting that Ivan’s smell is the smell of a person, and not a Russian. But his statement can be clarified. Ivan smells not just like a person, but like a living person. The dead and incorporeal do not smell, the living smell, the dead recognize the living by their smell.

The smell of Ivan is the smell of a living person trying to penetrate the kingdom of the dead. If this smell is disgusting to the yaga, then this is because the dead generally experience horror and fear of the living. No one alive should cross the cherished threshold.

The canon of the fairy tale requires that the exclamation “Fu, fu, fu,” etc. be followed by an inquiry about the purpose of the trip: “Are you torturing for business or flying for business?” We expect the hero to now reveal his goal. The answer he gives must, however, be recognized as completely unexpected and not resulting from the threats of the yaga. First of all, he demands to eat. “Why are you shouting? First, give him something to drink and feed, take him to the bathhouse, and then see him out and ask questions” (Af. 105). And, what is most extraordinary, the yaga completely humbles herself with such an answer: “Baba Yaga gave them something to drink, fed them, and took them to the bathhouse” (105). “She got down and bowed low” (137).

Note that this is a constant, typical feature of yaga. She feeds and treats the hero. Let us also note that he refuses to speak until he is fed.
What is this? Why do heroes never eat, for example, before leaving home, but only at the yaga? This is not an everyday, not a new-realist trait, this trait has its own special story. Food has a special meaning here. By demanding food, the hero thereby shows that he is not afraid of this food, that he has the right to it, that he is “real.” That is why the yaga submits to his demand to give him food.

We now turn to consider the yaga itself. Her appearance is made up of a number of particulars, and we will consider these particulars first separately, and only after that we will consider her figure as a whole. The yaga itself appears in two forms: either when Ivan enters, she lies in the hut - this is one yaga, or she flies in - this is a yaga of another type.

Yaga the Giver is in the hut when Ivan arrives. First of all, she is lying down. It lies either on the stove, or on a bench, or on the floor. Further, she occupies the entire hut. “There is a head in front, a leg in one corner, another in the other.” (Aph. 102). "Baba Yaga lies on the stove, bone leg, from corner to corner, her nose has grown into the ceiling" (137). But how do we mean “the nose has grown into the ceiling"? And why does the yaga occupy the entire hut? After all, she is nowhere described or mentioned as a giant. And, therefore, she is not great , and the hut is small. Yaga resembles a corpse, a corpse in a cramped coffin or in a special cell where they are buried or left to die. She is a dead person.

The Russian yaga does not have any other signs of a corpse. But Yaga as an international phenomenon possesses these characteristics to a very wide extent. “They are always characterized by the attribute of decomposition: a hollow back, softened meat, brittle bones, a back, pitted
eaten by worms" (Guntert).

If this observation is correct, then it will help us understand one constant feature of the yaga - bone-footedness. To understand this feature, we must keep in mind that “awareness of a corpse” is a very late thing. In the earlier materials from America that we have already cited, the guardian of the kingdom of the dead is always either an animal or a blind old woman - without signs of a corpse. Analysis of the yaga as the mistress of the kingdom of the forest and its animals will show us that her animal form is her oldest form. She sometimes appears like this in Russian fairy tales. In one Vyatka fairy tale by D.K. Zelenin (3B 11), which is generally replete with extremely archaic features, the role of a yaga in a hut is played by a goat. “The goat lies on the beds, the legs are on the beds,” etc. In other cases, it corresponds to a bear, a magpie (Aph. 249, 250), etc. But the animal never has a bone leg, not only in Russian material (which could be explained by phenomena of language - “yaga” rhymes with “leg”), but also in international material. Consequently, the bone leg is somehow connected with the human appearance of the yaga, connected with its anthropomorphization. The transitional stage from animal to man is a man with an animal leg. A yaga never possesses such a leg, but Pan, fauns and a motley line of all evil spirits possess such legs. All kinds of elves, dwarfs, demons, devils have animal legs. They retain their animal legs just as the hut preserved them. But at the same time, yaga is so firmly connected with the image of death that this animal leg is replaced by a bone leg, that is, the leg of a dead person or skeleton. The bone-footedness is due to the fact that the yaga never walks. She either flies or lies, that is, she outwardly manifests herself as a dead person.

Yaga gradually becomes clear to us as the guardian of the entrance to the thirtieth kingdom and at the same time as a creature associated with the animal world and the world of the dead. She recognizes the hero as a living one and does not want to miss him, warns him of dangers, etc. Only after he has eaten does she show him the way. She recognizes Ivan as if he were alive by his smell. But there is another reason why the yaga perceives Ivan by smell. Although this is never said in the Russian fairy tale, it can still be established that she is blind, that she does not see Ivan, but recognizes him by his smell. This blindness was, by the way, already suggested by Potebnya. He explains this blindness as follows: “Yaga seems, by the way, to be blind. One can guess that Baba’s blindness means ugliness. The idea of ​​darkness, blindness and ugliness are akin and can replace one another.” This is proven by analysis of the root “lep” in Slavic languages ​​(Potebnya). This conclusion of Potebnya is incorrect simply because she is blind not only on Russian or Slavic soil. The blindness of creatures like Yaga is an international phenomenon, and if we were to take the path of studying the etymology of a name or word for the phenomenon denoting it (which is always very dangerous and often incorrect in essence, since the meaning changes, but the word remains), then it would be necessary to study comparative study of the designation of blindness in different languages. None of them will lead to the name of the yaga. But similar analysis could show that “blindness” does not simply mean the absence of vision. Thus, the Latin caecus not only means active blindness (unseeing), but also, so to speak, passive (invisible - caeca nox - “blind” night). The same can be deduced regarding the German ein blindes Fenster.

So, an analysis of the concept of blindness might lead to the concept of invisibility. A person is blind not in himself, but in relation to something. Under "blindness" the concept of a certain reciprocity of invisibility can be revealed. In relation to Yaga, this could lead to a transfer of the relationship of the world of the living to the world of the dead: the living do not see the dead in the same way as the dead do not see the living. But, one might argue, then the hero would also have to appear blind. Indeed, this is how it should be, and this is how it actually is. We will see that the hero who ends up with the yaga becomes blind.

But is Yaga really blind? This is not directly visible, but according to some indirect signs this can be judged. In the fairy tale “Baba Yaga and Zhikhar,” the yaga wants to kidnap Zhikhar and flies to him at the moment when his friends and roommates, the cat and the sparrow, have gone to get firewood. She starts counting spoons. “This is the cat’s spoon, this is Vorobyov’s, this is Zhikhar-kova.” Zhikharko could not stand it, he roared: “Don’t touch my spoon, Baba Yaga!” Baba Yaga grabbed Zhikharko and dragged him away,” (Af. 106). So, to find out where Zhikharko is, the Yaga must hear his voice. She doesn’t look out, she listens, just as she sniffs out an alien.

Another feature of the yaga's appearance is her sharply emphasized feminine physiology. Signs of gender are exaggerated: she is depicted as a woman with huge breasts:
“Tits through the bed” (Onch. 178. The bed is a pole for towels, etc.); “Yaga Yagishna, Ovdotya Kuzminishna, nose to the ceiling, tits across the threshold, snot across the garden bed, raking up soot with her tongue” (Sm. 150). Or: “On the stove, on the ninth brick, lies Baba Yaga, a bone leg, her nose has grown into the ceiling, snot is hanging over the threshold, her tits are wrapped on a hook, she is sharpening her teeth.”

So, Yaga is equipped with all the signs of motherhood. But at the same time, she does not know married life. She is always an old woman, and an old woman without a husband. Yaga is not the mother of people, she is the mother and mistress of animals, moreover, forest animals. Yaga represents the stage when fertility was thought through a woman without the participation of men. Hypertrophy of the maternal organs does not correspond to any marital functions. Maybe that is why she is always an old woman. Being the personification of gender, she does not live the life of gender. She is already only a mother, but not a spouse either in the present or in the past. True, in the fairy tale she is never called the mother of animals. But she has unlimited power over them.

It is widely believed that the yaga is a character for whom the typical task difficult tasks. This is true only for women's fairy tales, and even then it can be shown that these tasks are mainly of late origin. A man is given tasks much less often, rarely at all, and they are very few in number. Usually the reward follows immediately after the dialogue. ""You can hardly get it! Shall I help" - and gives him his horse" (Aph. 174). “She fed him, gave him something to drink and gave him Zolotitsa Mare” (Sev. 46). There are many such cases that can be cited; this is a typical form. The question arises: why does the yaga reward the hero? Outwardly, artistically, this award is not motivated. But in the light of the materials given above, we can say that the hero has already passed a number of tests. He knew the magic of opening doors. He knew the spell that turned and opened the hut, he knew the magic of gestures: he sprinkled the door with water. He made a propitiatory sacrifice to the beasts guarding the entrance. And, finally, the most important thing: he was not afraid of the yaga’s food, he himself demanded it, and thereby forever joined himself to the host of otherworldly creatures. Questioning follows the test, and reward follows the questioning. This also explains the confidence with which the hero carries himself. In what he sees, not only is there nothing unexpected, on the contrary, everything seems to have been known to the hero for a long time, and is exactly what he expected. He is confident in himself due to his magical weapons. This armament itself is really not motivated by anything. Only occasionally do we meet such characters as an aunt instructing a girl on how to behave with a yaga. The hero knows all this because he is a hero. His heroism lies in his magical knowledge, in his strength.

About Baba Yaga from other sources

Master class with step-by-step photos on production soft toy. Baba Yaga.

Shakhmuratova Victoria, 15 years old, student of the 9th special (correctional) class of MAOU Secondary School No. 20, Baranchinsky, Sverdlovsk Region.
Supervisor: Plyusnina Tatyana Aleksandrovna. Correctional teacher class VIII type MAOU secondary school No. 20, Baranchinsky village, Sverdlovsk region.
This master class is intended for children of secondary school age, defectologists, educators, additional education teachers
Purpose: interior decoration, gift.
Target: Making an interior doll of Tilda - Baba Yaga.
Tasks:
- introduce methods of making soft toys;
- development fine motor skills, improving the skills of sewing parts, uniformly stuffing toys, making doll clothes.
- fostering neatness and the desire to please others with your crafts.
Materials and tools: small pieces of cotton fabric (gray-beige, brown, red, orange color), black yarn, “eyes”, wire, threads, red and orange satin ribbon 2 cm wide and narrow, white 5-7 mm wide, holofiber (or other filler), needle, blush, tassel, sewing machine, doll patterns, clothes.

Work order:
Let's start with making the doll itself. Let's transfer the pattern details onto the fabric so that the seam allowance is 3-5 mm. Parts of the torso – 2 pcs., arms – 4 pcs., legs – 4 pcs.

Cut out the legs from fabric of two colors (the upper part is from light fabric, the bottom one is made of brown).

Sew the top and bottom parts together. It turned out 4 blanks.

Using a sewing machine, sew in pairs, leaving one side unsewn. At the torso - this is at the bottom, at the arms and legs - at the top. Let's make notches in the places of bends. Let's tie some knots.

Let's turn out every detail.

Let's measure the wire for the frame - 2 parts. One passes through the legs, torso, head, the other through the arms. We will make a loop at the ends so that the sharp end of the wire does not pierce the finished part.

Having inserted the frame, we begin to stuff the body, distributing the material evenly on all sides. When the torso is stuffed, let's stuff the legs.

We fill our hands one by one. First one. Then we pierce the body with the free sharp end of the wire and stuff the second one.

You can sew arms and legs with a needle. Turning the edges of the arms inward and placing the legs into the folded edge of the body.

Let's form the doll's face. In place of the eyes, piercing the head all the way through, we will make a few stitches.

Glue the eyes to the puncture sites with rhinestone glue.

Let's tint our cheeks with blush.

Let's start making hair. To do this, take yarn, cardboard 20 cm x 30 cm and wind it evenly so that the length of the threads is 20 cm, and the same in width.

Carefully remove the threads from the cardboard and, dividing the width into 3 equal parts, lay 2 lines on the machine.

Let's cut the threads so that one piece has a seam in the middle, and the other along the edge. Let's cut the loops.

Let's start sewing on the hair from the back of the head. Sew several rows, catching the thread seam. We sew the blank, in which the seam runs in the middle, from the forehead to the back of the head.

Baba Yaga is ready. You need to dress her.
To make a blouse, take orange fabric. Let's cut out 1 piece with a fold and 2 sleeves.

We sew in the sleeves. Let's sew them up.

We process the upper cut with a small zigzag (pique). Along the zigzag seam we will lay another line with a step width of 4-5 mm.

Let's hem the bottom of the blouse. Sew the back seam, leaving a small slit at the top. We will process the cut.

Let's put a blouse on the doll. Let's pull the threads along the neckline and assemble it into an assembly. Let's secure them by tying knots. We will sew the edges together.

Let's start making a sundress. To do this, take a rectangular red fabric
18cm x 30cm.
Let's hem the bottom. Top on front side we'll sew it on satin ribbon orange color. Let's assemble it by reducing the width of the side of the rectangle to 18 cm.

To the edge we sew a strip (18 cm x 5 cm) from the main fabric, folding it in half. Topstitch the top edge.

Sew on the straps from white satin ribbon.

Sew the back seam, leaving a small slit at the top. We will process the cut.

We'll put the sundress on the doll and sew up the slit at the back.

The character of Baba Yaga has been known to everyone since childhood, because in every Russian folk tale this heroine is present. Flying on a broom in a mortar, she scares everyone around her, her friends are evil spirits from the forest, she loves to do dirty tricks. And many children are very afraid of this grandmother. But in vain, because this is just a character in fairy tales. It has long been fashionable to use such interesting characters in the decor of your own home. In addition, children really like to have such dolls in their arsenal of toys. And that’s why many craftswomen are happy to do the craft. Do-it-yourself Baba Yaga is highly valued among lovers of curiosities and, in general, everything that brings mysticism into our lives.

Such dolls can be made from any materials: natural, fabric, plastic, knitted - it is important to use your imagination, and inspiration will come on its own.

Crafts from pine cones

So many interesting crafts can be done using natural materials. Basically, such toys are made from cones, twigs, acorns and other things.

To do interesting toy Baba Yaga, you will need:

• bump, preferably with a tail;
• light yarn for hair;
• a small piece of fabric;
• plastic cup disposable;
• branches;
• Super glue;
• tow rope;
• scissors, paper and marker.

The threads must be collected in several rows to make it look as shown in the photo. Then you need to fold the resulting material in half, and tie it in the middle, moving a little away from the outskirts.

The produced hair must be attached to the bump using glue. But the tail on the bump will be the nose of our Baba Yaga.

It is necessary to cut out a square from the material, which we will use in the form of a scarf. Afterwards, you need to put the headdress on the doll’s head so that the ties are in front. Then the head needs to be attached to long bump, usually a spruce tree that will serve as the body.

Use branches to make hands. Then cut out a mouth and eyes from paper and use a felt-tip pen to draw on these details. And we also need to take more twigs, from which we need to make a broom and attach it to the handles of our craft.

Any Baba Yaga must be in a mortar, so it is necessary to make it. To do this, take a plastic glass, cover it with paper, prepare branches that should be slightly higher than the glass itself. Next, we cover the entire container with twigs in a circle and get a mortar. Stepping back a little from the boundaries, you need to wrap the product with ropes, both from below and from above. We put our Baba in the mortar, and the product is ready.

You can also make Baba Yaga from tights, from burlap, and at the same time, to maintain shape, it is possible to make dolls from plastic bottle.

Stocking technique

Babu Yaga in stocking technique used to protect living quarters, in addition, it will serve very well interesting decoration for home.

This master class will help even novice needlewomen make one with their own hands. good Baba I gu. In addition, similar crafts can be done with children, which will not only please, but also teach correct technique working with various materials.

What you need to have to make such a doll:

• nylon fabric;
• padding polyester material;
• some wire;
• small fabric materials;
• thick threads gray to make hair;
• eyes.

All products that are sewn using the hosiery technique use a tie; it is possible to make a doll of different sizes.

We start making our doll from the head. To do this, you need to take a padding polyester and put it in one piece of fabric. And use a piece of wire to make a nose with nostrils. Afterwards, this part must be wrapped using padding polyester.

Next, the nose blank must be attached to the head with needles and threads. Afterwards we take nylon tights and wrap them around the resulting head and nose. Next, using padding polyester material you need to make the cheeks and chin. It is best to start the workflow from the spout. In this work, it is important to choose the right thread color to match the nylon material. Tighten with thread right side and head left. You need to stitch it a few times, then draw the needle diagonally from the bottom of the nose - this will help make the nostrils.

Once the nostrils are done, we move on to shaping the nose itself. To do this, the needle must be inserted under the wing of the nose, but removed from the formed nostril. These parts should be stitched in turn to make it symmetrical. When the nose already has clear outlines, cut the thread and begin making the cheeks. We take a needle and insert it into the cheek area from top to bottom. We do such stitches more than once in one place, this is necessary to give the desired shape. We leave the thread and cut it off near the base of the needle. And now we form the second cheek. We do the same as in the previous part. When a certain number of stitches have been made, we tie long pieces of thread together - we perform a tie.

Now let's make our grandmother's mouth. Baba Yaga's lower lip protrudes slightly, and the second one falls in. To do this, you need to take the doll by the chin and do the work of forming the lower lip. When the bottom is finished, the work process is done from the top. To make recesses for the eyes, you need to pull out the needle in the area of ​​the back of the head. Then we do the eyelids and wrinkles - everything is done using a screed.

Now you need to take not very large strips of nylon and then you need to wrap it around the eyes. This is done to create wrinkles. Afterwards, the resulting eyes must be glued to the place that is prepared for the eyes. Next, we take gray threads, from which we need to make the hair of our Baba Yaga. Many craftswomen use fur strips or even artificial hair instead of threads.

To make the handles, you need to use wire, which will be the main skeletal material, then we wrap all the fingers and the hand as a whole with padding polyester - then we cover them with tights and make ties and sew them together.

But the body can be made from a plastic bottle if Baba Yaga is small in size. In the event that the doll should turn out to be large, you need to take tights or knee socks from nylon and fill it with padding polyester. And with the help of a thread and a needle make a chest, a hump on the back. The legs are made in the same way as the torso, of course, without the plastic bottle. Sew and tighten each piece, as when making dolls using the hosiery technique.

Afterwards we need to connect everything together and dress our Grandmother. Clothes can be sewn yourself or taken from dolls. Don't forget about the headdress and broom, which is very important for Baba Yaga.